DUKE UNIVERSITY LIBRARY GIFT OF ^R^!?....yMy6?s.ity..Press D U K E . U N I V K R S 1 T V • 1' V 15 L 1 C A T IONS T/ie Frank C. Brown Collection of NORTH CAROLINA FOLKLORE HERB G A r H 1£ K E R S Vie FRANK C. BROWN COLLKCTION of NORTH CAROLINA FOLKLORE Thk Foi-KLork of XoRiii Carolina coLi.inii) i!V I^r. I'Rank t'. Hroun DURING THF. YEARS 19 I 2 TO I 943 IN COLLAliORATlON WITH TlIK XORTH CARO- LINA Folklore Society of whkh he was Secretary-Treaslrer 1913-1943 IN FIVE VOLUMES Genera! Editor NEWMAN IVKY WHITE Associate Editors HENRY M. BELDEN PAUL G. BREWSTER WAYLAND D. HAND ARTHUR PALMER HUDSON JAN P. SCHINHAN ARCHER TAYLOR STITH THOMPSON BARTLETT JERE WHITING GEORGE P. WILSON PAULL F. HAUM Wood Engrav'fugs l/y CI. ARE I.RK.HTON DURHAM, NORTH CAROLINA DUKE U N I ^' E R S rr Y PRESS Volume I GAMES AND RHYMES • BELIEFS AND CUSTOMS • RIDDLES PROVERBS • SPEECH 'TALES AND LEGENDS Edited by Paul G. Brewster, Archer Taylor, Bartlett Jere Whiting, George P. Wilson. Stith Thompson Volume II FOLK BALLADS FROM NORTH CAROLINA Edited by Henry M. Belden and Arthur Palmer Hudson Volume III FOLK SONGS FROM NORTH CAROLINA Edited by Henry M. Belden and Arthur Palmer Hudson Volume IV THE MUSIC OF THE BALLADS AND SONGS Edited by Jan P. Schinhan Volume V SUPERSTITIONS FROM NORTH CAROLINA Edited by Wayland D. Hand VX/c FRANK C. BROWN C0IJ,ECT10N o/" NORTH CAROLINA FOLKLORE VOLUME THREE FOLK SONGS FROM NORTH CAROLINA Edited by HENRY M. BELDEN and ARTHUR PALMER HUDSON DURHAM, NORTH CAROLINA DUKE UNI\'ERSITY PRESS 1952 COPYRIGHT, 1952, BY THE DUKE UNIVERITY PRESS Caiiibridyc i'liiz'crsity Press, Lu)idoii, X.W. 1, Eiiylaiid PRINTl'.l) IN Till', rxill'-.l) STATICS oi- AMl'KICA HV Till': SICK.MAN l'Ul.\TI':kV. INC.. DIKIIAM, N. C. CONTENTS Fork WORD xxiii AhHRKNIATIONS L'sKI) in HkADNOTKS XXV IXTRODrCTION : Soxc.s 3 I. COURTING SONGS 4 1. A Paper of Pins 6 2. Madam. Will Vou Walk? 9 3. The Courting Cage 10 4. Madam Mozelle. I've Come Courting 13 5. Miss, Will You Have a Farmer's Son ? 14 6. LuciNDv, Won't You Marry Me? 14 7. Soldier. Soldier. Won't You Marry Me? 15 8. The Quaker's Wooing 16 c). The Old Man's Courtship i7 10. When I Was a Young Girl 20 - II. Where Are You Going, My Pretty Maid? 21 12. Madam, I Have Gold and Silver 23 13. One Morning in May 24 14. No, Sir 25 15. Courting Song ^1 i6. Don't Stay after Ten 28 17. 1 Wouldn't Marry 3° 18. A Single Life 3^ 19. When I W^as Single 37 n. DRINK AND GAMBLING SONGS 41 20. The Drunkard's Hell 42 21. The Drunkard's Doom 44 22. The Drunkard's Dream (II 45 23. 'l"nE Drunkard's Dream (11) 48 24. Father. Dear Father, Come with Me Now 48 25. The Drunkard's Lone Child 5° 26. Don't Go Out Tonight. My Dari.inc; 51 27. Be Home Early 53 28. 1 Wish 1 Was a Sin(;le Girl Again 54 29. Seven Long Years I've Been Married 56 .30. The Lips That Touch Liquor Must Never Touch Mine 57 31. I'm Alone, All Alone 60 32. Old Rosin the Beau 61 — 33. Little Brown Jug 62 ^4. Pass Around the Bottle 64 61855 L Vni CONTENTS 35. JuDiE My Whiskey Tickler 64 36. I'll Never Get Drunk Any More 65 37. Show Me the Way to Go Home, Babe 67 38. Pickle My Bones in Alcohol 69 39. Sticks and Stones May Break My Bones 71 40. Just Kick the Dust over My Coffin ^2 41. The Hidden Still 72 42. Moonshine 73 43. Old Corn Licker 74 44. Sal and the Baby 74 _ 45. Sweet Cider 74 46. A Little More Cider Too 75 47. Sucking Cider Through a Straw yj 48. Drinking Wine 78 49. The Journeyman 78 50. Jack of Diamonds 80 51. Shoot Your Dice and Have Your Fun y^ 81 52. I Got Mine 82 HI. homiletic songs 83 53. When Adam Was Created 83 54. Pulling Hard against the Stream 86 55. Paddle Your Own Canoe 87 56. Why Do You Bob Your Hair, Girls? 88 57. Meditations of an Old Bachelor 88 58. The Thresherman 89 59. You Say You Are of Noble Race 90 60. Who Is My Neighbor? 91 61. Dying from Home and Lost 91 62. The Wicked Girl 92 63. A Poor Sinner 95 64. Advice to Sinners 95 65. Wild Oats 96 66. You Can Run on a Long Time 97 IV. PLAY-PARTY AND DANCE SONGS 99 67. Weevily Wheat 100 68. Here Comes Three Lawyers ioi 69. Jennie Jenkins 102 - 70. Oh, Pretty Polly 104 71. Don't Cry 104 72. Here We Go in Mourning 105 73. Row THE Boat, Row the Boat 106 74. The Needle's Eye 107 y},. The Miller Boy 108 76. In and Out the Window 108 "jy. Shoot the Buffalo 109 C O N T K N T S IX 78. COFI-KK ("iKOWS ON WlllTK OaK TrKKS IIO 79. LlTTLK FlCHT IN MkXUO 112 80. Pu; IN TiiK I'aki.ok 113 ' 81. BlFKAl.O CiALS 1 14 82. Old Dan Tuckkk 114 83. Yonder Comes a Georc.ia (iiRi. 118 84. Captain Jinks 119 85. Hop Light. Ladiks 119 86. Old Joe Clark 120 87. What's the Lady's Motion? 124 88. The Farmer's Boy 125 89. Sally Goodin 126 90. Doctor Jones 127 91. She Loves Coffee and 1 Love Tea 128 92. I Do Love Sugar in My Coffee O 129 93. Pop Goes the Weasel 130 94. Turkey in the Straw 130 95. We're All A-Singing 131 96. The Dolly-Play Song 131 97. Uncle Joe Cut Off His Toe 132 98. Oh, Lovely, Come This Way 134 99. The Duke of York 135 too. Fll Tell Your Daddy 136 loi. I Want to Go to Baltimore 136 102. Poor Little Laura Lee 136 103. Darling, You Can't Love but One 137 104. Page's Train Runs So Fast 138 105. Turkey Buzzard 139 106. All Around de Rin(;. Miss Jilie 140 107. Too Young to Marry 140 108. Poor Little Kitty Puss 141 109. Fare You Well. My Own True Love 142 110. Mr. Carter 142 Til. Wish I Had a Needle and Thread 143 V. LULLABIES AND NURSERY RHYMES 147 T12. Bye Baby Bunting 148 T13. Rock-a-Bye Baby in the Tree-Top 148 T14. Kitty Alone 149 T15. Hush-a-Bye, Don't You Cry 150 _ii6. Go to Sleep. My Little Pickaninny 151 117. Poor Little Lamb Cries 'Mammy I' 152 118. Hush, Honey, Hush 153 119. Pitty Patty Poke 154 120. The Fr()(;'s Courtship 154 Appendix 165 TJi. Billy Boy 166 618551 VI c o x t e x t s 22. Oh. Dear. What Cax the Matter Be? 170 23. Taffy Was a Welshman 170 24. Barnyard Song 172 25. McDonald's Farm 174 26. Quack, Ql\\ck, Quack 177 27. The Dogs ix the Alley 177 28. Go Tell Auxt Patsy 177 29. The Fox axd the Goose 178 30. The Old Womax axd Her Pk; 181 31. Whex I Was a Little Boy 182 2^2. Bobby Shaftoe 183 },2)- The Pretty Pear Tree 184 34. Jack-a-Maria 185 35. There's a Hole ix the Bottom of the Sea 186 36. JoHX Browx Had a Little Ixjrx 186 2>y. Bixgo 187 38. Call ]My Little Dog 187 39. The Vowels 188 40. Banbury Cross 188 41. Oh, Mr. Revel! 189 42. Old Woman All Skix axd Boxes 189 43. What Are Little Girls ^L\nE Of? 193 44. Neighbor Joxes I93 45. Whistlixg Girls axd Crowixg Hexs 194 46. Little Birdie ix the Tree 195 47. How I Love the Old Black Cat 195 48. Fve Got a Master axd I Am His ^L\N 196 49. The Cobbler 196 50. Scotland's Burning I97 51. Steam Ship I97 JINGLES ABOUT ANIMALS 198 52. Birds Courting I99 53. The Jaybird 201 54. Redbird and Jaybird 202 55. Jaybird Up ix the 'Simmox Tree 203 56. Said the Blackbird to the Crow 203 57. The Crow and the Weasel 205 58. Chicken in the Bread Tray 205 59. The Old Black Hen 206 60. Get Along, John, the Day's Work's Done 206 61. Possum Up a 'Simmon Tree 206 62. De Possum Am a Cuxninc; Tiiixg 208 63. The Raccoon Has a Bushy Taii. 208 64. De Possim Sits on 'Simmox Trek 209 65. Over the Hills So Far Away 210 66. Rahbit IX the Log 211 C () N T K N T S XI If),-. Oi.ii Mdi.i.v Haki-: (Mk. Kaiuut) 2ll i()8. 'riiK Rakhit Skippki), thk. Rahhit Hoi'pki) 213 ifx). Kahhit Stoi.k of. Greens 214 170. I r's Ai 1. XiciiT I.o.Nc 214 171 . Mk. Sni'iKRKi. 214 172. Till. Weaski. and the Rat 215 17,V Mole in the (iROTNi) 215 174. The Oi.I) Cikev Horse Came Tearinc TiiRort.ii THE Wilderness 216 175. The Old Grey Mare 217 176. I Had a Little Horse Whose Name Was Jack 217 177. Mv Old Sow's Nose 218 178. The Old Sow 218 I7(). The Kitten Is i-nder the Sod 219 180. The Animal Fair 219 181. The Monkey Married the Baroon's Sister 219 i8j. The Catfish 220 18.V Lri.r 222 184. Jonah I'Tshinc; for a Whale 223 185. Snake Bakes a Hoecake 223 186. Row THE Boat Ashore 224 187. I Went Down to the Low Ground 225 188. As I Went Up the Silver Lake 225 189. Way Down Yonder in Pasquotank 225 i(;o. Ninety-Nine Blue Bottles 226 i()i. A Picnic 226 i(j2. Two Little Fleas 227 i()3. Went to the River and I Couldn't Get Across 22-j 11. WORK SONGS 228 104. Old Boi! Ridley 229 Kj;. Jimmy My Riley 232 i()6. Sheei> Shell Corn by the Rattle of His Horn 233 197. Bu(;le, Oh ! 234 198. Come to Shuck Dat Corn Tonicht 234 199. De Shuckinc. OB de Corn 235 200. Shuck Corn, Shell Corn 236 201. Round It Up a Heap It Up 237 202. corn-sliuckinc. sonc 237 20.^. I" HE Old Turkey Hen 238 204. Run. Sallie, My Gal 238 205. Up Roanoke and Dow n the Rni.R 239 206. HiDi QuiLi LoDi QuiLi 239 207. Here. Jola, Here 240 208. Come away from That Old Man 240 209. Sally, Molly. Polly 241 210. Down on the Farm 241 Xll CONTENTS 211. Negro Cotton-Picker 243 212. Pickin' Out Cotton 243 213. The Humble Farmer 244 214. Boll Weevil Blues 245 215. Ole Massa's Going Awav 247 216. The Man Who Wouldn't Hoe His Corn 247 217. The Old Chisholm Trail 248 218. The Duke of Buckingham 250 219. The Wild Ashe Deer 250 220. Old Blue 252 - 221. The Ground Hog 253 222. Fll Fire Dis Trip 255 223. Hi Yo Boat Row 256 -^224. We Live on the Banks of the Ohio 256 225. A Boat, a Boat. Across the Ferry 257 226. Haul, Haul, Haul, Boys 257 227. Old Horse. Old Horse 258 228. For Six Days Do All That Thou Art Able 258 229. Alphabet of the Ship 259 230. Whip Jamboree 260 231. I Have a Father in My Native Land 260 232. Sal's in the Garden Sifting Sand 261 233. The Heathen Chinese 261 234. Working on the Railroad 262 235. The Little Red Caboose Behind the Train 263 - 236. Reuben's Train 264 237. If the Seaboard Train Wrecks 1 Got a Mule to Ride 266 238. Seaboard Air Line 266 239. A Southern Jack 266 240. I Been a Miner 267 241. Some of These Days and It Won't Be Long 267 242. I Ain't A-Gonna Work a No Mo'! 268 243. Roll Down Dem Bales 0' Cotton 268 244. I Wish My Captain Would Go Blind 268 245. Lavender Girl 268 246. Run Here, Doctor, Run Here Quick 269 247. The Washtub Blues 269 VHI. FOLK LYRIC 270 248. The Inconstant Lovkr 271 249. The Turtle-Dove 274 250. The Wagoner's Lad 275 - 251. SouRwooD Mountain 279 252. Pretty Saro 285 253. Old .Smoky 287 254. Little Sparrow 290 C () N T K N T S XIII 255. KlTlY Kl.lNE 293 256. Al.I. AkDINU THE MorNTAIX. ClIAKMINC. BkTSY 297 257. The Buue-Eyed Boy 298 258. The False Trie-Lover 299 259. I'l.i. Hanc My Haki' on a W'li.i.ow Tree 304 260. Red River Valley 305 261. The Slu;hteu Sweetheart 306 262. The Slic.hteu Girl 3^8 V 263. The Pale Wildwood Flower 309 264. Storms Are on the Ocean 311 265. There Comes a Fellow with a Derhy Hat 313 266. Bury Me in the Garden 3^3 267. The Weepinc. Willow 314 268. Down by the Weepinc. Willow Tree 317 26y. The Gumtree Canoe 3'^ ^ 270. The Indian Hunter 3^9 271. Goodbye, Little Girl, Goodbye 3^9 272. I'm Tired of Living Alone 320 273. Will You Love Me When Fm Old? 321 274. Goodbye, My Lover, Goodbye 322 275. Somebody 323 276. You, You, You 325 277. Cold Mountains 325 - 278. My Home's Across the Smoky Mountains 326 279. Must I Go to Old Virginia? 327 280. Red, White, and Blue 328 281. Down in the Valley (Birmingham Jail) 330 282. 1 Sent My Love a Letter 33^ 283. In the Pines, Where the Sun Never Shines 332 284. Bonnie Blue Eyes 334 285. The Midnight Dew 337 - 286. Fly Around, My Blue-Eyed Girl 339 287. Darling Little Pink 342 288. Billy My Darling 342 289. Seeing Nelly Home 343 290. Troubled in Mind 344 291. CoRNBREAi) When I'm Hungry 34^ 292. Lonesome Road 347 293. You Lovers All. to You T Call 34^ 294. When First I Seen This Lovely Queen 349 295. Sweet Birds 350 296. Going Back West 'Fore Long 353 297. You Caused Me to Lose My Mind 353 298. I Wish That Girl Was Mink 353 - 299. Cripple Creek 354 300. My Martha Ann 355 xiv contexts 301. High-Topped Shoes 355 302. Who's GoxNA Love You, Honey? t,^j 303. Oh. Where Is My Sweetheart? 357 304. Like an Owl in the Desert 359 305. The Lonesome Dove 359 306. By By, My Honey 360 307. I Love Little Willie, 1 Do, AIamma 361 308. The Lords of Creation 363 309. Poor ^L\RRIED ^L\N 364 -310. The Black-Eyed Daisy 366 311. Black-Eyed Susie 366 312. A Housekeeper's Tragedy 367 313. Kissing Song 368 314. My Mammy Don't Love Me 369 315. I Wondered and I Wondered 370 316. M\' Mammy Told Me 370 317. Oh. Honey, Where You Been So Long? 371 318. Away Out On the Mountain 371 319. The Garden Gate 372 320. Susy Gal ^j2 321. JosEPHus and Bohunkus 372 ~ 322. Leather Breeches 374 22T). Old Aunt Katy 375 324. Kindling Wood 376 325. Mother, AL\y I Go Out to Swim? 376 326. River's Up and Still A-Rising 376 327. Little Brown Hands 377 IX. SATIRICAL SONGS 378 328. The Carolina Crew 380 ^^ 329. Cumberland Gap 381 -330. Arkansas Traveler (I) 381 ~^ 331. Arkansas Traveler (II) 382 332. Hard Times 385 333. The Dodgers 387 334. Calomel 389 335. Twenty (Forty, Sixty) Years Ago 390 336. If You Want to Go A-Courtin' 393 337. When Young Men Go Courting 394 338. Johnson Boys 394 — 339. Leave for Texas. Leave for Tennessee 395 340. The Wood Hauler 397 341. Walk in the Parlor 399 342. Preacher in the Pulpit 403 343. Preacher's in de Pulpit 403 344. Wait on de Lord 404 345. I Never Will Turn Back Any More 404 409 410 411 430 (■ (I N T K NTS XV 346. JOXAII AM) TlIK W'llAl.K 4O5 347. jKsrs LuvKK OF My Soil. 408 348. Boh Ix(;kr.s()i.i. an'd the 1)i:\ii. 408 34c>. I.oKi). 1 Nkvkk Wii.i. C'uMK Back Hkkk No Mo' X. SONGS OF PRISONERS AND IRAMI'S - 350. Thk Prisoner's Sonc. -> 351. Seven Lonc; Years 416 ^352. Twenty-One Years Is a Mighty Lonc Time 417 353. Write My xMothek I'll Be Home 418 —354. Durham Jail 419 355. Moonshiner's Dream 420 356. jNIay I Sleei' in Your Barn Tonicut, Mister? 420 357. The Tramp Song 423 358. Tale of a Tramp 425 359. The Wild and Reckless Houo 426 360. The Dying Hobo 427 361. Waiting for a Train 428 36J. Banjo Tramp 429 363. Hand Me Down My Walking Cane 364. I Lay Around the Old Jail House (John C. Britton ) 431 365. The Foggy Mountain Top 433 XL MARTIAL. POLITICAL, AND PATRIOTIC SONGS 434 366. The Rolling Neuse 436 367. The Jolly Soldier 437 368. Flora MacDonald's Lament 437 369. The Rambling Soldier 439 370. Then We'll Have a New Convention 440 371. Colonel Harry. He Was Scared 441 372. Root Hog or Die 441 373. Harness up Yo' Hosses 442 374. The Southern Wagon 443 375. Red. White, and Red 444 376. The Soldier's Farewell 447 377. Early One Morninc; in the Month of July 449 378. John Brown's Body 449 379. The Bonny Blue Flag 451 380. The Homespun Dress 453 381. Pretty Peggy 456 382. Never Mind Your Knapsack 457 383. Bushwhacker's Song 458 384. Deserter's Song 459 385. Come, Rain, Come 460 386. Sorghum Molasses 460 387. Jeff Davis Rode a White Horse 461 N.C.F.. VoL III, (2) xvi contents 388. Old Abe Is Sick 462 389. The Privates Eat the Middlin' 462 390. When This Cruel War Is Over 462 391. The Good Old Rebel 464 392. The Veteran's Song 467 393. Brother Green 468 394. He Never Came Back 470 395. Goodbye, My Blue Bell 471 396. Soldier's Epitaph 472 397. Tippecanoe 472 398. Does Your Mother Know You're Out? 473 399. Uncle Sam's Farm 474 400. The Sweet Sunny South 475 401. Blue Ridge Mountain Blues 476 -''-402. The North Carolina Hills 477 403. The Hills of Dan 478 XII. BLACKFACE MINSTREL AND NEGRO SECULAR SONGS 480 — 404. Cindy 482 405. Dearest Mae 485 406. Massa Had a Yaller Gal 487 407. Nelly Bly 488 408. Oh, Susanna ! 488 409. Nancy Till 491 410. Miss Julie Ann Glover 492 411. Kitty Wells 492 412. Ella Rhee 494 413. Clare de Kitchen 494 414. Jim Crack Corn 496 415. Lynchburg Town 498 416. My Long Tail Blue 502 417. My Ole Mistus Promised Me 502 418. Old Zip Coon 503 419. Camptown Races 504 420. Uncle Ned 505 421. Way Down on the Old Peedee 506 422. Shinbone Alley 50/ 423. Some Folks Say that a Niggkk Won't Steal 508 424. The Happy Coon 510 425. The Preacher and the Bear 511 426. I Was Born About Ten Thousand Years Ago 512 427. Have a Little Banjo Beating 514 428. The Traveling Coon 515 429. The Voodoo Man 516 430. Ain't Gonna Rain No More 517 43T. Ain't Got to Cry No More 519 C () N T K N T S xvn 43-'- 433- 434- 435- 436. 437- 438. 439- 440. 441- 44-'- 443- 444- 445- 446. 447- 44H. 44<)- 450. 451- 45-'- 453- 454- 455- 456- •- 457- 458. 459- 460. 461. 462. 463. 464. 465. 466. 467. 468. 469. 470. 471- 472. 473- 474- 475- 476. BdlL TlIKM t"Al!l'.A(;K DoWN Broder Eton (ior dk Coon Chicken The Dummy Line Eliza Jane (1) Eliza Jane (II) Everyhody's Gal Is I\Iy Gal Go 'Way from My Window Here Lies de Body uv To' Little Ben 'm Going Down the Road Feeling Bad Could'n Live Bedoit de Flowers 'd Rather Be Dead F \ov Want to Go to Heaven Had a Banjo Made of Gold F You Meet a Woman in the Morning F You Don't Believe I'm Sinking Got a Girl 'm Gwine Away to Georgia iiE Yaller Gal Went Down to My Gul's House Las' Night Mama Don't Allow No Low Down Hanging Around Negro Yodel Song Oh, Dat Watermilion One More River to Cross Po' Liza Jane Run, Nigger, Run Sally Went to Preachin' Saturday Night and Sunday Too She'll Be Cominc; 'Round the Mountain Siiort'nin' Bread Sing Polly Wolly Doodle Stick My Head in a Paper Sack That's W'here My Money Goes I' HERE Was a Watermelon Train . . . Run So Fast Two Little Niggers Black as Tar Watermelon Hanging on the Vine Way Down Yonder on Cedar Street W'HAT You Gwina Do WhEx\ the World's on I-'ike Jig(;er, Rigger, Bumho Guinea Negro Son(; WlMTF. l-'oLKS Go TO CoLLKGE Cold Frosty Morninc; Hung My Bucket on de White I'oi.ks' Fence White Folks in the Parlor 519 519 520 521 522 522 523 523 523 524 524 525 525 525 5^6 526 527 527 527 528 528 529 529 530 530 531 533 533 534 535 538 538 539 539 539 540 540 541 541 542 542 343 543 544 544 xviu contents 477. W'hitk Gal, Yaller Gal, Black Gal 544 478. You Shall Be Free 547 479. Old Bee Makes de Honey Comb 548 480. Hard Times 549 481. Don't Like a Rich White Man Nohow 549 482. Sugar Babe 550 483. Rich Man Rides on a Pullman Car 551 484. I Don't Like a Nigger 551 ^-485. Shady Grove 552 486. Fair Brown 553 487. Old Aunt Dinah 554 488. Apple Sauce and Butter 554 489. When I Die Don't Wear No Black 554 490. Rain Come Wet Me 555 491. We'll Have a Little Dance Tonight. Boys 555 492. Way Down Below 555 493. Railroad Dinah Gal 556 494. If I Had It You Could Get It 556 495. If I Die in Tennessee 557 496. JiNGER Blue 557 497. Mammy in the Kitchen 558 498. I've Bin to the 'Bama and I Just Got Back 558 499. Raise a Ruckus Tonight 558 500. Georgia Buck 560 501. You've Got Your Big Gun, and I've Got Mine 562 502. Went Down Town 562 503. Standing on de Street Doin' No Harm 562 504. A Thirty-Two Special on a Forty-Four Frame 562 505. The California Blues 563 506. Oh ! When a Man Get the Blues 563 507. I Got de Hezotation Stockings and de Hezotation Shoes 564 508. It's Raining Here 564 509. Nigger in the Woodpile 565 510. Share 'Em 5^5 511. The Preacher Song 5^5 512. Johnson's Mule 566 513. The Kicking Mule 567 514. The Billy Goat 568 XIII. RELIGIOUS SONGS 57° 515. The Cumberland Traveller 573 516. The Great Round-Up 573 517. Some of These Days 574 518. Long White Robe 575 519. There's a Little Hand Writinc; on the Wall 576 520. Ananias 57^ C O N T K N T S XIX 521. I'm-. (iosPKi. 1*001. 578 322. A I'llARC.K TO Kkk.i' 579 523. C'rkation 580 324. Daniki. in thk Lion's Dkn 581 ^2=,. Departki) Loved Onks 583 526. Dark Was thk Nicht 584 =,2~. Don't (Ikikak aktkr Mk 585 528. Drooi'1N(; SoLi.s, Xo Lonckr CiRiKVK 586 529. The Gosi'Ei. Train 588 5,^0. Hicks' Farewell 589 5,^1. 1 1' Yov Oet There Before 1 Do 591 332. I'm Bol'n' to Cross the Jordan 591 333. 1 Am Going to Heaven 592 334. In the V^allev 592 333. I've Got a Brother in the Snow-White Fields 593 336. Jacob's Ladder 594 337. Jesus Born in Bethlehem 595 338. John Saw the Holy Number 596 339. John Saw de Hundred and Forty-Four Thousand 597 540. Johnny Was a Baptist 597 341. The Little Black Train 598 342. The Lone Pilgrim S99 543. Mary Wore Three Links of Chain 600 544. Noah's Ark 601 545. Pharaoh's Army 602 546. Oh, They Put John on the Island 604 547. Rock of Ages 605 548. There Is No Place in the Height of Heaven 605 549. Ain't Goin' to Worry My Lord No More 606 550. All God's Chillun Got Shoes 607 351. All My Sins Been Taken Away 608 332. Angels Roll Dem Stones Away 609 333. As I VV^ENT Down in the Valley to Pray 610 534. Babe of Bethlehem 612 333. Baptist, Baptist Ls My Name 612 336. Bye and Bye 613 537. Cain and Abel 613 538. Can't Cross Jordan 613 539. Christ Was a Weary Traveler 614 560. City of Refuge 615 361. Come All ^'ou Friends and Neighbors 616 562. Come, Thou Fount of Every Blessing 616 563. Dar'll Be No Distinction Dar 617 564. Didn't It Rain? 617 563. An English Orphan 618 :;66. Down hv dk Ribhersioe 619 CONTENTS 567. 568. 569- 570. 571- S7^- 573- 574- 575- 576. 577- 578. 579- 580. 581- 582. 583. 584. 585- S86. 589. 590. 591- 592. 593- 594- 595- 596. 597- 598. 599- 600. 601. 602. 603. 604. 605. 606. 607. 608. 609. 610. GwiNK Down to Jordan 620 God Is at de Pulpit 620 Going to Heaven by the Light of the Moon 621 Go Down, Moses 621 Golden Slippers 622 Good News — Chariot's Comin' 623 Good Lordy, Rocky My Soul 623 Good News Coming from Canaan 624 Go Wash in the Beautiful Stream 624 GwiNE DOWN Jordan 624 Hear That Rumbling (I Heard a Mighty Rumbling) 625 He Never Said a Mumbling Word 626 Heaven Is a Beautiful Place 627 Hush, Little Baby 629 I Am Bound for the Promised Land 629 I Am Going Where the Blood Flows Stronger 630 I Belong to That Band 631 I Don't Love Old Satan 631 I Don't Sing Like I Used to Sing 632 I Do Wonder Is My Mother on That Train 632 I Got de Key of de Kingdom 634 I Have Long Since Been Learned 634 I Am Standing in the Shoes of John 635 I Don't Know When Old Death's Gwine ter Call Me 635 I'm Goin' to Ride in Pharaoh's Chariot 636 I Mean to Go to Heaven Anyhow 636 Indian Song: Ah, Pore Sinner 637 I Picked My Banjo Too 637 I'sE Gwine Land on Dat Shore 638 I Shall Not Be Blue 639 It's Good fuh Hab Some Patience 640 I Wanter Jine de Ban' 640 I Was Once in a Dark and Lonesome Valley 641 I Wonder as I Wander 641 Jekkel Walls 642 Jesus Christ I Want to Find 643 Jesus Says, 'You Goes and I Goes W'id Vou' 643 John He Baptized Jesus 644 John Jasper 644 Judgment Day Is Comin' 646 Lily White Robe 646 Little David 647 Little David, Play ox \ov\i Harp 647 The Little Family 648 c o n t f. n t s xxi 6ti. Makv How ki) 652 (MJ. MosKs Smotk thk W'atkrs 653 ()i,v Am) MrsT I Be to Juihimk.nt Duoiciit? 653 O14. The New Buryinc; Ground 653 615. Nobody Knows 655 616. No Hiuin'-Place 655 617. No More! No More! 657 618. Oh, I Used to Drink Beer 657 619. Oh, Lord, I'se Stepping Higher 658 620. Oh, Heavens Shut the Gates on Me 658 621. O Lord, Won't You Come by Here? 658 622. Oh, See My Father Layin' Tiikkk 658 623. The Old Ship of Zion 659 624. Old Satan's Mad 661 625. One of Tonight 663 626. On a Dark and Doleful Night 664 627. Our Fathers They'll Be There 665 628. Poor Old Lazarus 665 629. Red Sea 666 630. Rolled the Stone Away 666 631. Roll. Jordan, Roll 667 632. Rough, Rocky Road 668 633. Shout Along and Pray Along 668 634. Somebody's All de Time Talkin' 'bout Me 669 635. Somebody's Knockin' at Your Door 669 636. Soon as My Foot Struck Zion 670 637. Standing in the Need of Prayer 671 638. Sweet Heaven 672 639. Talk About Jesus 673 640. That Old Time Religion 674 641. There's a Little Wheel A-Ti'rning 675 642. Through the City Where He Rose 675 643. Tossed and Driven 676 644. Tree in Paradise 676 645. Two White Horses Side by Side 678 646. Way Over in the Promised Land 678 647. We Are ^L\rching On 679 648. \\'e Have Loved Ones Over Yonder 679 649. What You Gon'er Do That Day? 680 650. We'll Roll the Old Chariot Along 680 651. We'll Sail Away to Heaven 681 652. When I Was Lost in the Wilderness 682 653. When tfie World Is on Fire 682 654. Where My Lord Went to Pray 683 655. What Kind of Crowns Do the Angels Wear? 683 656. Wrestlix' Jacob 684 xu contents 657. 'Zekiel'll Weep and 'Zekiel'll Moan 685 658. Cherokee Hymn 685 Index 687 Contributors to X'olumes II and III 704 Supplementary List of Contributors 710 ILLUSTRATIONS Herb Gatherers frontispiece Cotton Pickers /'"'"'// pcf/'-^ 244 Cypress Knees page 409 Sorghum Boiling facing page 460 Fishing in the Creek facing page 600 FOREWORD T TOLI'MI'^ II has a l^rcword for both the Ballads and the ^ Songs. In the present volume of Songs. Nos. 1-327 are edited by Professor Helden ; the remaining Songs, Nos. 328 to 658, by F^rof essor I ludson. Plere it is proper to add only that as the work of printing has progressed a few irregularities have been noted and cor- rected, though doubtless others still remain. Dr. Schinhan tells me. moreover, that he will have additional te.xts. taken from phonograph records, which were not available to the present editors, but which will be printed in volume I\'. He will also have there some tunes for the Games described in volume I. We can say now. with my Lord Chancellor. Francis Bacon: "Nothing is finished till all is finished." In the fifth volume we hope to gather the loose threads together for a final rejjort. r.F.B. A J] H R E V 1 A r IONS USED IN THE HEAUNOTES ABFS American Ballads and Folk Songs. By John Avery Loniax aiul Alan Loniax. New York, 1^34. ABS .liiicricaii /-lalUuls and Songs. By Louise I'ound. New \'ork, | 1922 j. AMS .hncrican Mountain Songs. By Ethel Park Richard- son and Signiund Spaeth. New York. [1927]. ANFS American Xegro Folk-Songs. By Newman I. White. Cambridge [Mass.], 1928. APPS The American Play-Farty Song. By Benjamin A. Botkin. Lincoln, Nebraska, 1937. AS American Speech. Baltimore, 1926 — . ASb The American Songbag. By Carl Sandburg. New Y'ork, [1927]. Barry Folk Songs of the Xorth Atlantic States. By I*hil- lips Barry. Boston, 1908. Mimeographed. BBM British Ballads from Maine. By Phillips Barry, Fannie H. Eckstorm, and Mary W". Smyth. New Haven, 1929. BFSSNE Bulletin of the Folk-Song Society of the Xortheast. Cambridge [Mass.], 1930-37. BKH Ballads of the Kentucky Highlands. By Henry Har- vey Fuson. London, 1931. BMFSB Tiventy-Xine Beech Mountain Folk Songs and Bal- lads. By Mellinger Henry and Maurice Matteson. New Y'ork, 1936. Botkin See APPS. BSI Ballads and Songs of Indiana. By Paul G. Brewster. Bloomington, Indiana, 1940. BSM Ballads and Songs Collected by the Missouri Folk- Lore Society. By H. M. Belden. Columbia, Mis- souri, 1940. BSO Ballads and Songs from Ohio. By Mary O. Eddy. New Y^ork, [1939]. BSSB Ballads and Songs of the Shanty-Boy. By Franz Rickaby. Cambridge [Mass.], 1926. XXVI ABBREVIATIONS BSS]\I Ballads and Songs of Southern Michigan. By Eme- lyn E. Gardner and Geraldine J. Chickering. Ann Arbor, 1939. BSSN Ballads and Sea Songs from Xe-ivfoitudland. By Elizabeth Greenleaf [and] Grace Y. Mansfield. Cambridge [Mass.], 1933. BSSNS Ballads and Sea Songs from Xoz'a Scotia. By W. Roy MacKenzie. Cambridge [Mass.], 1928. BTFLS Bulletin of the Tennessee Folklore Society. Mary- ville, Tenn., 1935 — . CFLQ California Folklore Quarterly. 1942 — . Christie Traditional Ballad Airs. By W. Christie. Edin- burgh, 1 876- 1 88 1. 2 vols. CS Cowboy Songs and Other Frontier Ballads. By J. A. Lomax and Alan Lomax. New York, 1938. (In a few cases the earlier edition, 1910, is cited.; CSV Country Songs of Vermont. By Helen H. Flanders [and] Helen Norfleet. New York, [1937]. DD DeviVs Ditties. By Jean Thomas. Chicago, 193 1. Dean Flying Cloud and One Hundred and Fifty Other Old Time Songs and Ballads. By M. C. Dean. Vir- ginia, Minn., n.d. DESO Dozvn-East Spirituals, and Others. By George Pullen Jackson. New York, [1943]. ECS English County Songs. By Lucy Broadwood and J. A. F. Maitland. London, 1893. ETSC English Traditional Songs and Carols. By Lucy Broadwood. London, 1908. ETWVMB East Tennessee and Western Virginia Mountain Ballads. By Celeste P. Cambiaire. London, 1935. FB Frontier Ballads. By Charles J. Finger. New York, 1927. Ford Traditional Music of America. By Ira W. Ford. New York, 1940. FSA Folk-songs of America. By Robert W. Gordon. National Service Bureau, 1938. FSE Folk-Songs of England. Ed. Cecil J. Sharp. Books L H, HL IV. \', various editors. London, 1908-12. FSF Folksongs of Florida. By Alton C. Morris. Gaines- ville. 1950. FSKH Folk-Songs from the Kentucky Highlands. By Josiah H. Combs. New York, 1939. A B H R K \- I A T IONS Bv Maud Kar- Hv E\a\se Huh- By 1939- J. P. Mel- I''SKM Folk-Soiigs of the Kciitiichy Momitdiiis. By Jose- phine McGill. New \*ork. | 1917]. FSM Folksongs of Mississif^pi and Their Background. By Artluir Palmer Hudson. Chapel Hill. N. C"., 1936. FSMEU I'olk-Songs du Midi dcs f:iats-l'nis. By Josiah II. (.'()ml)s. Paris, 1925. I-"Sm\\\' I-olk-Songs Mainly front West I'irginia. By John H. Cox. National Service Bureau of the Federal Theatre Project. W.P.A. New York. 1939. FSN I'olfc Songs from Xcwfonudland. peles. [London], 1934. FSONE Folk Songs of Old New Fngland hard Linscott. New York. 1939. FSRA Folk-Songs of Roanoke and the Albemarh Louis \V. Chappell. Alorgantown, W. \'a. FSS Folk-Songs of the South. By John Harrington Cox. Cambridge [Mass.], 1925. FSSC Franklin Square Song Collection. Selected bv McCaskey. New York. 1881-1891. 8 vols.' FSSH Folk-Songs from the Southern Highlands. By linger E. Henry. New York, [1938]. FSSom Folk-Songs from Somerset. By Cecil J. Sharp and C. L. Marson. London, 1904-1909. FSUT Folk Songs of the Upper Thames. By Alfred Wil- liams. London, [1923]. FSV Folk-Songs of Virginia. A Descripti7-e Indc.v. . . . By Arthur Kyle Davis. Jr. Durham, N. C. 1949. FTM Folk Tunes from Missi.';sippi. By Arthur Palmer Hudson and George Herzog. National Play Bureau Publication No. 25. July 1937. GGMS A Garland of Green Mountain Song. By Helen Hartness Flanders. Boston, 1934. Gomme The Traditional Games of Fngland. Scotland, and Ireland. By Alice Bertha Gomme. London. 1894- 1898. GSAC Games and Songs of American Children. By Wil- liam Wells Newell. New York. 1883: new and enlarged ed., 1903. 191 1. Halliwell The Xursey Rhymes of England. By James Or- chard Hal li well. London, 1842. HFLB Hoosier Folklore Bulletin. Bloomington. Ind.. 1942- 45. Thereafter: Hoosier Folklore. — HFL. JAFL Journal of American Folklore. 1888 — . XXVlll ABBREVIATIONS JEFDSS The Journal of the English Folk Dance and Song Society. London, 193 1 — . Successor to JFSS. JFSS The Journal of the Folk-Song Society. London, 1899-1931. JISHS Journal of the Illinois State Historical Society. Springfield, 1908 — . LL Last Leaves of Traditional Ballads and Ballad Airs. By Gavin Greig and Alexander Keith. [Aber- deen], 1925. LT Lonesome Tunes. Folk Songs from the Kentucky Mountains. By Loraine Wyman and Howard Brockvvay. New York, [1916]. MAFLS Memoirs of the American Folklore Society. No. xxix is 'Folk-Lore from Iowa,' by Earl J. Stout, 1936. Mason Nursery Rhymes and Country Songs. By M. H. Mason. London, 1877. McLendon A Finding List of Play-Party Games. By Altha Lea McLendon, SFLQ viii (1944). 201-34. MLN Modern Language Notes. Baltimore, 1886 — . MM Minstrelsy of Maine. By Fannie H. Eckstorm and Mary W. Smyth. Boston, 1937. MMP Mountain Minstrelsy of Pcnnsyh'ania. By Henry W. Shoemaker. Philadelphia, 1931. A revision of NPAL MSHF More Songs of the Hill Folk. By John J. Niles. New York, [1936]. MSNC Mountain Songs of North Carolina. By Marshall Bartholomew and Susannah Wetmore. New York, 1926. MWS Maine Woods Songster. By Phillips Barry. Cam- bridge [Mass.], 1939. Newell See GSAC. NGMS The Nezu Green Mountain Songster. By Helen Hartness Flanders, Elizabeth Flanders Ballard, George Brown, and Phillips Barry. New Haven, 1939- Northall English Folk-Rhymes. By G. E. Northall. London, 1892. NPM North Pennsylvania Minstrelsy. By Henry W. Shoe- maker. 2nd ed., Altoona, Pa., 1923. NS The Negro and His Songs. By Howard W. Odum and Guy B. Johnson. Chapel Hill, N. C, 1925. I? R K V 1 A T I {) N S XWS Xcyro Workitihiy Songs. By Howard W. Odum and Guy B. Joliiison. Chapel Hill. N. C, 1926. NYFLQ Xew )'ork h'olklorc Quarterly. 1945 — . OASPS I'lic Ociirkw: .hi American Survival of Primitive Society. By Vance Randolph. New York, 1931. OFS Ocark I'olksongs. Collected and edited by Vance Randolph. Columbia. Mo., 1946, 1948, 1949. 1950. 4 vols. OIFMS Old Irish lu>lk Music ami Songs. By I'atrick \V. Joyce. London. 1909. 3 parts. OAH"" Ocark Mountain Folk. By Vance Randolph. New York, 1932. lOoEFS One Hundred English Folk Songs. By Cecil J. Sharp. New York and Boston, [1916]. Ord 'Fhe Bothy Songs and Ballads of Aberdeen, Banff and Moray, Angus and the Mearns. By John Ord. Paisley, [1930]. OSC Our Singing Country. By John A. Lomax, Alan Lomax, and Ruth Crawford Seeger. New York, 1941. OSSG Old Songs and Singing Games. Bv Richard Chase. Chapel Hill, N. C, 1938. Owens Szving and Turn: Te.vas Play-Party Songs. By Wil- liam A. Owens. Dallas. 1936. Ozark Life Ozark Life {Outdoors). Kingston, Ark., 1925-31. PTFLS Publications of the Te.vas Folk-Lore Society. Aus- tin, 1916 — . PMLA Publications of the Modern Language .-Issociation. 1884—. Pound Folk-Song of .Xebraska and the Central West. A Syllabus. By Louise Pound. University of Ne- braska, 191 5. Nebraska Academy of Sciences Pub- lications, vol. IX, no. 3. Rinibault .\'ursery Rhymes, zvith Tunes. ... By Edward F. Rimbault. London, n.d. SBML Songs and Ballads of the .Maine Lumberjacks. By Roland Palmer Gray. Cambridge [Mass.]. 1924. SBNS Songs and Ballads from .Xoi-a Scotia. By Helen Creighton. Toronto, [1932]. SCB South Carolina Ballads. By Reed Smith. [Mass.], 1928. SCSM A Song Catcher in Southern .Mountains. othy Scarborough. New York, 1937. Cambridge Bv Dor- XXX ABBREVIATIONS SFLQ Southern Folklore Quarterly. Gainesville, Fla., 1937—- SFSEA Spiritual Folk-Songs of Farly America. By George Pullen Jackson. New York, [1937]. SharpK English Folk Songs from the Southern Appalachians. By Cecil J. Sharp and Maud Karpeles. London, 1932. 2 vols. Shearin A Syllabus of Kentucky Folk-Songs. By Herbert G. Shearin and Josiah Combs. Lexington. Ky., 191 1. Transylvania Studies in English II. SHE Songs of the Hill-Folk. By John J. Niles. New York, [1934]. SMLJ Songs of the Michigan Lumberjacks. By Earl C. Beck. Ann Arbor, 1941. SS Slai'e Songs of the United States. By William E. Allen. New York, 1867 (reprinted 1929). SSSA Songs Sung in the Southern Appalachians. By Mellinger E. Henry. London, [1934]. Steely "The Eolk-Songs of the Ebenezer Community." By Mercedes S. Steely. Unpublished M.A. thesis, University of North Carolina, 1936. Talley Negro Folk Rhymes. By Thomas W. Talley. New York, 1922. TBmWV Traditional Ballads mainly from West Virginia. By John Harrington Cox. National Service Bureau, 1939- TBV Traditional Ballads of Virginia. By Arthur Kyle Davis. Cambridge [Mass.], 1929. TKMS Twenty Kentucky Mountain Songs. By Loraine Wyman and Howard Brockway. Boston, [1920]. TNFS On the Trail of Negro Folk-Songs. By Dorothy Scarborough. Cambridge [Mass.], 1925. TSSI l^ales and Songs of Southern Illinois. By Charles Neely. Menasha, Wis., 1938. VFSB Vermont Folk-Songs and Ballads. By Helen H. Elanders and George Brown. Brattleboro, Vt., 1932. 2nd ed. WNS IVhite and Negro Spirituals. By George Pullen Jackson. New York, [1944]. Wolford Tlie Play-Party in Indiana. By Leah J. Wolford. Indianapolis, 1916. WSSU White Spirituals in the Southern Uplands. By George Pullen Jackson. Chapel Hill, N. C, 1933. FOLK SONGS FROM NORTH CAROLINA N.C.K.. Vol. Ill, (3 ) SONGS THE DIS'l'INCTKJN between ballads— as folklori.sts now use the term — and otiier types of folk song was first formulated, so far as 1 know, by the eighteenth-century poet William Shenstone, Percy's friend and adviser in editing the Rcliqucs. He wrote to Percy in 1761 : "It is become habitual to me, to call that a JUiUad, which describes or implies some Action ; on the other hand, 1 trim that a Sony, which contains only an expression of Sentiment." In arranging the contents of the Brown Collection we liave decided to follow this principle. But it has been found necessary to apply the terms in a very elastic spirit. In scores, perhaps hundreds, of instances there are hints, traces of action, but no definite story is told. The composite and desultory character of a great deal of traditional folk song makes a strictly logical classification of the items impossible. But the items must be placed in some order. If a given piece is found among the ballads when it seems to be rather merely a song, or vice versa — if the placing of items seems some- times merely arbitrary — we must plead necessity. COURTING SONGS AMONG the oldest and most widely diffused of traditional songs are the dialogues of courtship. Theocritus knew them in Sicily, and Vergil probably heard them by the Alincio. In English, 'A Paper of Pins' is known, doubtless, all over the English-speaking world. With two exceptions, our North Carolina texts, like most other ver- sions found in this country, end satirically; when the lady accepts the last of the wooer's offers, the key of his chest, he declares that all she wants is money and retracts his offer. There are several variations on this theme. In two of them, here given as the two texts of 'The Courting Cage,' the wooer is refused despite all his tine possessions because he is a drunkard or a card-player or both. Quite different is 'Miss, Will You Have a Farmer's Son?' Here a girl is offered five suitors in succession and refuses all but two, a California boy and a Southern lad. One supposes that this song dates from some time in the sixth or seventh decade of the last cen- tury. Then there are songs of courtship that are entirely humorous or satirical. The best of these, 'The Old Man's Courtship' and 'The Quaker's Wooing,' are English but are well remembered on this side of the water. 'When I Was a Young Girl,' with its catchy 'this-a-way that-a-way' refrain, is a singing game of children in the old country but has become social satire here: after going this-a- way that-a-way to her husband's funeral she practices a different this-a-way that-a-way to catch his successor. 'Soldier, Soldier. Won't You Marry Me?' is a game song of children in England but seems in this country to be merely a comic song. Another English song, of the pastourelle type of wayside seduction, in which the girl tells her wooer that she will have him "or almost anybody," has not often been recorded in America. In 'Madam, 1 Have Gold and Silver' a familiar courting dialogue is turned at the end, rather surprisingly, into a returned-lover story. 'One Morning in May.' better known as 'Tlie Nightingale.' is a favorite with American ballad singers. A curious custom is reflected in two pieces, 'Courting Song' and 'Don't Stay after Ten.' In connection with the former of these Mrs. Sutton gives an anmsing account of the custom from personal experience. She was engaged at the time as ins])ector of schools and had got as far as the Watauga River at the foot of f () r k T I N <; s (1 N (; s 5 Beech .\l(iunl;iin near tlu' reiinoMX' line: in lad, the school dis- trict wliich she \\a> then visiting; was ])aitly in .\\erv and Watauga counties and partly in Tennessee. She went home with the teacher to spend the night. Her home was a long, low, old-time-looking house witli three front doors all opening on a long jiorcli. It was early in the fall and still warm weather. We didn't get to the house till dusk, a.s we liad talked over iier work for two hours after school, and she helped get supper wiiile 1 sat on the porch and watched the stars come out over the wall of the mountain. . . . While she helped iier mother cook supper she sang this song, and I asked her to copy it out for me. After supper she suggested that 1 retire. I wasn't at all sleepy and it was only seven o'clock, l)ut she insisted that I must retire and urged me so much that there was no way out of it. I went. The room in which I slept was the one on the upper end of the long porch. It was a long room with two beds at the back, a fireplace in front, an organ in one of the front corners and a washstand with a red flowered bowl and pitcher in the other. There were several enlarged portraits in gilt frames on the walls, and all of the chairs had hand- embroidered throws on them. I undressed and got into one of the high feather beds. Miss Martha folded my clothes carefully, slid my travel- ing bag under the bed, and took a comb, l)rusli, and some powder out of an opening in the front of the organ and brushed her i)retty hair, powdered her face, and went to the door and let in her "fellow." who had come courting. I was the only one of the three people in the room who was the least bit embarrassed, and I might have saved myself the trouble. The caller ignored me as completely as though I had been a thousand miles away and addressed himself to the business of courting as energetically as if he and his lady-love were on a desert island. He was like the hero of this ballad in only one particular. I am sure he stayed all night. I tried not to listen the fu-st three or four hours: then I tried to hear the whispered remarks and to oliserve the technique of "settin' up" on that side of the ridge: but at last nature rebelled and I went to sleep. Some time in the wee sma' hours my hostess came to bed with me. From that day to this she has never mentioned the episode nor have I. It isn't good manners to tease a girl about courting unless you know her well, and any remark about the call on my part would have been interpreted as "dragging" her. Witli these two songs sliould he compared certain sonijs in tlie section on regional and social satire — "If \'()U Want to (io .A-C'(jurt- ing,' 'When Young Men Go Courting,' "Johnson Boys," and "The Carolina Crew.' In the same general category belong two other songs or groujjs of songs, the 'I Wouldn't Marry' group and the "When I W^as Single' group. In the "I Wouldn't Marry' group sometimes the man speaks, declaring that he wouldn't marry an old m.iid. or ;i ricli gal. or a poor gal. or a city gal. generally for nonsensical reasons; sonietitnes a woman speaks, declaring that she wouldn't marry any one of a string of characters she describes fnot so nonsensically as in the preceding set ) but is determined to die an old maid. Some are devoted entirelv to the contrast between crabbed age and youtli ; O NORTH CAROLINA FOLKLORE she will not marry an old man but would gladly marry a young man with an apple in his hand. There are four texts of a song in which a girl rejects all other sorts of suitors but will gladly marry a farmer boy; she loves to wash the dishes, sweep the floor, feed the chickens, and milk the cows. And in two songs the woman and the man speak alternately. The songs in this group look as if they might be play-party or dance songs, but they are not so described by the contributors. The 'When I Was Single' theme also appears in two forms, one for man and one for woman. The former is found many times in the Collection but without much variation; when he was single his pockets would jingle; when his wife died he laughed till he cried; but he had no more sense than to marry a second time, this time to a woman he describes as the devil's grandmother. The woman's form, in which she complains of the misery of being married to a drunkard or a gambler or both, is given in the following section, the songs about drink and gambling. I A Paper of Pins For the history and spread of this courting dialogue, see BSM 507. To the references there given should now be added Virginia (FSV 229-31), West Virginia (SFLQ vi 226-31; one of these is the 'Keys of Canterbury' form, not otherwise known from the United States), Missouri (OFS in 40-5), Ohio (BSO 120-5), Illinois (SFLQ vi 224-6). In one of these it appears as a sing- ing game. Mrs. Steely found it as a play-party song in the Eben- czer community in Wake county. All but two of our North Carolina texts have the misogynist ending familiar in American ver- sions, but the last two end romantically with "the key of my heart." A 'The Paper of Pins.' Reported by Allie Ann Pearce of Colerain, Bertie county. Not dated. 1 'Miss, I'll give you a paper of pins — This is the way our love begiiLs — If you will marry nie. Miss, if you will luarry me.' 2 'I'll not accept the paper of pins, If this is the way our love begins ; I'll not marry you, I'll not marry you.' 3 'Miss, I'll give you a little pet clog. To set on your laj) when yoti go abroad. If you will marry me. Miss, if you will marry me.' 4 'I'll not accept the little lap dog To set on my lap when I go abroad ; C 0 U R T I NM; S 0 N G S 7 I'll IK It inarrv you, I'll not marry you.' 5 'Miss, I'll give you a dress of red Stitched all around with golden thread. If you will marry me. if you will marry me.' 6 "I'll not accept the dress of red Stitched all around with golden thread ; I'll not marry you, I'll not marry you.' 7 'Miss, I'll give you a dress of green And you may dress as fine as any queen, If you will marry me, Miss, if you will marry me.' 8 "I'll not accei)t the dress of green It 1 may dress of^ any queen; I'll not marry you. Sir, I'll not marry you.' 9 'I'll give to you the key to my heart. We may lock it to never part. If you will marry me, if you will marry me.' 10 'I'll not accept the key to your heart,(;^ If we may lock it to never part ; I'll not marry you. Sir, I'll not marry you.' 1 1 "Miss, I'll give to you the key to my chest. You may have money to your request, If you will marry me. Miss, if you will marry me.' 12 'I'll accept the key to your chest If I may have money to my request; I'll marry you. sir. I'll marry you.' 13 'Ha, ha, ha! If money is all I'll not marry you at all. I'll not marry you. Miss, I'll not marry you.' B 'Paper of Pins.' Reported by Sarah K. Watkiiis from .Ansnii and Stanly counties. The series here is paper of pins, dress of red, dress of l)lue, coach of eight, coach of four, key of my heart, key of my desk ; and it ends like A. C 'The Paper of Pins.' Reported by Louise Bennett of Middlcburg, Vance county. Not dated. The series is i)aper of pins, coacli and four, coach and six, the key to my heart, tht.- key to my hank; and it ends: 'Ah. ha. ha! Money is all! A woman's love is nothing at all ! ' Miswritten, one supposes, for "Hkc." 5 NORTH CAROLINA FOLKLORE And I'll not marry you, you. you, And I'll not marry you.' D 'Paper of Pins.' Reported by Mabel Ballentine of Wake county. Not dated. The series here is paper of pins, coach of four, coach of six, key to my heart, key to my desk, and the conclusion as in preceding texts. 'A Paper of Pins.' From Ethel Brown of Catawba county. Not dated. The series is paper of pins, little lap dog, dress of green, keys of my heart, keys of my trunk ("To promise you I'll never get drunk"), keys of my desk ; and it ends : 'So you do love money and you (l(jn't love me. And since you love money you can't marry me. And I won't marry you, you, yoti, And I won't marrv vou.' 'Paper of Pins.' Contributed by Floy Leach of Cary, Wake county, in 1927. Despite its title it has no paper of pins; the series runs: dress of green, little pet dog, key of my heart, key of my desk, and the custom- ary final stanza. 'Paper of Pins.' This text is anonymous but no doubt authentic. The series is paper of pins, dress of red, dress of blue, diamond ring, match of gray, match of six (the "match" seems to mean a team of matched horses), key to my heart, key to my chest; and the text ends: 'Ha! ha! ha! money is all. Woman's love is nothing at all. And I'll not marry you, miss. And I'll not marry you.' 'Oh, pray. sir. don't take it so ; It's all a joke I'll let you know; I'll not marry you, sir, And I'll not marry you.' H 'Paper of Pins.' From Miss Pearl Webb of Pineola, Avery county. This text is accompanied by the tune. The series is little dog. dress of green, coach of six, dress of red, key of my heart, key of my desk, and the final "money is all." 'Paper of Pins.' Reported by R. D. Ware of All)emarle, Stanly county, in 1921, as obtained from Mrs. Harrison Gregory of North Wilkesboro, Wilkes county. The series here is paper of pins, little lap dog, dress of green, dress of red, keys to my heart, keys to my desk; and it ends: C O I- R T I N (i S O N r. s 9 'It's now, my hicnds. as _\u'\o Lome Again.' ()l)taiiK'(l from Miss kwxU Robhiiis of Pekiii. MoiUgdiiKry county, in \i)22. 1 "Kind Sir. I set' \()u'\c' (.■oiiic as^aiii. I'ray tell mv what it's for. [''or wlieii \vc parted on yontlers hill 1 told yon to come no more, more, nKM'e, 1 told yon to come no more." (repeat ihns the last line ot' each stan/a) 2 'Oh. Miss, 1 fall down at yonr feet. Your mercy 1 implore ; If one to me he granted not I'm lost for evermore.' 3 '(J)h, Sir, I know just what you want; You want to take me in. And if I will agree to marr)- you You'll drink and gamhle again.' 4 'Oh. Aliss. it's a thing I never did do And 1 never did think 'twas right. If you'll agree to marry me I'll never lie out one night.' 5 'Oh, Sir, I think you're might}' hold To make that olYer again ; For do you think I'm simple enough To marry a harrel o' gin? 6 'Kind Sir. 1 think you'd hetter go. Your staying here is vain ; You're only trouhling me ver}- nuich .And giving yourself great pain.' 7 'Oh, Miss, I have a very tnie horse — He paces like the tide — That you may have at your command Whenever you choose to ride." 8 'Oh. sir. I know your very line horse; He paces like a tide. I know his master loves to drink. And I can't he his bride.' 9 'Oh. miss, I have a very tine house And also very fine yards.' 'But who will stay with me at night When you are playing cards?' 12 X 0 R T H CAROLINA I- 0 I. K L O R E 10 'Oh, miss. I have a very fine orchard And also very fine fruit That you can have at your command If you will he my bride.' 1 1 'Oh, sir, I know your very fine orchard And also very fine fruit ; But when I come in and turn you out You know a hog- will root.' 12 'Oh, miss, you are a hard old jade And very hard to please ;^ And some cold night when you're alone I hope to God you'll freeze !' 'If You Will Only Be My Bride.' Contributed by J. B. Midgett of Wanchese, Roanoke Island, probably in 1920. With the tune. 1 'Kind miss, I have a very fine ship, She plows the ocean wide. And she can be at your command If you will only be my bride, bride, If you will only be my bride.' 2 'Kind sir, I know you have a very fine ship. And she plows the ocean wide. And she can be at my command ; But I will not be your bride, bride. But I will not be your bride." 3 'Then, kind miss, I have a very fine farm, It is fifty acres wide. And it can be at your command If you will only be my bride, bride. If you will only be my bride.' 4 'Kind sir. 1 know }()U have a very fine farm That's fifty acres w'ide. And it can be at my command ; But I will not be your bride, bride, I will not be your bride.' 5 'Now, kind miss, I have a very fine horse, He paces like the tide. And he shall be at your command If you will only be my bride, bride. If you will only be my l)ride.' ' The manuscript has here "freeze," no doubt by anticipation of the line below. C O I' R T I N G S 0 X G S I3 6 'I know, kind >ir. ynu have a very fine horse That paces hkc the tide : lie knows the way to the okl grojj^ shop. l''or his master paces him there, tlicre. For his master paces him there. 7 'Kind miss. 1 have a very tine house That stands in yonder yard. And it shall be at your command If vou will only be my bride, bride. If \du will onlv be mv bride.' 8 T\.ind sir. 1 know you have a very Ihie house That stands in yonder yard. But who is going to stay with me at night \\ hen you are out playing cards, cards, When vou are out playing cards?' 9 'Kind miss. 1 never did ])lay cards. I never thought it right. But if you'll consent to marry me I'll stay with you at night, night, I'll stay with you at night. lo 'Sence you are so quarrelsome. So thundering hard to please. When vou get old and pinched with cold 1 hope to (iod you'll freeze, freeze-. I ho])e to ( jod you'll freeze !' I I "When I get old and pinched with cold It won't be you to keep me warm ; I'll get somebody I love much better And lie closer in his arms. arms. And lie closer in his anus.' 4 MaDA.M MoZKI.l.K. I'VK C'oMK CoURTl.NG This is a fraj^nient of that version of the courting dialogue which Barrv (JAFL xxiv 341-2) reported from the singing of an Jrish- man in Boston, beginning "Madam. 1 liavc come a-courting." The first two words represent, one guesses, a misuntlerstanding of "mademoiselle.'' 'Madam Mozelle. I've Come Courting.' Contributed by H. F. Sha\v, with the notation that it is from "the eastern part of North Carolina." Madam Mozelle, I've come courting. Your kind heart I ho]ie to win ; 14 NORTH CAROLINA FOLKLORE And, if you will entertain me, Truly, I will call again. 5 Miss, Will You Have a Farmer's Son ? Here the courting dialogue (see 'A Paper of Pins,' 'Madam, Will You Walk,' The Courting Cage,' 'Madam Mozelle, I've Come Courting,' 'The Quaker's Wooing') is turned from its usual purpose of satire to the praise of the Forty-niners and gallant Southern lads. In this form it has not been found elsewhere. 'Miss, Will You Have a Farmer's Son?' From a manuscript note- book in which Mrs. Harold Glasscock of Raleigh had set down songs learned from her mother, most of which she can sing. Dr. White bor- rowed the notebook in 1943 and made this and other transcripts from it. 1 'Miss, will you have a farmer's son?' 'No, no, not a farmer's son. He is rough and he is so tough. No, no, not a farmer's son.' 2 'Miss, will you have a shoemaker's son?' 'No, no, not a shoemaker's son. It's peg a little here and peg a little there. No, no, not a shoemaker's son.' 3 'Miss, will you have a California boy?' "Yes, yes, a California boy. He looks so bold with his pockets full of gold. Yes, yes, a California boy.' 4 'Miss, will you have a Dutchman's son?' 'No, no, not a Dutchman's son. He makes such a fuss about his buttermilk and mush. No, no, not a Dutchman's son.' 5 'Miss, will you have a Southern lad?' 'Yes, yes, a Southern lad. He looks so neat and he kisses so sweet. Yes, yes, a Southern lad.' 6 LuciNDY, Won't You Marry IMe? A fragment of a courting song not elsewhere, so far as T can learn, reported by collectors. 'Lucindy, Won't You Marry Me?' Received in 1922 from Pickens. couRTiN(;soN(;s 15 Lucindy. won't you iiiarr\- iiu'. Won't \(>u marry \uv in ilw niornin'? If you'll marry \uv \-our molhcr'H Cook a shinc-c'ved-hen. 7 Soldier, Soldier, Won't You M.\rr\- Mk? Miss Gilchrist, JEFDSS in 122-3, ""ting Ncwell's account of this "nursery game-song" in his Games and Songs of American Children, is "inclined to think" it is of Scottish origin. It seems not to be of record earlier than the nineteenth century, and, apart from Newell's report and the Virginia texts reported by Davis (FSV 236), not to be a game song in America. It is rej)orted as traditional song from Glasgow (JEFDSS in 121 ), Gloucestershire (JEFDSS III 121), Newfoundland (ESN 140-1), Vermont (VFSB 61), Virginia (JEFDSS iii 122, JAFL xxxiii 158, FSV 236), West Virginia (FSS 467), Kentucky (BKH 77-8, SharpK 11 41 ), Tennessee (SharpK 11 41, BTELS v 35-7). North Carolina (SharpK 11 40 j, the Ozarks (OFS i 289-90), Indiana (BSI :i,^~), and Nebraska (ABS 224-5), and is also in Airs. Richardson's American Mountain Songs (51). The six texts in our collection do not vary greatly. 'Soldier, Soldier, Won't You Marry Me?' Coiitrilnited by C. M. llutcb- ins of Durham, apparently in 1913. 1 'Soldier, soldier, won't you marry me With your rifle, fife, and drum?' 'How can I marry such a pretty little girl If I have no shoes to put on?' 2 Away she ran. as fast, as fast. As fast as she could run. And got a very nice pair of shoes. Says. 'Soldier, put them on.' So for several stanzas, changing shoes to coat, hat, etc. Then : 'Soldier, soldier, won't you marry me. With your rifle, fife, and drum?' 'How can I marry such a pretty little girl When I have a wife at home?' Away she ran. as fast, as fast. As fast as she could run. 'And if you have a wife at home. I tiiink I had hetter be gone.' l6 NORTH CAROLINA FOLKLORE 'Soldier, Soldier, Will You Marry Ale?' From Miss Amy Henderson of Worry, Burke county, about 1914. The refrain line is slightly dif- ferent here. The first stanza runs : 'Soldier, soldier, will you marry me?' Fife and drum: 'How can I marry such a pretty girl as you? I've got no shoes to put on.' She ran to the tailor, tailor shop, Fast as she could run, And got him the finest shoes she could get : 'Soldier, put these on.' The series runs through socks, coat, shirt, hat ; and it ends : 'How can I marry such a pretty girl as you When Fve got a wife at home?' 'Soldier, Soldier, Won't You Marry Me?' Contributed by Thomas Smith of Zionville, Watauga county, in 191 5. With music by A. J. Burrus. Smith notes: "The song . . . was sung by J. W. Lawrence. I write it from memory, as it has been over 20 years since I have heard it sung. Other people sang it 20 or 25 years ago. The tune is still well known." The series is hat, boots, coat, pants ; and it ends rather drastically : 'How can I marry such a damn little bitch And me got a wife at home?' D 'Soldier, Soldier, Won't You Marry Me?' Contributed by Mrs. R. D. Blacknall of Durham, with the notation "known since 1862." The re- frain line here is 'With your rifle, fife, and drum.' The series is cap, boots, coat ; the ending as in A. 'Soldier, Soldier, Won't You Marry Me?' Reported by Mrs. Sutton from the singing of Myra (Mrs. J. J.) Miller of the Brushy Mountains, Caldwell county. The series here is coat, shoes, hat, pants, sword, and a horse. No title. Contributed by Minnie Stamps Gosney of Wake county. The series is shoes, socks, trousers, shirt, coat, collar, tie, hat, gloves — all, apparently, that the singer could think of. The Quaker's Wooing Compare 'A Paper of Pins,' 'Madam, Will You Walk,' 'The Courting- Cage.' This particular satire on the wooer is not always d'stinct from these and other wooing dialogues. 'Old .Simon,' re- c o r K T 1 N c; s 0 n c s 17 Ijortfil truiu Wilt^hiro (FSUT JJ), 'The Wooin.t;-,' from Michigan (BSSM 4i7-icS),an(l 'The Drunkard's Courtship,' from North Caro- lina (FSRA 199-200) are kindred pieces. What may fairly be reckoned forms of 'The Quaker's Wooinj?' have been reported from New Enj,dand (FSONK 276-8), Virginia (FSV 235-6), Arkansas (OFS 111 58-60), Missouri (BSM 265, OFS 111 258-9), Ohio I BSO 293-4). Indiana (JAFL xlix 247, SFLQ 111 206, v 182-3), Michigan (BSSM 424-7), and Iowa (ABS 223-4). '" '"it- of these cases it is a play-party song. •Madam, 1 .\m Conu- .\-C0urtinj4.' Imoiii tlie manuscript soiigbuok of Mrs. Haruld Glasscock of Raleigli, lent to Dr. White in 1943. The songs in this l)ook Mrs. Glasscock learned from her parents. 1 'iMadain, 1 am come a-courtiny. Oh, dear, oh dear. oh. dear me I'm for pleasure, not for sporting. Oh. dear, oh, dear, oh, dear me. 2 'Madam, I have gold and silver. Oh, dear, oh. dear. oh. dear me.' 'Go right home and tell your father. Tiddle dum dink dum dink dum da. 3 'That you could not gtt me read}-. Tiddle dum dink dum dink dum da.' 'Madam. I am a Presbyterian. Oh, dear, oh, dear. oh. dear me.' 9 The Old M.\x's Courtship For the history of this old English song and its occurrence in modern times, see BSM 264, and add to the references there given Herd's Ancient and Modern Scottish Songs (11, 33-4 of the 1869 reprint of the 1776 edition). Miss Mason's Nursery Rhymes and Countrx Songs, p. 33, Essex (JEFDSS 111 130-1), Pennsylvania (MMP [^(1 edition of NPM] 307-8). Virginia and South Caro- lina (FSV 173, OSC 132-3). Arkansas (OFS 1 293-4), Missouri (OFS I 291-2), Ohio (BSO 132-5), Indiana (SFLQ 111 207), and Michigan (BSSM 413-14). It is interesting to find that of the five texts in our collection only one shows the familiar "old grey beard" refrain. The other four all belong to one tradition with "old boots and leggins" or "old boots a-leakin' " in the refrain. Yet the variations of folk fancy on the theme of ugly old age prompt the printing of all five of the texts. 'Old Shoe Boots and Leggins.' Contributed by Mrs. Will X. Coley of Raleigh in 1922. The second and fourth lines of stanza i constitute a refrain to be repeated in each stanza. N.C.F.. Vol. HI, (4) iB NORTH CAROLINA FOLKLORE 1 My mammy she told me to ask liim in — Oh, but I won't have him — I ast him in, and the way he did grin ! With his old shoe boots and leggins. 2 Aly mammy she told me to give him some pie. I give him some pie and he looked like he'd die. 3 My mammy she told me to put him to bed. I put him to bed and he looked like he was dead. 4 Aly mammy she told me to waken him up I wakened him up and he shook like a duck. 5 My mammy she told me to saddle his horse. I saddled his horse and bid him be off. No title. Contributed by Miss Minnie S. Gosney of Raleigb. As in A, the refrain is given only with the first stanza. 1 Mother, my mother, bid me open the door — I won't have him — I opened the door and he fell^on the floor With his old shoes and leggins. 2 Mother, my mother, bid me give him a chair. I gave him a chair and he called me his dear. 3 Mother, my mother, bid me light his pipe. I lit his pipe and he smoked like a snipe. 4 Mother, my mother, bid me put him to bed. I put him to bed and he stood on his head. 5 Mother, my mother, bid me wake him up. I woke him up and he smacked like a duck. 6 Mother, my mother, bid me saddle his horse. I saddled his horse and I ordered him off. 'The Old Man.' Contributed by Gertrude Allen (afterwards Mrs. Vaught) of Taylors ville, Alexander county. This has "beard" instead of "boots" in the refrain. The third line of the opening stanza is a refrain closing each stanza. I My mother brought an old man Home to see me With his old grey beard a-flopping. Chorus: But I wouldn't have him, I wouldn't have him. C n I- R T I N C. SONGS I9 2 My niotlKT i^'ivi' him a dish And hf swallnwx'd a fish. 3 My mother _ini>lL' all \(mr life?' 'No. Sir." I'Voiii tlic inaiiu^cript songbook of Miss Lura Wagoner of Vox, Allt'gliany county, lent to Dr. Brown in 1936; tlic entries in the book were probal)ly made some twenty or more years earlier. 1 'Tell iiie one thing, tell me truly, Tell nie why you scorn nie so. Tell nie. when 1 ask a (luestion. Yon will always answer No.' Chorus: No, sir, no, sir, no, sir, no, sir, No. sir. no. sir, no. sir. no. 2 'My father was a Spanish merchant, And, before he went to sea, He told me to be sure and answer "No" to all you said to me.' 3 'If, when walking in the garden. Plucking flowers all wet with dew, Tell me. would you be offended I f 1 walk and talk with you ? 4 'If, when walking in the garden, I should ask you to be mine .\nd should tell you that I love you, Would vou then mv heart decline?' 'Spanish Merchant." Obtained liy G. D. Harmon from W. K. Harris of Union Mills, Rutherford county. Same as B except tliat it lacks tlie first stanza. D 'No, Sir !' Obtained from Aura Holton of Durham in 1922. The text as in C, with direction that the chcjrus is to be sung by the boy and the girl together. Seems to be a play-party song. Courting Song I*"()lk >inj^ers in America are not averse to social satire of the sort of wliicli this song is an example. The 'Song' is reported also in Florence H. Botsford's Collection of Folk-Soiujs 1 31 from Kentucky. For references to other songs of a like temper in \'ir- ginia. West Virginia, North Carolina. Missouri. Nebraska, and Wyoming, see BSM 426-8, and add to the references there given 28 NORTH CAROLINA FOLKLORE Florida (SFLQ viii 192-3) and Iowa (MAFLS xxix 96-7) and for Negro song JAFL xxiv 285. See also 'When Young ^len Go Courting' and 'If You Want to Go A-Courtin' ' in the section of Satirical Songs in this volume. 'Courting Song.' Collected by Mrs. Sutton on the Watauga River near the Tennessee line, from the singing of a schoolteacher with whom she spent the night — which included an amusing example of the technique described in the song; see page 5, above. The last line of each stanza is repeated as indicated in stanza i. 1 A gentleman came to see me. He couldn't tell his name. I knew he came a-courting Although he was ashamed. Oh, although he was ashamed. 2 He drew his chair up by my side. His manner pleased me well. I hoped the spirit moved him A loving tale to tell. 3 And there he sat the livelong night And not a word did say. With many a sigh and hitter groan I often wished for day. 4 The chickens they began to crow. The daylight did appear. 'Howdy do, good morning, sir. I'm glad to see yoti here.' 5 He was weary of the livelong night. He was weary of his life. 'H this is what yoti call courting, boys. I'll never take a wife.' 6 Whenever he g(jes in company The girls all lavigh and sport ; They say. 'There goes a blamed old fool Who don't know how to court. Oh, he don't know how to court.' ]6 Don't STA^■ after Ten On the same U)\nc as tlie 'Courting .Song," just given. It is re- ported in the Pound svllahus. and hv Randolph from Arkansas (OFS III 86-7). A 'Don't Stay after Ten.' An anonymous manuscript in Dr. Brown's hand. c () r R T 1 N (; s () N c. s 29 no doubt collected liy liini frmii >oine of his infi)rmaiits l)ut jtccideiUaliy left witlioiit notation of its source. Altlmugii aimnyinous, it is n'^en here because it lielps to make tlic H text inteliiKible. 1 Tlicrc is oiu' rc(|ticsl I make ot yoii \\ lu'ii nic yoii come to see. \'()ii know thei'e is none in all this world That's half so dear to me; I hit this request 1 make of }om Ijuille Massey, Durliani. Xot dated. 1 I wouldn't marry an old maid, Pll tell you the reason why: Her neck is so long and stringy 1 fear she'd never die. 2 I wouldn't marry an old maid. I'll tell you the reason why: She'd stick her nose in a pone oi hread And call it chicken pie. 3 I wouldn't marry a rich girl, Pll tell you the reason why : She is crazy to wash her clothes And hang them out to dry. No title. From Lucille Cheek of Chatham county. First stanza only, as in B. 'I Wouldn't Marry.' Collected by Julian P. Boyd from Catherine Ben- nett, one of his pupils in the school at Alliance, Pamlico county. A single stanza, the same as the first stanza ui B witli "poor sal" sub- stituted for "old maid." 'I Wouldn't Marry.' From W. B. Leake of Rich Square, Northampton county. .Again a single stanza, the first of B, with "city gal" substi- tuted for "old maid." 'A Farmer Boy.' From Miss Mamie Mansfield, Durham, in Juls i<)22. With this we turn to texts in which the woman speaks. ^ Manuscript has "hare" ; whether the pun really belongs in the song or is the momentary inspiration of the writer of the manuscript the editor does not know. This fourth stanza will reappear in the section on Bird and Beast Jingles. 32 NORTH CAROLINA FOLKLORE 1 I love to wash the dishes, I love to sweep the floor. I love to kiss that pretty little boy Behind niv parlor door. Chorus: A farmer's boy, a farmer's boy, He's the one for nie ; If ever 1 get married A farmer bride I'll be. 2 I love to feed the chickens, I love to milk the cow. I love to hear that farmer boy Come whistling from the plow. 3 I wouldn't marry a preacher, I tell you the reason why He stands upon the pulpit And makes the people cry. 4 I wouldn't marry a doctor, I tell you the reason why He goes all over the country And makes the people die. 5 I wouldn't marry a blacksmith, I tell you the reason why His neck is so long and thin I am afraid he'll never die. 'Farmer Boy for Me.' Sung by Miss Annie Hanilen (later Mrs. E. S. Swindell), Durham. Three stanzas and chorus. The first two stanzas and the chorus the same as the chorus and stanzas 4. 3 of F ; the third stanza is new : I would not marry a lawyer. I'll tell you the reason why : He gets up on the stand And always tells a lie. TI 'I'm Determined to Be an Old Maid." From Gertrude Allen (later Mrs. Vaught), Taylorsville, Alexander county. Here tlie familiar "I'm determined to he an old maid" drifts in the last stanza to the "farmer hoy" theme of F. Tiie tune was taken down by Miss N'ivian Blackstock. 1 I'll not marry a man that's rich, Vov he'll get drunk and fall in a ditch ; CO r K r I N (i s () N c; s 33 Sei I'll \\u[ inair\ at all, I'll iKil many at all. Chorus: I'm (k-tcrmiiu'd to he an old maid; I'll take my stool and sit in the shade, And I'll not marry at all, I'll not marrv at all. 2 I'll not marry a man that's poor, He'll go hegging from door to door; So I'll not marry at all. I'll not marry at all. 3 I'll not marry a man that's young. For he'll deceive with a flattering tongue ; So I'll not marrv at all, I'll not marry at all. 4 I'll not marry a man that's old. For he'll do nothing hut sit and scold; And I'll not marry at all, I'll not marry at all. 5 But I will marry a farmer's hoy. For he will always have employ ; So I will marrv after all, after all. 'Farmer's Wife I'll Be.' Reptjrted by W. B. Covington as Iieard in Scotland county. Two lines only : Farmer's wife, farmer's wife, farmer's wife I'll ])e. If I ever marry in my life, farmer's wife I'll he. 'I Won't ^^a^^y at All.' Sent in by the Reverend J. M. Downiim as obtained from Alex Tiigman of Todd, Ashe county, in 1922. Six stanzas and chorus. Chorus and stanzas i, 2, 3, 4 as in H chorus and stanzas 4. 3, 2, I ; the last two stanzas introduce new matter : 3 I won't marry a man named l)ill Though he loves me fit to kill ; I won't marry at all, I won't marrv at all. 6 I won't marry a man named Ned Tho he's sweet as gingerhread ; I won't marry at all, I won't marry at all. N.C.F., Vol. HI, (5) 34 NORTH CAROLINA FOLKLORE 'I Won't Marry at All.' From Ethel Brown, Catawba county. The chorus and stanzas 2 and i of H. 'I'm Determined to Be an Old Alaid.' Reported by Mrs. Sutton as heard in 1917 "in the mountains." Evidently not complete; "There were several other types of men she was determined not to marry." The three stanzas given are the chorus and stanzas i and 2 of H. M 'An Old Man.' Reported in 1915 by Miss Iris Chappelle of Creedmoor, Granville county, as obtained from her mother, who learned it as a child. This and the next two texts might claim the status of distinct songs, being devoted to the yovmg girl's repugnance at the thought of marrying an old man. 1 I would not marry an old man. I will tell you the reason why : His face is always dirty, His chin is never dry. Chorus: An old man, an old man. An old man is gray. But a young man's heart is full of love. And away, old man, away. 2 I would rather marry a yotmg man With an apple in his hand Than marry an old man With forty acres of land. 3 I would rather marry a young man With forty cows to milk Than marry an old man All rohed in satin and silk. 4 An old man he comes creeping in And says he's tired of life ; But a yoimg man he comes skipping in And says 'Kiss me, my dear wife.' 'I Would Not Marry an Old Man.' From the manuscript notebook of Mrs. Harold Glasscock of Raleigh, lent to Dr. White in 1943. The songs in this notebook Mrs. Glasscock learned from her parents. Sub- stantially tile same as stanzas i and 4 and the chorus of M, yet there are interesting minor differences of diction; T I would not marry an old m.nn, I'll tell you the reason why: C 0 L' R T I N C S () x c; s 35 J lis lip> arc always hanj^iiii; down And his (.-hill is never (Irv. Chunis: An old man is gray, an nld man is gray; A yonng man's heart is fnll of love. (i<> away, old man, go '\va\'. 2 An old man comes htjbhling in Quite weary of his life; A young man conies skipping in : 'Come kiss me, my dear wife.' 'Old Maid's Song.' From Alexander Tugman of Todd, Ashe county. Four stanzas ; the first two as in H, the other two slightly different : 3 I'll not marry a man that's young, For he'll give me a piece of his tongue; And I'll not marry a-tall, a-tall. And I'll not marrv a-tall. 4 I'll not marry a man that's old, For he will love me less than gold ; And I'll not marry a-tall, a-tall. And Fll not marry a-tall. p 'The Old Maid.' Reported by .Xh^s. Sutton from Madison county, witli one stanza not given in L : ril not marry a man that's fat. For he'll slip u[) and fall on a mat ; And Fll not marry a tall, a tall. And Fll not marrv a tall. '1 Wouldn't .Marry.' Rcixjrtcd In* Professor M. (i. Fulton of Davidson College as collected by \V. C. Frierson. Two stanzas, the i)reaclier and the doctor, nearly the same as in H, but the objection to tlie preacher here is not that he makes people cry Init tliat He's going all (ner the country Er eatin' chicken pie. Finally, two te.xts spoken partly by the man and partly by tlie woman. Both of them belong to the tradition of F and (i. 'I Wouldn't Marry.' Contributed by Thomas Smith of Zionville, Watauga county, in 1915 or thereabouts. With the tune. 36 NORTH CAROLINA FOLKLORE 1 I would not marry an old man, And I'll tell you the reason why : His nose is never . . . His shoes is never dry. Chorus: A soldier boy, a soldier boy, A soldier boy for me. H ever I get married A soldier's bride I'll be. 2 I would not marry an old maid. And I'll tell you the reason why : She combs her head with a fish-backbone. And that don't please my eye. 3 I would not marry an old man. And I'll tell you the reason why : His neck's too long and stringy And I fear he'd never die. 'Farmer Boy.' Obtained from Jennie Belvin of Durham in 1922. With the music. Chorus and stanzas i. 2. 3 as in F chorus and stanzas 2, 3, 4, and it ends with these two stanzas : 4 I wouldn't marry a lawyer, I'll tell you the reason why: When he gets up on the stand He's bound to tell a lie. 5 I wouldn't marry an old maid, I'll tell you the reason why: Her neck's so long and stringy I'm 'fraid she'll never die. 18 A Single Life A somewhat sedate version of the "I woukhi't marry" theme which I have not found elsewhere. 'A Single Life.' Reported by Vernon Sechriest of Thomasville. David- son county, as obtained from Mrs. Augusta Fonts, then seventy-seven years okL 1 Some do say there are good girls. Oh, where shall we find them ? Some do say there are good boys. But never do you mind them. c o I' R T 1 N (; s o \ c; s 37 CItonis: A single life I am to live, Oh, single is my glurv ; A single life I am to live. Then who will control me? 2 They'll come to court )ou for ci while, C )n purpose to deceive you ; .\ncl when they think they'\e j^^ained your heart They'll run away and leave you. 19 When 1 Was Single Although tlie theme is old. this song seems not to l)e. 'lliere is a sort of antecedent to it in the U'estviiiistcr Drollery of 1672; see Ashton's Humour . . . of the Serentcoith Century, pp. 27-8. The song is known in England and very widely in America, though not. so far as I can find, in New England. See BSM 437. and add to the references there given Virginia (FSV 168-9), Tennessee (BTFLS V 35-6), North Carolina (FSRA 133), the Ozarks (OFS III 66-9), Ohio (BSO 181-5), Indiana (SFLQ iv 172), Illinois (JAFL XL 238-9), and Michigan (BSSM 479, listed only). The Archive of American Folk Song lists recordings of it from Vir- ginia, Louisiana. Arkansas, and Ohio. Mrs. Steely found it in the Ebenezer community in Wake county. Texts diiYer chiefly by the retention or omission of certain stanzas. Frequently only a single stanza is remembered. Normally the stanza form is the poulter's measure 3-3-4-3. and one suspects a fault in copying in some of the texts that fail to show this foruL For the woman's side of the (|uestion, see 'I Wish I Was a .*^ingle Girl Again' in the section of songs on drinking and ganil)lin"-. 'When I Was Single.' From Miss Amy Henderson of Worry. Burke county, in 1914. Upon this text Dr. W'hite has noted: "A iK)])ular glee club song, first lieard by me about ujo6." The first stanza sJiows the verse structure. Thereafter only the new part of eacli stanza is given. 1 Oh ! when I was single, oh ! then. Oh ! when I was single, oh ! then. Oh! when I was single my pockets did jingle. And 1 wish I was single again. 2 1 married me a wife, she was the plague of my life. And 1 wish I was single again. 3 My wife took sick, and she died pretty (|uick. And T was Ldad T was single again. 38 NORTH CAROLINA FOLKLORE Sometimes this third stanza is followed by this : My wife she got worse, and I sent for a hearse In hopes I'd be single again. And sometimes stanza 3 takes this form : My wife she died and I laughed till I cried. So glad I was single again. 4 I married me another, she was the devil's grandmother. And I wished I was single again. Instead of this last stanza the following is sometimes sung : I married me another, she was worse than the other, And I wish I was single again. 'I Wish I Was Single Again.' From J. W. Miller, student at Trinity College in 1934, from Lincoln county. This te.xt lacks the opening stanza and is more detailed than A about wliat followed. 1 When my wife died, oh then, When my wife died, oh then. When my wife died I laughed till I cried To think I was single again. 2 I went after her cofifin, just laughing and talking To think I was single again. 3 I went after her shroud, walking mighty proud, To think I was single again. 4 I went to her grave, but I couldn't behave, For to think I was single again. 5 I married another, but she was worse than the other ; Oh, I wish I was single again. 6 She beat me, she banged me, she swore she would hang me. Oh, I wish I was single again. 'When I Was Single.' From Miss Madge T. Nichols, Durham county, in 1922. Only two stanzas, "I married a wife" and "I married an- other," and the "When I was single" chorus. D T Wish I Was Single Again.' From Bessie Lou Mull, Shelby, Cleve- land county. This is one of the texts that seem to depart from the normal verse form, stanza 2 being written : My wife she died, (jh then. My wife she died, oh then. c () u R T 1 N c SO N c; s 39 And 1 1;iu|l;Ik'(1 until 1 cried. And 1 wish 1 was single again. r.ut tlic first ami tlic last of the six stanzas arc in the regular 3-3-4-3 riiythin. so that one suspects tliat the other stanzas are niiswritten. Stanza i is "I wish I was single again,' 'in stanza 3 he goes for her cotl.n, in stanza 4 he marries another, stanza 5 tells iiow tlie second wife beat and l)anged him; the final stanza is stall-ballad moralizing: So, boys, take warning from this, So, boys, take warning from this ; Be kind to the lirst. for the last is the worse; And 1 wish 1 was single again. "1 Wish 1 Was Single Again." From Ailie Ann Pearce, Colerain, Bertie county. Text as in D. "When 1 Was Single.' From Lucille Massey, Durham. Anotlier text which seems to deny the 3-3-4-3 stanza structure. Four stanzas : "When I was single," "I got me a wife," "My wife she died," and "I went for the cofiin." 'I Wish I Was Single Again.' From Marguerite Riggs, Pitt county. Three stanzas: "I wish 1 was single," "I married a wife," and "I married another." Regular verse form. 'Song.' From Mrs. Nilla Lancaster, W'aync county. Tliree stanzas, in the regular verse form : "I wish I was single again," "I married me a wife, oh then," and "My wife she died, oh then.'' 1 "1 Wish I Was Single Again.' From Miss Jewell Robl)ins, Pekin, Montgomery county, in 1922. With the tune. Tliis siiows a slight variation in the refrain : 1 I married a wife, aha I married a wife, aha I married a wife, the bane of my life. And I wish I was single again. Chorus: Then 1 wish I was single again, And I wish 1 was single again ; If I was single my pockets would jingle, And 1 wisli 1 was single again. 2 I married another, aha I married another, aha 40 NORTH CAROLINA FOLKLORE I married another, the devil's stepmother, And I wish I was single again. 'When I Was Single.' From J. C. Knox, Leland, Brunswick county. With the tune. Five stanzas, the first four of which correspond to the first four of A and the fifth to stanza 6 of B. The following report but a single stanza, "I wish I was single," etc. : K From Gertrude Allen (Mrs. Vaught ) , Taylorsville, Alexander county. L From Ethel Hicks Buffalo, Oxford, Granville county. M From Louise F. Watkms, Goldsboro, Wayne county. N From Caroline Biggers, Union county. O From Katherine Bernard Jones, Raleigh. P From Louise Bennett, Middleboro, Wayne county. Q From Lucille Cheek, Chatham county. II DRINK AND GAMBLING SONGS w 'INE AND WOMEN have been favorite topics of popular song at least since the days of the Carmina Burana. But in North Carolina the women most often appear as the declared enemies of drink, and the drink itself is for the most part not the juice of the grape but of the (often hidden and illicit) still. To take first the songs that came with the temperance movement about the middle of the^last century: some (The Drunkard's Hell,' 'The Drunkard's Doom,' The Drunkard's Dream'— this last in two quite difTerent forms) attempt by lurid visions to frighten the drunkard from his evil ways; 'Father. Dear Father. Come Home with IMe Now' and The Drunkard's Lone Child' aim to tear his heartstrings with the piti fulness of innocent childhood wrecked by his intemperance; in 'Don't Go Out Tonight. My Darling' and 'Be Home Early Tonight' the woman pleads in a gentler tone. In 'Seven Long Years Fve Been IVlarried' and 'I Wish I Was a Single Girl Again' (which are closely akin to the songs at the end of the preceding section) a woman deplores her evil plight in being the wife of a gambler and a drunkard : Washing their little feet, putting them to bed; In comes the drunkard, wishing that I was dead. Oh, Lord, I wish I was a single girl again ! One of these temperance songs, 'Lips That Touch Liquor Must Never Touch Mine.' had a great vogue ; its refrain line became a catchword, and is so yet. The Collection has it in two forms, quite different but alike in that in both the woman pits her charms against those of liquor and tells the man— with an unmistakable air of triumph— that he must make his choice. 'I'm Alone' is the mono- logue of an old man whose life has been wrecked by drink. But drink has, naturally, its brighter side. 'Old Rosin the Beau' has led a very satisfactory toper's life and now very cheerfully gives directions for his burial. Everybody knows 'The Little Brown Jug,' though its component stanzas are seldom just the same in any two' texts. 'Pass Around the Bottle' seems to be a soldier's march- ing song. 'Judy My Whiskey Tickler' is a college drinking song of a hundred years "ago. Two songs, 'I'll Never Get Drunk Any More' and 'Show Me the Way to Go Home, Babe,' are the maunder- ings of a drunken and happv lover. 'Pickle My Bones in Alcohol' 42 NORTH CAROLINA FOLKLORE and 'Sticks and Stones I\Iay Break My Bones' are favorites with the Negroes. 'Moonshine' exalts the potency of the mountaineer's favorite tipple, and 'The Hidden Still' describes the place where it is made. And finally there is a group of songs that came originally, one imagines, from the minstrel stage: 'Sweet Cider,' 'A Little More Cider Too,' 'Sucking Cider through a Straw.' Gamblers' songs are few. The best-known of them, 'The Journey- man,' is not always the song of a gambler; in 'Jack of Diamonds' the gambler accuses that card of being the cause of his downfall; 'I Got Mine' is a vaudeville piece that has acquired wide currency, especially among Negroes. 20 The Drunkard's Hell This contribution to the war against the demon rum has already been reported from North Carolina (FSSH 378-80, JAFL xlv 55-8), Tennessee (FSSH 380-1), Kentucky (BKH no), Missis- sippi (JAFL XXXIX 169-70), and the Ozarks (OFS 11 409-10). 'The Drunkard's Hell.' Reported by Miss Pearl Webb of Pineda, Avery county, in 1922. 1 One dark and starless night I saw an aw f til sight. The lightning flashed, loud thtmder rolled Across my dark, benighted soul. I bowed my head, and saw below Where all the dying drunkards go. 2 My awful thoughts no tongue can tell. And is this my place and a drunkard's hell? I started on. got there at last. Thought I'd take one social glass. I poured it out and started it well — And then I thought of a drunkard's hell. 3 I dashed it out and left the place And went to seek redeeming grace. The very moment that grace began Ten thousand joys within me sprang. I started home to change my life, To see my long-neglected wife. 4 I found her weeping at the bed. Because her infant babe was dead. I told her not to cry or weep. DRINK AND GAMBLING SONGS 43 Because her infant babe was just asleep; Its little soul had fled away To dwell with God eternally. I took her by her white hand — She was so weak she could not stand — 1 laid her down and breathed a prayer That God might bless and save us there. I started to the Temperance Hall To take the pledge among them all. One met me there with a welcoming hand. Took me in with a Temperance Band. Five long sober years have passed away, Years since I have bowed my knees to pray. Now I'll go home and live a sober life With a good home and a loving wife. 'Dark and Stormy Night.' Reported in 1937 by Professor W. Amos Abrams of Boone, with the note: "My father got this ballad from a friend about 1897." 1 'Twas on a dark and stormy night I heard and saw an awful sight. The lightning flashed, loud thunder rolled. Across the dark the night did stroll. 2 I heard a voice cry soft and low, 'Far down beneath all drunkards go. Come in, young man, we'll make you room, Because your road has led to ruin.' 3 I started on, got there at last, And thought I'd take a social glass. I poured it out and stirred it well — Until I thought of a drunkard's hell. 4 I dashed it out and left the place And sought to find redeeming grace ; I started home to change my life. To meet my long-neglected wife. 5 I found her weeping o'er the bed Because our sweet little babe was dead. I told her not to mourn or weep ; Our little babe was just asleep. 6 I took hold of her pale white hand. She was so weak she could not stand. 44 NORTH CAROLINA FOLKLORE I bowed her down and prayed a prayer That God might bless and save us there. 7 I felt like Paul, who once did pray ; I felt my sins all washed away. And now I live a happy life With a good home and a loving wife. 'On a Dark and Stormy Night.' The opening stanza only, copied from the music as contributed by I. G. Greer of Boone, Watauga county. On a dark and stormy night I saw and heard an awful sight. The lightning played, loud thunder rolled Across my dark, benighted soul. D 'Drunkard's Hell.' From the John Burch Blaylock Collection. Uses pretty much all the matter of A and B, somewhat dififerently arranged in some of the items. Stanzas 2 and 3 are rather more dramatic than in those texts : 2 I thought I saw a gulf Ijelow Where all poor dying drunkards go. My feelings then no tongue can tell : This is my place — the drunkard's hell. 3 I met another weeping crowd With bloodshot eyes and voices loud. I heard them raise their voices, yell : 'This is your place — the drunkard's hell.' 21 The Drunkard's Doom For the occurrence of this song elsewhere see BSM 468, and adtl to the references there given Alissouri (OFS 11 392-3), Ohio (BSO 308), Michigan (BSSM 478, listed only), and Indiana (SFLQ iv 183-4). 'The Drunkard's Doom.' Reported by I. G. Greer. Boone. Watauga county. With the tune. A line of each stanza is repeated in the re- frain, as indicated in stanza i. I I saw a man at early dawn Standing by the grog-shop door ; His eyes were sunk, his lips was parched ; And I viewed him o'er and o'er. And that's the drunkard's doom ; His eyes was sunk, his lips was parched. And that's the drunkard's doom. DRINK AND CAMELING SONGS 45 2 His little son stood by his side As if to him did say ■} 'Dear father, mother lies sick at home, And sister cries for bread.' 3 lie rose, he staggered to the bar As oft he done before. He to the landlord whispering said, '( ). give me one glass more.' 4 The host complied with his request. He drank the poisonous bowl. He drank while wife and children starved. And ruined his poor soul. 5 In about one year 1 passed that way. A crowd stood at the door. I asked the cause, and one replied, 'The drunkard is no more.' 6 I saw the hearse move slowly on. No wife, no child was there. They to another world had gone And left this world of care. 22 The Drunkard's Dream (I) As Cox has pointed out (FSS 398). this is frequent in nineteenth- century ballad print in England, and it is also widely known in this country. See BSM 469-70, and add to die references there given Virginia (FSV 306-7), North Carolina (SFLQ v 144). Mis- souri (OFS II 393-6), Ohio (BSO 226-7), and Indiana (SFLQ IV 188-91); it is known also in Michigan (BSSM 478, listed merely). The five texts in our collection differ somewhat, chiefly by omissions, transpositions, and other minor variations character- istic of oral transmission. 'The drunkard's Dream.' From the manuscript songbook of Miss Lura Wagoner of Vox, secured in 1922 but probably entered in the book some ten years earlier. With the tune. I 'Oh. Edward, you look so happy now ; Your clothes are neat and clean ; I never see you drunk about. Pray, tell me where you've been. ^ Probably for "to him he said." 46 NORTH CAROLINA FOLKLORE 2 'Your wife and cliildren are all well ; You once did treat them strange. Oh, you are kinder to them now — How came this happy change?' 3 'It was a dream, a warning voice, Which heaven sent to me To snatch me from the drunkard's curse, Grim want and misery. 4 'My wages were all spent in drink ; Oh, what a wretched view ! I almost broke my Mary's heart. And starved mv children, too. 5 'What was my home or wife to me? I heeded not her cry ; Her winsome smile had welcomed me When tears bedimmed her eye. 6 'Aly children, too, have oft awoke. "Oh, father dear," they've said, "Poor mother has been weeping so Because we've had no bread." 7 'My Mary's form did waste away; I saw her sunken eye. On straw my babes in sickness laid ; I heard their wailing cry. 8 'I laughed and sang in drunken joy While Mary's tears did stream ; Then like a beast I fell asleep And had this warning dream. 9 'I thought once more I'd staggered home; There seemed a solemn gloom. I missed my wife — where can she be? — And strangers in the room. 10 'I heard them say, "Poor thing! she's dead. She lived a wretched life. For grief and sorrow broke her lieart. Who would be a drunkard's wife?" 11 T saw my children weeping round. I scarcely drew my breath. They called and kissed her lifeless form. Forever still in death. DRINK AND t; AMBLING SONGS 47 12 ■ "Oh father! come and wake her up! The people sa}- she's dead. Oh, make her smile and speak once more ! We'll never cry tor hread." 13 ' " She is not dead." I faintly cried And rushed to where she lay And madly kissed her once warm lips Forever cold as clay. 14 ' "O Mary! speak one word to me. No more I'll cause you pain, No more I'll break your loving heart, Nor ever get drunk again. 15 '"Dear Mary, speak! 'Tis Edward's voice." "I know it is," she cried. I woke, and, true, my Mary dear Was kneeling by my side. 16 T pressed her to my throbbing heart, While with joy our tears did stream. And ever since I've heaven blessed For sending such a dream.' 'The Drunkard's Dream.' From the manuscript book of Mrs. Mary Martin Copley, obtained in 1923 by Jesse F. Carpenter of Durham. This text lacks the awakening from the dream, ending with these lines: My poor wife's form did waste away, I saw her sunken eyes. My babes on stray in sickness lay, I heard their wailing cries. 'Oh, papa, come and wake her up ! The people say she's dead. Just make her speak and smile once more And we will never cry for bread.' c 'The Drunkard's Dream.' Obtained by Professor W. Amos Abrams, of Boone, from Mary Bost of States ville, Iredell county. Lacks stanzas 4-8 of A and has a few other minor variants. D 'The Drunkard's Dream.' From Mrs. Minnie Church of Heaton, Avery county, in 1939. This text too has lost the awakening from the dream, ending with 'Oh, Mary, speak to me,' I said. 'I'll never cause you pain 48 NORTH CAROLINA 1-OLKLORE Or will I break your loving heart ; I'll never get drunk again.' E 'The Drunkard's Dream." From the manuscripts of G. S. Robinson of Asheville, obtained in August 1939. Lacks stanzas 5-8 and 12-13 of -^ and shows minor variations due to setting down the text from memory, but retains the ending of A with an added final Hne : "Farewell to rum's career." 23 The Drunkard's Dream (II) This is quite distinct from the temperance song of the same title given just above. That is very widely known both in England and in America ; this song I have found nowhere else. 'The Drunkard's Dream.' From the John Burch Blaylock Collection. 1 The drunkard dreamed of his old retreat, Of his cozy place in the taproom seat; And the liquor gleamed on his gloating eyes Till his lips to the sparkling glass drew nigh. He lifted it up with an eager glance And sang as he saw the bubbles dance, 'Aha, I am myself again, Here's a truce to care and adieu to pain ! 2 'Welcome the cup with its creamy foam. Farewell to work and a mopy home. With a jolly crew and a flowing bowl In barroom pleasures I love to roll.' Like a crash there came to the drunkard's side His angel child who that night had died. With a look so gentle and sweet and fond She touched his glass with her little hand. 3 And oft as he raised it up to drink She silently tapped on its trembling brink ; Till the drunkard shook from foot to crown And set the untasted goblet dcnvn. 'Hey, man,' cried the host, 'what meanelh this? Is thee canty sick, or the dram amiss ? Cheer up, my lad, quick the bumper quaff.' 24 Father, Dear I-'atiier, Come with Me Now One of Henry C. Work's songs; by no means so good as 'Wake, N'codemus,' but still it achieved a considerable jxipularity. It has DRINK AND (.AMBLING SONGS 49 been reported as a folk song from Virginia (FSV 306), Kentucky (Shearin 33, BKH 144), and Arkansas (OFS 11 397). Of our two texts one follows the original pretty closely except in the chorus, which is quite different from Work's; the other is a reduced form but retains the original chorus (probably; see headnote to B). 'Father, Dear Father, Come Home with Me Now.' From Lois Johnson, Davidson county. No date given. 1 Father, dear father, come home with me now ; The clock in the steeple strikes one. You said you were coming right home from the shop As soon as your day's work was done. The house is all dark, the fires are all out. And mother's heen watching since tea With poor little Bennie so sick in her arms And no one to help her htit me. Chorus: Hear the sweet voice of the child, Which the night winds repeat as they roam. Oh, who could resist this most plaintive of prayers, 'Please, father, dear father, come home.' 2 Father, dear father, come home with me now ; The clock in the steeple strikes two. Poor Bennie is worse, indeed he is worse. And he has been calling for you. Indeed he is worse, ma says he will die. Perhaps before morning shall dawn. And this is the message she sent me to tell : Come quickly or he will be gone. 3 Father, dear father, come home with me now ; The clock in the steeple strikes three. The house is so lonely, the hours are so long For poor weeping mother and me. Yes. we're all alone ; poor Bennie is dead And gone with the angels of light ; And these were the very last words that he said : T want to kiss papa goodnight.' B 'Father, Dear Father, Come Home with Me Now.' From Bessie Lou Hull, Shelby, Cleveland county. No date given. The chorus is per- haps miscopied ; in the original song it runs Come home ! come home ! come home ! Please, father, dear father, come home. N.C.F.. Vol. TIT, (6) 50 NORTH CAROLINA I' 0 L K L 0 R E 1 Father, clear father, come home with me now, The clock in the steeple strikes one ; You said you were coming right home from the shop As soon as your day's work was done. Chorus: Come home, come home, Please, father, dear father, come home. Come home, some home. Please, father, dear father, come home. 2 Our light has gone out. our house is all dark. And mother has been waiting since ten With poor little Bennie so sick in her arms And no one to help her but me. 3 Father, dear father, come home with me now, The clock in the steeple strikes two ; Our house has grown cold, and Bennie is worse, But he has been calling for you. 4 Yes, Bennie is worse, mother says he will die. Perhaps before morning shall dawn ; But the message he sent me to bring : 'Oh, papa, dear papa, come home !' 25 The Drunkard's Lone Child As Stout's Iowa texts show, there are two quite distinct songs bearing this title (MAFLS xxix 122-4). Ours is the former of the two. It has been reported also from Virginia (FSV 307), North Carolina (FSSH 382). the Ozarks (OFS 11 398-402), Michi- gan (BSSM 477. listed only), and Nebraska (Pound 55), and Spaeth gives it in U'ccp Some More. My Lady 191-2. 'Bessie, or the Drunkard's Daughter." From the manuscript songbook of Miss Lura Wagoner of Vox, Alleghany county, in whicli it was entered probably in 1912 or thereabouts. I Out in the gloomy night sadly I roam, I have no mother dear, no pleasure have.^ No one cares for me, no one would cry Even if poor little Bessie should die. Weary and tired I've been wandering all day Asking for work ; but I'm too small, they say. On the damp ground I must now lay my head. Father is a dnnikard and mother is dead. ' The I! text shows how this lino should rhyme. DRINK AND C. A M B L I N G SONGS 5 1 We were so happy till father drank rum ; Then all our sorrow and trouble begun. Mother grew pale and wept every day, Baby and 1 were too hungry to play. Slowly they faded, till one summer night Found their dead faces all silent and white. Then, with big tears slowly dropping, I said, 'Father's a drunkard and mother is dead.' Oh, if the temperance man only could find Poor wretched father, and talk very kind. If they could stop him from drinking, then I would be so very happy again. Is it too late, temperance men? Please try. Or poor little Bessie must soon starve and die. All day long I've been begging for bread. Father's a drunkard and mother is dead. 'God Pity Bessie, the Drunkard's Lone Child.' Contrihuted in 1921 by Miss Jewell Robbins of Pekin, Montgomery county. Eight lines only. With the air. 1 Out in the cold I wander alone. With no one to love me, no friends, no home. Dark is the night and the storm rages wild. God pity Bessie, the drunkard's lone child ! 2 Mother, oh, why did you leave me alone W' ith no one to love me, no friends, no home ? Dark is the night and the storm rages wild. God pity Bessie, the drunkard's lone child ! 'Drunkard's Love Child.' Obtained from Bell Brandon of Durham. Not dated. The text is the same as B except that it has "love" for "lone." 26 Don't Go Out Tonight, My Darling The age-old struggle between tlie wife and the tavern has prompted many songs. This particular one, which is reported also by Randolph from the Ozarks (OFS 11 434), shows by the vari- ations in the three texts in our collection that it has passed by word of mouth from singer to singer. 'Don't Go Out Tonight, My Darling.' Contributed by Professor W. Amos Abrams, of Boone, about 1936. 52 NORTH CAROLINA FOLKLORE 1 Don't go out tonight, my darling, Do not leave me here alone. Stay at home with me, my darling ; I'm so lonesome when you are gone. 2 Although that life may be tempting And your finals full of glee,^ I will do my best to cheer you. Darling, won't you stay with me ? 3 (Jh, now he's gone and left me With a curse upon his lips. There's no one knows what I have suffered Over that awful tucked head.- 4 I hear a knock upon the door And footsteps upon the floor. Now they ha\e brought back ni}- husband. There he is upon the floor. 5 Now he's dying ; yes, he's dying. Soon I shall be left alone. I ask that God go and his mercy^ And save him from a drunkard's doom. 'Don't Go Out Tonight, My Darling.' From Mrs. Minnie Church, Heaton, Avery county, 1930. 1 Don't go out tonight, my darling, Do not leave me here alone ; Stay at home with me. my darling ; I'm so lonesome when you're gone. 2 Altho the life has many atemptings And your friendship will 1 grieve, "* I will do my best to cheer you. Darling, w'on't you stay with me? 3 Oh, no ! he's gone and left me With a curse upon his lips. There's no one knows how 1 have suffered For those awful words he said. ^ Randolph's Arkansas text shows how this line shuuld run : "And your friends are full of glee." " B's "For those awful words he said" shows what is prohalily the right reading. ■'' Here again B iielps out : "I pray that God's own tender mercy May. . . ." * For the right reading of the first two lines of stanza 2, see C and the note on this stanza in A. DRINK AND C A M B L I N G SONGS 53 4 1 liear a knocking at the door. I hear his footsteps on the floor. Now they brought nie hack my husband ; Here he is upon the floor. 5 Now he's dying ; yes, he's dying. Soon I will be left alone. I pray that God's own tender mercy May save him from a drunkard's doom. c 'Don't Go Out Tonight, My Darling." From the MSS of G. S. Robin- son of .Asheville, copied out in 1939. 1 Don't go out tonight, my darling. Do not leave me here alone. Stay at home with me, my darling ; I'm so lonely when you're gone. 2 Though the wine cup may be tempting And our friends are full of glee, I will do my best to cheer you. Darling, can't you stay with me? 3 You may meet with friends and faces, They may tell you they are true, But remember, my dear darling. No one loves you as I do. 4 ( )h, my God! He's gone and left me With a curse upon his lips. You don't know how much I've suft'ered From the careless cup he drank. 5 Hark ! I hear the heavy footsteps. Hear the knock upon the door. Here they've brought him home, my husband ; Here he lies upon the floor. 6 Oh, my God ! I cannot wake him ; For he craved his rum, his rum. All the flowers I have cherished. They have faded, one by one. 27 Be Home Early This song was printed in Wehman Brotliers' Good Old Time Songs No. 3 (New York, 1914), pp. 18-19, and in broadsides of earlier date, e.g., Wehman No. 551. Randolph reports it from Arkansas (OFS iv 379-80). 54 NORTH CAROLINA FOLKLORE 'Be Home Early.' Secured by Julian P. Boyd from one of his pupils in the school at Alliance, Pamlico county, about 1927-28. 1 I have traveled through life, 1 have seen many a thing That surprised me in every form. I have been at the spade. I have lieen at the plow From dark till sunrise in the morn. Chorus: Be home early tonight, my dear boy, my dear boy, Be home early tonight, my dear boy. Don't spend all your money to gamble and drink. Be home early tonight, my dear boy. 2 At night I would go for some pleasure through town. For Fm always for pleasure and joy. My mother would say, when going away, 'Be home early tonight, my dear boy.' 3 One night I returned from my night's fun and joy. I heard my poor mother was dead. It was then the cold chills through my body did run When I thought of the last word she said. 4 Come all you young men and take warning by me, To your fathers and mothers attend. For a good mother's love it must not be forgot. When she's gone you have lost your best friend. 28 I Wish I Was a Single Girl Again For the occurrence of tliis song elsewhere and its possible rela- tion to 'When I Was Single' (given in this volume under Court- ing Songs), see BSM 437 and add to the references there given Virginia (FSV 167) and Missouri (OFS in 69-70). 'When I Was Single,' however, has nothing to do with drink or gambling, and is besides (|uite different metrically from diis lament of a drunkard's wife. Mrs. Steely found it in the Ebenezer community in Wake county. 'I Wish I Were Single Again.' Obtained from Mamie Mansfield, of the Fowler School District, Durham county, in 1922. The first two times that the word "girl" occurs in the manuscript it is followed by "gal" in parentheses, indicating no doubt that that is the way the word is to be pronounced. I I left my poor old father, and broke his command, I left my poor old mother a-wringing her hands. Oh, Ford, I wish 1 was a single girl again. DRINK AND GAMBLING SONGS 55 Clionis: The drunkard, the drunkard is a man of his own, Ahvays a-drinking and away from his home. Oh. Lord, I wish 1 was a single girl again. 2 When I was single I wore very fine shoes ; Now I am married my toes are sticking through. Oh, Lord, 1 wish I was a single girl again. 3 When 1 was single 1 wore a very fine dress; Now 1 am married rags are my best. Oh, Lord. 1 wish I was a single girl again. 4 When I was single I had plenty to eat ; Now 1 am married it is corn bread and meat. Oh, Lord, I wish 1 was a single girl again. 5 Now it is the floors to be swept, the spring to go to, Little ones a-crying. Oh, Lord, what shall I do? Oh, Lord. I wish 1 was a single girl again. 6 Washing their little feet, putting them to bed. In comes the drunkard, wishing that I was dead. Oh, Lord, I wish I was a single girl again. B A Drunkard.' From the John Burch Blaylock Collection. 1 .\ drunkard, a drunkard, a man of his own, Always drinking away from his home. Lord, I wish 1 was a single girl again ! 2 When I was single, I had plenty to eat ; Now I am married, and it's cornbread and meat. Lord, I wish I was a single girl again ! 3 When I was single I had fine clothes to wear ; Now I am married and the rags are my best. Lord, I wish I was a single girl again ! 4 When I was single I had fine shoes to wear ; Now I am married and my toes are poking through. Lord, 1 wish I was a single girl again ! 5 The spring is to go to. and my floors are to sweep. The little ones are crying, they're crying for meat. The other is crying. 'Papa. I want to go to bed.' Lord, what shall 1 do? I wish I was a single girl again. 6 The bread is to bake and little ones' shoes to put on. In steps a drunkard, and I wish I was dead. Lord, I wish I was a single girl again ! 56 NORTH CAROLINA FOLKLORE 7 \\ hen 1 was single I lived at my ease ; Now I am married and a drunkard to please. Lord, I wish I was a single girl again ! 'The Drunkard's Wife." Contributed by I. T. Poole of Durham in June 1920. With the air. Brief as it is, the contributor has marked it "complete." 1 Two little children, all so very small ; Neither one is large enough to help me at all. Chorus: Oh, 1 wish 1 was a single girl again. Oh, I wish I was a single girl again. 2 One a-cryin" 'Mama, I want to go to bed,' One a-cryin' 'Mama, I want a piece of bread.' 29 Seven Long Years I've Been Married The woes of married life, for man and for woman, are the sub- ject of numerous songs, some of which appear in this collection; but this particular development of the theme seems to have no wide currencv. I have found it reported elsewhere onlv from Virginia (FSV 170), Arkansas (OFS 11 417). and Michigan (BS.SM 132). Mrs. Steely found it in the Ebenezer community in Wake county. Something like it but not the same song is reported from Ohio (BSO 185). Compare 'I Wish I Was a Single Girl Again' and 'The Inconstant Lover' E. 'Wish I'd Lived an Old Maid.' Contributed by Rosa Efird of Stanly county. But the manuscript is not dated. 1 For seven long years I've been married. I wish I'd lived an old maid. My husband he is oft" gambling : I'd better been laid in my grave. CJwnts: Off to the barroom he staggers. Go bring him back if you can. Young girls, you have never known trouble Lentil vou marry a man. 2 He promised, when we were first married, We'd live so happy and gay ; Every day in the week long Go in the parlor and play. DRINK AND GAMBLING SONGS 57 Get up soon in the morning, \\'ork and toil all day ; Supper to cook in the evening, The children to put to hed. Off soon in the morning, Gamble and drink all day ; At night when he comes home He's gambled his money away. Young girls, you had better take warning In choosing you a man. For if you have never known trouble You'll find it with a gambling man. 'Seven Long Years I've Been Married.' Contributed l)y Mamie Mans- field of the Fowler School District, Durham county, in July 1922. A fragmentary text. 1 Seven long years I've been married. I wish I'd lived an old maid. For now it's get up early in the morning And toil and toil all day. 2 Supper to get for the children, And the table to all clear away. And off to the alehouse I go To fetch him away if I can. Now, girls, you'll never see trouble Until you are tied to a man. 30 The Lips That Touch Liquor Must Never Touch Mine This song, particularly its refrain line, attained wide popularity in the days of the temperance movement, but I do not find it recog- nized as folk song except by Randolph (OFS 11 341-2, from Arkan- sas). In its original form — our A text — it is the work of George W. Young, and has been printed in Standard Recitations (New York, 1884), in One Hundred Choice Selections Number i6 (Phila- delphia, copyright dates 1878 and 1906). and no doubt in many other publications. But about Young I can learn nothing. That indefatigable student of Americana H. L. Mencken {Yoii Know These Lines! New York, 1935, p. 92) says the earliest print of it he knows is a temperance broadside, undated but of about 1870, but of the author be knows nothing beyond the name. He tells of another piece, no doubt suggested by Young's, that appeared in Readings and Recitations (New Y'ork, 1878), which may very likely be our B text. 58 NORTH CAROLINA I" 0 L K L 0 R E 'The Lips That Touch Liquor Shall Never Touch Mine.' Obtained by Jesse T. Carpenter from the manuscript songbook of Mrs. C. T. Weath- erly of Greensboro, Guilford county. 1 You are coming to woo me, but not as of yore, When I hastened to welcome your ring at the door. For I trusted that he who stood waiting for me then Was the brightest, the truest, the noblest of men. Your lips on my own, when they printed 'farewell,' Had never been soiled by the beverage of Hell ! But they come to me now with the bacchanal sign ; And the lips that touch liquor must never touch mine. 2 I think of that night in the garden alone When in whispers you told me your heart was my own, That your love in the future should faithfully be Unshared by another, kept only for me. Oh, sweet to my soul is the memory still Of the lips that met mine when they murmured 'I will.' But now to their pressure no more they incline ; For the lips that touch liquor shall never tovich mine. 3 Oh, John ! How it crushed me when first in your face The pen of the rum fiend had written 'disgrace,' And turned me in silence and tears from that breath, All poisoned and foul from the chalice of death ! It scattered the hopes I had treasured to last, It darkened the future and clouded the past. It shattered my idol and ruined the shrine ; For the lips that touch liquor shall never touch mine. 4 I loved you, oh, dearer than language can tell. And you saw it, you proved it, you knew it too well ; But the man of my love was far other than he \\nio now from the taproom comes running to me. In manhood and honor so noble and bright. His heart was so true and his genius so bright. And his soul was unstained, unpolluted by wine. But the lips that totich li(|uor shall Jici'cr touch mine. 5 You i^romised reform ; but I trusted in vain. Your pledge was but made to be broken again. And the lover so false to his promises now Will not as a husband be true to his vow. The word must be spoken that bids you depart. Though the efiforts to speak it should shatter my heart. Though in silence with l)lightc(l afifections I pine. Yet the lips that touch li(|uor shall never totich mine. DRINK A X 1) C, AMBLING SON C. S 59 If one spark in your Ijosoui of virtue remains. Go fan it with prayer till it kindles again. Resolve, with God helping, in future to be From wine and its follies unshackled and free ! And when you have conquered this foe of your soul, In manhood and honor beyond its control. This heart will again beat responsive to thine, And the lips free from liquor be welcome to mine. 'The Lips That Toucli Liquor.' Obtained by Jesse T. Carpenter from the manuscript songbook of Mrs. Mary Martin Copley, Route 8, Durham. 1 The demon of rum is abroad in the land. His victims are falling on every hand, The wise and the sinful, the brave and the fair. No station too high for his vengeance to spare. O woman, the sorrow and pain is with you. And so be the joy and the victory too ; With this for your motto and succor divine : The lips that touch liquor shall never touch mine. The lips that touch liquor shall never touch mine. Chorus: With this for your motto and succor divine. The lips that touch liquor shall never touch mine. Shall never touch mine. 2 The homes that were happy are ruined and gone. The hearts that were merry are wretched and lone,^ And lives full of promises of good things to come. Wives, maidens, and mothers, to you it is given To rescue the fallen and point them to heaven. W'ith God for your guide you shall win by this sign : The lips that touch liquor shall never touch mine. The lips that touch liciuor shall never touch mine. 3 O mother, whose sons tarry long at the bowl, Who loves their good name as you love your own soul ; O maidens, with fathers and brother and beaux. Whose lives you would rescue from infinite woes ; Let war be your watchword from shore unto shore Till rum and his legions shall ruin no more. And write on your banners in letters that shine : The lips that touch litjuor shall never touch mine. The lips that touch liquor shall never touch mine. ^ The manuscript has here "Hne." 6o NORTH CAROLINA 1" 0 L K L 0 R E 31 I'm Alone, All Alone This lament of an old man who has lost all his one-time happiness and is now a lonely wanderer is no doubt conceived as an instru- ment in the fight against drink. Randolph has found it in Mis- souri (OFS II 424-5), and it appears three times in our collection. A song reported by Henry ( FSSH 2^2~ ) from Kentucky has a like refrain but is not the same song. 'Far Back in My Childhood.' The manuscript says "Recorded by ^Ir. Coffey in . . . for the . . . Co.," which seems to mean that he sang it at some time before a recording instrument for some phonograph company. From O. L. Coffey of Shull's Mills, Watauga county. 1 Far back in my childhood, I remember today. I was happy and beloved ere I wandered away ; I was taught by my mother, who sleeps neath the stone. And caressed by my father ; yet I've wandered here alone. Chorus: I'm alone, all alone, and I feel I'm growing old. Yet I wandered, oh. how lonely ! I am shivering in the cold. 2 I remember the maiden, and my heart bleeds to tell How I loved her, her devotion ! But on this I cannot dwell. We were wed; our path was pleasant and the sun of for- time shone ; But alas, I took to drinking: and Fm a wanderer here alone. 3 I remember my children, how they climbed upon my knees And I kissed my little darling in the day when I was free. But I've squandered all my fortune and I'm now with- out a home. And I know it was all from drinking. And F\e wan- dered here alone. 'I'm Alone.' From Miss Pearl Webb of Pineola, Avery county, appar- ently in 1921. With the music. The first three stanzas and chorus as in A, but it adds a fourth stanza : 4 Can I break the bondage? Can I break this awful chain? Can I escape the shackle ? Can I be free again ? Friends of temperance, help me! Friends, my bondage is untold, And I kntnv it's all from drinking that I wandered alone. DRINK AND GAMBLING SONGS 6l c Louise Rand Bascom in 1909 printed (JAFL xxii 24) a fragmentary version — the chorus, the last half of stanza i and the first half of stanza 3 of A— with the notation that it "has prohahly been transplanted from the lowlands." 32 Old Rusin the Beau For the history and occurrence elsewhere of this song, see BSM 2SS and add to the references there given Virginia (FSV 132-3), North Carolina (FSRA 97), and Missouri (OFS iv 371-3)- 'Old Rosin the Beau.' Reported by K. P. Lewis as set down in 1910 from the singing of Dr. Kemp P. Battle of Chapel Hill. 1 I live for the good of my nation. And my sons are all growing low. But I hope that my next generation Will resemble old Rosin the Beau. I've traveled this country all over And now to the next I will go, For I know that good quarters are waiting To welcome old Rosin the Beau. Chorus: And drink to old Rosin the Beau, And drink to old Rosin the Beau, And rake^ down that big-bellied bottle And drink to old Rosin the Beau. 2 In the gay round of pleasure I've traveled. Nor will I behind leave a foe ; And when my companions are jovial They will drink to old Rosin the Beau. But my life is now drawn to a closing And all will at last be so. So we'll take a full bumper at parting To the name of old Rosin the Beau. 3 When I'm dead and laid out on the counter, The people all making a show. Just sprinkle plain whiskey and water On the corpse of old Rosin the Beau. I'll have to be buried, I reckon. And the ladies will all want to know, And they'll lift up the lid of the coffin Saying, 'Here lies old Rosin the Beau.' ^ So in the typescript. Miswritten for "take"? 62 NORTH CAROLINA FOLKLORE 4 Oh, when to my grave I am going The children will all want to go, They'll run to the doors and the windows Saying, 'There goes old Rosin the Beau.' Then pick me out six trusty fellows And let them all stand in a row And dig a big hole in a circle And in it toss Rosin the Beau. 5 Then shape me out two little donochs/ Place one at my head and my toe, And do not forget to scratch on it The name of old Rosin the Beau. Then let those six trusty good fellows. Oh, let them all stand in a row And rake- down that big-bellied bottle And drink to old Rosin the Beau. 33 Little Brown Jug Very generally known and sung. See BSM 261, and for its use as a play-party song consult Botkin's The American Play-Party Song by index under "Brown Jug." It is reported also from Vir- ginia (FSV 147) and from Missouri (OFS iii 141-2, 331, the latter as a play-party song). It appears twenty-two times in our collection, mostly in a stanza or two. All together these texts show eight distinguishable stanzas, four of them frequently and one of the four much more frequently than any of the others, four rarely. The four stanzas of frequent occurrence appear in the following text. 'Little Brown Jug.' Contributed in 1914 by Miss Amy Henderson of Worry, Alleghany county. 1 My wife and I lived all alone In a little log hut we called our own. She loved gin and I loved rum. Tell you what, we'd lots of fun ! 2 ^Vhen I go toiling to my farm Little brown jug is under my arm. I place it under a shady tree. Little brcnvn jug, 'tis you and me! ^ The manuscript adds liere in parenthesis "drinking mugs." Lomax also so explains the word. But the New International Dictionary says that "dornick" (variant spellings donnick, donnock) means a stone, a small boulder. - So in the typescript. Miswritten for "take" ? DRINK A N I) C A M H L I N G SONGS 63 3 My wife and 1 and a stump-tailed dog Crossed the creek on a hickory \og. The log did hreak and we all fell in. You het I hung to my jug of gin ! Ha ha ha. you and me, Little brown jug. don't I love thee! Ha ha ha. you and me. Little brown jug. don't I love thee !^ 4 If I had a cow that gave such milk Ld dress her in the finest silk. Ld feed her on the finest hay And milk her forty times a day ! The third of these stanzas appears in eigliteen of our twenty-two texts, sometimes with slight variations and frequently with nothing else except the refrain. Stanzas that appear less frequently are found in the following texts. 'Little Brown Jug.' Collected by Thomas Smith of Zionville, Watauga county, about 191 5. He notes that it "has been sung in this section for over forty years, according to reliable people. Very few sing it today, though several persons know the tune. Robert Smith recalled the above verses lately." The fourth stanza of this text, incomplete, runs : Whiskey and brandy all played out Little brown jug was up the spout. 'Little Brown Jug.' Reported by Clara Hearne of Pittsboro, Chatham county. The third of her four stanzas runs : As I went down the railroad track I took my brown jug on my back. I stubbed my toe and I went down. And broke my brown jug on the ground. D 'Little Brown Jug.' Reported by Gertrude Allen (Mrs. Vaught) from Taylorsville, Alexander county. Here the third stanza (incomplete) runs : Went to milk and didn't know how, Milked a goat instead of a cow. 'Song.' Reported by Sarah K. Watkins as known in Anson and Stanly counties. Here the second stanza runs : ' This refrain stanza is so placed in the manuscript, probably by error. It should come after each successive stanza. 64 NORTH CAROLINA FOLKLORE Every night when I go to bed Little brown jug does^ under my head ; Every morning when I wake up Little brown jug turns bottom-side up. 'Little Brown Jug.' As reported by Miss Doris Overton of Durham, this stanza takes a slightly different form : Every night when I go to bed Put the little brown jug under my head ; Every morning when I get up Little brown jug is all dried up. In Lois Johnson's version, from Davidson county, it ends more piquantly : Next morning I gave a pull : Jug was empty, and my wife was full ! 34 Pass Around the Bottle The Archive of American Folk Song has a record under this title from Kentucky. As we have it in North Carolina it is a drinking song only in the first two stanzas ; stanza 3 is universally known since Civil War times, and stanzas 4-6 are scarcely less familiar. The refrain line shows that it is really a marching song. 'Pass Around the Bottle.' From the John Burch Blaylock Collection. Each stanza repeats, including the refrain line, as indicated in stanza i. 1 Pass around the bottle and we'll all take a drink. Pass around the bottle and we'll all take a drink. As we go marching home. 2 Pull out the stopper and fill it up again. 3 Hang John Brown on a sour apple tree. 4 Grasshopper sitting on a sweet potato vine. 5 Old turkey gobbler come slipping up behind. 6 Old turkey gobbler ]:)icked the hopper from the vine. 35 JuDiE Mv Whiskey Tickler A college drinking song of a hundred years ago which seems to have dropped out of the memory of present-day collegians. ^ Miswritten, one supposes, for "goes." U R I N K AND GAMBLING SONGS 65 'Judie .My Whiskey Tickler.' Communicated by S. M. Davis of White Hall uii the Neuse River, Wayne county, as "a song my grandfather used to sing while at Jefferson's Academy in 1839." He adds that there are two otiier stanzas which he does not know. 1 Judie, my whiskey tickler. Judie, vou debl)il, vou l)()ther me so. Woe! "Woe! Woe! Like a red-hot potato vou are all a-^low. Woe! Woe! Woe! 2 By^ faith, you are both elegant in form and face, You walk with such stately magnificent grace ! Judie, you debbil, you bother me so. Woe! Woe! Woe! 36 I'll Never Get Drunk Any More The four texts here given have little in common beyond the re- frain stanza. Shearin's syllabus shows that this is known in Ken- tucky, and Perrovv (JAFL xxviii 151) reports it as sung by both whites and blacks in Tennessee. It is reported also from Virginia (FSV 308) and from Missouri (OFS 11 413-14, iii 140-1). Mrs. Sutton notes that Miss Emeth Tuttle of Lenoir found it in ALssissippi. T'll Never Get Drunk Any More.' Reported by Thomas Smith of Zion- ville, Watauga county, sometime between 1914 and 1920, with the nota- tion : "This song was once popular around here (25 or 30 years ago). Young people sang it a great deal in those days. The tune is still well known to several of my neighbors." 1 When I go out on Sunday What pleasure do I see? For the girl I loved so dearly Has gone square back on me. Clionts: Lll never get drunk any more, any more, I'll never get drunk any more. Lll lay my head in my true love's door, Lll never get drunk any more. 2 When I go out on Sunday. My head all racked with pain, Lll tell my little honey Lll never get drunk again. ' So the manuscript. One supposes that it should be "My." N.C.F., Vol. Ill, (7) 66 NORTH CAROLINA FOLKLORE Once I had a fortune ; I laid it in a trunk. I spent it all a-gambling The night I first got drunk. No title. Reported by Miss Gertrude Allen (afterwards Mrs. R. C. \'aught) from Taylor sville, Alexander county. 1 Some say that love is pleasure. What pleasure do I see? The girl I loved so dearly Has turned her back on me. CJiorus: I'll never get drunk any more, I'll never get drunk any more, I'll lay my head in the barroom door, I'll never get drunk any more. 2 As I go home tonight I'll smoke my long-stemmed pipe, I'll have no wife to bother my life, No children to holler and squall. 3 Dem chickens they crowed for midnight, Dem chickens they crowed for day, Dem chickens they crowed for midnight, And I got drunk again. Til Never Get Drunk Any More.' Reported by Mrs. Sutton (while she was still Miss Maude Minnish) from the singing of Mrs. Woody of Jonas Ridge. Date not given. 1 One time I had an old blue hen. I set her in a stump. A 'possum come and got her One night when I got drunk. Chorus: I'll never git drunk any more, any more, Oh, I'll never git drunk any more. I'll lay my head in some still-house door, But I'll never git drunk any more. 2 One time I had a fortune ; I put in a trunk. I lost it all a-gamblin' One night when I got drunk. DRINK AND GAMBLING SONGS 67 'I'll Never Get Drunk Any More.' From the John Burch Blaylock Collection. 1 I'll never get drunk any more, I'll never get drunk any more ; I'll lav my head in some poor man's door, I'll never get drunk any more. 2 Once I had a fortune, I laid it on my trunk ; I lost it all hy gambling One night when I was drunk. 3 Once I had a sweetheart My laziness did ensnare ; But now I've got no money Her poor little feet go bare. 4 Once I had fine horses. I fed them on good hay. I swapped them off for whiskey One cold December day. 5 There are . . . region. The flames they do not wilt ; But down below the spring house You'll find them at the still. 37 Show Me the Way to Go Home, Babe This seems to be a fragment of the desultory Negro lyric that Odum and Perrow collected, though this particular bit does not appear in their collections as published in JAFL xxiv ^ 255-94, 351-96, XXV 137-55, ^xvi 123-73, XXVIII 129-90. Sbearin's sylla- bus shows it known in Kentucky. Although our texts are much alike, it seems desirable to give them all, for comparative study. A 'Song.' Communicated by Ethel Hicks Buffalo from Granville county. No date given. Good mornin', Carrie. When you gwine to marry? I've been dreamin' 'bout you, My dusky babe. Chorus: Show me the way to go home, babe, Show me the way to go home ; 68 NORTH CAROLINA FOLKLORE I've been drunk for the past six months ; Show nie the way to go home. 'Oh, Goodbye, Babe, Forever More.' From Miss Jeannette Co.x, W'ii? terville, Pitt county, in 1921 or 1922. Oh, goodbye, babe, forever more. My boozing days will soon be o'er. I've had a good time, as you may see ; Just see what booze has done for me. Show me the way to go home, babe. Show me the way to go home ; I ain't been sober since last October. Show me the way to go home. c 'Negro Fragment.' This also comes from Miss Cox, and with the tune. Show me the way to go home, Show me the way to go home ; I ain't been sober since last October; Show me the way to go home, babe. Show me the way to go home. Show me the way to go home ; I've been drunk for the last six months; Show me the way to go home, babe. D 'Show Me the Way to Go Home." Reported liy WilHam B. Covington in 1 91 3 from "reminiscences of my early youth spent in the country on the border of the sand hills of Scotland county." Show me the way to go home. Show me the way to go home ; I ain't been sober since last ( )ctober ; Show me the way to go home, babe. Show me the way to go home. Show me the way to go home. I've been drunk for the last six months; Show me the way to go home, babe. E 'Show "S\e the Way to Go Home.' From T.ouisc Bennett, .Middleburg, Vance county. Not dated. I ain't been sober since last October — Show me the way to go home. I's been drunk for de last six months — Show me the way to go home. DRINK AND GAMBLING SONGS 69 'Show Me the Way to Go Home.' From Antoinette Beasley, Monroe, Union county. Not dated. I been drunk since the last month. Show me the way to go home, babe, Show me the way to go home. Ain't been home since last October. Show me the way to go home, babe, Show me the way to go home. G Lucille Cheek of Chatham county reports a single line: "Haven't been sober since last October." H 'Show Me the Way to Go Home.' From the John Burch Blaylock Collection. 1 Show me the way to go home, I'm tired and I want to go to bed. I had a little drink about an hour ago, And it's gone right to my head. 2 Wherever I may roam O'er land or sea or foam. You'll always hear me singing that song, Show me the way to go home. 38 Pickle My Bones in Alcohol This jocose jingle seems to have a special appeal for Negroes, though it is not confined to them nor is it, probably, of Negro origin. It has been reported from New York (ANFS 368), Ten- nessee (JAFL XXVIII 130), North Carolina (FSSH 438), Georgia (FSSH 438), Missouri (OFS iii 197-8), and from Negroes in Mississippi (JAFL xxviii 130). In a form which probably is of Negro origin 'lasses and corn bread take the place of alcohol : so in a text reported from Alabama Negroes (ANFS 277) and in some of our North Carolina texts. Or the two notions may be combined, as in our A text and in Negro versions reported from Alabama (ANFS 368-9) and without specific locale bv Talley (Negro Folk Rhymes 26). 'When I Die.' Reported by Julian P. Boyd, Alliance, Pamlico county, as obtained from Duval Scott, a pupil in the school there. I When I die don't bury me deep ; Put a jug o' 'lasses at my feet. NORTH CAROLINA FOLKLORE Put a pone o' bread in my hand, And I'll sop my way to the promised land! When I die don't bury me at all ; Just pickle my bones in alcohol. Put a bottle of booze at my head and feet, And then PU know that 1 will keep. For Pm a man w4io must have a little likker When Pm dry, dry, dry ! 'When Colonel Died.' Reported by Miss Gertrude Allen (afterwards Mrs. Vaught ) from Taylorsville, Alexander county. Not dated. I When Colonel died with a bottle by his side 2 When I die don't bury me at all. Just pickle my bones in alcohol. 3 Put a bottle of booze at my head and feet And say, 'Colonel died in joy complete.' c 'Drinking Song.' From Lucille Cheek, Chatham county. Oh, when I die don't bury me at all ; Just pickle my bones in alcohol. Place a bottle of booze at my head and feet. Tell all the girls Pve gone to sleep. 'When I Die.' From ]\Iiss F. Shuma, in 1920. Location not given. The same as C except the last line, which runs : "So these old bones shall rest in peace." 'When I Die.' From Miss Kate S. Russell, Person county. Here the alcohol has disappeared. When I die, want you bury me deep. Put a jug of lasses at my head and feet. Pone corn bread in the palm of my hand ; Going to sop lasses in de promised land. 'O When I Die Don't Bury :\Ie Deep.' Contributed in 1919 by H. H. Hanchey as heard in the southeastern part of North CaroHna. Like E, but has its last line in the more familiar fdrni: "So I kin sop my way to de promise land." DRINK AND GAMBLING SONGS 71 39 Sticks and Stones May Break My Bones This line is found in Negro songs reported from North Carolina and Alabama (ANFS 145) which are not specifically drinking songs but are concerned, like the texts here presented, with the singer's posthumous reputation — an element which Dr. White says occurs "in various spirituals." 'A Drunkard's Song.' Contributed in 1913 by William B. Covington with the notation : "Reminiscences of my early youth spent in the coun- try on the border of the sand hills of Scotland County." Sticks and stones may break my bones, Say what you please when I'm dead and gone; But I'm gona drink corn liquor till I die, Till I die, till I die, I'm gona drink corn liquor till I die. B 'Song.' From Louise W. Sloan, Bladen county. No date given. I'm a-living high till I die. Bet your life I'm a-living mighty high; Oh, sticks and stones for to breaker my bones, I know you'll talk about me when I'm gone But I'm a-living high till I die. 'Ise Gwine to Live in de Harvest.' Reported by Julian P. Boyd as ob- tained from Duval Scott, one of his pupils in the school at Alliance, Pamlico county. 1 Ise gwine to live in de harvest. Till I die, till I die ; Life Ise livin' is not so very high ; Sticks and stones gwine break my bones, I know you gwine talk about me when Ise gone ; Ise gwine live in de harvest till I die ! 2 Ise gwine build me a graveyard Of my own, of my own ! Ise gwine build me a graveyard of my own. Sticks and stones gwine break my bones, I know you gwnne talk about me when Ise gone. Ise gwine live in de harvest till I die ! 72 NORTH CAROLINA FOLKLORE 40 Just Kick the Dust over my Coffin In form this is akin to 'Pickle My Bones in Alcohol,' above ; but its spirit is somewhat different, the speaker being about to die of love, and perhaps it should not be here among the drinking songs. I have not found it elsewhere. The manuscript is without name in the Collection, but from surrounding circumstances it is believed to have come from Obadiah Johnson of Crossnore, Avery county. 1 Just kick the dust over my coffin. Say, 'There lies a jovial young lad :' Pile the earth upon my carcass/ Then carve on the stone at my head : Chorus: Oh, ain't it a wonderful story That love it will kill a man dead. 2 Oh, none of you bawling and squalling Around me as tho' you'd gone mad ; Just kick the dust over my coffin And tell my true love that I said : 41 The Hidden Still This little hymn to the moonshiner's still I have not found else- where. 'Down under the Hill.' Reported, probably in 1939, by S. M. Holton as known in Buncombe county. 1 Down under the hill There is a little still, W^here the smoke goes curling through the air. You can easily tell By the perfume and smell There is licker in the air close hy. 2 How it fills the air With a perfume so rare! 'Tis only known to a few. So you wrinkle up your lip And you take a little sip ()f the good old mountain dew. ^ The manuscript has an alternative reading that is lictter : "Pile the earth high up o'er my carcass." DRINK AND GAMBLING SONGS 73 42 Moonshine This laudation of the potency of the mountaineers' favorite product has already been reported by Mrs. Richardson (A MS 94-5). Presumably it is the work of some native celebrant. 'Moonshine.' From the manuscripts of Obadiah Johnson of Crossnore, Avery county ; obtained in July 1940. 1 Come all ye boozefighters, if you want to hear "Bout the kind of booze they sell round here, Made way back in the swamps and hills Whar there's plenty of moonshine stills. 2 Whar they don't give a darn for the Volstead law 'N for prohibition they don't give a straw. Made of buckeye, lye, and cawn. And was bottled up in some barn. 3 One drop'U make a rabbit whup a fool dawg, And a taste will make a rat whip a wild hawg ; Hit'll make a mouse bite off a torn, cat's tail. Make a tadpole have a fuss with a whale. 4 Hit'll make a feist bite off an elephant's mouth. ^ ^lake a fool dawg put a tiger to rout ; Hit'll make a toad spit in a black-snake's face. Make a hard-shell preacher fall from grace. 5 A lamb will lay down with a lion After drinkin' that ole moonshine. Then thrown back your head and take a little drink. And for a week you won't be able to think. 6 Then you'll just take another little bit. Then git ready to have a fit. First thing you know you're awfully tight And out in the street a-tryin' to raise a fight. 7 Then you begin to feel awfully sick ; You think you feel worse than the very ole Nick. You say that you'll never drink it any more ; But you've said that a hundred times before. 8 The moonshiners are gettin' mighty slick And the bootleggers are gettin' mighty thick ; If they keep on bagging they better beware. They'll be selling each other. I declare. * So the manuscript ; but the rhyme and the sense call for "snout." 74 NORTH CAROLINA FOLKLORE 43 Old Corn Licker Of the following fragment the first line appears in a parody of 'The Old-Time Religion' reported by Perrow from South Carolina (JAFL XXVI 149), and a similar two-line fragment mider the same title is reported from Virginia (JAFL xxviii 133). 'Old Corn Licker.' Reported in 1923 or thereabouts — the manuscript is not dated — by Kate S. Russell of Roxboro, Person county. I got drunk and lost my hat ; Old corn licker was cause of dat. 44 Sal and the Baby This may be a fragment of a vaudeville song. I have not found it anywhere in print, and in our collection it comes only from Duplin county. No title. From Miss Minnie Bryan Farrior, Duplin county. No date given. I went down town to see my lady. Nobody's home but Sal an' the baby. Sal was drunk, and the baby crazy ; All that comes of being so lazy.^ 45 Sweet Cider Apparently a fragment of the song reported from Tennessee (ETWVMB 86, SSSA 184) as 'Pretty Little Black-Eyed Susan.' Ford, Traditional Music of America 41, gives it as a square-dance song, with "Paddy" in place of "Sallie." Most likely a product, originally, of the music-hall, it has lived in memory here and there in the Southern mountains. 'Sweet Cider.' Contributed by Clara Hearne of PittsI)oro, Chatham county, in 1923. Where's the mule and where's the rider? Where's the gal that drinks sweet cider? Refrain: Sallie, won't you have some, Sallie, won't you have some, Sallie, won't you have some of my hard cider? ^ Another copy of this same quatrain lias here "crazy." DRINK AND c; A MULING SONGS 75 46 A Little More Cider Too Evidently from the minstrel stage, this has become a college song, and is so entered in Wier's Book of a Thousand Songs. It is very generally known and sung but has not often been admitted to folk-song collections. It is reported from the Midwest (Pound 66) and from the Ozark region (Ford 332-3 — with "white" and "black" where our text has "blonde" and "brunette") and Henry C. Davis (JAFL XXVII 249) lists it as sung by South Carolina Negroes. 'A Little More Cider.' Reported by K. P. Lewis as taken down from the singing in 1910 of Dr. Kemp P. Battle of Chapel Hill. 1 I love the blonde girl and brunette, and I love all the rest, I love the girls for loving me, but I love myself the best. Oh, dear, I am so thirsty, I've just come down from supper ; I drank three pails of apple-jack and a tub of apple butter. Chorus: A Httle more cider, cider, cider, a little more cider too, A little more cider for Miss Dinah, a little more cider too. 2 When first I saw Miss Snowflake, 'twas on Broadway I spied her, I'd have given my hat and boots, I would, if I had been beside her. She looked at me. and I looked at her, and then I crossed the street ; And smilingly she said to me, 'A little more cider sweet.' 3 I wish I was an apple and Snowflake was another. To tiiink how happy we would be upon the tree together ! And then the darkies all would cry. wdien on the tree they spied her. To think how happy we would be all squashed up into cider. 4 Now old age comes creeping ; I grow ole and don't get bigger, And cider sweet and sour then, but I'm the same ole nigger. Be the consequences what it may, long, short, or wider, She am the apple of my eye, and I'm boun' to be beside her. yd NORTH CAROLINA FOLKLORE 'A Little More Cider.' Received from Otis Kuykendall of Asheville in 1939- Stanzas 2 and 3 of A, without significant variation. No title. From the manuscript notebook of Mrs. Harold Glasscock of Raleigh lent to Dr. White in 1943. Fragmentary; the first half of stanza 2, the chorus, and the first half of stanza i of A, witli "blacks" and "whites" in place of "blonde girl" and "brunette." D 'A Little More Cider.' From Mrs. Laura M. Cromartie of Garland, Sampson county. Fragmentary, consisting of tlit chorus and the fol- lowing : 1 Oh, I wish I was a great big horse apple And snowflake was another. What a pretty pair we would make Upon the tree together ! 2 How mad the darkies all would be. When on the tree they spied us. To think how happy we would be All squashed up in apple cider ! 3 Oh dear me, I am so thirsty ! I've just come down from supper. I had a pail of apple-jack And a tub of apple-butter. 'A Little More Cider Sweet.' Obtained, apparently in 1923, by Jesse T. Carpenter from Mrs. Mary Martin Copley of Durham. The chorus and the first three stanzas of A, without significant variations except that the chorus seems of a slightly different rlixthm: A little more cider, cider, A little more cider sweet ; A little more cider for Miss Dinah, A little more cider sweet. 'A Little More Cider.' Contributed in 1922 by J. H. Burrus of Weaver- ville, Buncombe county, with the music and the notation : "This old folk- song was used for an old-fashioned reel and cotillion (or square dance)." The text here has undergone extensive changes, having picked up frag- ments of several other songs. Chorus: A little more cider for Miss Dinah, A little more cider sweet. DRINK AND GAMBLING S O N c; S yj A little more cider for Miss Uiiiah, A little more cider sweeter. 1 I wish I was an apple And Dinah was another ; What a handsome time we'd have Hanging on a tree together ! 2 If you love me like I love you \\'e'll have no time to tarry, We'll have the old folks flying round Fixing us to marry. 3 If I were only young again I'd lead a different life; I'd make some money and huy me a farm, Take Dinah for my wife. 4 I wouldn't marry an old woman, I'll tell you the reason why; Her neck's so long and stringy I'm afraid she'd never die. 5 I had rather marry Dinah W ith an apple in her hand Than to marry an old woman With a house and tract of land. 'Plantation Song.' Contributed by Virginia C. Hall (place and date not given) with the note: "This memory is of a gray whiskered old gentle- man bouncing a little boy on his knee and singing to him 'plantation songs' which he had learned as a child from the Negroes on his father's plantation." Merely the first two lines of the second stanza of -A., and the chorus with "sweet" instead of "too." 47 Sucking Cider Through a Straw This well-known college song is ascribed in Downes and Sieg- nieister's Treasury of American Song 290, words and music, to Carey Morgan and Lee David. It has been reported as folk song from Virginia (FSV 172), Tennessee (BTFLS v 38-9). Georgia (ASb 329), and the Midwest (Pound 38, ASb 329). Only a frag- ment appears in our collection. 'The Prettiest Girl I Ever Saw.' Communicated by B. S. Russell, Rox- boro. Person county. No date given. The prettiest girl I ever saw Was sucking cider through a straw. 78 NORTH CAROLINA I'OLKLORE 48 Drinking Wine This fragment has not been found elsewhere. Perhaps it is from some college drinking song. 'Drinking Wine.' Reported by Gertrude Allen (later Mrs. Vaught) from Taylorsville, Alexander county. Not dated. Drinking- wine, wine, Drinking wine, wine, Ought a been three fotn- thousand years Drinking wine. 49 The Journeyman The song of 'The Roving Journeyman,' in which he describes his way of life and particularly his success with the girls, has under- gone extensive adaptations in this country; the journeyman has become a gambler, a soldier, even a guerrilla of the Civil War. See BSM 374-5, and add to the references there given Virginia (FSV 125-6), Arkansas (OFS iv 356-60), and Indiana (BSI 342-4). Fairly persistent through these transformations are the lines She took me in her parlor And cooled me with her fan and the girl's dialogue with her mother, which form the substance of the texts in our collection. The title 'Broom Field Town' given to the first text seems not to occur elsewhere. 'Broom Field Town.' Reported by Thomas Smith of Zionville, Watauga county, as sung by Mrs. Julia Grogan of Silverstone in 191 5. Smith notes : "She heard the song about twenty-five years ago. . . . Mrs. Grogan is about sixty. Her father, John Yarber, came to this county over sixty years ago . . . from the Cheraw Hills of South Carolina" and "was a popular singer here just after the Civil War." 1 I rode unto my journey Till I came to the Broom h^ield Town. 2 I had not been there two weeks, I am sure it was not three. Till I fell in love with a pretty little girl And she in love with me. 3 I asked her to marry me. To see what she would say. She said she would ask her mother And see what she would say. DRINK AND GAMBLING SONGS 79 4 'How can you treat me so, To leave your kind old mother And with the soldier go ?' 5 'Oh, mother, oh, mother, I love you well. But how much I love the soldier No human tongue can tell.' B 'The Rovin' Gambler.' From the John Burch Blaylock Collection. 1 I am a rovin' gambler, I gambled down in town; Whenever I meet with a deck of cards I lay my money down. 2 I gambled down in Washington, I gambled down in Spain ; I'm going down to Georgia To gamble my last game. 3 I had not been in Washington Many more weeks than three, When I fell in love with a pretty little girl And she fell in love with me. 4 She took me in the parlor. She cooled me with her fan ; She whispered low in her mother's ear, 'I love that gambling man.' 5 'Oh, daughter, oh, dear daughter, Why do you treat me so ? To leave your dear old mother And with a gambler go?' 6 'Oh, mother, oh, dear mother, You know I love you well ; But the love I have for the gambling man No human tongue can tell. 7 'I can hear the train a-coming, Coming round the curve. Whistling and blowing And straining every nerve. 8 *Oh, mother, oh, dear mother, I'll tell you if I can ; If ever you see me again I'll be with a gambling man.' NORTH CAROLINA FOLKLORE 'Journeyman.' Collected by M. F. Morgan in Nash county "from an old lady." Note that while in A the man is a soldier and in B a gambler, he is here simply a journeyman, as in the original song; and that here the girl, not the man, is the narrator. 1 I went along the other day, I met a journeyman. I fell in love with [the] journeyman And he fell in love with me. 2 I took him [into] my parlor, I cooled him with my fan ; I whispered in my mother's ear, 'I love that journeyman." 3 'Daughter, daughter, daughter, Don't you tell me so ; For if you love that journeyman Away from me you go.' Jack of Diamonds A gambler's song — in one text the song of the gambler's wife. It is known in Tennessee (JAFL xxviii 120-30), Mississippi (FSM 207-8), Texas (CS [1910 ed.] 292-4, TNFS 279-80, OSC 303-5, the last two from Negroes), and the Ozarks (OFS in 405-9) ; 'Hustling Gamblers,' also reported from Tennessee (SSSA 102-4, ETWVMB 23-5), has the "Jack o' Diamonds" phrase; a song re- ported from Kentucky (FSMEU 223-4) voices the complaint of a gambler's wife but it is not the same song. Our four texts vary considerably, wliich is not surprising, for like many other American folk songs it is an aggregate of stanzas some of which may be used in other songs. 'Jack of Diamonds.' Reported by Edna Whitley — unfortunately without indication of time or place. Stanza 2 seems incomplete. 1 Jack of diamonds, I know you of old. You raveled my pockets for silver and gold. For silver and gold, You raveled my pockets for silver and gold. 2 I'm ragged, I'm ragged, I am ragged, I am ragged, I know it's nobody's business how ragged I go. 3 I'll tune up my fiddle, I'll raise my l)Ow, I'll carry sweet music wherever I go. DRINK AND C. A M B L I N G S 0 N G S 8l Wherever 1 go, I'll carry sweet music wherever I go. It's not this long journey I'm dreading to go, It's leaving this country and the people I know, And the people I know, It's leaving this country and the people I know. 'A Card- Player's Song.' From Thomas Smith, Silverstone, Watauga county, probably in 1915; with the notation: "This song has been sung in this part of the country a good many years. I heard some card players sing it 18 or 20 years ago. There are several people near here who still sing it." The music was noted by Dr. Brown. 1 Jack of diamonds, I know you, I know you of old, You've robbed my poor pockets of silver and gold. 2 I've played cards in England, I've played cards in Spain, And I'm goin' to old Ireland to play my last game. c 'Jack o' Diamonds." Obtained from Obadiah Johnson of Crossnore, Avery county, in 1940. Here it is in the mouth of the gambler's wife. The second stanza is one of the movable bits of folk lyric; see BSM 487, 488. 1 Jack o' diamonds. Jack o' diamonds. I know you of old, You've robbed my poor pockets of silver and gold. 2 I'll build me a log cabin on yon mountain high. Where the blackbirds will see me as they pass me by. 3 My children are crying for the w^ant of some bread ; My husband's a gambler ; I wisht I was dead. 'Jack o' Diamonds." Reported by Evelyn Moody of Stanly county ; not dated. Only a single couplet. Jack o' diamonds. Jack o' diamonds, I know you of old ; You lost me a fortune in silver and gold. 51 Shoot Your Dice and Have Your Fun From Howell J. Hatcher, Trinity College student, December 5, 191 5, with music. .As in White ANFS 364 (without music). Shoot your dice and have )'our fun, I'll have mine when the police come. Police come, I didn't wanta go ; I knocked him in the head wid a forty- fo'. .V.C.F., Vol. Ill, (8) 82 NORTH CAROLINA FOLKLORE I Got Mine White (ANFS 195-9, 200) says that this was originally a vaude- ville song that attained wide popularity among the Negroes, and gives texts from North Carolina, Georgia, and Alabama. Perrow had already (JAFL xxiv 369) reported it from the singing of Negroes in Mississippi. The texts vary rather widely. 'I Got Mine.' Contributed by Otis Kuykendall of Asheville in 1939. 1 I went out to a nigger crap game ; It was against my will. Dem coons got all my money Except a greenback dollar bill. A hundred dollar bet was on the table, The nigger's point was nine ; Just then a cop stepped through the door And I got mine. Chorus: I got mine, boys, I got mine ; I grabbed that hundred dollar bill. Through the window I did climb. Ever since then been wearin' good clothes, Living on chicken and wine ; I'm the leader of Society Since I got mine. 2 I went out to a buzzard feast ; The eatables they were fine. Half an hour before that table was set Dem coons all formed in line. When they brought that eagle in Their eyes began to shine. One grabbed that eagle by the neck, But I caught on behind. 3 A coon in front thought he had the whole thing. But I got mine. I tried to get through the window, But I didn't get through in time ; I eat my meals from a mantel piece Since I got mine ! Ill HOMILETIC SONGS THE MUSE of folk song has no antipatliy to incjralizing ; indeed, street balladry is rather fond of it. But among the preachments found in the North Carolina collection are few items that have any long traditional history. 'When Adam Was First Created' is on a theme, the proper relation between man and wife, that goes back to Chaucer and less definitely to medieval sermonizing. But most of the pieces of social moralizing, 'Pulling Hard against the Stream,' 'Paddle Your Own Canoe/ and the like, are certainly modern. 'Meditations of an Old Bachelor' and 'Why Do You Bob Your Hair, Girls?' reprove newfangled fashions. 'Who Is My Neigh- bor?' and 'You Say You Are of Noble Race' are apothegms. Of those of a more definitely religious cast 'The Wicked Girl' is prob- ably the oldest and certainly the most widely known. 53 When Adam Was Created Whether or not this is to be admitted as folk song, it is at least traditional and embodies a piece of folk-wisdom — wisdom that goes back, as Jackson (Dozvii-Easf Spirituals 77-8) shows, to Chaucer's "Parson's Tale" and back of that to church teachings as early as the twelfth century. As traditional song it exists in two forms, one of which may be called the English, the other the American form. The English form is traceable as far back as the middle of the eighteenth century and is found in Bell's Ballads and Songs of the Peasantry of England (pp. 451-2 of the 1877 print), in Baring- Gould's Songs of the Jl'cst No. 100 (from Devonshire), in Folk- Lore XXIV 82 (from (Oxfordshire), in Williams's collection (FSUT 1 15-16, from Oxfordshire), in a stall print without printer's name which I found in the Harvard College Library with the title 'The Honest Man's Favourite,' and is the version given by Newell (JAFL XII 250-1) as obtained from Mrs. E. Allen of Massachu- setts. The American version is reproduced by Jackson from The Social Harp of 1855 (SFSEA 41, the first stanza only) and from The Original Sacred Harp of 191 1 (SFSEA 74-5, a complete text), is that which has been attributed to Lincoln,^ was found by Sharp in North Carolina (SharpK 11 272), and is in our collection. Appar- ^ So I am informed by Professor Francis Lee Utley, of Ohio State University, who has made a detailed study of this song. 84 NORTH CAROLINA FOLKLORE ently it is of Southern origin; both TJic Social Harp and The Original Sacred Harp were compiled by Georgians, and Newell's Massachusetts text represents the English, not the American version. A 'When Adam Was Created." A clipping from the Lenoir Ncu.'s (also from the Lenoir Times — or are these one publication?) of January 27, 1914, sent in by J. L. Nelson. The piece was sent to the paper by S. C. Sherrill with a note that it was sung by Mrs. Nancy Coffee at the age of eighty-four. "Mrs. Coffee could not read, but had learned many hymns when young." With the music. 1 When Adam was created he dwelt in Eden's shade, As Moses has related, before a bride was made. Ten thousand times ten thousand creatures dwelt around Before a bride was formed or any helpmeet found. 2 He had no conversation, he seemed like one alone. Till at his consternation he found he'd lost a bone. Great was his admiration when first he saw his bride. Great was his adoration to see her by his side. 3 He spoke like one in rapture: T know from whence she came ; From my left side extracted, and woman is her name.' This seems to be one reason why man should love his bride, A part of his own body, the product of his side. 4 This woman was not taken from Adam's head, we know, And she must not rule over him. 'tis evidently so. This woman was not taken from Adam's feet, we see. And he must not abuse her, the meaning seems to be. 5 This woman was extracted from under Adam's arm. And she must be protected from injury and harm; This woman was extracted from near to Adam's heart. By which we are directed that they should never part. 6 Here's counsel to the bridegroom and counsel to the bride: Let not this loaded volume be ever laid aside. The book that's called the Bible be sure you don't neglect. In every sense of duty it will you both direct. 7 To you, most noble bridegroom, to )'ou 1 lay aside. Be sure to live a Christian, and for your house i)rovidc. Avoid all contentions, sow not the seed of strife; That is the solemn dutv of every man and wife. 'Adam and Eve.' From Miss Sadie Jolmson, as sung by her grand- mother, of Dchart, Wilkes county, in i<).V>. it is the same version II <) Mil. K T I f S O N <; S 85 as A; Init it lias "maid" instead of "hclpnifi-t" in line 4. "adviration" instead of "consternation" in line 0, "exultation" instead of "admira- tion" in line 7, and "alimation' 'instead of "adoration" in line 8, and from there on, though the matter is much the same, it has been so thoroughly rearranged that it seems best to give the text (it is here written in quatrains of short lines, so that the stanza numbering is douliled ) : 5 He spoke as in a fapture : 'I know fi-om whence she came; From my left side extfacted. And woman is her name.' 6 The woman was not taken From Adam's head, we know. And he must not ahuse her, It's evidently so. 7 This woman was not taken From Adam's feet, we see. And she must not rule o'er him. The meaning seems to he. 8 This woman she was taken From near of Adam's heart, By which we are directed That they must never part. 9 This woman she was taken From under Adam's arm And she must he protected From injury and harm. 10 Here's council for the hridegroom, Here's council for the l)ride : Be sure you hoth live Christians And for your house provide. 1 1 Avoiding all contention. Don't sow the seeds of strife. This is the solemn duty Of every man and wife. 12 This hook that's called the Bihle Be sure you don't neglect ; In every scene of heauty It will you both direct. 86 NORTH CAROLINA FOLKLORE 54 Pulling Hard against the Stream This homely homiletic is listed in the Pound syllabus, p. 54. and is given in Spaeth's IVcep Some More, My Lady, pp. 157-9, with- out author's name. The California Check List notes a print of it by De ^larsan, New York. "Fulling Hard against the Stream.' Contributed by Miss Elizabeth Janet Black of Wilmington, formerly of Ivanhoe._ Sampson county. In the first line "word" should probably be "world." 1 In this word Pve gained my knowledge, And for it have had to pay. Though I never went to college Yet Pve heard the poets say Life is like a mighty river Rolling on from day to day. Men are vessels launched upon it, Sometimes wrecked and cast away. So Chorus: Then do your best for one another, Making life a pleasant dream ; Help a worn and weary brother Pulling hard against the stream. 2 Many a high, good-hearted fellow, Many a noble-minded man. Finds himself in water shallow; Then assist him if you can. Some succeed at every turning ;^ Others, too. tho' more deserving, Have to pull against the stream. 3 If the wind is in your favor And you've weathered every s(iuall. Think of those whose luckless labors Never got fair winds at all. Working hard, contented, willing. Struggling thro' life's ocean wide. Not a friend and not a shilling. Pulling hard against the stream. ^ 4 Don't give way to foolish sorrow. Let this keep you in good cheer : Brighter days may come tomorrow * The sixth line of stanza 2, "Fortune favors every scheme." has dropped out from Miss Black's text; and the last word of stanza 3 should be "tide." II O M 1 L i: T I C S 0 N G S 87 If you try and persevere. Darkest nights will have a morning Tho' the sky be overcast ; Longest lanes must have a turning And the tide will turn at last. 55 Paddle Your Own Canoe This song, the work of H. Clifton, must have achieved consider- ahle currency ; it is given in both the Franklin Square Song Col- lection (ill 91) and Heart Songs (286-7). Davis reports it from Virginia (FSV 129). 'Paddle Your Own Canoe.' Contributed by Miss Duo K. Smith of Houstonville, Iredell county. Not dated. 1 I've traveled about a bit in my time And of troubles I've seen a few, But I found it better in every clime To paddle my own canoe. My wants are small ; I care not at all If my debts are paid when due ; I drive away strife in the ocean of life AMiile I paddle my own canoe. Chorus: Then love your neighbor as yourself, As the world you travel through. And never sit down with a tear or frown. But paddle your own canoe. 2 I have no wife to bother my life. No lover to prove untrue ; But the wdiole day long, with a laugh and a song, I paddle my own canoe. I rise with the lark, and from daylight till dark I do wdiat I have to do ; I'm careless of wealth if I've only the health To paddle my own canoe. 3 It's all very well to depend on a friend, That is, if you've proved him true ; But you'll find it better by far in the end To paddle your own canoe. To borrow is dearer by far than to buy, A maxim, though old, still true ; You never will sigh if you only will try To paddle your own canoe. 0» NORTH CAROLINA FOLKLORE 4 If a hurricane rise in the mid-day skies And the sim is lost to view, Move steadily by, with a steadfast eye. And paddle your own canoe. The daisies that grow in the bright green fields Are blooming so sweet for you ; So never sit down with a tear or a frown, But paddle your own canoe. 56 Why Do You Bob Your Hair, Girls? Sounds more like a preachment than an attempt at humor, yet it may have come from the vaudeville stage. Randolph, reporting it from Arkansas, savs his informant called it a Holv Roller song (OFS1V83-4). 'Why Do Vou Bob Your Hair, Girls?" Obtained from Mrs. Minnie Church of Heaton, Avery county, in 1930. 1 Why do you bob your hair, girls? It is an awful shame To rob the head God gave you To bear the flapper's name. 2 You're taking off your covering. It is an awful sin. Don't never hob your hair, girls; Short hair belongs to men. 3 Why do you bob your hair, girls? It's not the thing to do. Just wear it, always wear it, And to the Lord be true. 4 And when before the Judgment You meet the Lord up there. He'll say 'well done' for, wandering. You've never bobbed vour hair. 57 Meditations of an Old Bachelor This, doubtless from the music-hall stage, modernizes a theme of which the pioneer age was fond. See 'Tlie Carolina Crew,' and 'When Young Men Go Courting,' and compare BSAI 426. This particular embodiment of the theme has not been found elsewhere. 'Meditations of an Old Bachelor.' Reported liy Macie Morgan, Stanly county. H O M 1 I. K TIC SON C. S 89 1 The girls today are different from those I used to know. They never seem contented unless they're on the go. I can't quite understand them; I'm fond of them, it's true, But they ahvays keep you guessing as to what they'll say or do. 2 These made-up girls don't please me. At heart I'm really sick Of painted checks and eyebrows and abundance of lip- stick. On costly shows and cabarets your time and money's spent. The modern girl, without a doubt, [isj always pleasure- bent. 3 The styles are all so different: short hair, short dresses too. Womanly characteristics that we loved and prized are few. But these modern girls are clever, and will keep you on the go, And if you please their fancy they'll surely let you know. 4 No courting by the fireside as in the days of old. But on the highways riding, in weather warm or cold. They call you up and make the dates, do their courting too. Now this is just their way, you say ; to me it's wholly new. 5 The old-time girls were modest, endowed with queenly grace. With voices soft and tender, a blessing to the race. Now the mannish girls confront us, no more that graceftil curl. The average man is yearning for the good old-fashioned girl. 6 In dreams I'm often with them, the girls of other days. The happy blushing maiden, who walked in wisdom's ways. \\ hen with these gay young creatures my mind's kept in a whirl ; I'm longing — sadly longing — for the good old-fashioned girl. 58 The Thresherman Well known in the old country — Burns contributed a text to the 1792 edition of Johnson's Miiscidii, and it is still remembered in Scotland ( Ord 48-9); it has been reported from Westmorland 90 NORTH C x\ R O L I N A 1' O L K L 0 R E (JFSS V 299). Berkshire and Oxfordshire (FSUT 138), Essex (JFSS II 198-9), Sussex (JFSS i 79), Hampshire (JFSS iii 202-3), and Dorset (JFSS v 202, tune only), and is also to be found in stall ballad print — but infrequently recorded in America : Vermont (VFSB 157-9, from the Green Mountain Songster of 1823), New Jersey (JAFL lii 60), Virginia (JAFL xxx 354-5, FSV 169), Arkansas (OFS i 436), and now from North Carolina. 'Jolly Thrasher.' Contributed by Juanita Tillett of Wanchese, Roanoke Island, in March, 1923. 1 As I rode out a-htmting. a-htmting one day, I met a jolly thrasher all on the highway. With a staff upon his shoulder and a bottle of good beer He was as happy as a lord with a thousand pounds a year. 2 'O thrasher, jolly thrasher, come tell to me now How you maintain your family with only one cow. Your family it is large and your wages they are small, And how you maintain them I know not at all.' 3 'Sometimes a-hedging, a-ditching I go. Sometimes I reap and other times I mow, Other times 1 follow the harrow and the plow. I earn all my money by the sweat of my brow. 4 'When I go home at night just as tired as I can be. I take the youngest child and I dangle him on my knee. The other ones around me with their racket and their noise ; And that's all the comfort a poor man enjoys.' 59 You Say You Are of Noble Race This fragment has not been found elsewhere. The collector's account of it suggests that the whole, if it could be recovered, would probably be a piece of moralizing. No title. Contributed by Thomas Smith of Zionville, Watauga county, in 1915 with the following note: "Mrs. Polly Rayfield recalls one verse (if an old song sung by Thomas Williams (who was a great singer of old songs) over 40 years ago. Nothing more of the song can Mrs. Rayfield remember — not even the story, except that it was about a 'stuck up' young lady who refused to marry a young man because he was of a poor class of people." Yoti say yoti are of noble race And 1 of low degree. We are all of Adam's race ; Pray, what more can we be? H 0 M I L E T I C S O N G S 9I 60 Will) IS AU' Nkic.hbor? A bit of moralizing which I have not found elsewhere. 'Who is my Neighbor?' Reported by Carl G. Knox of Durham in 1924 or 1925. With the tune. 'Who is my neighbor ?' Hear the poor Jew cry. 'Who will a-yescort me? Help me ere I die.' 61 Dying from Home and Lost Randolph, reporting this song from Arkansas and Missouri (OFS IV 41-3), says it seems to be part of a longer song written by the Reverend S. M. Brown and published in his Songs of Zion with a copyright date of 1892, and he quotes from a later print (James D. Vaughan's Crowning Praises, 191 1, in which it appears) the de- tailed story of the young man in whose mouth the song is put, killed in a bridge-building accident in Kansas City. 'Dying from Home and Lost.' Contributed by O. L. Coffey of Sinill's Mills, Watauga county, in August 1939. 1 Companion, draw nigh. They say I must die ; Early the stnnmons lias come from on high. The way is so dark ! And yet I must go. Oh, that such sorrow yott never may know ! Chorus: Only a prayer, only a tear. Oh, if sister and mother were here ! Only a song; 'twill comfort and cheer, Only a word from that book so dear. 2 Ah, can you not bow and pray with me now? Sad the regret — we have never learned how To come before him who only can save, Leading in triumph through death and the grave. 3 And can you not sing a song of his love? How he came down from the mansion al)ove To bleed and to die on Calvary's tree, Bringing salvation to sinners like me. 4 Alas, it is so. But thus it must be, No word of comfort or promise for me ; To die without God or hope in his son, Covered in darkness, bereaved and undone. 92 X () K T 11 C A R 0 L I X A 1* () L K L 0 R E S ( ) people of God who have his l)lest word, Will you not heed the command of your Lord And puhlish to all of Adam's lost race Pardon, forgiveness, salvation through grace? 62 The Wicked (hrl Belden BSM 460-4 gives an account of tlie liistury of thi^ ballad, indicating its American (possibly New England) origin; cites printed and traditional appearances (including, among die former. The Original Sacred Harp, and among the latter, versions from Jamaica, Rhode Island, Virginia, West Virginia, Mississippi, Arkan- sas, Indiana, and Iowa) ; and prints four Missouri texts. See Hud- son JAFL XXXIX 175 ff. for a counterpart from Mississippi. Add Chappell FSRA 194, Eddy BSO 305-6, Brewster BSI 303, Ran- dolph OFS IV 16-20, and Davis FSV 298. Of the following North Carolina texts, A has considerable antiquity as judged by American folk-song tradition. In order and content of stanzas and in rhymes it is close to the Missouri A text, but lacks a stanza corresponding to the last stanza of that text. A 'Young People Hark.' From the Adams manuscript book (western North Carolina, 1824-5), owned by W. Amos Abrams and copied by him for the Frank C. Brown Collection in 1944. Professor Abrams notes that he has several variants and that the song is known as 'Wicked Polly,' 'The Dying Girl Unprepared to Meet Her God,' 'The Downward Road Is Crowded.' etc. The manuscript spellings, lines, and stanzas have been followed zr/'/x//;;;; ct scriafi)ii. 1 Young people hark & I will tell the misteries of a soul in hell a woman who was young & fare Who died in sin and black dispare 2 Her tender parents oft did pray for her poor soul from day to day they gave her council good advice hut she delighted still in vice 3 Shed go to frolick dance and play in spite of all her friends could say I'll return to (iod when I am old And then he will recieve my soul 4 .\t length she heard the spirit say thou sinful wreach forsake thy way And tiu'n to mv or you shall dwell for ever in the flames of hell H O M I L E T 1 C S O N i; S 93 5 I am too young she then rephde my comrades all will me deny the spirit then bid her farwell and so to commits this wreach to hell 6 it was [ ?| not long ere death did come to call this hapless sinner home and where-upon her diing bed she calld her friends & thus she sd 7 My friends 1 bid you all farwell I die I die I sink to hell there I must lie & scream & cry (down I Im lost I am [ ] ft)rever more I doom I 8 her tender parents she address I hope your souls will boath be blest but your poor child you now may se but soon will be in misery amen B 'A Sad Parting.' From Mrs. Minnie Church, Heaton, Avery county, 1930. This is close to Brewster's BSI 303 text, from Indiana, having one more stanza (the last) than that. 1 Young {)eople who delight in sin. I'll tell you what has lately I)een : A lady who was young and fair. She died in sin and dark despair. 2 She'd go to frolics, dance, and play, In spite of all her friends could .say. 'I'll ttu'n to God when 1 get old. And tlu'n lie will receive my soul.' 3 On I^^-iday she was taken ill ; Her stubborn heart began to fill. 'Alas ! Alas ! My days are spent — Too late, too late now to repent.' 4 She called her mother to her bed ; Her eyes were rolling in her head. 'Oh, earthly mother, farewell ; Your wicked daughter screams in hell.' 5 She called her father to her bed. Her eyes still rolling in her head. 'Oh, earthly father, farewell ; I\Iv soul is lost and doomed in hell.' 94 N O R T 11 C A R () I. I N A I" O L K L 0 R E 6 She gnawed her tongue before she died. She wrung her hands, she screamed, she cried "Oh, must I burn forever more. Ten thousand years rolls o'er and o'er? 7 "Young people all. with one accord Take warning by my dying word. You may escape these Hellish flames While I am doomed to Endless Pain." 'Wicked I'olly." A phonograph recording made b}- Mrs. Church in i«J39. The record has not lieen transcribed. No title. One of several songs sent in September 1944 to Professor A. P. Hudson, Chapel Hill, by Mrs. Katherine Thomas, a teacher in the Durham High School for Negroes, who had been a member of one of Professor Hudson's classes at the North Carolina College for Negroes, Durham, in the spring of 1943. Regarding the songs, Mrs. Thomas wrote, "I secured most of them from my students." 1 Young people who delight in sin, I'll tell you what has lately been. A lady who was young and fair Who died in sin and sad despair. Chorus: She'd go to frocks,^ dance, and play, In spite of all her friends wotild say. T'U turn to God when I am old, And then he will receive my soul.' 2 On Friday morning she took sick. Her stumble heart begin to break. 'Alas, alas, my days I've spent. Too late, too late for to repent !' 3 .She gnaw her tongue before she died. She gown, she moun, she scream, she cried, '( )h, must I burn forever more Till tbou.sand. thousand davs arc old?' 4 She said. 'Oh, mother, mother, tell my mates To turn to Ciod and seek His faith, Upon their needs for mercy cry. In sin and shame like Mary died.' * So in the manscript. Read 'frolick,' II U M I L E T 1 C SO N c; S 95 63 A Poor Sinner Tliis resembles in theme, tone, and style 'The Wicked Girl,' above, but seems to be an independent homiletic ballad. Dorothy Scar- borough, SCSM "Ji, says that a Mrs. J. G. Stikeleather of Asheville "sang a fragment of song with a Kentucky scene" and prints a text with stanzas corresponding to the first and last of the following. 'A Poor Sinner.' From Miss Monnie McDonald, Lillington, Harnett county. Not dated. "From her grandmother, as sung at a camp meet- ing at Cool Springs Methodist Church, near Lillington, N. C, during the Civil War." A line seems to have been lost from the third stanza. 1 Hark, sinner, hark, while 1 relate What happened in Kentucky State. A poor young woman lately died ; She dropped from all her wealth and pride. 2 She once professed the Lord to know And did with saints to meeting go, But the young sinner drew her on And brought her soul to laugh and scorn. 3 She called her father ; thus she said : 'Oh, father, mother, fare you well ! Oh, brother, sister, fare you well !' 4 'Oh, loving Betsy, fare you well ! I'm afraid your soul has gone to hell.' She closed her eyes ; her nails turned blue ; And she bade this world adieu. 64 Advice to Sinners With music. From Miss Fannie Grogan, Silverstone, Watauga county. Words and air by Miss Grogan as "written April 16, 1916, for Lawton Grogan." I Oh, Sinner, you'd better take heed to the Saviour's word today. You will follow the Christian round and still you will not pray. God in his angry frown Some day will cut you down. For your body has to lie in the ground. Chorus: Your body has to lie in the ground. You will follow the Christian round. 96 X () R T H L A k O 1. I X A FOLKLORE And \(tu'll trv to i)ull him down ; But vour body has to he in the ground. 2 You join the church, poor Sinner, with sin polhite God's land. You never will be able before your Cod tcj stand. You will travel on your ways. And you'll sin away your days ; For your body has to lie in the ground. 3 Oh. Death will soon recei\e you; your breath you'll cease to draw. When followed by the dragon it is then too late to war. Woe and misery you will see Throughout all eternity ; For your body has to lie in the ground. 4 When Gabriel sounds his trumpet, poor Sinner, you'll be lost. You'll see the good old Christian come wagging with his cross, With his garments white and clean. Crying, 'Lord, I've been redeemed.' For your body has to lie in the ground. 5 Now turn your back on Satan and give the Lord vour heart. My God sits in His kingdom and always does His part. Oh, the angels they will shout When He casts the Devil out. For your body has to lie in the ground. 6 One minute spent in Glory will satisfy your mind For all the worldly pleasure^ that you have left behind. You will fly around God's throne W'ith Peter. James, and John. For your body has to lie in the ground. 65 Wild ( )ats There are in the Collection two — somewhat contradictory — ver- sions of what Mrs. Emma M. Backus reports (JAFL xiv 297) as a sinji^ing- f^ame played in rural Connecticut in 1865. Mrs. L. D. Ames reports it as a ])lay-])arty song- in Missouri (JAFL xxiv 314). See also Botkin, API'S 36, 58 n., and 170-1. There is noth- inji^ to show, however, that it is a i)lay-party song in North Caro- lina. It seems rather to he homiU'tic. II O M 1 I. K TIC SON (i S 97 Turn, Young Men.' From Miss Gertrude Allen (afterwards Mrs. Vaugiit), Taylorsville, .\lexander county. Not dated, but sent in some time ill the 1920s. Turn, young men. from your evil ways ; Go sow yoin- wild oats in the early days — That you may be happy when you grow old. B No title. From Ethel Brown, Catawba county. Not dated. Turn ye, young men, from your evil ways ; Don't sow wild oats in your early days — That you may be happy when you grow old. 66 You Can Run on a Long Time From Julian P. Boyd, Alliance, Pamlico county, as collected from Min- nie Lee, a pupil; undated, but c. 1927-28. "Negro fragment." 1 When I looked down into holiness, I saw it true and plain ; I saw that I could not despise his word And in his love remain. Chants: You can run on a long time With the cover of the world pulled over your face ; You can run a long time ; But your sins are going to find you out. 2 Let me tell you about a liar. He won't do to trust ; He'll tell a lie to make a fuss, Tell another to make it wuss. 3 See that sister shoutin' ? She seems to be mighty glad. But when you tell the gospel truth, You are sho' to make her mad. 4 We have some folks in de church. You have often heard it said ; You just can't live that holy life L'Util you get upon your dying bed. 5 ^^ e have some brethren in the church Who believe in having two wives. X.C.F., Vol. TII. (9) 98 N 0 K T II C A K O L I N A F O L K L 0 R K Vou can call them up into counsel r>ut their temper will l)egin to rise. 6 Some women loving other women's husbands; They had better be loving their own. If they haven't got one. they had better get one, Be ready when the judgment comes. 7 You told me you had been converted ; Be sure you do not lie. They say that in my leather's house They are holy and satisfied. 8 \Ve have some sisters in the church ; They say I am growing cold ; They say I'm doin' nothin' wrong But tattlin' from do' to do'. IV PLAY-PARTY AND DANCE SONGS THE PLAY-PARTY is an American institution, a compromise between the ineradicable love of social merrymaking and the Puritan distrust of dancing as one of the wiles of the devil. Throughout wide reaches of American life, especially along the ever- moving frontier in the latter half of the nineteenth century, young people would get together for an evening not for dancing, for danc- ing was not respectable, but for a play-party. And what was a play- party ? Why, it was a dancing party in everything except the name and — in most communities — the help of instrumental music. For the parlor organ was not very well suited to dance music, and the fiddle and the banjo were gadgets of the devil. But dancing without music to lift and carry the rhythm would be a dull affair; and so they sang. The songs are of various origin. Many of them are old English songs used in singing games of the sort gathered by Lady Gomme in the old country and by William Wells Newell in the United States. INIany of these are still used as children's games in America, and the play-party is in considerable part a relic of these games, become the play no longer of children but of grownups. Others have been adopted from the minstrel stage ; others are mem- ories of the frontier, of the War of 1812, of the Mexican War. Some, like 'Old Joe Clark' and 'Uncle Joe Cut Off His Toe,' have no discoverable origin and no very fixed content but a swinging tune that ensures their popularity. And some are simply old dance tunes with words to carry them, like 'Pop Goes the W'easel' and "Turkey in the Straw.' North Carolina has never been so definitely in the Bible belt as many of the Midwestern states. The fiddle and the guitar, and especially the banjo, have never been without their devotees in the Old North State. Accordingly we find in our collection many songs or fragments of songs described as favorites with "banjo pickers," and these we have included in this section. There are also a con- siderable number of songs which are not labeled by the contributors as play-party songs or dance songs but which seem from their structure and content likely to have been used as such. These we have assembled at the close of the section. 100 i\ 0 r t ii c a r o l i n a i- o l k l 0 r e W'eevilv Wheat Perhaps tlic most widely known and used of play-party songs is this relic of the Jacobite sentiment of two hundred years ago. See Botkin's The American Play-Party Song 345-51 a"fi the McLendon finding list in SFLQ viii 228, and add X'irginia ( FSV 223-4) and the oV.arks ( OFS in 297-301). Not infrequently all trace of its Jacobite origin has been lost. "Over the River to Feed the Sheep." Contributed in 1920 by O. J. Burrus. 1 As I come down the motuitaiii I give me horn a hlow. You ought to have heard those pretty httle girls Say, 'Yonder comes my heau.' Clionis: Oh. wait a little while, hoy, We will all go. Don't you know that old shanghai Go ook 00k 00k 00k 00k? 2 One cold frosty morning Barney come down the road. He had no shoes upon his feet ; The frost bit ofif his toes. 3 Over the river tf) feed the sheep. Over the river to Charlie. Over the river to feed the slieep, Feed them well on barley. 4 I won't have none of your weevily wheat, I won't have none of your barley ; T must have some of the best of wheat To bake a cake for Charlie. 5 Cliarlie he's a nice young man. Charlie he's a dandy ; Charlie is the very man That 1 would ])ull my candy.* No title. Obtained from Miss Jewell R(ibl)iiis, Pekin, Montgomery county, in 1922. In the form of a record, on which Dr. Brown notes: ^ This line is evidently corrupt, l)ut the editor will not venture to correct it. P I. A V - 1' A K T V A N I) I) A N C K S () N C S lOI "Song mack- up on two lovers, Florence Andrews and Charley Braid- shire." The four-line fragment gives no clear idea of what the story may be, but it evidently uses the "weevily wheat" verse and rhyme. Florence ran tli rough the weevily wheat, Florence ran through the barley ; Florence fell down and broke her neck And .so she died for Charley. 68 Here Comes Three Lawyers One of the many variants of the singing game "Here Come Three Dukes A-Riding,' for wliich see the McLendon finding list, SFLQ viii 209. Reported also by Davis for Virginia (FSV 228-9) and by Randolph for Missouri (OFS iii 360-1). The riders may be three knights, three kings, three brethren otit of Spain, or still other variants. To the references in the McLendon list should be added Massachusetts (FSONE 13-15). Tennessee ( BTFLS v 26-7), and the Czarks (OFS in 367-8). ' 'Here Comes Three Lawyers, Three Lawyers Are We." From the manu- script notebook of Mrs. Harold Glasscock of Raleigh, lent to Dr. White in 1943. This, like other items in Mrs. Glasscock's book, was learned from her parents. A note in tlie book explains that, in "acting it out, Lawyer carries a book, merchants, goods, farmer, corn. Peddler with pack on end of stick." 1 'Here conies three lawyers, three lawyers we are. A-courting your daughter so rare and so fair. Can we get lodgings here, oh here, Can we get lodgings here ?' 2 'This is my daughter that sets by my side. And none of you lawyers can get her for a bride. You cannot get lodgings here, oh here, And you cannot get lodgings here.' 3 'We care nothing for your daughter and less for yourself. I betcha hve dollars I can better myself, And we do not want lodgings here, oh here, We do not want lodgings here." Similarly fur merchants and farmers. Last come the peddlers : and now the response is : "This is my daughter that sits by my side. And one of you peddlers can get her for a bride ; And you can get lodgings here, oh here. And you can get lodgings here.' 102 NORTH CAROLINA FOLKLORE 69 Jennie Jenkins A color song, presumably a derivative of the very widely known and sung 'Miss Jennia Jones,' for which see the McLendon finding list SFLQ viii 216 — though 'Jennie Jenkins' is not there listed as a title nor have our North Carolina texts any suggestion of a funeral or of the wearing of mourning. A 'Jennie Jenkins' song has been reported from New Hampshire (F.SONE 199-200), Ver- mont (VFSB 164-7). N'irginia ( OSC 129-30), and Missouri (OF.S III 208). 'Julie Jenkins.' Sung by Mrs. Nancy Prather of Sugar Grove, Watauga county, in August 1937. 1 'Will you wear red, my true love? Will you wear red, Julie Jenkins?' 'I won't wear red, it's the color of niy head : Refrain: 'So I'll buy me a falli-ralli-dilly-dally Servi-jtiicy-douhle binding- To wear with a robe, Julie Jenkins.' 2 'Will you wear white, my true love? Will you wear white, Julie Jenkins?' 'I won't wear white, the color is so light.' 3 'Will you wear blue, my true love? Will you wear blue, Julie Jenkins?' 'T won't wear blue, the color is so true.' 4 'Will you wear black, my true love? Will you wear black, Julie Jenkins?' 'I won't wear black, it's the color of a sack.' 5 'Will you wear brown, my true love? Will you wear brown, Julie Jenkins?' 'I won't wear brown, it's the color of a crown.' 6 'Will you wear yaller, my true love? Will you wear yaller, Julie Jenkins?' '1 won't wear yaller, the color is so shaller.' 7 "Will you wear ])ur]:)le, my true love? Will you wear purple, Julie Jenkins?' 'I won't wear ])ur])le, it's the color of a tiu'kle.' 'Jti'.nit.- Jiiikiiis' l\(.iHirtf(l by Thomas Smith of Zionviilc, Watauga county, in 1921 as sung l)y Ik'niictt Sniitli and i^. J. Sniitli of that place. P L A Y - P A R T Y A N D DAN C K S O N (i S I03 "They hoard it first sung over forty years ago in Caldwell county. This song, they say. was very jxjpular just after the close of the Civil War. Tlic Misses Green of Caldwell county were the ones who sung the song to Bennett Smith and E. J. Smith over forty years ago." Nine colors are proposed, I)lue, green, red, white, yellow, gray, hlack. hrown, and spotted. The answers correspond often to those of A, hut the re- frain is not just the same. It runs: I'll buy me a turly whirly double lolly sookey juley Salley katy double double row stick a beany WsLU ter ma rose. Jennie Jenkins. The answers for five of the colors are different from those of A : 'I won't wear green, for it is too clean.' 'I won't wear gray, for it's too gay.' 'I won't wear black, for it is too slack.' 'I won't wear brown, for it's the color of the ground.' 'I won't wear spotted, for it is too drotted.' 'Jenny Jenkins.' Contributed by R. D. Ware in 1921 from Albemarle, Stanly county. Chorus and three stanzas dealing with red, black, and brown as in A except that brown, as in B, "is the color of the ground." 'Tooley Wooley Iser.' From the manuscript notebook of Mrs. Harold Glasscock of Raleigh, lent to Dr. White in 1943. "Most or all of her songs Mrs. Glasscock learned from her parents." 1 'Oh will you wear the green, oh dear, oh dear. Oh will you wear the green, Jennie Jenkins ?' 'I won't wear the green, for the color will be seen; So buy me the tooley wooley Iser.' Chorus: Buy me the tooley wooley double lucky sucky tucky ripe grown green brandy beer, Bend your hooks, won't you wear it. Jennie Jenkins? 2 'Oh will you wear the blue, oh dear, oh dear. Oh will you wear the blue. Jennie Jenkins?' 'I won't wear the blue, for the color isn't true; So buy me the tooley wooley Iser.' 3 'Oh will you wear the gray, oh dear, oh dear. Oh will you wear the gray. Jennie Jenkins?' 'I won't wear the gray, for the color will betray; So buy me the tooley wooley Iser.' 104 ^' '* '< ' " *-' '^ ^ " '- ^ '^' ''^ FOLKLORE Oh. Pretty Polly Like "Miss Jennia Jones' this is a color song, but I have no evi- dence that it is a play-party or game song. Indeed. I have nowhere found it reported as traditional song. 'Oh. Pretty Polly.' Contributed in 1924 or thereabouts by Carl G. Knox, Durham. With the tune. 1 Oh. pretty Polly, don't you cry. Yotir sweetheart's a-comiiig by-and-by. When he comes, he'll come in green ; Then you may know that his love is keen. 2 Oh, pretty Polly, don't you cry. Your sweetheart's a-coming by-and-by. When he comes, he'll come in blue ; Then you may know his love is true. 3 Oh, pretty Polly, etc. When he comes, he'll come in yellow ; Then you may know his love is shallow\ 4 ( )]i. pretty Polly, etc. \\ hen he comes, he'll come in black ; Then you may know he'll turn his back. 5 Oh, pretty Polly, etc. W^hen he comes, he'll come in brown ; Then you may know he'll turn you down. 6 Oh. pretty Polly, etc. When he comes, he'll come in red ; Then you may know his love is dead. 7 Oh. pretty Polly, don't you cry. Your sweetheart's a-coming by-and-by. 71 Don't Cry It is not clear whether this is a play-party song, a cliild's singing game of colors like 'Jennie Jenkins,' or a hillahy. It might, of course, serve all three fiuictions. It is evidently a variant of tlie preceding song. 'Don't Cry.' Secured by M. (i. b^ilton df Davidson College in 1914 from W. C. l-'ricrson. I. (nation not in and out the window, Chj in and out the window, Go in and out the window, .Since you have gained the day. Chorus: We're marching round the love-ring, We're marching round the love-ring. We're marching round the love-ring, .Since we have gained the day. 2 Step forth and face your lover, Step forth and face your lover. Step forth and face your lover, Since yoti have gained the day. 3 I'll measure my love to show you, I'll measure my love to show you, I'll measure my love to show you, Since you have gained the day. 4 I'll kneel because I love you, I'll kneel because I love you, I'll kneel becatise I love you. Since you have gained the day. 5 ( )ne kiss before I leave you. One kiss before I leave vou. One kiss before I leave you, Since you have gained the day. 77 Shoot the Buffalo This is a fraf,nnent of the sinj^ing game or play-party song so called, which in temper reaches back to early pioneer days. .See Botkin. The American Play-Party Song 308-12. and the McLendon finding list, SFLQ viii 223-4. Randolph reports it from the Ozarks (OFS III 306-9). 'Ohio.' Contributed by Jesse T. Carpenter of Durham with the note : "I think this is a song game. It was sung before the Civil War in the neighborhood around McMannen's Chapel." 1 10 NORTH C A R 0 L I N A F 0 I. K L O R K O my dearest clear, 1 will take you by the hand And I'll lead you to the far off country Where there's a better and fairer land ; Where the girls can knit and sew. Where the boys can plow and mow, And I'll settle you on the banks of that river Ohio. 78 Coffee Grows on White Oak Trees A favorite play-party song pretty much everywhere that play- parties are — or have been — in vogue is made up of three elements: a stanza beginning with the line liere chosen as title, another begin- ning "pretty little pink" (sometimes '"my blue-eyed gal") and an- other beginning "I'll put my knapsack on my back." It goes back to the Mexican War. As Sandburg remarks ( ASb 166) : "a dance song known in Kentucky, Indiana, and Illinois became a knapsack and marching tune with Mexican War references." For its range see the McLendon finding list, SFLQ viii 204 and 221, and add to the references there given \'irginia (FSV 219-20) and the Ozarks (OFS III 296-7, 309, 311). Sometimes only two of the elements appear, and sometimes only one. Sometimes New Orleans or Quebec appears in place of Mexico, carrying the reference back to the War of 181 2. 'Daisy.' Communicated by Mildred Peterson of Bladen county, prob- ably in 1923. 1 Coffee grows in the white oak tree, The rivers run with brandy. My little gal is a blue-eyed gal As sweet as any candy. 2 Fly around, my blue-eyed gal. So fly around, my daisy ; Every time I see that gal She almost runs me crazy. 'Song.' Communicated In' LuciUe Cheek from Cliatham county in 1923 or tliereabouts. I The sui^ar grows on a white oak tree, The river flows with brandy, The little girls in Mexico Are sweet as sugar candy. All night long, all night long. V L A V - l" A R T V A X 1) I) A N C E SON C. S 2 The rooster spreads his tail and crows, The jayhird spreads his tail ; The whippoorwill ain't got no tail. But you ought to hear him sing All night long, all night long. c 'Pretty Little Pink." Reported by Ruth Morgan from Stanly county, 1 Pretty little pink, I used to think That you and I would marry. But now I've lost all hopes of that, So farewell, my darling. 2 I'll throw my knapsack on my hack. My rifle on my shoulder. And march away to Mexico To live to be a soldier. 3 Where the coffee grows on the white oak trees And the rivers flow with brandy And the street all lined with five dollar [bills] ^ And the girls as sweet as candy — And the boys as sour as vinegar. 'My Darling Little Pink.' Contributed by J. B. Midgett of Wanchese. Roanoke Island, probably in 1920. With the tune. 1 My darling little Pink. I once did think That you and I would marry ; But now I've lost all hope of love, So I can no longer tarry. 2 I'll take my knapsack on my back, My gun upon my shoulder. And march away to New Orleans To view a pleasant country. 3 Where money grows on white oak trees. The rivers flow with brandy. The streets are paved with radiant gold. And the girls are sweet as candy. E Tretty Little Pink.' From Clara Hearne, student at Duke University in 1923; a version probably from Chatliam county. Like the preceding except that it has "Mexico" instead of "New Orleans" and the last two lines are ' Omitted in the manuscript, doubtless by accident. 112 X O R T II CAROLINA FOLKLORE Where the boys are like a lump of gold, And girls are sweet as candy. F "Song." Contriljuted by Cozette Coble — probably from Stanly county. 1 I take my knapsack on my back. ]\Iy rifle on my shotilder. March away to Mexico Where for and yank a soldier.^ 2 Where the coffee grows on the white oak trees And the river is float brandy,^ Streets are lined with ten dollar bills, And the girls are sweet as candy. G 'I'll Put My Knapsack on My Back.' Contributed in 1914 or there- abouts by Thomas Smith of Zionville, Watauga county, with the nota- tion : "The above song sung lately by Polly Rayfield, also by Bennett Smith. They heard it over fifty years ago." 1 I'll put my knapsack on my back. My rifle on my shoulder, And march down to New Orleans Just to be a soldier. 2 Where coffee grows on white oak trees And rivers flow with brandy. And ladies' hearts are lined with gold And lips as sweet as candy. No title. Contributed by V. C. Royster in 1914 from Wake county, with the notation that it goes back to times before the Civil War. I'll take my knapsack on my back. My rifle on my shoulder, And march away to old Quebec There for to be a soldier. I No title. From Thomas Smith of Zionville, Watauga county, in 1915. The same as H except that it has "New Orleans" for "old Queliec." 79 Little Fkhit in Mkxico This memory of the Mexican W ar of a liundn-d years a.^o has retained its place as a play-i>arty sonj^ pretty well in the .South and ^ The first of these lines should perhaps read "There for to be a Yankee soldier"; the second can be understood by reference to preceding te.xts. V LAY- r A U T Y A \ I) I) A N C K S C) N (1 S I I3 West; see the McLemlon tinding list, SFLQ viii 214. Davis re- ports it also from Virginia (FSV 220 J and Randolph from the Ozarks (OFS 111 357-9). Our text, like that remembered by Hud- son from his boyhood in INIississippi (FSM 289;, reverses the atti- tudes of the girl's and the boys in the presence of danger. 'Me.xican War.' Reported by Merle Smitli from Stanly county. Not dated. There was a war in Mexico And all the boys and girls they had to go. Btit when they got to the place where the blood was shed The boys turned back and the gals went ahead. Sing fol dol da, sing fol dol da. 80 Pig in the Parlor One of the most generally known of the play-party songs. See the McLendon finding list, SFLQ viii 220, and add Randolph, OFS III 305-6. Our North Carolina texts are fragmentary. A No title. Communicated by Jessie Hauser from Forsyth county. 1 My father and mother were Irish. My father and mother were Irish, My father and mother were Irish, And I am Irish too. 2 We put the i)ig in the parUn-. We put the pig in the parlor, We put the pig in the parlor, And it is Irish too. B 'My Father and Mother Were Irisli.' From Mildred Peterson. Bladen county. The same as A except that the second stanza has We keep a pig in the kitchen. 'We Have a New Pig in the Parlor." From J. C. Knox, Brunswick county, with the tune. Only two lines, each repeated three times : W^e have a new pig in the parlor and And he is Irish too. X.C.F., Vi.i. III. rio) 1 14 NORTH CAROLINA FOLKLORE 8i Buffalo Gals S. Foster Damon (Scries of Old American Songs No. 39) points out that the original form of this is the minstrel song 'Lubly Fan,' the work of Cool White (real name John Hodges), copy- righted in 1844. From this grew 'Bowery Gals,' which was in Christy's repertory. The finally successful form of it, "Buffalo Gals,' was copyrighted (without indication of author or composer) in 1848, and spread all over the country, becoming a favorite play- party song. See Botkin, The American Play-Party Song 150-4 and the McLendon finding list, SFLQ viii 203. Davis reports it also from X'irginia (FSV 243 ) and Randolph from the Ozarks (OFS iii 332-4). Perhaps it was suggested by an old English singing game, 'Pray, Pretty Miss,' known in Scotland, Yorkshire, Sussex, and Cornwall (Gomme 11 65-7), an invitation to dance that has a like catchy rhythm. Any place-name may be substituted for Buffalo. 'Won't You Walk Out Tonight." Contributed some time in the years 1921-24 by Miss Jewell Robbins of Pekin, Montgomery ccninty. With the tune. 1 Oh, Buffalo gals, won't you walk out tonight. Won't you walk out tonight, won't you walk out tonight ? Oh, Buffalo gals, won't you walk out tonight And dance In- the light of the luoon? 2 I kept a-dancin" and my heels kept a-rockin', My heels kept a-rockin', my heels kept a-rockin', I kept a-dancin' and my heels kept a-rockin' Till I danced around the big round moon. B 'Round Town Girls.' Reported by Thomas Smith of Zionville, Watauga county, in 1915, with the notation: "This was a favorite tune of Ranzo Miller the fife player. I recall hearing him play it on a fife for a sch(X)l entertainment over twenty years ago." Round Town girls, won't you come out tonight, Won't you come out tonight, won't you come out tonight And dance by the light of the moon ? 82 ( )ld Dan Tucker This song of Dan Ennnett's, like some of Stephen Foster's, has become indubitable American folk song. Perhaps because of its rousing chorus, it is a favorite play-party song: the McLendon finding list (SFLQ viii 218-19) has as many entries for it as for 'Weevily Wheat.' Davis reports it also for X'irginia (FSV 154) I' I. A \- - r A R T Y A N I) D A N C IC S O N G S 1 1 5 and KaiKlolph fur tlie Ozarks (OFS in 301-4)- Although none of our North Carohna texts is so marked, it is prohahle that most of them are play-party or dance memories. It has even crept into the tradition of' the Thames valley (FSUT 142-3)- And it has accumulated a wide variety of stanzas in its course as traditional song. Indeed, our thirty-odd North Carolina texts show hardly a trace, beyond the chorus, of the original Emmett text (Damon, Scries of Old American Songs No. 2)7 > fi'0"i a print of 1843 i" the Harris Collection at Brown University), nor nmch more of the fuller text which White (ANFS 446-7) reprints from Marsh's Selection} And texts reported from other regions show variations not found in the North Carolina texts. Some stanzas appear in pretty much all the texts recorded from tradition: others occur less often, though not, apparently, with any regional significance. Since all our texts, if they exceed two stanzas (very many of them consist of a single stanza), are a medley, they are presented here stanza by stanza with notation of their occurrence elsewhere. A 'Ole Dan Tucker.' Reported bv K. P. Lewis as obtained in 1910 from Dr. Kemp P. Battle of Chapel Hill. I Old Dan Tucker, he got drunk. He fell in the fire and kicked up a chunk. A coal of fire got in his shoe. And l)less my soul, honey, how the ashes flew '.- Chorus: Get out the way, old Dan Tucker, Get out the way, old Dan Tucker, Get out the way, old Dan Tucker, You're too late to get your supper.'^ 'The Lomaxes, ABFS 261-2, print still another text as the original Emmett version, but do not say where they found it. " This is one of the persistent stanzas ; not in Damon's or Marsh's text, Init reported from Kentucky (BKH 163, JAFL xl 97), Tennessee (ETWV^JB 140, BTFLS v 31), North Carolina (ABFS 258), South Carolina (JAFL xliv 427, Negroes), Oklahoma ( Botkin APPS 253), the Ozarks (OASPS 151. JAFL xlu 210), Missouri (JAFL xxiv 309), Indiana ( BSl 340), and Nebraska (JAFL xxviii 284). It is also in the versions given in Trifet's Budget of Music and in Ford's Traditiunal Music of Avicrica. And in our collection it is reported by T. J. Gill, Jr., from Durham; Miss Amy Henderson from Burke county; Miss Minnie Brvan Farrior from Duplin county: Miss Katherine Bernard Jones, and 'Miss Dorothy McDowell Vann, from Raleigli ; Miss Mildred Peterson, from Bladen county ; Mrs. W. L. Pridgen, from Durham ; and Miss Irene Thompson, from Surry county. There are slight variations in the wording of some of these. " The chorus shows little variation— none in our texts, but in Ken- tucky (BKH 163), Tennessee (BTFLS v 30), Texas (Owens 39 K the Ozarks (JAFL lu 210), Ohio (JAFL xl 23), Indiana (Wolford 78). and Nebraska (JAFL xxvni 284), and in the Lomaxes' version of Emmett's text the last two lines sometimes run : I l6 NORTH CAROLINA FOLKLORE 2 A bullfrog jumped froui the bottom of the well, He jumped so high I could not tell. I tied him fast to a hickory stump. And he reared and he pitched, but he couldn't get a hump.^ 3 Some folks say that a nigger won't steal. But I caught one in my cornfield ; I tied him fast to a knotty pine And gave him with a horsewhip thirty-ninc.- 4 There was a man in Chapel Hill town W ho carried a load of molasses down ; The "lasses worked, and the hoops did bust And sent him home in thundergust.'^ B 'Old Dan Tucker.' Obtained in 1927 by Julian P. Boyd from Minnie Lee, one of his pupils in the school at Alliance, Pamlico county. 1 Old Dan Tucker was a grand old sinner. He never said grace till he went to his dinner. Then he hung his head, and laughed, and said: 'Lord Jesus Christ, what a big pone of bread \'^ 2 Old Dan Tucker clam a tree His Lord and Saviour for to see. The limb did break and he did fall ; He never saw his Lord at all !"' 3 0\(\ Dan Tucker saw a hole in a hollow tree And run [his] bill in there to see. A snake slipped down and caught him by the bill; Says "Please, good Lord, do keep him still !'" Supper's over and breakfast's a-cookin' And old Dan Tucker's standin' and lookin' or the like. ^ This stanza is reminiscent of 'The Frog in the Well.' I have not found it elsewhere associated with 'Old Dan Tucker.' " This stanza from 'Some Folks Say that a Nigger Won't Steal' — sec p. 508 — is nowhere else, so far as I can find, associated with "Old Dan Tucker." ■'This stanza, clearly a local adaptation of "I.ynchlnirg Town,' is not elsewhere brought into our song. * The first half of this stanza is in Trifet's text, and the whole of it constitutes an anonymous text in our collection; otherwise I have not found it. ■"' This occurs as a stanza of "Old Dan Tucker' in Kentucky (J.AFL xl 96), North Carolina (ABFS 260). Oklahoma (Botkin APPS 263), and Indiana (BSI 349) ; not elsewhere, so far as I can find. " This is one of the few bits of the original song that appear in our P L A Y - P A K T Y A N D 1) A N C K S 0 N G S I IJ c 'Old Dan Tucker.' Contributed by Katherine Bernard Junes of Raleigh. Not dated. 1 Old Dan Tiicker was a tine old fellow Hut he would play cards with the ueLjroes in the cellar.^ 2 1 went over heeple steeple. There I saw a good many people ; Soiue were white, some were hlack, And some were the color of an old chaw tobacco. - 3 ( )ld 1 )an Tucker he got drunk ; Fell in the hre and kicked up a chunk. Coal of fire got in his shoe ; Ha, ha, ha. how his coat-tail flew!'* D No title. From Miss Dorothy McDowell \'ann, Raleigh. 1 Old Dan Tucker was a mean old man, Washed his face in the frying pan, Coiuljed his hair with a wagon wheel, Died with the toothache in his heel. 2 Old Dan Tucker he got drunk, Fell in the fire and kicked up a chunk ; A red-hot coal got in his boot, And old Dan Tucker went toot, toot, toot.^ collection. It is a corruption of the fourth stanza of tlie song in the original text and the seventh stanza of Marsh's text as reprinted by White. None of the other texts found has it. ^ This appears as stanza 2 of the Negro song 'Captain Dime' (Talley 5), in a Kentucky text (JAFL xl 97), and as part of a stanza in our collection contributed by Esther Royster from Vance county ; not found elsewhere. - Another remnant of the earlier form of the song. It is not in Em- mett's text as given by Damon but it is the sixth stanza of Marsh's text as given by White (ANFS 447) — where, however, the rhyme is better: Some was black, an some was blacker. Some was de color ob brown tobacur. It is really a riddle and not properly a part of 'Old Dan Tucker.' It has been reported from Ontario (JAFL xxxi 43), Kentucky (JAFL XXVI 152), North Carolina (JAFL xxx 202), and Indiana (Wolford 78 — the last two lines only). ^ Already noted under A. " For the second stanza see under A, above. Tlie first stanza is prob- ably the most widely known of all, especially at play-parties. There is nothing of the sort in Emmett's text as given t)y Danujn ( thougli it is in what the Lomaxes, ABFS 262, give as Emmett's form of the song) or in Marsh's or Trifet's; but it appears in Ford's Midwest version and in reports from Ontario (JAFL xxxi 61, 152), Kentucky (BKH 163. JAFL XL 97), Tennessee (JAFL xxvni 132, BTFLS v 30), North Il8 NORTH CAROLINA FOLKLORE E No title. Contributed by Louise Bennett, Middleburg, Vance county. Old Dan Tucker singing for his supper. What shall he eat ? Cold bread and meat. How shall he eat it without a knife ? How shall he marry without a wife?^ 'Old Dan Tucker.' Obtained by Dr. J. F. Royster from William C. Daubken of the class of IQ15 at the University of North Carolina. 1 Old Dan Tucker he got drunk. Fell in the fire and kicked out a chunk ; Combed his hair with a wagon wheel. Died with the toothache in his heel. Refrain: O run, nigger, run, the patteroller ketch ye, Run. nigger, rim. it's almost day. 2 Old Dan Tucker an' er Henry Clay They went to ride in a one-horse shay ; Shay it broke an' they fell through. Old Dan Tucker an' er Henry Clay. 83 Yonder Comes a Georgia Girl This belongs to the general type of love songs represented by 'Knights of Spain,' 'Here Comes a Duke,' etc. in Newell's Games and Songs of American Cliildren, but it is not in Newell or Botkin or the McLendon finding list. It is, however, reported as a play- party song from Virginia by Davis (FSV 228). Carolina (ANFS 161, Negroes), Texas (Owens 40), the Ozarks (OASPS 151, JAFL XLH 210). Missouri (JAFL xxiv 310). bidiana (Wolford 78, BSI 340, 341), Illinois (JAFL xxxn 489), Michigan (JAFL xxxni 116), Nebraska (JAFL xxv 273. xxvni 384), and Idaho (JAFL XLiv 16). And it appears sixteen times in our collection, fre- quently as the only stanza remembered, in contritnitions from Gertrude Allen (Mrs. Vaught), Oakboro, Stanly county; Antoinette Beasley, Monroe, Union county ; Caroline Biggers, Union county ; Lucille Cheek, Chatham county; J. T. Gill. Jr., Durham; Minnie S. Gosney, Raleigh; Amy Henderson, Worry, Burke county ; Lois Johnson, Davidson county ; Flossie Marshl)anks, Mars Hill, Madison county; Lida Page, Durham county; Mrs. W. H. Pridgen, Durliam ; Esther Royster, Vance county; Irene Thompson, Surry county ; Louise F. Watkins, Goldsboro, Wayne county ; Sarah K. Watkins, reporting from Anson and Stanly counties. ^ This stanza, evidently a reminiscence of 'Little Tommy Tucker,' appears in connection with our song, so far as I have found, only in Botkin's Oklahoma texts (Botkin 262). P L A Y - P A R T Y A N 1) I) A N C K S O N G S 1 19 'Yonder Comes a Georgia Girl.' Contributed by Mrs. Peggy Perry of Silverstone, Watauga county, in 1915, witli tlie notation: "Heard as a play-song over sixty years ago." 1 Yonder comes a (k'()r<;ia i^irl. Don't she look funny ? She's got on a roundabout Without a cent of money. 2 Once I could have married you. Once I could, my honey. \\'hen you wore your roundabout With a pocket full of money. 84 Captain Jinks This seenis {Weep Some More, My Lady 47) to have got its start from the singing of William Lingard, apparently in the seventies. There was a play of the same name. The song was sung all over the country and became a play-party song; see the McLendon find- ing list, SFLQ VIII 203 : and MAFLS xxix 23-4, 30. Our col- lection has one stanza and chorus from Miss Florence Holton of Durham, and a fragment reported by T. J. Gill, Jr. I'm Captain Jinks of the Horse Marines, I feed my horse on corn and beans And sport young ladies in their teens Though a captain in the army. I teach young ladies how to dance. How to dance, how to dance, I teach young ladies how to dance, For I'm the pet of the army. Chorus: Captain jinks of the Horse Marines. I feed my horse on corn and beans. And often live beyond my means. Though I'm a captain in the arm\-. 85 Hop Light. Ladies Perrow (JAFL xxviii 184) found this sung by country whites in Virginia and Mississippi, not more than two couplets in either place. Davis reports it from Virginia (FSV 249) and Randolph (OFS II 323) as part of a text of 'Jump Jim Crow' in Missouri. 1 20 NORTH CAROLINA FOLKLORE A 'Hop Light, Ladies." From Aliss Jewell Robbins, Pekin. Montgomery county, in 1922. Hop light, ladies, yo' cake's all dough. Hop light, ladies, yo' cake's all dough. Hop light, ladies, yo' cake's all dough. You needn't mind the weather so the wind don't hlow. No title. From Miss Louise Bennett. Vance county. Walk light, ladies, de cake's all do', Neber min' de weder so de wind don't blow. 86 Old Joe Clark Essentially this is a play-party or dance song. See Randolph's headnote to his Missouri texts, JAFL xlii 221, and to those from Arkansas and Missouri, OFS iii 324. Botkin's study of its relation to other song texts in Tlie American Play-Party Song 269-72, and the McLendon finding list, SFLQ viii 219. The refrain, and very likely the tune, have drawn to it stanzas from a variety of other songs. Payne, commenting on his Texas version (PFLST i 32), says a dance-caller once told him there are one hundred and forty- four verses of it ; and Botkin calls it "this vigorously and fabulously vulgar epic." It is widelv known in the South: Virginia (SharpK 11 259, FSV 244-5), West Virginia (FSS 495). Kentucky ( DD 106-7), Tennessee ( TAFL xxv 152, BTFLS v 23), North Caro- lina (SCSM 65, ANFS 337), Mississippi (JAFL xxv 152), Texas (PFLST I 32-4, Owens 56-61), Oklahoma (Botkin 272-85), Arkan- sas and Missouri (see above); Brewster (SFLQ iv 192-3) reports it from Indiana; the Archive of American Folk Song lists thirty- seven records of it from a variety of places. Mrs. Steely found it in the Ebenezer community in Wake county. It seems not to be known in New England. The Brown Collection has two texts illustrating the tendency to attach to it stanzas from other songs, and three shorter versions. A 'Old Joe Clark.' Cuntrilnitcd in i<),V) by Otis Kuykendall (if .\slieville. I Now I've got no money. Got no place to stay, I've got no place to lay my head. And the chickens a-crowin' for day. Chorus: Fare you well, old Joe Clark, Fare you well, 1 say, PL AY -PARTY AND DANCE SONGS 121 Fare you well, old Joe Clark, I'm goin' away to stay. 2 I wish I had a nickel, I wish I had a dime, I wish I had a pretty little girl To kiss and call her mine. 3 I don't like old Joe Clark, I'll tell you the reason why : He goes about the country A-steaHn' good men's wives. 4 I went down to old Joe Clark's, I did not mean no harm ; He grabbed his old forty-four And shot me through the arm. 5 Old Joe Clark's a mean old man. I'll tell you the reason why : He tore down my old rail fence So his cattle could eat my rye. 6 I went down to old Joe Clark's, I found old Joe in bed ; I stuck my finger in old Joe's eye And killed old Joe stone dead. 7 I wouldn't marry that old maid, I'll tell you the reason why: Her neck's so long and stringy I'm afraid she'll never die. 8 I went down to Dinah's house. She was standin' in the door With her shoes and stockings in her hand And her feet all over the floor. 9 Yonder sits a turtle dove. Sitting on yonder pine ; You may weep for your true love And I shall weep for mine. B 'Old Joe Clark.' From the manuscripts of G. S. Robinson of Asheville, copy taken in August, 1939. This text uses few of the elements used in A. I Old Joe Clark he killed his wife. Threw her in the branch ; Going to be hung as sure as your life, Ain't no other chance. 122 NORTH CAROLINA FOLKLORE Clwrus: Fare thee well, old Joe Clark, Fare thee well. 1 say, Fare thee well, old Joe Clark, I'm going away to stay. 2 1 don't like old Joe Clark, I never think I shall. I don't like old Joe Clark, But I always liked his gal. 3 Old Joe Clark was a mean old man, I'll tell you the reason why : Ran across my garden plot And tore down my rye. 4 I went up on the mountain top To give my horn a blow. I thought I heard my sweetheart say 'Yonder comes my beau.' 5 If I had no horse at all I'd be found a-crawling Up and down the rocky branch Looking for my darling. 6 The possum in the simmon tree. The raccoon on the ground ; The raccoon said. 'You rascal, you. Shake them simmons down.' 7 The jayl)ird in the sugar tree. The sparrow on the ground ; The jaybird shake the sugar down. The sparrow passed it round. 8 The jaybird and the s])arr()whawk They fly all round together. Had a fight in the briar patch And never lost a feather. 9 The jaybird died with the wlnxipiiig cough. The sparrow with tlie colic. Along came a terrajjin with a fiddle on his back Inquiring the way to the frolic. c 'Rock, Rock. Old Joe Clark." Rf])<)rted by Miss Jt-wcU Kohbins (after- wards Mrs. C. P. Perdue) from Pekin, Montgomery county, some time in the period 1021-24. With tlie tune. P LAY- V A R T V AND I) A N C E SONGS I23 1 If you see that s^irl o' iniiie when you go, Tell her, it you please. Tell 'er, 'fo' she makes u\) doui^h To roll uj) her dirty sleeves. Chorus: Rock. rock, old Joe Clark, Cjoodhye. Betty Brown ; Rock, rock, old Joe Clark, Goodbye, Betty Brown. 2 Taylor wears a roundabout. So does all the rest ; John Henderson wears a long-tailed sack And I lo\e him the best. 3 Farewell, my true love, Farewell, I'm gone. Farewell, old Joe Clark ; Goodbye, Betty Brown. D 'Old Joe Clark." This text was supplied by G. S. Block, but the manu- script has no indication of time or place. It is accompanied by the music. 1 Never liked the old Joe Clark, Don't think I ever shall ; Never liked the old Joe Clark, Always liked his gal. Chorus: Round and round the old Joe Clark, Round and round, I say. Round and round the old Joe Clark, Ain't got long to stay. 2 Fare you well, old Joe Clark, Fare you well, Fm gone. Fare you well, you old Joe Clark, Goodbye, Lucy Long. 'Old Joe Clark." 01)tained l)y Dr. llrown from Eugene C. Crawford. a student at Trinity College; no notation of date or place of origin. Dr. White points out that the first stanza comes from the Jolin Hardy song, and suggests that the "rock, rock" of the chorus refers to tlie old dance of 'Rock Candy," concerning which see ANFS 162. I I don't want no fifteen cents, I don't want no change. 124 -'^' " K T H CAROLINA FOLKLORE All I want is a forty-four gun, Shoot John Hardy through the hrain. Chorus: Rock, rock, old Joe Clark, Rock, rock, I say, Rock, rock, old Joe Clark, Rock, rock, I say. 2 Last time I saw my wife She was standing in the door ; Shoes and stockings in her hand And harefoot all over the floor. 3 If you see my wife Tell her, if you please, To roll up those dirty sleeves Before she make of her dough. 87 What's the Lady's ^NfoTTON? This game song appears to have been reported hitherto only from Virginia (JAFL xxxiv 119). 'Monkey Motions' (TNFS 133) is something like it but not the same song. 'Skip o'er the Mountain.' Reported in 1927 by Julian P. Boyd from the singing of Catherine Bennett, one of his pupils in the school at Alliance, Pamlico county. The first line and the refrain are repeated with each stanza. 1 Skip o'er the mountain, Tra-la-la-la-la, Skip o'er the mountain, Tra-la-la-la-la. Ski]) o'er the mountain, Tra-la-la-la-la, Oh, she loves sugar and cheese 1 2 What's the lady's motion? Oh, she loves sugar and cheese! 3 It's a very lovely motion. Oh, she loves sugar and cheese! 4 Yonder goes a red-hird. Oh. she loves sugar and cheese! PLAY -PARTY AND DANCE SONGS 1 25 88 The Farmer's Boy This romance of farm life is well known in England both tra- ditionally and in stall print and has been reported in this country from Vermont, Virginia, Missouri, Ohio, Wisconsin, Iowa, and Wyoming; see BSM 272 and add to the references there given Virginia (FSV 71-2), Missouri (OFS i 426-7), Wisconsin (JAFL Lii ij), and Iowa (JAFL liv 172). It is known also in Michigan (BSSM 479, listed but text not given). The texts in the North Carolina collection are so closely alike that only one is given here. It appears from Mrs. Sutton's account of it that it is a play-party song in Caldwell and adjoining counties. She writes: " "The Farm- er's Boy' is a grand tune for twistification. The good dancers can stamp hard on the o sounds in the chorus. A group of boys and girls singing 'For to reap or to mow, or to plow or to sow, or to be a farmer's boy' and dancing an old English dance is a pretty sight. 'Twistification' is a modified form of an intricate old dance 'The Grapevine Swing.' It takes skill and the figures are pretty." Our four texts : A 'The Farmer's Boy.' Contributed, without date but probably in 191 5 or 1916, by I. G. Greer of Boone. Watauga county. With the music. B 'The Farmer's Boy.' From Miss Averie M. Martin. Text given below. C 'The Farmer Boy.' Collected for Professor E. L. Starr of Salem College, Winston-Salem; probably in 1915. D 'The Farmer's Boy.' Collected, probably in the early 1920s, by Mrs. Sutton in Caldwell county. With the music. 1 The sun had set behind the hill When across the dreary moor. All weary and lame, a poor bo}' came Up to a farmer's door. 'Can you tell me if any there be Who'll give to me employ. For to plow or to sow. or to reap or to mow. ( )r to be a farmer's boy ? 2 'My father's dead, my mother's left With her five children small. And what is worse for my mother yet I'm the eldest of them all. Though little I be I fear not work, If you will me employ For to plow or to sow, or to reap or to mow Or to be a farmer's boy.' 126 NORTH CAROLINA FOLKLORE 3 'W'f'll try the lad' the farmer said. 'No longer let him seek.' 'Oh, yes. dear father.' the daughter cried While tears ran down her cheeks. 'I<"or a lad who'll work 'tis hard to want ( )r to wander for employ For to plow or to sow. or to reap or to mow. Or to he a farmer's boy.' 4 In the course of time the lad grew up And the good old farmer died. Me left for the lad the farm he had And his daughter for a bride. And that same lad who is a farmer now Doth often smile with joy On the lucky, lucky day when he came that way For to be a farmer's boy. 89 Sally Goodix This seems to be a plav-party or dance sons^. It is sung in Vir- ginia (FSV 249), Kentucky (BKH 158), Tennessee (ETWVMB 98), Mississippi (JAFL xxxix 168), and Missouri (JAFL xlii 227-8, OFS II 350-1), and Ford (Traditional Music of America 64) reports it as a square-dance song. What appear to be frag- ments of it, dealing with "pie" and "pudding," are reported also from INIissouri (JAFL xxiv 313, where Mrs. Ames calls it a song used in kissing games), and a Negro version of 'Miss Mary Jane' from South Carolina (TNFS 117) says that "Sally got a house in Baltimo' an' it's full o' chicken pie." Compare also texts E and F of 'Wish I Had a Needle and Tln-ead' in this volume. Because of this apparent connection certain North Carolina fragments are here presented although they do not include Sally's name. A No title. This appears in the collection as 'from Mother (ioosc i)i the Ocarks, by Ray Wood,' and so is not proi)crly North Carolina folk song ; but it was probably iiichulcd by Dr. Brown because be know it in North Carolina. 1 Tlad a ])iece of pie. I lad a piece of puddin', (iave it all away To see .Sally (loodin. 2 1 looked down the road, .Saw .Sally coniin' : I thought to my soul I'd kill myself a-runnin'. P L A Y - P A R T V AND DANCE S 0 N c; S I27 B 'Sally Goodin.' Reported by Thomas Smith of Zionville, presumably in 1915, as a dance song for fiddle and banjo, with the comment: "The only verse so far as I can learn of this old tune. It was played by lifers in the Confederate Army. 1 am told one of these old fifers, L. D. .Miller, who lives near Zionville, can yet play this tune. Sally Goodin has also been long time a favorite with fiddlers and banjo i)ickers." Later the tune was secured as sung by a cousin in Silverstone. I love a peach pie and I love a tater ptuUHn' And I love that gal they call Sallv (ioodin. 'Hunks of Pudding and Pieces of Pie.' Rejxjrted by Miss Adelaide L. Fries of Winston-Salem in 1926 as "traditional in our family." Hunks of ptiddin' and pieces of pie IVly nianiniy gave nie when I was a boy ; If you don't believe, then come and see W'hat hunks of puddin' and pieces of pie, Hunks of puddin' and pieces of pie IMy mammy ga\e me when I was a boy. D 'Had a Pie.' Reported by Mrs. Doris Overton Brim of Durham, prob- ably in 1922, as a nursery rhyme. Had a pie Made out of rye, Rough enough and tough enough, More than all can eat. 'The Jaybird and the Sparrow.' Contributed by W. E. Poovey of Marion, McDowell county, in 1924. This is, as Dr. White notes on the manuscript, "probably a stanza of 'Sally Goodin.' " The jaybird and the sparrow went down in the field together. They had a fight in the brier patch and never lost a feather. Refrain: Old Sally Goodin, you can't fool me, Old Sally Goodin, you can't fool me. 90 Doctor Jones Known also in Kentucky (SharpK ii 368). Dr. Brown reports it as "a game played by grown boys and girls in Madison Countv. N. C, on Paw-Paw Creek, between Little and Big Pine Creeks?' 128 NORTH CAROLINA FOLKLORE 1 Dr. Jones is a good man, a good man, a good man; Dr. Jones is a good man, he'll help whoever he can. 2 Ladie*; and gentlemen, sail around, sail around, sail around ; Ladies and gentlemen, sail aroimd. and kiss just who you please. 3 Spider in the dumpling, roll around, roll around, roll around, Spider in the dumpling, roll around, roll around and roll. 91 She Loves Coffee and I Love Tea This is rather a phrase, a line, or a stanza that may be put into a song than an independent song itself. It probably derives from an English nursery jingle (Halliwell 86) "I love coffee and Billy loves tea." It has been found in North Carolina (SharpK 11 383, as a play-party song), South Carolina (JAFL xxvii 253, in a Negro dance song), Mississippi (JAFL xxviii 186), the Ozarks (JAFL XLii 219-20, as a play-party song), Indiana (SFLQ iii 174, as a rope-skipping chant) ; it appears without precise localiza- tion in Negro dance songs (Talley 81, 84-5) ;^ Winifred Smith of Vassar College reports it as a jumping rhyme (JAFL xxxix 84) ; Mrs. Richardson (AMS 53) gives it as the final stanza of 'The Keys of Canterbury,' i.e., 'A Paper of Pins,' as sung in the South- ern mountains. Although in several of these instances it appears in play-party or dance songs, it is not recognized as a play-party song either in Botkin's study or in the McLendon finding list; probably because it is merely an element in the songs, not a song by itself. It appears in two forms in our collection. 'I Love Coffee, I Love Tea.' From Miss Doris Overton of Durliam in July 1922. 1 love coffee, I love tea, I love the boys, and the boys love me. Wish my mama would hold her tongue; She loved the boys when she was ycjung. 'I Love Coffee, I Love Tea.' From Mrs. W. L. Pridgcn, Durham. The same as A. ' A couplet couinuuiicatcd l)y Cousor, Bishopsville, South Caro- lina, sIkjws that it lias i)asscf! into the repertory of the Carolina Negroes: I drink coffee and she drinks tea, I love a yaller gal and she loves me. PL AY -PARTY AND UANCE SONGS I29 c No title. From Allie Ann Pcarce, Colerain, Bertie county. 'I'lie same as A and B. D 'I Love Coffee, I Love Tea.' From Carl G. Kno.x, Durliam. The first four lines as above and then these two : 1 wi.sh my i)apa would do the same, For he eau.sed a girl to change her name. 'Me and JMy Sister, We Fell Out.' From Carl G. Knox of Durham, the same who supplied D ; but the text is quite different : Me and my sister, we fell otit. What was it all about ? She loved coffee, and I loved tea ; That's the reason we couldn't agree. 92 I Do Love Sugar in My Coffee O This seems to be no more than a refrain, and a tmie, to which various matter may be attached. I have found it reported else- where from Tennessee (BTFLS v 32-3), Iowa (JAFL xxviii 281), and as Negro song not localized (Talley 30). A 'I Do Like Sugar in My Coffee.' Contributed in 1915 by Thomas Smith of Zionville, Watauga county, as a "dance song — fiddle and banjo." He says it "was played and sung thirty or thirty-one years ago by a fiddler named Jehiel Smith who lived on Sharp's Creek." I do like licker and I will love a dram. I'd ruther he a nigger than a pore white man. Chorus: I do like sugar in my coffee O x\nd I do like sugar in my coffee O Black man stole the white man's wife. White man struck him with a barlow knife. B 'A Little More Sugar in My Coffee.' Communicated by Mrs. Sutton (then Miss Maude Minish) in 1923 from the singing (and banjo play- ing) of "a typical story-book mountaineer" apparently in Caldwell county. "He has blue-black hair, snappy black eyes, a debonair manner and a devilisli smile, and how he can play the banjo!" There are two copies among her papers. Tlie longer is given here, with notes of its variations from the other. The tune was taken down by Miss Vivian Blackstock. N.C.F., Vol. Ill, (11) 130 NORTH CAROLINA FOLKLORE 1 The rahhit hipped, tlie rabbit hopped, The rabbit bit off the turnip top. I do love sugar in my coffee O 1 do love sugar in ni}- coffee O. 2 I do love licker and 1 will take a dram. 'Druther be a nigger than a pore white man. I do love etc. 3 I'll make my licker and I'll have my fun. But I'll run like hell when the Revenues come. I do love etc. The shorter text has "I do want sugar" in the refrain the first time, "a little more sugar" the second time ; and it lacks the third stanza. 93 Pop Goes the Weasel This old favorite dance and play-party song — perhaps one should say tune — is represented in our collection by but a single stanza. For its vogue as a play-party song, see the McLendon finding list, SFLQ VIII 221 ; for its history see the headnote to Randolph's Ozarks texts (OFS iii 368). Davis reports it as a Civil War song in Virginia (FSV 251). Our stanza appears in one of Davis's texts and in a text from the Midwest, Ford's Traditional Music of America 412. But the whooping cough seems to have some special appeal to the fancy of singers in the South ; see 'The Jay- bird' in this volume. 'Papa Has Got the Whooping Cough.' Contributed by H. F. Shaw from "the eastern part of North Carolina." Not dated. Papa has got the whooping cough. Ma, she's got the measles ; That's where all the money goes — Pop ! goes the weasel. 94 Turkey in the Straw A general favorite. See Botkin 335-6 and the McLendon finding list, SFLQ VIII 226. Randolph reports it from the Ozarks (OFS II 353-5) with an informative headnote. 'Turkey in the Straw.' Contributed by Aliss Kate S. Russell of Rox- boro, Person county, probably in 1923. With the music. Did you ever go a-fishing On a bright sinnmer day. See the little fishes Come out to play, P L A Y - 1' A R T Y AND DANCE SONGS I3I \\ ith their i)ants in their pockets And their pockets in their pants? Did you ever see the ladies Do their hoochv-koochy (kmce ? 95 We're All A-Singing This seems to be a mimetic singing game. The "dodging" of the last two lines belongs to a popular satirical song, reported by Davis from Virginia (FSV 155) and by Randolph from Arkansas (OFS III 218), and found also in our collection, pp. 387-9, below. 'Oh, We're All A-Singing, A-Sing-Sing-Singing.' From the manuscript songbook of Airs. Harold Glasscock of Raleigh, lent to Dr. White in December 1943. Most of the songs in the book Mrs. Glasscock learned from her parents. 1 Oh, we're all a-singing, a-sing-sing-singing. Oh, we're all a-singing so happy and so gay ; We open wide oiu- lips with a soft fa fa, And merrily we skip o'er the fra la la la, Oh, we're all a-singing so happy and so gay. 2 Oh, we're all a-weaving, a-weave-weave-weaving, Oh, w-e're all a-weaving so happy and so gay ; The shuttle in our hand we send with a glide And through the goods it goes with a stride-stride-stride ; Oh, we're all a-weaving so happy and so gay. 3 Oh, we're all a-sewing, a-sew-sew-sewing. Oh, we're all a-sewing so happy and so gay. The needle in our hand we stitch-stitch-stitch And through the goods it goes with a switch-switch-switch, Oh, we're all a-sewing so happy and so gay. 4 Oh, we're all a-sawing, a-saw-saw-sawing. Oh, we're all a-sawing so happy and so gay ; The saw up and down we push-push-push And through the wood it goes with a swish-swish-swish ; Oh, we're all a-sawing so happy and so gay. 5 Oh, we're all a-dodging. a-dodge-dodge-dodging, Oh, we're all a-dodging so happy and so gay. . . . 96 The Dolly-Play Song Not a play-party, i.e., dance song but a singing game of little girls. 'Early Sunday Morning,' reported from Virginia (SharpK II 373)) is similar but has no dolls. 132 NORTH CAROLINA FOLKLORE 'The Dolly Play Song.' Contributed by \\'. N. Vaughan, student at Trinity College, probably in 1920 or thereabouts. The fifth stanza is in Dr. Brown's hand, possibly procured from elsewhere. 1 Here we come with our dollies dear. Dollies dear, dollies dear ; Here we come with our dollies dear. And we're their little mothers. 2 This is the way we comb their hair. Comb their hair, comb their hair; This is the way we comb their hair. For we're their little mothers. 3 This is the way we dress our dolls, Dress our dolls, dress our dolls ; This is the way we dress our dolls, For we're their little mothers. 4 This is the way we rock them to sleep. Rock them to sleep, rock them to sleep ; This is the way we rock them to sleep. For we're their little mothers. 5 This is the way we put them to bed. Put them to bed, put them to bed ; This is the way we put them to bed. For we're their little mothers. 6 Here we come with our dollies dear. Dollies dear, dollies dear ; Here we come with our dollies dear And we're their little mothers. 97 Uncle Joe Cut Off His Toe 'i'his title is chosen because the stanza to which it belongs seems to have a certain currency independent of the rest of the A text. Stanza 4 suggests that the A text niiglit be reckoned a form of 'Liza Jane' — which is a song of very indefinite content. Most of its stanzas are found in other contexts; stanza i commonly with "raccoon" instead of "'squirrel," as in "De Raccoon Has a Bushy Tail.' which see; stanza 2 as part of a square-dance song (Ford's Traditional Music of America 29) ; stanza 3 as a separate item. 'If I Had a Scolding Wife'; stanza 5 is substantially the same as a bit of Negro song reported by Pcrrow from Mississippi (JAFL XXVI 126) ; stanza 7 is but a slight variation of the second stanza of 'Tlie Jaybird' A and D in our collection. See also White, ANFS 234-6, and Davis, FSV 152. The chorus (which appears as the P 1. A V - 1- A R T Y A X I) I) A X C I". S () N V. S I33 last stanza in A) is known also in Arkansas and 'I'exas (TNFS 153-4). Probably, altboujjh tlie contributors do not say so, the whole thing was sung as a play-party, i.e., dance song. A 'Song.' Contributed by Elsie Doxcy of Currituck county as sung in western North Carolina. 1 The scitiir'l he has a btishy tail. The posstini's tail is bare. The rabbit has no tail at all But a little bit of hair. 2 The raccoon up a chestnut tree, The possum in the holler, A purty girl at our house As fat as she can waller. 3 Ef I had a scolding wife I'd lick her sho's yo' bawn ; I'd take her down to New Orleans En trade her off for cawn. 4 Git erlong, Liza, Git erlong, Liza Jane ; I don't keer wherever yoti go Jes' so you come back ergain. 5 Once I had an old gray mule ; 'Member day she wuz bawn. Ever' tooth that ol' mule had Would hold a barrel of cawn. 6 Apples in the spring-time. Peaches in the fall ; Ef I can't get the one I want I won't have none a-tall. 7 Jay bird sitting on a hickory limb \\'inked at me, I winked at him ; Up with my gun and let her go An' knocked her plumb to Mexico. 8 Uncle Joe cut oft' his toe And hung it up to dry ; And all the girls began to laugh And Joe began to cry. 9 Rock the cradle, rock the cradle, Rock the cradle, Joe. Rock the cradle, rock the cradle, Rock the cradle, Joe. 1 34 NORTH CAROLINA FOLKLORE B 'Peaches in the Summer Time.' Contributed by W. B. Covington, with the notation: 'Sung anywhere in X. C, but first heard in Scotland countj'. Tliis is one of those never ending songs." But all that he set down is a form of stanza 6 of A and the start of another stanza. Peaches in the summer time. Apples in the fall ; If I can't get the gal I want I won't have none at all. Cabbage in the summer time, Collards in the fall. . . . c 'Old Uncle Joe Cut Off His Toe.' Reported by S. AI. Davis of White Hall on the Neuse River as a nursery rhyme : "A song my mother's old nurse used to sing her to sleep by." 1 Uncle Joe cut off his toe And hung it up to dry ; The ladies began to laugh And Joe began to cry. Clionts: Rock the cradle, rock the cradle, Rock the cradle, Joe. 'I will not rock, I shall not rock, For the baby is not mine.' 2 My wife is sick, my wife is sick. My wife is sick abed. You hateful Reb, you hateful Reb, There's whiskey in your head. The first stanza of C is reported by K. P. Lewis of Durham as sung in iQio l)y Dr. Kemp P. Battle of Chapel Hill. 'Uncle Joe Cut Off His Toe.' The same stanza reported by Fairley, a student at Duke University. Locale and date not noted. 98 ( )H. L()\i:i:y. Co.mk This W'.w Despite the mention of tlie ])reacher, the church, and the devil, this seems to be rather a play-jjarty sonti; than a spiritual. I have not found it elsewhere. 'Oh, Lovely, Come llus Way.' Contributed by Miss Pearle Webb, Pineola, Avery county, in 1922. The first line of each couplet and of the chorus is rejK'ated three times, making a four-line stanza. PLAY-PARTY AND DANCK SONGS I35 1 1 had an old shoe, it had no heel, I had an old shoe, it had no heel, I had an old shoe, it had no heel, I looked like a i)i"eacher with a mouthful of meal. Clwrits: Oh, lovely, come this way, Oh, lovely, come this way, Oh, lovely, come this way. Never let the wheels of the church roll away. 2 I had an old shoe, it had no sole, I looked like a terrapin a-going to his hole. 3 Whip old Satan round the stump, To hear his heart go flumpety flump. 4 I had an old ox, I led him to the well, He stumped his toe and in he fell. 5 Devil in the meal sack shaking out the bran, He will get you if he can. 6 I had an old horse, he was white as snow ; I rode him every w4iere I'd go. 7 Had an old banjo hanging on the wall ; It hasn't been tuned since away last fall. 8 Granny's pup treed the devil in a stump ; I heard his heart go flumpety flump. 99 The Duke of York This old English singing game or jingle (Gomme i 121-2, Halli- well 12, Northall 98-9) is known everywhere, especially to college students. It is recorded as traditional song in Pennsylvania (NPM 195) and North Carolina (OSSG 41); otherwise collectors have not thought it worth while to report it. 'The Duke of York.' Contributed by the Misses Holeman of Durliani in July 1922. The noble Duke of York He had three thousand men. He marched them up the hill one day And then marched them down again. And when he was up he was up. And when he was down he was down, But when he was only half-way up He was neither up nor down. 1 36 NORTH CAROLINA FOLKLORE 100 I'll Tell Your Daddy These two stanzas look as if they might be fragments of a play- party song, but they are not so described by the contributor. The first of them is reported as the chorus of a mimetic play song of children in Cincinnati (JAFL xl 16). See also Davis (FSV 149) and Randolph (OFS iii 315-16). 'John, John, John.' Sent in by Julian P. Boyd as obtained in 1927 from Minnie Lee, pupil in the school at Alliance, Pamlico county. 1 John, John, John, I'll tell your daddy, John, John, John, I'll tell your daddy, John, John. John, I'll tell your daddy. So early in the morning. 2 The blue-eyed gal is dead and gone. The blue-eyed gal is dead and gone. The blue-eyed gal is dead and gone. So early in the morning. lOI I Want to Go to Baltimore Altha Lea McLendon's finding list for play-party songs (SFLQ VIII 202) cites several texts of a song called 'Baltimore,' but none of them is much like our North Carolina fragment. William A. Owens (Sun'ng and Turn 22) says of his Texas form of it that "this song seems to be a variant of the old bawdy song 'Baltimore,' which is still sung by certain persons of low repute." 'I Want to Go to Baltimore.' Reported by Mrs. W. L. Pridgen of Durham in 1923. I want to go to Baltimore, I want to go to France, I want to go to Baltimore To see the ladies dance. 102 Poor Little Laura Lee Perrow (JAFL xxviii 175-7) gives versions of this song ob- tained from mountain whites in North Carolina, Tennessee, Ken- tucky, and Mississippi and from Negroes in Mississippi. It is a hodgepodge of stanzas trailing off into the 'I wouldn't marry' theme: but there is no doubt that our A version is a form of it. Our other text is connected with it only by the name 'Laura Lee' and the mention of the yellow girl, who appears in one of Perrow's stanzas. .Stanza 2 of A seems to be a reminiscence of 'CoiYee Grows on White Oak Trees,' but the contributors do not say either piece is used as a i)lay-party song. r I. A V - r A R T Y AND DANCE SONGS I37 A 'Laura Lee.' Contributed hy Clara Hcarnc of Pittsl)oro, Cliatliani county, in or about 1022. 1 Poor little Laura Lee gal. Poor little Laura Lee gal. Poor little Laura Lee gal, Do pray remember me. 2 Rifle on my shoulder, Banjo on my knee. Poor little Laura Lee gal. Do pray remember me. B 'Up the Lane and Down the Level." From Miss Kate S. Russell of Roxboro. Person county. Not dated, but about 1923. The pointing is editorial and may not be right. L'^p the lane and down the le\'el. Salute your bride, you ugly devil. Laura Lee ! Went down the road, didn't go to stay. Met up with a yaller gal and couldn't get away. 103 Darling. You Can't Love but One This number song, Professor Hudson tells me. is a familiar tune at North Carolina square dances. The Archive of American Folk Song has recordings of it from Connecticut, Virginia, and Ohio. 'New River Train.' From the John Burch Blaylock Collection. 1 Lni leaving on that New River train. I'm leaving on that New River train. The same old train that brought me here Is going to carry me away. 2 O darling, you can't love but one. O darling, you can't love but one. You can't love but one and have au}- fun. O darling, you can't love but one. 3 O darling, you can't love two. O darling, you can't love two. You can't love two and still be true. O darling, you can't love two. 4 ( ) darling, you can't love three, O darling, vou can't love three. 138 NORTH CAROLINA FOLKLORE You can't love three and still love me, O darling, you can't love three. 5 O darling, you can't love four, O darling, you can't love four. You can't love four, and love me any more, O darling, you can't love four. 6 O darling, you can't love five, O darling, you can't love five. You can't love five and get honey from my beehive, O darling, you can't love five. 7 O darling, you can't love six, O darling, you can't love six. You can't love six and still love Saint Nix, O darling, you can't love six. 8 O darling, you can't love seven, O darling, you can't love seven. You can't love seven and go with me to heaven, O darling, you can't love seven. 9 Oh, I'm leaving on that New River train. Oh, I'm leaving on that New River train. The same old train that brought me here Is going to carry me away. 104 Page's Train Runs So Fast Southern Pines is in Hoke county near the Cumberland county line. Dr. Brown has noted on the manuscript: "Made when South- ern Pines was built up." The song is made on the pattern of 'Cotton-Eyed Joe,' a dance song the words of which generally do not extend beyond two or three couplets, though as known in Texas and Louisiana (TNFS 69-70) it has something like a story: the singer tells how cotton-eyed Joe "hoodooed" liis girl away from him "forty years ago." The Lomaxes (ABFS 262-3) have a nine- couplet version, provenience not given. In its reduced form of a couplet or two sung to a dance it is known in Tennessee (BTFLS v 25, OSC 99) and the Midwest (Ford's Traditional Music of America 60) and among the Negroes (ANFS 359, Alabama, and Talley's Negro Folk Rhyi)ies 32 without definite locale). 'Page's Train Runs .So I-ast." From Miss Kwcll Rolihins, I'ckin. Mont- gomery county, in ]<)22. 1 Page's train runs so fast Can't see nolhin' httt the window glass. P I. A Y - I' A R T V A X 1) I) A N C K SONGS I39 2 1 got a gal ill Sdutlicni I'ines, She ain't so prctt\' hut she (h-ess so fine! 3 Hadn't a heen for cotton-eyed Joe I'd a been married forty years ago. 105 Turkey Buzzard There are in the Collection three fragments of song that hear this title and another that might. One of them, in which with the turkey huzzard stanza is combined a memory of the Civil War, is dealt with under the title "Harness Up Yo' Horses' in the group of Martial, Political, and Patriotic Songs, below. Texts A and C certainly, and B probably, are dance songs. C is a stanza from 'Junip Jim Crow' and has already been reported (with some slight dilTerences) from North Carolina (ANFS 163). South Carolina (JAFL XLiv 428). and New Orleans (TNFS 127). Turkey Buzzard.' Communicated by Thomas Smith from Zionville, Watauga county, probably in 1915; the tune was obtained a few years later frum Mrs. N. T. Byers. In her singing, the first line of "each stanza is sung three times, which makes one suspect that the text of the first stanza is not correctly reported. Mr. Smith calls it a jig and says that it is "very popular among mountain musicians." 1 Shoot that turkey buzzard Come flopping down the hollow. Come flopping down the hollow. 2 Shoot old Davy Dugger dead ; He eat my meat and stole my bread. 3 Shoot old Davy Dugger, Take his wife and hug her. 4 Oh, that gal with a blue dress on, She stole my heart and now she's gone. B 'Old Turkey Buzzard.' Contributed probably in 1924 by Carl G. Kno.x, student at Trinity College, as a "banjo song." With the music. Four lines only : Old turkey buzzard. Lend me your wings To fly across the river To see Sally King. c No title. Contributed by Flossie Marshbanks of Mars Hill. Madison county. It is a stanza from T. D. Rice's famous 'Jump Jim Crow.' For 140 X 0 K T H CAROLINA FOLKLORE its use as a play-party song, see the AIcLeiidoii finding list, SFLQ viii 213. Other texts show that "grub and hoe" in the last line should be "grubbin' hoe," a familiar instrument in Southern agriculture. 'Where you gwine, turkey buzzard, Where you gwine, crow ?' 'Gwine down in the new ground To get the grub and hoe.' 106 All Around de Ring, Miss Julie Presumably from the minstrel stage originally, and probably used as a dance song in North Carolina, though the informant does not say so. 'All Around de Ring, Miss Julie." Obtained, probably in 1927, by Julian P. Boyd at Alliance, Pamlico county, from Catherine Bennett. All around de ring. Miss Juhe, Julie, Julie ! All around de ring. Miss Juhe ! All on a summer day. Oh, de moon shines bright, de stars give light ; Look way over yonder ! Hug her a little and kiss lier too, And tell her how you love her ! 107 Too Young to Marry This scrap of song I have not found elsewhere. Mr. Smith's note on his text implies tliat it is a dance or play-party song. A 'Pm Aly Mammy's Youngest Son.' Contributed by I. G. Greer of Boone, Watauga county, apparently in 1915 or 1916. I'm my manuny's yoiuigest son, I'm my mammy's baby, I'm my mammy's youngest son, I'm too ycjinig for to marry yet. I'm too young, I'm too young to marry yet; I'm my mammy's youngest son, I'm my mammy's baby, I'm my manuny's youngest son, I'm too young for tcj marry yet. 'I'm My .Mammy's Youngest Child,' Kejxjrted liy Thomas .Smith of Zionville, Watauga county, in iung by Mark Erwin on Rabit Ham in Leicester Township, P)uncombe county, probably in 1921. The second stanza belongs to a quite different song. I'm my mamma's darhn' chile. I'm my mamma's darlin' chile, I'm my mamma's darlin' chile, I'm most too young to marry yet a while. I love somehody. ves I do, I love somebody, yes I do, I love somebody, yes I do, And I wish somebody loved me too. 108 Poor Little Kitty Puss This dance song is known in Virginia (JAFL xxvi 131) and Mississippi (FSM 293), and a stanza that accompanies it in Mis- sissippi is known in Missouri (JAFL xxvii 291). 'Pore Little Kitty Puss.' Reported in 1915 by Thomas Smith of Zion- ville, Watauga county, as a "dance song — fiddle and banjo" with the notation: "This silly song with a tune resembling 'Black-Eyed Susie' is very old. I am told it was popular here before the Civil V/ar. It w^^j olayed at dances a great deal and there are lines somewhere in the song which run as follow-s : 'If you can't dance Kitty Puss you can't dance nothin'.' " There is in the Collection also a recording of this song, as sung by B. L. Lunsford at Turkey Creek, probably in 1921. Pore little Kitty Puss, Pore little feller, Pore little Kitty Puss Died in the cellar. CJionis: Pore little Fido, Pore little Fidie, Pore little Fidie Died last Friday. 142 NORTH CAROLINA FOLKLORE 109 Fare You \\'ell, My Own True Love This has not been lound elsewhere reported as a play-party song. The 'keg o' rum' stanza is known in Georgia (FSSH 439) and among the Negroes in Alabama (ANFS 164). Of our text Dr. Brown notes : "Words and air from the Rev. Andrew Jackson Burrus originally of Rockford. N. C. He sang this to his own accompaniment on the banjo. I remember the first stanza thus: If I had a keg of rum And sugar by the pound And a silver spoon to stir it with I'd treat them ladies round." Actually, however, the text was supplied later, in August 1922, by the singer's brother, J. H. Burrus of Weaverville, Buncondje county, with tlie notation that it was "used for an old Virginia break- down." The "Fare you well" stanza is evidently a chorus. Fare yon well, my own true love, Fare you well, I say ; Fare you well, my own true love, T am gwine away. 1 Jf I had a keg o' rum, Sugar by the pound, •\ great big bowl to put it in, A spoon to stir it around. b'are you well, etc. 2 I f ever you intend to marry at all Oh, do pray tell me now. You broke my heart, yoti killed me dead. And vou'll be hung for mtirder. Fare you well, etc. 3 I'll give my heart to you right now; ( )h. do give yotU"s to me. We'll lock them up together right close And throw away the key. Fare \'ou well, etc. no Mr. Carter A fragment of dance song, very likely from some music-hall piece. But I have not found it elsewhere. 'Mr. Carter.' Rci)orted by Thomas Smith of Zionville, Watauga county ; r L A Y - 1' A K T Y A N 1) 1) A N C K S 0 N (; S 143 "said to liave been played here over twenty years ago. A great favorite with liaiijo-pickers." Mister Cyarter, Mister Cyarter, Won't you be my dawg? He won't bite a sheep But 'e will bite a hog. Ill Wish I Had a Needle and Thread Here are brouglit togetlier a number of songs tliat are linked by stanzas or phrases, though not all of them have the element that I have chosen for the general title. Indeed, they are hardly integral songs but chance aggregates of song elements, all or most of them used in plav-party or dance songs. The needle-and-thread motive is found in'Virginia (TNFS 125), North Carolina (JAFL vi 131, ASb 308-9, in both cases as part of a 'Liza Jane' song), Texas (Owens 70-1), Missouri (JAFL xlii 223, OFS in 184, 2<77) , and the Bahamas (JAFL xlii 294). The "give my horn a blow" motive has been found" in Missouri (JAFL xxiv 299) and without specific locale in the Midwest (Ford 395, again in a 'Liza Jane' song), and sung by Negroes in North Carolina (ANFS 337). With F and stanza 4 of E compare 'Sally Goodin' A and 'Eliza Jane' (I) in this collection. The basic stanza appears also in 'Eliza Jane' (II). The chorus of A appears also in 'Shady Grove' and the third stanza of D is the first stanza of 'Shady Grove' B. The fourth stanza of E prompts the inclusion here of F. No title. Obtained from someone named Hodgin ; date not noted, and place only as "Southeastern" — which probably means the sontheastern part of the state. 1 I wish I had a needle and thread Fine as I could sew. I'd stitch my darling to my side And sail to Baltimo. Chorus: Wash your face and comb your head, Put on your Sunday clothes. Wash your face and comb your head. For we're going to Bridge's Grove. 2 Wish I had a pig in a pen. Corn to feed him on, A pretty little girl to stay at home To feed him when I'm gone. 144 NORTH CAROLINA FOLKLORE '"Wish 1 Had a Pig in a Pen.' Contributed by tlie Misses Holeman of Durham in July 1922. With the tune. 1 Wish I had a pig in the pen And the corn to feed him on. All I want is a pretty little gal To feed him when Tm gone. 2 Wish I had a needle and thread Fine as 1 could sew ; I'd sew my true love to my side And down the road I'd go. 3 (iit up on the mountain top, Give my horn a blow, Think 1 hear my true love say 'Yonder comes my beau.' 'If.' This single quatrain conies not from North but from South Caro- lina, from Cousor, Bishopville, S. C. If I had a needle and thread As fine as I could sew. I'd sew my true love to my side And down the road I'd go. D 'I Wish I Had a Pig and a Pen.' This text comes from W^orry, Burke county, in 1914. Name of contributor not given; perhaps Miss .Amy Henderson, who supplied many texts from that neighborhood. 1 I wish I had a pig and a pen. Corn to feed him on. Pretty little girl to stay at home. Feed [him| while I am gone. 2 Mamma give me silver. Papa give me gold. Sweetheart give me a sweet little kiss And (jod bless her sotil. 3 (lod bless the ocean, (i(jd l)less it sweet, ^ (]od bless the pretty little girls That fell m love with me. ' The priiici|)le of i)arallelism and the rhyme call for "the sea" here, as in 'Siiadv drove' H. P L A Y - P A R T Y A X D I) A N C l'. S () N C S I45 'Italy.' Sung by Willard Randall of Ellenhoro, KiitlKTlurd county. No (late given. With the tune. I Yonder comes a pretty little ,i;irl. Tell you how 1 know ; Her head is full of pretty little curls A-haiigiii' down so low. Clionts: I'm going- to Italy 'fore long, Going to Italy 'fore long, I'm going to Italy 'fore long To see that gal of mine. 2 Finger ring, tinger ring. Shines like glittering gold. I'm going to see my dear love Before she gets too old. 3 Apple like a cherry. Cherry like a rose. How I love my pretty little girl. Oh. God in heaven knows. 4 I have a house in Baltimore, Sixteen stories high ; Every story in that house Is filled with rock and rye. 5 I wish I was an apple Hanging in the tree ; Every time my sweetheart passed She'd take a hite of me. 6 I wish I had a needle and thread As fine as I could sew, And a thimble from Ijaltimore To make that needle go. 'Big Fine House in Baltimore.' Contributed by Lucille Cheek from Chatham county, witiiout date. The text is different from that of the same title in John \V. Work's American Negro Soiu/s (1940 ed.) 241 but is probably a version of the same piece. Similar "chicken pie" stanzas are sung by Negroes in South Carolina (JAFL xxvu 249, TNFS 117) and Alabama (ANFS 155), which are perliaps to be traced back to a Yorkshire knitting rhyme reported in JAFL vui 81. I Big fine house in Baltimore. Big fine house in Baltimore, X.C.K.. \i.l. Ill, (IJ) 146 NORTH CAROLINA FOLKLORE Big fine house in Baltimore, Sixteen stories high. 2 Every story in that house, Every story in that house, Every story in that house, Filled with chicken pie. 'Song.' Reported by Cozette Coble, apparently from Stanly county; not dated. For lines 5-8 see headnote above. For the "apron strings" motive see BSM 202. In line 6 "horny" is of course for "horn a." 1 Yonder comes my old true love ; How do I know ? I tell her by her apron string Hanging down so low. 2 If I were on the mountain top I'd give my horny blow. I hear my true lover say, 'Yonder comes mv beau.' LULLABIES AND NURSERY RHYMES OF THE LULLABIES, some— 'Rock-a-hy Baby,' 'Bye Baby Bunting.' 'Kitty Alone' — are part of our Engbsb inberitance. Tbe last of tbese, 'Kitty Alone,' derives from 'Tbere Was a Frog Lived in a Well' and is sometimes reckoned a form of 'The Frog's Courtship.' but our North Carolina version has lost all connection with the frog and the mouse and the wedding party and become purely a lullaby, a "sleepy song," as the singer says, of peculiar loveliness. Others, rather more numerous, seem to be creations of the Negro "mammy" — or have been made on the suggestion of her singing. 'Poor Little Lamb Cries "Mammy" ' strikingly combines gruesomeness and tenderness. The nursery songs cover a wide range. 'The Frog's Courtship' appears many times, most often with the nasal hummed refrain but also sometimes with the "kimo" chorus. 'I Went Down to Suckie's House' and 'Old Napper' seem to be made on the frame of 'Taffy Was a Welshman' though neither Taffy nor a Welshman appears in them. 'Billy Boy' is reported nearly fifty times, from all parts of the state, and his love has an amusing variety of accomplish- ments. 'Oh, Dear, What Can the Matter Be?' is no doubt much better known than the two texts reported would imply. The imita- tion of barnyard sounds appears in two songs, 'Barnyard Song' and 'McDonald's Farm,' both of which are probably though not demonstrably of Old World origin. Other favorites are 'Go Tell Aunt Patsy,' 'The Fox and the Goose' (who is more often a duck) and 'The Old Woman and Her Pig.' 'Chicken in the Bread Tray' seems to belong to the Southern states. Se(|uence or cumulative songs are represented by 'The Pretty Pear Tree,' 'John Brown Had a Little Injun,' 'Bingo,' and 'The Vowels.' There are nine more or less variant versions of that shivery delight of childhood 'The Old Woman All Skin and Bones.' Several Mother Goose rhymes and nonsense jingles occur, of course. Some songs and song frag- ments that cannot be traced and are of doubtful validity as folk song have been included. 148 NORTH CAROLINA I- 0 L K L 0 R E 112 Bye Baby Bunting Perhaps because it is so very widely known and sung, this old English lullaby (Halliwell 102. Northall 426) does not often appear in collections of traditional folk song. It has been reported from \'irginia (FSV 183), Kentucky (Shearin 38), and from Jamaican Negroes (JAFL xli 589 ) ; but it is probably sung to children in every state in the Union. It appears twenty-odd times in our col- lection, in localities all the way from the mountains to the sea and with very little variation in form. The following, from Professor J. T. C. Wright. Boone, Watauga county (with the tune), may be reckoned the standard form : Bye, baby bunting. Daddy's gone a-hunting To get a little rabbit skin To wrap the baby bunting in. The variations appear chiefly in the last line, which often lacks a syllable, reading "up" instead of "bunting." or, with a shifting of the stress incidence. To wrap baby bunting up in. or even, with the loss of one stress, To wrap the baby in. Only one text, reported by Mrs. Nilla Lancaster from Wayne county, adds a second stanza : Sister stayed at borne To rock-a-byc-a-baby bttnting. Mama stayed at home To bake a cake for babv bunting. "3 Rock-a-1jNk I)Aby in the Tree-Top Like 'Bye Baby Bunting.' this old English lullaby ( Halliwell 102 and 137, Northall 425-6, Riml)ault 17) seldom appears in col- lections of traditional folk song; it is listed in ]\Iiss Pound's Mid- western syllabus and by Davis as found in X'irginia (FSV 182), and as sung in Jamaica (JAFL xli 500). But uncjuestionably it is known and sung all over the United .States. It appears a dozen times in our collection, in localities all the way from the mountains to the sea. The texts vary but little. The following, reported by Allie Ann Pearce, Colerain, Bertie county, may be taken as the normal text : Rock-a-bye baby in tbe tree-top. When tbe wind l)lows tbe cradle will rock. When the bough breaks tbe cradle will fall And down will come cradle, babv. and all. L U L L A 1! 1 !•: S AND N L' K S K R Y K H V M K S I49 One text slitilitly chaniics the tliird line, reading- Tile liiul) will break and the cradle will fall. Down will come babies, cradle, and all. Down will come babies, cradle, and all. One tills out tlie trisyllabic rhythm expected in tlie last line: Down will come bab\\ bough, cradle, and all. And one has lost the third line of the quatrain: Rocky b\-, baby, in the tree top. When the wind blows the cradle will rock. Down comes baby, cradle, and all. 114 Kitty Alone 'There Was a Frofj Lived in a Well,' with its "Kitty alone" re- frain, is commonly reckoned a form of 'The Frog's Courtship' because it includes in many of its versions much of the nonsensical matter of the wedding- party of tliat song. In itself, however, it is an independent song, so recognized in Halli well's Nursery Rhymes of England and in Rimhault's Nursery Rhymes, and going back to the eighteenth and possibly to the sixteenth century. See the head- note to 'The Frog's Courtship' in this volume and BSM 495, and add to the references given in the latter Massachusetts (FSONE 204-5) and Indiana (BSI 234). Our North Carolina song with the "Kitty alone" refrain has no mouse, no courtship, no wedding party; it is purely a lullaby, and is therefore presented here as a separate item. 'Cradle Song.' Reported by Mrs. Sutton as sung by Mrs. Silas Bu- chanan of Horse Creek, Ashe county, "sitting in a homemade chair in the little porch of her log cat)in crooning this song to a hlackhaired baby. . . . 'It's a sleepy song,' my hostess said; 'mammy sung hit to me, I sing Iiit to Elziny, she'll sing hit to her younguns. Younguns like hit.' " 1 Saw a crow a-flyin' low. Kitty alone, kitty alone, Saw a crow a-flyin' low, Kitty alone alee. Saw a crow a-flyin' low And a cat a-spinnin' tow. Rockabye baby bye, rockabye babv bye. 2 Saw a red cloud in the sky, Kitty alone, kitty alone. Saw a red cloud in the sky, Kitty alone alee. Saw a red cloud in the sky I 50 N 0 R T II CAROLINA I- O L K L O R E And a star a-sailin' l)y. Rockabye baby l)\e, lockabye bab}- bye. 3 Saw tbe moon in tbe river bed, Kitty alone, kitty alone. Saw tbe moon in tbe river bed, Kitty alone alee. Saw tbe moon in tbe river bed. Big black frog swnm over her head. Rockabye baby bye. rockabye baby bye. 4 Saw an owl in tbe hickory tree, Kitty alone, kitty alone. Saw an owl in the hickory tree, Kitty alone alee. Saw an owl in the hickory tree. Big owl eyes a-lookin' at me. Rockabye baby bye, rockabye baby bye. "5 Hush-a-Bye, Don't You Cry This lullaby is perhaps of Southern origin. It is not recorded by Halliwell or Rinil)ault nor has it been reported by folk-song col- lectors in New England or the Middle or the Western states, but it is known in Virginia (SharpK ii 341, FSV 182-3), South Caro- lina (JAFL XLiv 419), Georgia (JAFL xlvii 334, ASb 454-5), Louisiana (TNFS 147, Negroes), and Texas (TNFS 145-6, Negroes). It appears four times in our collection. 'Hush-a-Bj-.' Reported by Laura AL Cromartie of Garland, Sampson county. Not dated. Dr. White notes on the manuscript : "I recall the third stanza from my own childhood in Statcsville, N. C., ca. 1898." 1 Hush a by an' don't you cry, x^n' go to sleep, little baby ; When you wake you shall have some cake An' ricle a pretty little horsey. 2 You shall have a little canoe An' a little bit of a i)addle ; You shall have a little red mule An' a little bitty saddle. 3 Tbe black an' the bay, the sorrel an' the grey, .\11 belong to my baby. So hush a by an' don't you cry An' go to sleep, little baby. LULLABIES AND NURSERY RHYMES I5I B 'Rock-a-bye, Don't You Cry." From Mrs. Nilla Lancaster, Wayne county. Probably in 1923. 1 Rock-a-bye, don't you cry, Go to sleep, little baby. When baby wakes, give her some cake ; That will do for baby. 2 Rock-a-bye, don't you cry. All those piu'ty little, little horsies. W hen baby wakes, give him cake. Let him ride them purty little horsies. 'Go to Sleep.' Not really a North Carolina text, having been contributed by Cornelia Evermond Covington from Florence county, South Carolina. Go to sleep, go to sleep. Go to sleep, little baby. When you wake I'll give yoti a cake And five or six little horses. 'Go to Sleep, Go to Sleep.' Communicated by Louise W. Sloan, of Bladen county. Differs from C only in the last line, which runs : "A coach and four little horses." 116 Go TO Sleep, ]\Iy Little Pickaninny Perliaps tliis should rather be named from its first line, 'I'se a little Alabama coon.' Dr. White remarks of it : "A minstrel or 'coon-song' of the late nineteenth century, used as a nursery song. I remember it from childhood, ca. igoo." In ANFS 397 it is re- ported from Alabama, in TNFS 146-7 from Texas, in JAFL xli 590-1 from Jamaica, all these as sung by Negroes; SharpK 11 346 reports it from Virginia, presumably from the singing of whites. A 'Little Alabama Coon.' Contributed in 1927 liy Julian P. Boyd of Alli- ance, Pamlico county. I I'se a little Alabama coon, Hain't been born very long. I remember seeing a big round moon, 'Member hearing one sweet song. When dey toted me down to de cottonfield Dar I rolled and I tumbled in de sun ; Daddy picked de cotton and mammy watched me grow, And dis am de song she sung : 1 52 NORTH CAROLINA FOLKLORE Chorus: Go to sleep, my little pickaninny, Brudder Fox'll catch you it you don't; Slumber on de bosom of your old mammy Jinny. Mammy's gwine to switch you if you won't. Hush-ush-hush lu-lulla-luU-lu-lulla Underneath the silver southern moon ; Hush-a-bye. rock-a-bye. mammy's little baby, Mammy's little Alabama coon. 2 Dis here little Alabama coon 'Spects to be a grown-up man some day. Dey's gwine to christen me soon. My name's gwine to be Henry Clay. When I'se big. I'se gwine with de yaller gals And we'll have pickaninnies ob our own ; Dey'll slumber on de bosom ob dear old mamni}' Jinny. Dis am de song she'll croon : B 'Go to Sleep. My Little Pickaninny.' From Mabel Ballentine, Wake county. Not dated. A reduced text, not much like A yet clearly a form of the same song. 1 Go to sleep, my little pickaninny. Brother Fox will catch you if you don't. Ride on the old mammy Jinny, My little pickaninny coon. 2 Snake baked a hoecake and set the frog to mind. The frog dropped asleep, and the lizard come and find. Bring back my hoecake. you long-tailed Nanny ! C No title. Reported, apparently in 1923, by Helen Eraser Smith as "an old lullaby" preferred by her nurse. Only lines i, 6, 7, 8 of the chorus of A. No place nor date indicated. 117 Poor Littlk La.mh Cries 'Mammy!' This lullaby — suf^^estive, somewhat, of "The 1 \va Corbies' ( Child 26) — is reported by Miss Scarborous^h (TNF.S 147-9) "" three forms: one from Virj^inia (where it is told of a cow and her calf). one from New Orleans (ewe and Ianii)|, and one known in both Virp^inia and South Carolina (where as in our A it is the "mannnv" whose eyes are beini;: picked out by jjnats and Hies). Davis lists two te.xts from Virg^inia (F.SV 204) and Randolph two from Mis- souri (Ol'^.S II ,:545-6). Jolui W. Work's .Inicn'caii Xcgro Songs 250 has a version w ithout the macabre trait of tlio eyes bcinir ])ickcd L V I. I, A li 1 E S A N I) N V R S K R Y R H V M K S I 53 out. Mrs. Riclianlson (AMS 49) gives a version of 'The Foolish Boy' which uses "tlie pore httle thing cried 'Mammy' " as refrain. Mrs. Steely reports the refrain stanza as part of a medley heard in the Ebenezer community in Wake county. A 'Cradle Song.' Reported by W. B. Covington in 1913 as part of his "reminiscences of my early youth spent on the border of the sand hills of Scotland county." Mrs. Sutton also supplies a text, identical except that it omits "bell' 'in the first line, but does not say where or when she got it. 1 The old cow bell goes jingle-ing. Go to sleep, little baby. Papa gone and mama too. Go to sleep, little baby. 2 Little black sheep, little black sheep, WHiere is your mammy ? Way down in the meadow. Little black fly pickin' in her eye. Poor little lamb cries 'Mammy !' 6 'Black Sheep, Black Sheep, Where'd You Leave Your Lamb?' From R. D. Ware, student at Trinity College ; probably heard in Stanly county. 'Black sheep, black sheep, where'd you leave yotir lamb?' 'I left iiim down in the valley. Birds and butterflies picking out his eyes And the poor little thing crying "Mam-ma, mam-ma!"' c 'Old Black Sheep.' From Miss Florence Holton, Durham. Not dated. 'Say, old black sheep, where's yotir lamb?' 'Way down yonder in the valley. Crow and blackbird picking out its eye ; Poor little lamb cries "Mammy!" ' 118 Hush. Honey. Hush This begins as a lullaby but passes into a dance song, or at least into a "banjo-picking" tune. It is without finder's name in the collection, but bears this notation: "Found in Guilford county, near High Point. Sung by Negroes before Civil War." Compare Talley, Negro Folk Rhymes 21, 'The Banjo Picking.' Hush, honey, hush, Not a bit o' fuss. While ole master's sleeping. 1 54 N 0 R T H C A R O L I N A FOLKLORE Go down to the barn. \\ akt" up the boys. And liave a Httle banjo pickini;-. Tink-a-link a-Hnk a-link a-link a-Hnk a-bnk. "Refrain with banjo. The refrain is a banjo sound and produces the effect of a banjo being played." 119 PiTTY Patty Poke A nursery jini::le said wliile one pats the baby's feet. Possibly it is only a modification of the old English nursery rhyme (Mason 3. Halliwell 132, JAFL xxxi 62) 'Pat-a-cake pat-a-cake baker's man.' ■Pitty Patty Poke. Nursery Kliyme." From Airs. Doris Overton Brim, Durham, 1924 or thereabouts. Pitty patty poke, Shoe the wild colt. Here a nail, there a nail. Pitty patty poke. 120 The Frog's Courtship For the history and range of this nursery classic, see Kit- tredge's bibliographical note (JAFL xxxv 394-9), Payne's study (PFLST V 5-49), Grace Partridge Smith's (JAFL lii 125-7), and the headnote in the Missouri collection ( BSM 494-5), and add to the references in the last of these Massachusetts (FSONE 204-6), X'irginia (FSV 208-13), Tennessee (BTFLS v 43-5), Florida ( .SFLQ IV 146-7, VIII 179-81), the Ozarks (OFS i 403-10), Indiana (BSI 226-38), and Michigan (BSSM 455-9). Of the six types into which Payne divides the texts our collection shows chiefly two, that with the "kimo" and that with the nasal grunt or hum refrain, along with a few other forms and two with no refrain indicated. Texts A-C have the "kimo" refrain in some form, texts D-W have the hunnned refrain. The 'Kitty Alone' song, often reckoned as a form of 'The Frog's Courtship,' occurs but once in our collection and has no mouse and no courtship, is indeed merely a lovely lullabv, ,111(1 is therefore presented as a separate item. Sam Cowell's adapta- tion of 'The Frog's Courtship' to the blackface minstrel fashion of a hundred years ago, and an American memory of it, are considered here in an appendix. A '.■\ I'rog Went .A-Courtin'.' Reixirted liy Flossie .Marslibanks of Mars Hill, Madison county. Not dated. LULL A 1! 1 1". S A \ I) N V R S I'. K V K H Y M E S 155 1 Vvog went a-courtin' and he did ride, Ring ting bottom and a kynio Sword and pistol by his side. Ring ting bottom and a kymo Clionts: Hello naro he's my caro. Hello caro narrow. Ring ting bottom ditty boat aroun(l Ring ting bottom and a kymo.' 2 Rode up to Miss Mousie's house. Asked Miss Mousie to be his wife. 3 Where shall the wedding' supper l)e? \\'ay down yonder in the hollow tree. 4 What shall the wedding supper be? A plate of butter and a black-eyed pea. 5 The first came in was a butterfly. With her pudding and her pie. 6 Next came in was a bumblebee. With his fiddle on his knee. 7 Next came in was a crippled flea ; Danced all night for the bumblebee. 8 Next same in was a yellow cat. Seized ^liss Mousie by the back. B 'Frog Went A-Courting.' Reported by D. W. Newsom as learned "at his mother's knee" in Littleton, Halifax county, about 1885-90. With the tunc. The refrain is an interpolated line and then a four-line part, as in A. 1 Frog went a-courting and he did ride. Rain down bonny mish ki-me-oh Sword and buckler by his side. Rain down bonny mish ki-me-oh. Kero kiro gilt and garo Kero kiro karo Rap Jack penny winkle flammydoodle yellow buckle Rain down bonny mish ki-me-oh. 2 He rode down by the mill side door To hear his saddle squeak and rf)ar. ' The refrain line is thus interpolated in and the cliorus sung after each stanza. 1 =6 NORTH CAROLINA FOLKLORE 3 He rode down to Lady Mouse's house. The old Miss Mouse was not at home. 4 The old mouse came home at last. Shook her big fat sides and laughed. 5 He took Miss Mousie on his knee: ■Prav. Miss Mousie. will you marry me?' 6 'Who will make the wedding gown?" 'Old Miss Rat from pumpkin town.' 7 'Where will the wedding breakfast he?' 'Way down yonder in a hollow tree.' 8 'What will the wedding supper be?' 'A fried mosquito and a roasted flea.' 'One Two Three." From Thomas Smith. Ziunville, Watauga county, as sung by Mrs. Julia Grogan in March 1913. "She says it was sung when she was a child, over forty years ago." It lacks the first part of the story. 1 Mrs. Mousey went to town Tim a rang tang l)ottom a my kimo To buy her niece a wedding gown. Chorus: Tim a rang tang bottom tim a kimo come a nedro Keep my caro turn a turn bum stumpy tum dido bodey Round tim a rang tang bottom a my kimo. 2 'Where will the wedding supper be ?" 'Way down yonder in a hollow tree.' 3 'What will the wedding supper be?' 'Two blue beans and a l)lack-eyed pea.' 4 First come in was Mrs. \'\y. She brought her peaches and her ])ie. 5 Next come Mrs. Ikitterfly. She fanned all as she passed by. 6 Next come in was .Madam Cat. .She took -Miss Mousf\' 1)\' the back. 'Frog Went .\-Courting.' Reported liy K. 1'. Lewis as set down in igio by Dr. Kemp P. Battle of Chapel Hill. Each stanza is a couplet e.xtended to three lines l)y reixating the first line, and the nasal hum comes after tlu- first and third lines of each such stanza. L U L L A n I K S A N I) X T R S K K V K H Y M E S 157 1 Frog went a-courtin'. he did ride, M-ni 11 -ni Frog went a-courtin". he did ride. Sword and pistol by his side, M-ni 11-ni 2 lie rode to Mistress Mousie's hall; There he knocked and loudly called. 3 "Miss Mousie. are you within?' "Yes. kind sir, I sit and spin.' 4 Me took Miss Mousie on his knee : 'Miss Mousie, will you marry me?' 5 "Oh no. kind sir. I can't say that Without the consent of old Uncle Rat.' 6 ( )ld Uncle Rat came a-riding lK)me. "Who's been here since Fve been gone?' 7 'A very tine gentleman has been here Who says he'll marry me if you don't care.' 8 Old Uncle Rat laughed and shook his fat side To think his niece should bt- a bride. 9 'Where shall the wedding supper be?' 'Wav down yonder in the old hollow tree.' 10 'What shall we have for the wedding supper?' "Black-eyed peas and bread and butter.' 1 1 The first came in was Capt. Bedbug, Who swore by all he was a run^ jug. 12 The next came in was Colonel Mea ; He danced a jig wMth a bumblebee. 13 And while they all were eating supper In came the cat and made a great splutter. 14 The first he pursued was old Uncle Rat, And threw him down and spoiled his fat. 15 The next he pursued was Miss Mousie; But she ran up a hollow tree. 16 The frog he swam across the lake And got swallowed up l)y a big black snake. 17 This is the end of one. two, three. Frog and Rat and Miss Mousie. ^ So the manuscript. Proba))ly it should be "rum." 158 NORTH C A R O L 1 X A !• 0 L K L 0 R E E 'Frog Went A-Courting.' Contributed hy Miss Amy Henderson of Worry, Burke county, in 1914. Refrain and stanza structure as in D and corresponds in i)art to that version, but lacks stanzas 6-7 of D and has more formal manners in stanza 4 : Down upon his knee fell he ; Says he, 'Miss Mousie, will you marry me?' In stanza 5 she tells him that Not without Uncle Rat's consent Would I marry the President. The list of guests and the outcome of the party are different: 9 The hrst to come in was the humhlehee With his fiddle on his knee. I o The next come in was a great hig flea ; He said, 'Dance with the humhlehee.' I I Next to come in was Major Tick, Who ate so much it made him sick. 12 Then they sent for Dr. Fly, Who swore l)y George old Tick would die. 13 They all went sailing down the lake And were swallowed up by a great hig snake. 14 That's the end of one, two. three, The rat and the mouse and little froggie. F 'Frog Went A-Courting.' Reported I)y Miss Gertrude Allen (later Mrs. Vaught) from Oakboro, Stanly county. C'lose to E through the first nine stanzas, but inserts after stanza 5 Uncle Rat he went down town To I)uy his niece a wedding gown. The account of the wedding party, however, is different: 10 T'^irst came in was a little seed tick; It ate so much it made it sick. I I Next came in was a hig black snake; lie ate up all the wedding cake. I J Next came in was a little fat pig; Thought he'd have a little jig. 13 Lady Mouse came a-tripi)ing down; She fell over her wedding gown. 14 Then Frog came a-swimming across the lake. He got swallowed by a big black snake. LULL A 1! 1 K S A X I) N U K S K R Y RHYMES 1 59 'Froggy Went A-Courtin'.' Contributed by I. T. Poole from Burke county. A somewhat reduced version. 1 l*roggy went a-courtin' and he did ride nniph-luiinph l">uggy went a-courtin' and he did ride. Sword an pistol hy his side uniph-humph. 2 Rode down to Miss Mousie's den : 'Say, Miss Mousie, are you within?' 3 'Yes. kind sir, I'm sitting to spin ; Pull the string and you'll come in.' 4 He took Miss Mousie on his knee: 'Say, Miss Mousie. will you marry me?' 5 'Who shall the wedding waiters he?' 'Miss Grasshopper and Captain Flea.' 6 'Where shall the wedding supper he?' 'Away down yonder in a hollow tree.' 7 'What shall the wedding supper be?' 'Three green beans and a black-eyed pea.' 'Frog Went A-Courting.' Reported by P. D. Midgett of Wanchese, Roanoke Island, in 1920, as writen down for him by a friend. First seven stanzas as in E except that stanza 4 runs : 'Say. Miss Mouse, will you marry me. And live over yonder in a hollow tree ?' The remaining nine stanzas introduce some new figures : 8 'What shall the wedding supper be?' 'A cup of tea and a black-eyed pea.' 9 First came in was little moth. Bringing in the tablecloth. 10 Next came in was a great big snake, Bringing in the wedding cake. 11 Next came in was a little louse, Bringing in a j^late of souse. 12 Next came in was a great big tick. Walking around with a hickory stick. 13 Next came in was a l)unil)lel)ee. Took a jig with a broken-back flea. l6o N () K T H CAROLINA FOLKLORE 14 Next catne in was a little sea tick,^ Eat so much it made him sick. 1 5 Had to send for Dr. Fly. Thought to my Lord that tick would die. 16 Old gray goose she swam the lake. She got hit hy a great hig snake. I 'Frog and tlie Mouse.' From a notebook of Mrs. Harold Glasscock of Kalcigli, lent to Dr. White in 1943, in whicli Mrs. Glasscock had set down s(jngs she had learned from her parents. Much like D, but has a preliminary stanza : Gentleman frog lived in the well em hu Gentleman frog lived in the well, Lady mouse lived in the mill em hu. The mouse's answer to Uncle Rat sounds coy : 'Who's been here since Lve been gone?" 'There was a tall, nice young man, Gentleman Frog was his name." The price Uncle Rat pays for the wedding gown is given : What do you reckon he paid for it ? Nine dollars and a bit. The conclusion presents some new figures : 12 First came down was a bumblebee, Timing a fiddle on his knee. 13 Next came down was a little seed tick Dancing a jig with a hickory stick. 14 Next came down was a butterfly; She fanned the company as she went by. 15 Next came down was the pussy cat. She caught Miss Mousie and then ran back. 16 Mr. Frog jumped in the lake And there was swallowed by a big black snake. 17 Big black snake swam to the land And there was killed by a little nigger man. 18 Little nigger man went off to sea; And that's the end of my story. ' Miswrittcn no doubt fur "seed tick," wliicli occurs in F and I. L L' L I, A H 1 K S A N U N V 1< S K K Y K II V M K S l6l J 'Frog Went A-Courtiiig.' Contributed l)y Miss Marj^aret Higgs of Green- ville, Pitt county. Fourteen stanzas, introducing nothing not already presented in the preceding versions except a junel)ug. It ends: 13 The iH'xt to come- in was the little Jtine 15 tig ; He jumped in the fi(X)r and gave the hricle a luig. 14 Mr. Ffug gut mad and jtimped in the lake .And there he got hit hy a hig hlack snake. K 'Frog Went A-Courting.' From Mrs. Sutton, who says she has heard it in Caldwell, Mitchell, .Avery, Watauga, Henderson, and Bunconil)e counties, and gives a Caldwell version of eight stanzas as she learned it from her grandmotlier. The wedding supper here becomes an 'infair supper,' and the flea dances a jig with the bumblebee. L 'A Woodman's Song.' Reported by Julian P. Boyd as obtained from Minnie Lee, one of his pupils in the school at Alliance, Pamlico county, in 1927. Six stanzas, of which the first is the same as stanza i of D and the second the same as stanza 4 of S (except that the refrain is spelled "Humph" instead of "Ah-ha"). The other four stanzas (the last of which is an intruder from the body of floating bird and animal jingles) are as follows: 3 'Say. Miss Mouchy, where will we he?' 'We'll bttild our house in a hollow tree.' 4 'Say, Miss Mouchy, what shall we eat?' 'Two big hams, bread and meat.' 5 'Say, Miss Mouchy. where shall we lie?' 'Between the wheat straws and the rye.' 6 Jay bird died with the whoopingcough. 'Long come de bird with his tail bobbed off. M 'Frog Went A-Courting.' Reported by Jesse T. Carpenter from Dur- ham county. Ten stanzas, the last three of which run: 8 The next one was a big black bug. He came in dragging a jug. 9 Then came in the practice goose. She had a hddle and she cut loose. 10 Thev all went swimming down the lake. And all were swallowed bv a big blacksnake. 'Frog Went A-Courting.' Reported by James .\. McKay, student at Trinity College, as sung in New Hanover county. Five stanzas, giving X.r.I-"., Vol. III. 11:0 l62 NORTH CAROLINA FOLKLORE only tlie first part of the song. The bride was dressed in "green pea sHppers and a big brass breastpin" and they had for supper "black-eyed peas and dog-foot liutter." O 'Frog Went A-Courting.' Obtained from Miss Lura Wagoner of Vox, Alleghany county, in 1921. Ten stanzas, not differing significantly from E except that the latter part is reduced to two stanzas : 9 The first to come in was the humhle])ee With his fiddle on his knee. I o The next to come was a great big flea ; He said, "Dance with the l)umblebee.' p 'Frog Went A-Courtin'.' Reported by Sarah K. Watkins as known in Anson and Stanly counties. Only four stanzas, corresponding to stanzas I, 2, 9, 10 of D. Q 'Frog Courtship.' From Mrs. Nilla Lancaster, Wayne county. Eleven stanzas. No element not already given in one or another of the preced- ing texts except at the close, which runs : Frog went a-floating down the brook. He got caught by the fisherman's hook. R No title. Reported by Alinnie S. Gosney as known in Raleigh and Wake county. Here the stanza structure is different; the "uhuh" refrain comes only at the end of the couplet. The story is disarranged; it begins with the wedding party. 1 I^^irst came in was a bumljle-bee ; Stung Miss Mousie on the knee. Uhuli uliuh 2 Next came in was Mr. Tick ; Ate so much it made him sick. 3 Had to send for Dr. Fly. And he swore, by gosh, Air. Tick woidd die. 4 Mr. b'roggie rode by Miss Mousie's den; Says he. 'Aliss Mousie. are you within?' 5 Took Miss Mousie on his knee; Says he. 'Miss Mousie, will \du marry me?' 6 Mr. I'Vcjggie went U) town To buy Miss Mousie's wedding gowiL 7 Mr. Froggie went by the lake. There he was swallowed u]) b\- a big black snake. L r I. L A H 1 I". S A N I) N U K S K K V K II Y M E S 1 63 8 That snake swum to shore. A big black negro killed hiui there. 9 That big black negro lias gone to h^-ance To teach the negroes how to dance. 10 Now 1 lay my book on the shelf ; If you want any more, you can sing it yourself. S 'Frog Went A-Courting.' Contributed by Mrs. A. J. Ellis of Raleigh. Eighteen stanzas. The refrain here (at the end of tlie first and third lines of each stanza, as in D) is written "Ah-ha." but this is doubtless just a variant writing of the usual hum or grunt. Otherwise the text is substantially the same as D. T 'A Frog Went A-Courting.' Obtained by Professor James F. Royster at Chapel Hill in 191 5 from William C. Doubkin. student at the Univer- sity of North Carolina. Five stanzas, ending with •What will the wedding supper be?' 'A slice of toast and a cup of tea,' and the notation "I do not recall more." U 'A Frog Went A-Courting.' From James A. McKay. A variant form of N. Here the refrain comes after each line, not only after the first and third— at least, so the manuscript is written. Fur example : Frog went a-courting, he did ride uh huh Frog went a-courting. he did ride uh huh Sword and pistol by his side uh huh Went down to Lady Mouse's hall uh huh Went down to Lady Mouse's hall uh huh Gave a loud knock and loud he called uh huh etc. The form of the wooing dialogue is slightly different from that in preceding versions : 'Old lady mouse, will you marry me?' 'Yes, kind sir, but you frighten me.' V 'Mr Frog Went A-Courting.' From Miss Mamie E. Cheek of Durham. .A.n unusually full form, eighteen stanzas. When Uncle Rat asks "Who's been here since I've been gone?" Miss Mousie replies "A very nice fellow all dressed in brown, the very nicest fellow in town." The wed- ding guests are a bumblebee, a little moth, "a big black spider who walked up the aisle and sat down beside "er," a little brown flea, a big green snake, a little tick— who dies despite the ministrations of Dr. Fly. The bride and groom march in and "They jumped over the handle of the broom." A "broomstick marriage" is an illegal or mock marriage. See NED under broomstick. 1 64 NORTH CAROLINA FOLKLORE W 'Frog Went A-Courting.' From Lida Page of Durham county. This is in the collection in two forms, one with the normal hummed refrain as in D. the other with the hum after each line of the four-line stanza, tlius : Frog went a-coiirting and he did ride tih tih F"rog went a-courting and he did ride nh tih Frog went a-courting and he did ride uh uh Sword and pistol by his side uh huh The flea is crippled yet danced all night with the bumblebee ; the cat is yellow. X 'Frog Went .\-Courting." From Miss Isabel B. Busbee of Raleigh, as sung by her great-aunt Miss Louisa Nora Taylor. Marked by a refrain that I have not found elsewhere. Nine stanzas. Begins Mr. Frog a- wooing rides Linctim lee lincum loddy With sword and pistol by his sides Fddlin dav fodlin doddv. 'Froggie Went A-Courting.' A second te.xt reported by Mrs. Vaught (see F), this one from Taylursville, Alexander county. The first four •Stanzas only. Has neither the "kimo" nor the hummed refrain but a "clinrus," sung apparently after each stanza: Plot, plot, plot, plot. Z No title. Contributed by Allie Ann Pearce of Colerain, Bertie county. No refrain is indicated. The text differs in other respects from the others in tine collection. 1 .\ frog he would a- wooing go Whether his niotlier would let him or not. So off he started with his opera hat. And on the way he met with a rat. 'Pray, Mr. Rat, will you go with me Kind Miss .Mousy for to see?' 2 Thev soon arrived at Mousy's hall; They gave a loud knock and gave a loud call : 'Pray, Mis.s .Nhmsy, will vou give us some beer? Froggie and 1 are fond of good cheer.' 3 .\s they were having a merry time The cat and her kittens came tumbling in. The cat she seized the rat by the crown. The kittens they pulled little mousie down. L V 1. 1. A i; 1 K S A \ 1) \ V K S K R Y U H V M K S 165 The frog was in a k'rrihlt' fright ; He picked up his hat and hade them gdochiis^ht. 4 As tix)ggy was crossing a sihery hrook A lily white duck came and gohhied him up. So this was the end of one, two, three. The frog, the rat, and the little mousie. AA Xo title. From Valeria Johnson Howard, Roseboro, Sampson county. A reduced form of four stanzas. No refrain indicated. APPENDIX About a hundred years ago, when blackface minstrelsy was as much the fashion, in England scarcely less than in the United States, as hot jazz is now in this country, a famous comic singer, Sam Cowell — London born, but he started his career in America — turned the "kimo" refrain to the purposes of minstrelsy in a nonsense song about South Carolina Negroes. The song was brought to this coun- try and became in a sort traditional ; at least it underwent the changes due to oral transmission. At the request of Miss Adelaide L. Fries, Miss Lucy Logan Desha of Winston-Salem copied out from Harold Scott's English Song Book Cowell 's song, with the music (see vol. IV). Clearly a derivative of Cowell's song is the following, reported by Miss Fries as obtained from Miss Etta Shaffner, who learned it from her mother. As will be seen, it has hardly more of 'The Frog's Courtship' than the refrain. For its occurrence elsewhere in this country, see White's notes, ANFS 175-6, and Randolph, OFS ii 362-5. Mrs. Steely found one stanza and chorus in Wake county. 'Kitchie Ki-Me-0.' I \\ ay down south where the niggers grow, Sing song kitchie kitchie ki-me-o. That's where the white folks plant their tow, Sing song kitchie kitchie ki-me-o ; They cover the ground all over with smoke. Sing song kitchie kitchie ki-me-o. Up the darkies' heads they poke. Sing song kitchie kitchie ki-me-o. Chorus: Ke-mo. ki-mo. da-ro-ar, Me-he, me-hi, me-ho ; In come .Sallie singing sometime ])enny-winkle linktnm nipcat Sing song kitchie kitchie ki-me-o. l66 NORTH CAROLINA FOLKLORE 2 There was a frog lived in a pool, Sure he was the biggest fool ; l^'or he could laugh and he could sing And make the woods around him ring. 3 Milk in the dairy nine days old. Frogs and skeeters gittin' mighty hold. 1 tried to sleep but 'tain't no use. So I hung my legs for the chickens to roost. Tlie followinij- is clearly another ineniory of the same song. 'Keemo Kinid." RcpMrted by S. M. Davis of White Hall near the Neuse River as a nursery rhyme "sung by an old Negro of ours." Milk in the dairy nine days old. Sing a song. Kitty can't you climbo Frogs and skeeters getting mighty bold, Sing a song. Kitty, can't you climb-e-o. Chorus: Clemo. climbo, dario. clash, To my high, to my low, In come Sally Winkle sometimes Penny Winkle limpturn nip cat. Sing a song Kitty can't you climb-e-o. And so is this, reported by Elsie Doxey of Currituck county. The first stanza of it has been found also in Florida (SFLQ viii 183) and in the singing of Negroes ( Talley 30), with only a faint echo of the kimo chorus. Sweetest little girl in the county O, Mammy and daddy Ixjth said so. Kitchy kitchy kitchy kime-o Kime-o kime-o Kitchv kitchy kitch\' kime-o. Milk in the dairy nine days old Kitchy kitchy kitchy kime-o Kime-o kime-o Kitchv kilcln- kitcln- kime-o. I Jl l')ll.l.^• P)OV This old English nursery song is very widely known. See BSM 4()(). and add to the references there given Rinibault's Nursery h'hvmcs .^2-3, and for this cmnitry X'irginia ( h"S\' i<).V.^). Indiana L V L L A I! 1 I". S A N 1) XI' R S I". K Y R H Y M E S 1 67 (^Woltord 24. a play-party suiis^ ) , Arkansas (OFS i 392-3), and Missouri (OFS 1 391-2, ^^'•j^^). Tlierc are forty-seven texts of it in our collection, coverinj^ all parts of the state from Nag's Head on the Banks to the western mountains. The ([uestions asked vary, thouijh some of them, especially "Can she make a cherry pie?" are fairly persistent. Instead of .i,nving- all the texts it will be sufficient to print a few of the fuller versions; hut a listing here of the (jues- tions asked will give an idea of the range of interest involved. In all of the texts taken together twenty questions are asked. They all begin with "Where have you been?" Five of them concern the person of the "wife": How old is she? How tall is she? Are her eyes very bright? Is she worth anything? What is her name? A larger number deal with her housewifely qualities: Can she sweep up the floor? Can she make a feather bed? Can she make a loaf of bread? Can she make a clierry pie? Can she knit, can she sew? Can she make a cup of tea? Can she make a pudding well? Can she make a man a shirt? Others look to the wedding: Do you think she loves you well? Will her mother give her up? Is she titten for a wife? Have you set the wedding day? Still others constitute a sort of reverse of 'The Old Man's Courtship' : Did she ask you in? Did she ask off your hat? Did she give you a seat (set for you a chair) ? Did she bid you to come back? And one text (contributed by Mrs. Vaught from Alexander county) has a question reflecting an interest in her respectability: Does she often go to church ? To which the answer is : Yes, she goes to church and wears a bonnet white as perch. The answers to the questions vary slightly from text to text but not significantly. To the question about her age the answer is always a nonsense rigmarole — perhaps implying that it is none of the (juestioner's business. Here are three of the fuller versions. Most of the texts have only four or five stanzas. A 'Charming Billy.' Contributed by Miss Amy Henderson of Worry, Burke county, ill 1914. 1 'Where have yoti been. Billy boy, Billy boy, Where have yoti been, charming Billy?' "I've been seeking me a wife, she's the comfort of my life; She's a yoting thing, and cannot leave her mother.' 2 'Did she ask ycni to come in, Billy boy, Billy boy. Did she ask yoti to come in, charming P)illy ?' 'Yes, she asked me to come in ; she's a dimi)le in her chin. She's a young thing, and cannot leave her mother.' 3 'Did she bid you ha\e a chair, liilly boy. Billy boy. Did she bid yoti have a chair, charming I'illy ?' 'Yes, she bade me have a chair; she has ringlets in her hair. She's a young thing, and cannot leave her mother.' l68 X () R T II C A K O L I X A I- O L K L 0 R E 4 'Can she make a cherry pie. Billy boy, Billy boy, Can she make a cherry pie, charming Billy ?' 'Yes, she can make a cherry pie quick as a cat can wink its eye. .She's a young thing, and cannot leave her mother.' 5 'Can she make a pudding well, Billy boy, Billy boy. Can she make a pudding well, charming Billy?' 'Yes, she can make a pudding well, you can tell it by the smell. .She's a voung thing, and cannot leave her mother.' 0 "Did she bid you to come back, Billy boy, Billy boy, Did she bid you to come back, charming Billy ?' 'Yes. she bade me to come back, after giving me a smack. She's a young thing, and cannot leave her mother." 7 'lldw old is she. Billy boy, Billy boy. How old is she, charming Billy?' 'She'll be fortv-four next fall, and she's got no teeth al all. She's a young thing, and cannot leave her mother.' B 'Billy Boy.' From Miss Florence Holton of Durham. 1 'W here have you been. Billy boy. Billy boy. \\ here have you been, charming Billy?' '1 have been to see my wife, she's the joy of my life; .She's a young thing, and can't leave her mother.' _' 'Did she ask you in. Billy boy. I'illy boy. Did she ask you in, charming Billy?' 'She did ask me in. with a dimple in her cliin ; She's a young thing, and can't leave her mother.' 3 'Can she make a cherry i)ie. i'illy boy. l>illy boy. Can she make a cherry pie, charming Billy?' 'She can make a cherrv pie (|uick as a cat can wink his eye. She's a \'(iung tiling, and can't leave lier nidther.' 4 'Did she set for \ill\- boy. I'illv bov. Can she make a feather bed. charming Billv?' '.She can make a feather bed. with a candle on her head. She's a voung thing, and can't leave her mother.' h V L I. A I! I K S A N I) N U R S E R Y RHYMES 169 6 "How tall is she, l*>illy hoy. Billy hoy, How tall is she. channing IJilly ?' 'She's as tall as any pine and as thin as a pumpkin vine. She's a younj^- tliin.i;-. and can't leave her mother.' 7 "Is she worth anything. IJilh- hoy. P)illy boy, Is she worth anything, charming Billy?' 'She is worth a cow and a calf, and a dollar and a half. She's a young thing, and can't leave her mother.' 8 'What is her name. Billy boy. Billy boy. \\ hat is her name, charming Billy ?' 'Her name is Susanna, and she lives in Louisiana. She's a young thing, and can't leave her mother.' 9 'How old is she. Billy boy. Billy boy. How old is she. charming l)illv ?' 'Twice six. twice seven, twice twentv and eleven ; She's a young thing, and can't leave her mother.' c 'Billie Boy.' Reported by Gertrude Allen (later Mrs. Vaught) from Oakboro, Stanly county. Stanzas i, 2, and 4 as in A. Stanza 3 runs : 'Did she give you a seat. Billy boy, Billy boy. Did she give you a seat, charming Billy?' 'Yes, she gave me a seat and a piece of bread and meat. She's a young thing that cannot leave her mother.' .And after stanza 4 it runs as follows : 5 'Can she make a loaf of bread. Billy boy. Ijilly boy. Can she make a loaf of bread, charming Billy?' 'Yes, she can make a loaf of bread hard as any negro's head. She's a young thing and cannot lea\e her mother.' 6 "Can she make up a bed. P)illy boy. \V\\\\ bov. Can she make up a bed. charming Billy?" 'Yes, she can make up the bed. fit the pillows at the head. She's a young thing and cannot leave her mother.' 7 'How tall is she. IJilly boy. Billy l)oy. How tall is she. charming Billy ?' 'She's as tall as a rail, slick as any monkey's tail. She's a young thing and cannot leave her mother.' IJO NORTH CAROLINA FOLKLORE 122 Oh. Dear. What Can the Matter Be? Williams, who reports this from Oxfordshire (FSUT 201 ). calls it an "old morris fragment." It has been found in Pennsylvania (NPIM So), Virginia (FSV 197), West Virginia (SFLQ vi 252, as a play-party song), Kentucky (DD 144-5). ^ii^^ Mississippi (JAFL XXVIII 169); it is listed in Miss Pound's syllabus for the ^lidwest and is given in Ford's Traditional Music of America and in Heart Songs. Unquestionably it is nmch more generally known than this list indicates. A 'O Dear, What Can the Matter Be.' Reported by K. P. Lewis as set down in 1910 from the singing of Dr. Kemp P. Battle of Chapel Hill. 1 Oh, dear, what can the matter be ? Dear, dear, what can the matter be? Oh. dear, what can the matter be, Johnny's so long at the fair ? He promised to bring me a fair ring^ to please me, And then for a kiss, oh, he vowed he w^oiild tease me ; He promised to bring me a bunch of blue ribbon To tie up my bonny brown hair. 2 Oh, dear, what can the matter be ? Dear, dear, w hat can the matter be ? Oh, dear, wdiat can the matter be. Johnny's so long at the fair ? lie promised to bring me a basket of posies, A garland of lilies, a garland of roses, A little straw hat to set off the blue ribbons That lie up my bonny brown hair. B 'Oh iJcar, What Can the .Matter P>e?' Cdmniunicated liy Lucille Massey of Durham. Not dated. The first stanza only ; the same as A except that it has the old word "fairing" instead of "fair ring." 123 Taffy Was a Wklshmax The three songs entered here are clearly derived from the familiar Mother Goose rhyme about the thieving Welshman. What appears to he a Negro version of the first of the three has been reported from Mississij)pi (JAM. xxvui 141), and of the second from Vir- ginia ( I'".SV 167, TNFS 103); and the first stanza of our B cor- resjjonds to stanza 3 of another Virginia song (TNFS 166). ' This is a misunderstanding of the old word "fairing," a present from the fair. L U L L A B 1 K S AND N U K S IC U \- 1< U V M K S I/I A 'I Went Down to Suckie's House.' Communicated by Professor M. G. Fulton of Davidson College, in 1915 or thereabouts. 1 I went down lo Suckie's hotise to i;el a ctip of tea. What do yoti s'pose old Stickie had for me? Chicken feet, sparrowgrass, hominy, and tea. 2 I went down to Stickie's hou.se and fell upon mv knees And I like to lau,i;h myself lo death to hear the turkey sneeze. B 'Napper.' Contributed in 191 4 by C. R. Bagley of Moyock. Currituck county, as a fragment of vviiat are "known among the Negroes as breakdowns." 1 Napper come to my house, I th(jught he come to see me. \\ hen I come to find him out He 'suade my wife to leave me. Cliorus: Break down, Napper, hoo, hoo, Break down, Napper, hoo. 2 I went to Napper's house ; Ole Napper sick in hed. 1 ruhbed my hand across his head And killed ole Napper dead. 3 Goose chewed tobacker. Duck drinked de wine. Hog played de cwards^ In de punkin vine. c 'Old Napper.' Contributed by P.cll Brandon of Durham. Not dated. I Napper went a-htintin' ; He thought he'd catch a coon. And when his old dog treed He treed a mushy-room. Chorus: Poor old Napper, hoodie dinkey, hoodie dinkey. Poor old Napper, hoodie dinkey, ha! ' So in the manuscript. One supposes it should be "cyards." witii the familiar Southern breaking of the vcjwel after palatals. It will t)c seen that this final stanza is a form of the jingle dealt with under tlie title 'Get Along, John, the Day's Work's Done' in the section on Bird and Beast Jingles. 1 -z X O K T H t' A K 0 L I X A FOLKLORE 2 Napper come to my house. I thought he come to see me. When I come to find out He was persuadin' my wife to leave me. 124 Barxyard Song A 'I Bought Ale a Hen.' Reported by Mrs. Sutton with the following com- mentary : "This is an old English folk song that is found all over the North Carolina mountains. It is sung for the 'least un' and the children love it. I first heard it sung by an old lady who was a friend of my mother's and who lived in the upper end of Caldwell county near Blow- ing Rock. Her name was Miss Mary Ann Webster. ... I have heard this song in every county of the Blue Ridge. ... I believe this is the best-known children's song in the mountains." But she adds : "I am quite well aware that none of the traditional folk songs in my collection are of necessity limited in North Carolina to the mountains. They are in a better state of preservation there because the isolation has kept out other songs, but they are probably found in every county in the state. Certainly this one is. It was found in Caldwell county a hundred years ago, for Miss .Mary .A.nn Webster was seventy when she died, and she told me that her grandmother sang it to her." 1 I bought me a hen and my hen loved me, I fed my hen under yonder tree. Hen said 'Fiddle I fee.' 2 1 bought nie a turkey and my turkey loved me. 1 fetl my turkey under yonder tree. Turkey said '(Gobble gobble.' Hen said 'Fiddle 1 fee.' 3 1 bought me a guinea and my guinea loved me. ] fed my guinea under yonder tree. (luinea said 'Potrack, ])otrack.' Tiu'key said '(Gobble gobble,' Hen .said 'b'iddle 1 fee.' 4 I bought me a duck and my duck loved me. 1 fed my duck under yonder tree. Duck said 'Ouack (|uack,' Guinea said 'I'otrack, ])otrack.' LULL A H 1 K S A N I) N U R S K R Y R H V M K S 1/3 I'urkcy said '( lohhlc i^obble,' Hen said 'I'^iddlc 1 fee.' 5 I bought me a gouse and my goose loved me, I fed my goose under yonder tree. (loose said 'honk honk,' cfc. And so on witli the cow. whicli said "Moo, nioo," the horse, which said "Neigli, neisli," tlie slieep. which said "Baa. liaa," up to this conclusion: 9 I bought me a wife and my wife lo\ed me, 1 \cd my wife under yonder tree. \\ ife wotild scold, scold, Sheep said 'Baa. baa,' Horse said 'Neigh, neigh,' Cow said 'Moo, moo,' CJoose said 'Honk, honk,' Duck said 'Quack, qitack,' (hiinea said 'Potrack, potrack,' Turkey said 'Gobble gobble,' Hen said 'Fiddle I fee.' B 'I Bought Me a Hen.' Another version from Mrs. Sutton. The series is hen, duck, turkey, cow, dog, horse, sheep, "and so on, interminably. Always the song ends with 'I bought me a wife,' etc." The tune was recorded from the singing of Miss Pearl Minish, Mrs. Sutton's sister. C 'I Bought Me a Hen.' Obtained from Miss Mamie Mansfield of Durham in July 1922. Here the series is hen, duck, guinea, turkey, cat (which went "meow, meow-"), dog (which went "bow w-ow"), cow, horse, wife; but it adds at the end a stanza that brings it up to date : T bought me a I'^ord and my Ford pleased me, And 1 fed my Ford under yonder tree. ]"ord went 'Get you there, get you there,' \\"\ie went scold, scold, cfc. D 'I Had a Little Hen.' Reported by R. D. Ware in 1921 as known in Stanly county. Here the singer keeps the various creatures in a mys- terious "oneyers tree," and the sounds ascribed to tliem are different. The hen, to be sure, says "Fiddle-like-fcc" ; but the duck says "dey, dey," tile turkey says "shimmy-shack, shimmy-shack," the hog says "griffy-greffy," the cow says "paw, paw" ; and in place of the wife at the end is the baby : I had my baby and my baby pleased me. Had my baby in the oneyers tree ; Baby says 'ma, ma,' Sheep says 'ba, ba,' Cow says 'paw, paw,* 1 74 NORTH CAROLINA FOLKLORE Hog says 'grifify-greffy,' Turkey says 'shimmy shack,' Guinea says 'poterack,' Hen savs 'fiddle-like fee!' No title. Communicated, probably in 1923, by Mildred Peterson of Bladen county. The series is cat (which went "fiddle-i-dee"), dog (which went "boo, boo"), hen (which went "ka, ka, ka"), hog (which went "krusi, krusi, krusi"), sheep (which went "baa, baa, baa"), cow (which went "moo, moo, moo"), and calf (which went "ma, ma, ma"). Xo title. From Katharine Jones, Raleigh. Not dated. Only the first two stanzas are given, but they differ appreciably in structure from the preceding versions. Bought me a chicken, and a chicken wit^ me, Fed my chicken behind a tree. And my chick said coo, coo, coo. Every fellow feeds his chicken And I feed my chicken too. Bought me a duck, and a duck wit^ me. Fed my duck behind a tree. And m}' duck said quack, quack, Every fellow feeds his chicken And I feed my chicken too. etc. 125 McDonald's Farm So called in one of our texts ; each of the five has a different title. In Quebec it is known as 'Come, Come' (JAFL xxxi 177-8) ; in Arkansas (OFS iii 211-12), as in our D, it is called 'The Merry Circen Fields of the Lowland'; in Iowa (JAFL Liv 177-8), 'The Banks of Holland'; in Nebraska (ABS 238-40), "Sweet Fields of Violo.' In content it is similar to "Barnyard Sons'. ' hut its structure is different. It seems to have arisen from the familiar "this-a-way that-a-way" sonj? f^ame which in this country has developed into social satire; see 'When I Was a Young- Girl' in this volume. Or perhaps the nursery song gave rise to the game. A 'McDonald's Farm.' From Miss Mary Scarborough of Dare county, in 1923 or thereabouts. 'Possibly this is "bit"; the manuscript is not clear. Neither word seems to make sense in this connection. LULL A I! I K S A \ I) X r K S K R Y K H Y M K S 1 75 Old McDonald had a tarni. E-i ei o And on that farm he had sonic chicks, E-i ei o \\'ith a chick chick here and a cliick chick there. And a here chick, there chick, e\ ervwhere chick chick. Old McDonald had a farm, E-i ei o. And on that farm he had some turkeys, E-i ei o With a gobble gobble here, and a gobble gobble there. And a here gobble, there gobble, everywhere gol)ble gobble, Chick chick here, chick chick there. Here chick, there chick, everywhere chick chick. Old McDonald had a farm, E-i ei o. And on that farm he had some ducks, E-i ei o \\'ith a quack quack here and a quack quack there, And a here (juack, there quack, everywhere quack (|uack, etc. And on that farm he had some geese, E-i ei o With a honk honk here, and a honk honk there, etc. 'In the Merry Green Fields of Ireland.' Reported by Miss Gertrude Allen (afterwards Mrs. Vaught ) from Taylorsville, Alexander county. "Any other animal may be put in also." But the distinctive sounds made by the different creatures are not given after the first stanza. 1 My grandmammy had some very fine ducks In the merry green fields of Ireland. \\ ith a quack quack here And every now and then a quack cjuack In the merry green fields of Ireland. 2 My grandmammy had some ver}- fine sheep In the merry green fields of Ireland. etc. 3 My grandmammy had some very fine pigs etc. 4 ^ly grandmammy had some very fine cows etc. 176 NORTH CAROLINA FOLKLORE 5 My graiidinaniniy had some very fine dogs 'etc. 6 J\ly grandmainniy had some very fine cats etc. c 'Oil, Grandma Had Some Very Fine Geese.' Reported by Julian P. Buyd as collected from Minnie Lee, one of his students in the school at Alliance, Pamlico county, in 1927. ( )h, (irandma had some very fine geese That Alary feeds in the morning. Otiick (|uack here ! Quick qtiack there ! ICvery then a ([uick and every now a qtiack. Ouick, quack, quack in the morning. And so on for dogs ("l)o\v wow"), cats ("mew mew"), and sheep ("baa baa"), and it ends : Oh, Grandma has some very fine stock That Mary feeds in the morning. Quick, quack here ! Bow^, wow there ! Every then a how. and every now a meow. Baa, baa. ])aa-aa in the morning. D 'The Merry Green Fields of the Low Lands.' From Miss Elizabeth Walker, Boone. Watauga county, in 1936. With the music. My grandfather had some very fine ducks In the merry green fields of the low land. 'Twas a quack-quack here and a quack-{|uack there And here a quack and there a quack. Oh, say, bonny lassie, will you go with me To the merry green fields of the low land ? And so on with hens ("cack-cack"). sheep ("baa-baa"), "as long as one has breath to sing and can think of animals and their respective sounds to hll in the song." E 'Come, Says Harry." Reported as "traditional in our family" by .Miss Adelaide Fries of Winston-Salem in 1926. "The number of verses is limited only l)y tlie numlier of animals and fowls whose names and cries arc known to the singer." 'Come,' says Harry, 'will you gang with nu- To the merry green woods that I own ?' 'Come,' says Harry, 'will you gang with nu- To see my father's sheei)?' With a baa. baa here and a baa, baa there, Here baa. there baa. here and there baa. baa. baa. L U L L A H 1 K S A N I) N U K S K K Y K II V M K S I// 126 Quack, Ouack, Quack A nursery rhyme, apparently. I have not found it elsewhere. 'Quack, Quack, Quack.' Reported by Miss xMainie Maustield as obtained from a fuurtli-grade pupil, Azzilee Norris, in the Durham school. 1 There were six fat chicks that once I knew, Pretty ducks, fat ducks they were too; But the one with a feather curled up on his back, Oh, he ruled the others with a quack, (juack, (|uack. Chorus: Quack, quack, quack, quack, quack, quack, ( )h. he ruled the others with a ({uack. c|uack, ([tiack. 2 Down to the meadow these ducks would go, A-wiggling and a-waggling all in a row, But the one with a feather curled up on his back. Oh, he ruled the others with a quack, quack, (jitack. 3 Down to the pond these ducks would go, A-splashing and a-splashing all in a row. But the one with a feather curled up on his back. Oh, he ruled the others with a quack, quack, (|uack. 127 The Dogs in the Alley A jingle on animal sounds akin to the familiar '1 had a duck and the duck pleased me,' thougli I have not found just this use of the idea elsewhere. 'O, the Dogs in tlie .Alley. Nursery Rhyme.' Communicated by B. O. Aiken of Durham. Not dated. Oh, the dogs in the alley They go bow-wow-wow, And the cats join the chorus W ith a meow-meow-meow. And the pigs in the pen They go we-we-we. And the rooster, he goes Cocka-do-dle-do. 128 Go Tell Aunt Patsy This nursery jingle is very generally known: in .Maine ( FSONK 207 J, Virginia (JAFL x.wi 130). North Carolina (.SharpK 11 345, N.C.F.. Vol. in, (l-t) 178 N O R T II CAROLINA FOLKLORE ANFS 177, OSSG 3), Georgia (JAFL xlvii 336), Texas (TNFS 8 and 195-6), the Ozarks (OFS 11 347-9), Iowa (JAFL lvi ho), and perhaps Kentucky ( Shearin 38). ^Irs. Steely found it in the Ebenezer community in Wake county. 'Old (iray Goose." Reported by Etliel Brown from Catawba county. No date given. 1 Go tell Aunt Patsy, Go tell x^unt Patsy, Go tell Aunt Patsy The old gray goose is dead. 2 The one she's been saving, The one she's been saving. The one she's been saving To make a feather bed. 3 Old granny's weeping. Old granny's weeping, Old granny's weeping Because her true love's dead. 4 She died last Friday, She died last Friday, She died last Friday \\ ith the toothache in her head. 129 The Fox and the Goose For references to this song both in England and in America, see the note in SharpK 11 398, and add Vermont (VFSB 119-20), Massachusetts (FSONE 202-4), Virginia (FSV 207-8), Kentucky (BKH 181-2), Florida (SFLQ iv 148-9, among the Conchs), the Ozarks (OFS i 387-9), Ohio (BSO 213), Indiana (BSI 323), Michigan (BSSM 465), and Iowa (MAFLS xxix 42-4. JAFL lvi 105). It goes under various names and is very widely known. Of the four texts in the Brown Collection all but one have to do with a duck, like Sharp's Tennessee and North Carolina texts, not with a goose ; but they all belong to one tradition none the less. 'The Fox and the Goose.' Reported by Mrs. R. D. Blacknall of Durham as "sung by a Negro servant, Maria McCauley, presumably an ex-slave of the Chapel Hill .McCauleys. Heard forty-five years ago.'' I The fox marched forth one moonshiny night ; He stood upon his hind legs, itiuch about right ; 'Some meat, some meat I must have this night Before I leave this town-e-o, lieforc 1 lea\c this town-e-o.' L U L I. A I! I !•: S A X I) N I' R S K K Y K II V M K S 1/9 2 The fox marched up to the farmer's cooj) And there he met the old grey goose. 'Old goose, old goose, you must come along o' me ; I'm the finest old fellow in the town-e-o. I'm the finest old fellow in the town-e-o.' 3 The fox took a nigli cut to his den. ( )ut come his young ones, eight, nine, ten. 'Daddy, daddy, do go again ! You're the luckiest old fellow in the town-e-o, You're the luckiest old fellow in the town-e-o!' 4 ( )ld mother grey goose jumped out of hed And out of the window she poked her head : 'Old man. old man, the grey goose is dead. For I heard her holler "Quing quath-e-o !" For I heard her holler "Quing quath-e-o !" ' B No title. From .Miss Mamie E. Cheek. Durliani. Not dated. 1 The fox jumped up one moonshiny night. He prayed for the moon to afiford him light ; He had many miles to travel that night Before he reached the Towny-o, towny-o, towny-o, Before he reached the towny-o. 2 At last he reached the farmer's yard. There he met an old gray drake. 'Old drake, old drake, you must come along with me. I'm the finest old fellow in the towny-o, towny-o, I'm the finest old fellow in the towny-o.' 3 ( )ld iMother Huhhard jumped out of her hed And out of the window she popped her head : 'John, John, John, the hlack cluck's gone; I thought I heard 'er holler "Quin (|ua nn'o. (|uin (|ua niio, quin (|ua mio," I thought I heard her holler "yuin (|ua mio!" ' No title. Reported by Miss Iris C. Chappeile (later Mrs. H. C. Turling- ton) from Creedmoor, Granville county. I A fox went out one moonshiny night. Prayed to the Lord to 'ford him a light; Had many miles to go that night Before he reached the town O, town ( ), Before he reached the town O. 1 8o NORTH CAROLINA !•* 0 L K L 0 R E 2 He came to a pen, Saw there black clucks nine or ten, Gralibed a black duck by the neck. And the feet went dangling down O, down O, And the feet went dangling down O. 3 Old mother Whittle popped out of bed, Out to the window she poked her head ; She cried, 'John, John, my black duck's gone !' But the fox went through the town O, town O, But the fox went through the town O. 4 (Jld mother Whittle she hopped back to bed. She covered up her head and she hollered and she cried. 'Oh, John, my black duck's gone.' But the fox went through the town O. town O. But the fox went through the town O. 5 He came to a woods. . . .^ D 'Fox.' Contributed by Katherine Bernard Jones of Raleigh. Not dated. 1 Fox jumped out one moonshiny night. Prayed to the moon to afford him light. For he had many miles to travel that night Before he reached the town O, town O. For he had many miles to travel that night Before he reached the town O, town O.- 2 \\ hen he reached the farmer's barn The geese and ducks raged and charged ; 'But the best of you shall grease my beard Before I leave the town O, town O.'^ 3 He seized the old black duck by the neck. Swung her across the back. 'Quack, quack, quack,' said the old duck. But the fox went dangling down (). down O. 4 Ole Mother Widdle Waddle out of the bed, Out of the window popped out her head : 'John, John, John, the black duck's gone. And the fox lias gone through the town ( ). town O !' 5 John ran out upon the hill. Blew liis horn loud and shrill. ^ The manuscript notes: "I have forgotten the last verse." * The last two lines of each stanza are thus repeated throughout. " The "town O" is written three times in this line in the manuscript, doubtless by a mere slip of llic pen. I. r 1. I. A I! 1 K S A .N I) X r K S K K V K H V M K S 'Ha ha ha!" said tlu' old fox, 'But I've yol throvij^li the town (^, town O !' 'Tile Fox and the Goose.' Fruin Mrs. A. I. (ireen, Hector, Avery county. Not dated. A single stanza, the same as tlie fust stanza of A. 130 Thk Oi.n \\'(»M.\N AND IIkr Pic, This old English nursery ditty (Halliwell 18, Rinihault 42) is known under various names in tliis country: in X'irginia ( FSV 192-3) as 'The Little Pig' or 'The Little Old Woman,' in West \'irginia (FSS 496-7) as 'Old Sam Fanny' or 'Old Joe Finley,' in Ohio (BSO 179-81) as 'Old Sam Fanny.' It is reported also from North Carolina ( SharpK 11 343-4) and Georgia (MSHF 14-15). Both of our texts have the nasal grunt by way of refrain that marks many versions of 'The Frog's Courtship.' 'The Old Woman and Her Pig.' Reported by Mrs. Sutton from the singing of school children at CoUettsville, "in the John's River valley, right down under Blowing Rock." Blowing Rock is in Watauga county. 1 There was an old woman had a little pig, uniph humph There was an old woman had a little pig, umph humph There was an old woman had a little i)ig. The little pig was just so big, umph humph. 2 The little pig ran all around the farm, umph humph The little pig ran all around the farm, umi)h hum])h The little pig ran all around the farm But he didn't do much harm, umph humph. 3 The little pig died for the want of bread, ^ um])h humph The little pig died for the want of bread, umph humph The Httle pig died for the want of bread ; Don't you think that's a mighty hard death? umph humph. 4 Then the old woman lay down and died, umph humph Then the old woman lay down and died, umpli humph Then the old woman lay down and died And the old man he sat and cried, umph humph. 5 The old man died for the want of breath, umph humph The old man died for the want of breath, umph hum])h The old man died for the want of breath. Don't you think that's a mighty hard death? umph humjih. ' So the manuscript ; but the rhyme, and the B text, show that it should be "breath." 1 82 NORTH CAROLINA FOLKLORE 6 There's an old song book that lies on the shelf, uniph humph There's an old song book that lies (in the shelf, uniph humph There's an old song book that lies on the shelf, If you want any more you'll sing it yourself, umph humph. B 'The Old Woman's Little Pig.' Reported in May iy20, by C. E. Buck- ner of Asheville from the singing of his mother, Mrs. Mattie Buckner. 1 There was an old woman who had a little pig, mm-mm-mm There was an old woman who had a little pig. Didn't eat much for it wasn't very big. mm-mm-mm. 2 That little pig did a heap of harm, mm-mm-mm That little pig did a heap of harm. ^lade little tracks around the barn, mm-mm-mm. 3 That little pig. it died a bad death, mm-mm-mm That little pig, it died a bad death. Died because it couldn't get its breath, mm-mm-mm. 4 The old woman sobbed, she mourned, she cried, mm-mm- mm The old woman sobbed, she mourned, she cried ; Then she layed right down and died, mm-mm-mm. 5 The old man died on the count of grief, mm-mm-mm The old man died on the count of grief ; Wasn't that a great relief? mm-mm-mm. 6 There they lay all, one, two, three, mm-mm-mm There they lay all, one, two, three. Old man, old woman, and a little piggee. mm-mm-mm. 7 There it lays up on the shelf, mm-mm-mm There it lays up on the shelf, If you want anymore, you'll sing it yourself, mm-mm-mm. c 'The Old Woman and Her Pig." l-'rom Catherine Cox. Salislmry. Rowan county. Not dated. Does not differ significantly from B. W II K.N" 1 Was .\ LiTTLK Uov l'"()r the comhinatiiin of this with the '.Swappinti' Sonjj' sec that title anionjj the ballads. As a nursery rhyme in its own r\g]n it is old and very tjenerally known (Halliwell 14, and compare 'When I Was a Wee Thing' in Herd's A)iciciit and ModcDi Scottish Songs, L U L L A 1$ I K S AN I) N U R S V. U V R II V M K S 183 II 213-14 of the 1869 reprint), but, for that very reason probably, seldom inchided in rei;ional folk song collections. It appears three times in the North Carolina oollection : A From K. P. Lewis, wlid liad it imm Dr. Koni]) T. Battle of CliaiX'l Hill. B From the Misses Holonian of Durham, in 1922. C From Miss Mamie Mansfield of Durham, in 1922. As the texts do not vary sii^iiirtcantly it will be sufficient to j,nve the first of these. None has any refrain indicated. 1 When I was a little boy I lived by myself And all the bread and cheese I got 1 put upon the shelf. 2 The rats and the mice they made such a strife I was forced to go to London to buy me a wife. 3 \\'hen I got there the streets were so narrow I was forced to bring my wife home in a wheelbarrow. 4 The wheelbarrow broke and my wife had a fall; Down came wheelbarrow, wife, and all. 132 Bobby Shaftoe This old English nursery song ( Halliwell 149, Riinbault 42) I have found reported as folk song in this country onlv from Virginia (FSV 200). 'Bobbie Shaftoe.' Contributed in July 1922, by Miss Doris Overton of Durham (afterwards Mrs. K. M. Brim). With the tune. 1 Bobbie : Marie, will you marry me ? For you know I love thee. Tell me, darling, will you be The wife of Bobbie Shaftoe? 2 Marie: Bobbie, pray don't ask me more. For you've asked me twice before. Let us be good friends, n(j more, Dearest Bobbie Shaftoe. 3 Bobbie: If you will not marry me I will go away to sea And you ne'er again shall see Your friend P)obbie Shaftoe. 4 Marie: I'obbie Shaftoe's gone to sea 1^4 NORTH CAROLINA FOLKLORE 5 Bobbie Shaftoe's come from sea. Silver buckles on his knee. He's come back to marry me, Dearest Bobbie Shaftoe. 133 The Pretty Pear Tree This English cumulative song (Halliwell 115, Mason 26-7; also Newell 111-13), more often called 'The Tree in the Wood' (FSSom II 12-13; see also SCSM 359, and for a possible connection with "the faucon hath borne my make away" JFSS iv 52-66), is well known also in America; Newfoundland (FSN 72), Massachusetts { (AFL VIII 86-8, FSONE 79), Virginia (SharpK 11 282, SCSM 35, 8-60, FSV 186), Kentucky (BKH 87-8). North Carolina (SharpK 11 281-2). Missouri (OFS iii 213-15). Indiana (HFLB III 67). >.Iichigan (BSSM 474) ; a text without location but prob- ably Southern is given in JAFL xi 272. 'The Pretty Pear Tree.' Reported by Mrs. M. M. Moore of Raleigh in 1924 as sung by her grandmother. Mrs. Erville Chamberlain, who came from western New York State, where her people were "Americans of several generations at the time of the Revolution." With the music. 1 What is out in yonder field? There stands a pretty pear tree, Pretty pear tree with leaves. 2 \Vhat is on the tree? A very pretty limb. Limb on the tree. Tree in the ground. Out in that beautiful field There stands a pretty pear tree, Pretty pear tree with leaves. 3 W^hat is on the limb? A very pretty branch. Branch on the limb. Limb on the tree, Tree in the ground. Out in that beautiful field There stands a pretty pear tree, Pretty pear tree with leaves. 4 WHiat is on the branch? A very pretty bough, liough on the branch, {'ranch on the limb, Limb on the tree, 1, U L I. A B I E S AND N U R S K R Y R H Y M E S 185 Tree in the ground. Out in that hcautifnl field There stands a pretty pear tree, Pretty pear tree witli leaves. 5 What is on the hough? A very pretty twig. Twig on the hough, etc. 6 \\ hat is on the twig? A very pretty nest. Nest on the twig, rfc. 7 W hat is on the nest ? A very pretty egg. Egg on the nest, etc. 8 What is on the egg? A very pretty bird. Bird on the egg, etc. 9 What is on the bird? A very pretty feather. Feather on the bird, etc. 10 What is on the feather? A very pretty speck. Speck on the feather. Feather on the bird. Bird on the egg. Egg on the nest. Nest on the twig. Twig on the bough. Bough on the branch. Branch on the limb. Limb on the tree, Tree in the ground. Out in that beautiful field There stands a pretty pear tree. Pretty pear tree with leaves. 134 Jack-a-Maria A sequence jingle, known also in South Carolina (JAFL xliv 436). Georgia (SSSA 242. JAFL xlvii 339), Mississippi (JAFL XXVI 143), Texas (PFLST xiii 251), Arkansas (Ozark Folklore I 7), and Indiana (SFLQ iii 181). 'Jack-a-ma-rier. Nursery Rhyme.' Communicated by Mrs. Doris Over- ton Brim of Durham in 1923 or thereabouts. l86 NORTH CAROLINA FOLKLORE Jack-a-nia-rier Jumped in the fire ; Fire so hot He jumped in the pot ; Pot so black He jumped in a crack ; Crack so high He jumped in the sky; Sky so bkie He jumped in a canoe; Canoe so shallow He jumped in the tallow ; Tallow so white He stayed all night. 135 There's a Hole ix the Bottom of the Sea A sequence song, somewhat on the model of 'The Pretty Pear Tree.' I have not found it in print. 'There's a Hole in the Bottom of the Sea." Reported in 1923 by Miss Lucille Cheek as "sung by boys and girls in Chatham county on hay- rides." 1 There's a hole in the bottom of the sea, There's a hole. There's a hole. There's a hole in the bottom of the sea. 2 There's a rock in the bottom of the sea, There's a rock. There's a rock. There's a rock in that hole in the bottom of the sea. 3 There's a frog in the bottom of the sea, There's a frog, There's a frog, There's a frog on that rock in that hole in the bt)ttom of the sea. 136 John Brown Had a Tjttle Tnjux Presumably English, though it is not in Rimhault's collection and Halliwell has only a piece al)out two little Indians — not a number song. In this country it has been reported from Virginia (FSV lyo), Kentucky (.Shearin 34), Georgia (S.SSA 241-2), Arkansas (OFS III 399), the Midwest (Pound y^. Ford 448), the Southern L U L I. A li 1 F. S A NO N L' R S 1". K Y R II Y M K S 187 nuiuiitains (AMS 84-3 — not (|uite tlic >;mic tliint;", hut a minil)(.T sunjj ) ; it appears in tiie refrain ul a play-party son^' in lilaho (JAFL XLiv 9) ; and in Negro song with "niggers" in place of Indians (Talley 163). Perrow (JAFL xxvi 154) reports it from Alabama Negroes with "angels" in place of Indians. A 'Jolin Brown Had a Little Injun." Contributed l)y Ktlal I licks I'uffalo, Granville county. Not dated. 1 John Brown had a little liijtiii. John 15rown had a little Injun. John Brown had a little Injun. Had a little Injun boy. 2 One. two, three little Injuns. Four, five, six little Injuns. Seven, eight, nine little Injuns, Ten little Injun boys. B No title. Communicated from Chatham county, in 1923 or thereabouts, liy Miss Mamie E. Cheek. The same as A, except that it completes the circuit witli a third stanza : Ten little, nine little, eight little Injuns, Seven little, six little, five little Injuns, Four little, three little, two little Injuns, One little Injun boy. 137 Bingo This old English spelling song (Rinibault 62-3) is still sung in England (JESS i 242. v 219) and has been reported from the sing- ing of school children in Cincinnati (JAFL xl ^y ) . 'Bingo.' K. P. Lewis reported this from the singing of Dr. Kem]) P. Battle of Chapel Hill in November 1910. There was a dog lay on a barn floor, And Bingo was his name. B-a ba, b-e be, b-i bi. B-o bo, b-u bu, b-y by, Bingo was his name. 138 Call My Little Dog Possibly a modification of. or suggested by, 'Bingo,' above, have not found it elsewhere reported as folk song. 1 88 NORTH CAROLINA FOLKLORE 'Call My Little Dog.' Like 'Bingo,' this is reported by K. P. Lewis from the singing, in November 1910, of Dr. Kemp P. Battle of Chapel Hill. 'Call my little dog.' •What shall I call him?' 'Call him Ponto, Call him Carlo, Call him J-A-C-K !' 139 The Vowels This spelling chant has been reported from Virginia (FSV 185) and Texas (PFLST vi 227-8), and is doubtless known elsewhere. 'The Vowels.' Contributed by the Misses Holeman of Durham in 1922. They note that the song continues until all the consonants are used. B-a ba, b-e be, B-i bick-a-bi, B-o bo, bick-a-bi-bo, B-u bu, bick-a-bi-bo bu. C-a ca, c-e ce, C-i cick-a-ci, C-o CO, cick-a-ci-co. C-u cii, cick-a-ci-co-cu. 140 Banbury Cross This very familiar nursery jingle seems not to have been thought worth recording by folk-song collectors. I have found it reported only from Ontario (JAFL xxxi 112). As reported in our col- lection it is a composite of fragments ; the last four lines are from the singing game 'Ring around a Rosy.' No title. Reported by Miss Leonora Aider, l)ut without notation of time or place. 1 Trot a hobby horse To the Bandbury Cross To get some cherries. When you get there The trees don't bear. Here yon come A-trotting back, a-trotting back. Take care, little boy, And don't yon fall off. 2 CJall(jp, gallop to .Strawberr\' town. Take care, little bov, and don't tall down. I, U L I. A H I F. S A N I) N V H S K R Y R H Y M E S 189 3 My turkey, your turkey, Shoo, turkey, shoo ! 4 Swing around the roses, I'ocket full of posies. Sweet bread, rye bread, Squat ! 141 Oh, Mr. Rf.vel! The rhvme about "the devil, with his wooden pick and shovel" is English : Northall, English Folk Rhymes 3o(y, records it as known in Warwickshire and •'the west of England." Henry (SSSA 252) reports a form of it from the Southern mountains. A 'Mr. Revel." Communicated by K. P. Lewis as set down in 1910 from the singing (or recitation) of Dr. Kemp P. Battle of Chapel Hill, with the notation "Sing very fast" and "must be acted to be effective," but with no indication of what the action is. Oh. Mr. Revel! Did you ever see the devil With wooden spade and shovel A-digging up the gravel With his long toe-nail? 6 'Negro Song.' Reported by Mrs. J. R. Chamberlain of Raleigh in 1924. Did you ebber see de debbil W'id his iron-wooden shubble Diggin' grabble, diggin' grabble? Po sinnei" 142 Old Woman All Skin and Bones This old English shudder-story (Halliwell 64-5. Rimbault 30-O is still told to children in various parts of the United States. See BSM 502. and add to the references there given Massachusetts (FSONE 33-6). \'irginia (FSV 198-200), the Ozarks (OPS i 301- 2), Ohio (BSO 206-7), and Indiana (BSI 268). Our North Caro- lina texts differ interestingly in regard to what it was that the old woman saw. A 'There Was an Old Woman.' Sung into the Ediphone in 1920 by Miss Tina Fussell, a student at Trinity College from Snow Hill, Greene county. igO NORTH CAROLINA FOLKLORE 1 There was an old woman all skin and bones Oo-oo-oo And full of dreadful sighs and groans. Oo-oo-oo 2 This woman had a mind to pray, Oo-oo-oo So to church she went one day. Oo-oo-oo 3 And when she got up to the stile Oo-oo-oo She thought she'd stop and rest a while. Oo-oo-oo 4 And when she got to the church door Oo-oo-oo She thought she'd rest a little more. Oo-oo-oo 5 And when she got inside the door Oo-oo-oo She spied a corpse lying on the floor. Oo-oo-oo 6 And from its eyes and nose and chin Oo-oo-oo The worms crawled out, the worms crawled in. Oo-oo-oo 7 The woman to the parson said : Oo-oo-oo 'Shall I look so when I am dead?' Oo-oo-oo 8 The parson to the woman said : 'Boo!!!' B 'TheiL' Was an Old Woman All Skin and Bones.' A revised version sent in by Miss Fussell with this explanation: "'The Old Woman All Skin and I'ones' must be clianged some. My mother sang it to me this afternoon and I'm sending you the stanzas that are changed, and several more stanzas that I could not rememlu-r when I sang it into the Edi- phone." But this revised text does not really differ much from A ; chiefly in the placing of the groan that constitutes the refrain, which in this revision comes not after each line but only after each cou])let. It ends : And the worms crawled in and the worms crawled out And the worms did crawl all round about. Oo-oo-oo-oo L U L I. A r. ] K S AND N U K S K K V K 11 Y M K S I9I 'Vhv woman to llic ])r(.'acher said: "Will I look so when 1 am dead?' ( )o-()0-00-00 And Miss Fussell adds: "Tliis is all Mother can ii'meinbcr distinctly, but there's one more stanza wiiich is about the woman swooning and falling dead on the Hoor." C 'The Old Woman All Skin and Bones.' Taken down by Miss Jean Holeman of West Durham in 1922 from the singing of Mrs. R. D. Blacknall. The te.xt is the same as B with the addition at the close of the stanza that Mrs. Fussell did not remember; the same as A 8. D 'There Was an Old Woman.' From Miss Kate S. Russell of Roxboro, Person county, in 1923 or thereabouts. A somewhat reduced version. The refrain is here hummed rather than groaned. 1 There was an old woman skin and bones M-M-M-M-M-M-M 2 This woman had the mind to pray ; 'Twas on a Sahl)ath day. M-M-M-M-M-M-M 3 This woman thought to church she'd go To hear the parson preach and pray. M-M-M-M-M-M-M 4 As she got to the church door She spied a corpse lying on the floor. M-M-M-M-M-M-M '^ 5 This woman to the parson said. 'Will I look so. when I'm dead?' M-M-M-M-M-M-M 6 The parson to the woman said : 'Yes, you'll look so when you are dead.' M-M-M-M-M-iM-M-BOO ! ! ! E 'There Was an Old Woman All Skin and Bones.' Contributed by Miss Mary Morrow, (ireensboro, Guilford county, in 1928. This has the humming refrain like D, and changes the story somewhat. .After four stanzas as in C it runs thus : 5 And when she opened the door Her shadow floated on the floor. 6 And when they turned to the door Behold, her corpse lay on the floor. 192 NORTH CAROLINA FOLKLORE 7 And when they carried her out the door The poor old woman was seen no more. 8 But when they open the old church door They see her ghost lie on the floor. Exactly the same text appears also in Lucy R. Cobb's M.A. thesis at Duke. ■ 'Old Skin and Bones.' Contributed in 1922 by Miss Jennie Belvin of Durham. Here again the refrain is hummed ; it is "her corpse" that the old woman sees on the ground ; and the piece "closes with a fearful yell; the singer jumps at the listener and gives the yell." 'There Was a Lady, Skin and Bone.' Collected by John A. Lomax and published by him in the North Carolina Booklet, xx, No. i, pp. 27-9. Here the lady sees not a corpse but a ghost lying on the ground, and the closing dialogue is between her and this "spirit." H 'Skin and Bones.' Contributed by Miss Madge T. Nichols of Durham county in 1922. Here there is no corpse or shadow or ghost, so that the point of the story is pretty much lost. 1 There was an old woman all skin and bones, Skin and bones, skin and bones, There was an old woman all skin and bones uin um um 2 This old woman went to church one day To hear the minister preach and pray, This old woman went to church one day um um um 3 This old woman to the minister said, 'I feel so bad, so bad. so bad.' This old woman to the minister said um um um 4 The minister to this old woman said, 'You look so bad, so bad, so bad,' The minister to this old woman said um um um 'There Was an Old Woman.' Reported by Edna Whitley, but without indication of time or place. Here again the core of the story is lost. Perhaps it is simply a case of defective memory. No refrain is indicated. I There was an old woman, She was all skin and bones, All skin and bones. LULL A 15 1 K S A N 1) N U R S K K Y K H Y M K S 1 93 2 She lived alone, She lived all alone. 3 She said she was going to ])reaching once more, She said she was going to preaching once more. 4 She went to preaching once more, .She went to preaching once more. 5 I When I she got there she knocked. And the preacher said 'Boo.' 143 What Are Little Girls Made Of? This English nursery rhyme (Halliwell 119, Riinl)ault 72-3) is presumably known all over the United States but seems to have swum into the ken of ballad collectors only in Ontario (JAFL xxxi 92), Virginia (FSV 193). and Kentucky (SharpK 11 334-5). No title. Reported by Miss Gertrude Allen (afterwards Mrs. Vaught) from Taylorsville, Alexander county, in 1923. In each stanza the ques- tion line is repeated once, and the conclusion to the answer is repeated once, making a five-line stanza, here written out only for the first stanza. 1 What are little girls made of? What are little girls made of ? Sngar and spice and all that's nice, And that's what they are made of. That's what they are made of. 2 What are little hoys made of ? lUickets and hails and pnppy dog tails. •3 What are yonng girls made of? Ribbons and roses and sweet-smelling i)osies. 4 What are young men made of ? Stiff cuffs and collars and a few paper dollars. 5 What are old maids made of ? Ruffles and laces and old sour faces. 6 What are old men made of? Cradles and wheels and the Devil's heel. 7 Wdiat are old women made of? Rocks and reels and old spinning wiieels. 144 Neighbor Jones These nonsense verses I have found nowhere else. Possibly they are a college song. X.C.F., \'(.l. III. (15) 194 NORTH CAROLINA FOLKLORE 'Neighbor Jones.' Reported by K. P. Lewis as set down from the sing- ing in 1910 of Dr. Kemp P. Battle of Chapel Hill. 1 Good morning, neighbor Jones, how do you do this morning ? Good morning, neighbor Jones, how do you do this morning ? I have for you for you for you, for you for you, for you for you A budget full of wonders, neighbor Jones. 2 The old white cow's got a calf way down in yonder stable, The old white cow's got a calf way down in yonder stable. And she can't eat hay hay hay, hay hay hay, hay hay hay, Because she's not able, neighbor Jones. 3 The old duck swallowed a snail, is it not a wonder? The old duck swallowed a snail, is it not a wonder ? The horn grew out through her brain brain brain, brain brain brain, brain brain brain. And split her head asunder, neighbor Jones. 145 Whistling Girls and Crowing Hens This notion — but not the name "Grandma Grunts' — has been re- ported from Ontario (JAFL xxxi 103), Connecticut (JAFL xlv 502), and from the Pennsylvania Germans (JAFL 11 198). It is probably much more widely known than this list would indicate but has not happened to come into the net of the folk-song collector. 'Grandma Grunts.' Text from the manuscripts of Obadiah Johnson of Crossnore, Avery county, in July 1940. He did not sing it, however ; the record of it was made in August from the singing of Clarice Burleson and Joe Powles. I Grandma Grunts said a curious thing : Boys can whistle, but girls must sing. That is what I heard her say, 'Twas no longer than yesterday. Refrain: Boys can whistle (zvhistle) (jirls must sing {tra la la la) Boys can whistle, of course they may They can whistle the livelong day. Why can't girls whistle too, pray tell, If they manage to do it well? L U L 1. A I! 1 E S AND N U R S I- K Y K II Y M I£ S I95 3 (Irandma Grunts says it wouldn't do, Gives a very good reason, too ; Whistling- girls and crowing hens Always come to some bad end. 4 I asked my papa the reason why Ciirls couldn't whistle as well as I. He says to me, 'It's the natural thing For boys to whistle and girls to sing.' 146 Little Birdie in the Tree This is from some unnamed contributor, very likely Dr. Brown liimself. The manuscript is marked: "Found in Guilford county near High Point. Sung by Negroes before the Civil War"; and Dr. White notes that it is "a corruption of a nursery song I heard in my own early childhood and can still sing." Our fragment is the first stanza, slightly altered, of a song of the same title by P. P. Bliss to be found in the Franklin Square Song Collection i 140 dealing with a series of birds — the redbird, snowbird, bluebird, blackbirtl. Little birdie in the tree. Singing a song to me, Singing about the roses, Singing about the tree ; Little birdie in the tree Singing a song for me. 147 Howf I Love the Old Black Cat This has been reported as folk song from Mississippi (JAFL XXVI 130), and Dr. White notes on the manuscript that he knew it in childhood in western North Carolina as a nursery song. Its origin has not been discovered. 'How I Love the Old Black Cat.' Rcix)rtc(l in 1922 by Mary Straw- bridge. Durham. I Who so full of fun and glee? Happy as a cat can be. Polished sides so nice and fat. How I love the old black cat ! Yes, I do. Chorus: Poor kitty, oh, poor kitty. Sitting so cozy close to the fire, 196 NORTH CAROLINA FOLKLORE Pleasant, purring, pretty pussy, Frisky, full of fun and fussy, Mortal full of mouse and rat. How I love the old black cat ! Yes, 1 do. 2 And the boys, to have some fun, Call the dogs to set them on. Quickly I jump on my hat And try to save the old black cat. Yes, I did. 3 Some may choose tartar^ shell. Others like the white so well. Let them choose of this or that. But give to me the old black cat. Oh, please do ! 148 I've Got a Master and I Am His Man This looks like an English ballad or nursery rhyme, but I have not found it anywhere in print. Mrs. Sutton says, "There are a dozen verses more or less; I copied four"; but only one stanza is now to be found in our collection. 'Oh I've Got a Master and I Am His Man.' Communicated by Mrs. Sutton but without notation of date or source. Oh. I've got a master and I am his man. Galloping steadily on. Oh, I've got a master and I am his man. I'll marry me a wife as soon as I can. With a higglety pigglety. gambling gay, Iligglety pigglety. gambling- gay, Galloping steadily on. 149 The Cobbler Another song about the shoemaker has been reported from North Carolina (SbarpK 11 75), but this one I have not found elsewhere. 'Walking up and down One Day.' Obtained in i()23 from Carl G. Knox of Durham. With the music. ' So in tile manuscript. W'iictlicr this is a local pronunciation of "tor- toise" or just a misapprehension of the word the editor does not know. " So spelled both times in the manuscript ; presumably with the meaning "gamboling." L r I. I- A U I F. S A X 1) X r K S K R ^■ K 11 Y M K S 1 97 Walking up and down one day, 1 peci)ed in the window over the way. I'ushing his needle through and through. There sat a cobhler making a shoe. 'Rap-a-tap-tap-tap, ticky-tacky-too, This is the way to make a shoe. Rap-a-tap-tai)-tap, ticky-tacky-too, This is the way to make a shoe.' '50 SCOTLA N U'S B URN 1 NG An old English round rarely reported as folk song, probably be- cause evervbodv knows it. It is reported from Massachusetts (FSONE 283).' 'Scotland's Burning.' Reported by K. P. Lewis of Durham as set down in 1910 from the singing of Dr. Kemp P. Battle of Chapel Hill. Scotland's burning, Scotland's burning, Look out, look out. Fire ! Fire ! Fire ! h^ire ! Pour on water, ]X)ur on water ! Steam Ship This is in form a riddle, but the editor is in the position of tlie child in the last line. I have not found it elsewhere. 'Steam Ship.' Contributed in 1923 or thereal)uuts by Miss Kate .S. Rus- sell of Roxboro, Person county. With the music. 1 If a steam ship weighed ten thousand tons And sailed five thousand miles Loaded down with boots and shoes And lots of other things ; 2 If the mate was each six feet tall And the captain just the same ; Would you nudtiply or suljtract To find the captain's name? H-mm-m-mn-m-nm 3 You can think and think, and think Till your brain is nundj ; I don't care what the teacher says, I can't do this sum. VI JINGLES ABOUT ANIMALS FOLKLORE in North Carolina (in other regions too, of course, Ijut especially, 1 believe, in the Southern states) abounds in rhymes and jingles about birds, beasts, and other animate creatures. Among the birds the jay — noisy, impudent, and sly — is the favorite, but the buzzard, the owl, the raven, the crow, the blackbird, the wood- pecker, the whippoorwill, the sapsucker, the robin, the sparrow, the tomtit, the cuckoo, the partridge, and in love songs the mourning dove also appear, and of domestic fowl the turkey, the goose, the duck, chickens, and even the clamorous guinea fowl. Of four- footed creatures those that are hunted for food are remembered most often, the rabbit, the opossum, the raccoon, the groundhog, the squirrel ; "varmints" too — the wildcat, the rat, the mouse, the weasel, even the lowly mole — are not forgotten. Domestic animals are there, of course, the horse, the mule — with which the Negro seems to have established special relations — the cow, the sheep, the goat, the hog, and the cat. Exotic creatures of the circus, the elephant, the monkey, the kangaroo, claim a place. In the zoolog- ically lower orders we find the frog, the tadpole, the lizard, the terrapin, and snakes. Of fish only the catfish, delight of fish fries, and the shad are included — unless we count Jonah's whale a fish. Of the insects flies (including bluebottles), bees, hornets, junebugs, grasshoppers, fleas, mosquitoes. Not all of these appear in this section of Songs. Often the jingles form parts of the longer medleys, like 'Old Dan Tucker,' 'Uncle Joe Cut Ofif His Toe,' 'Old Joe Clark,' which will be found among the Play-Party Songs ; or they are themselves such songs, as is the case with 'Pop Goes the Weasel,' 'Turkey in the Straw,' 'Shoot the Buffalo,' 'Pig in the Parlor,' 'Poor Little Kitty Puss.' Very many of them are nursery songs or rhymes: 'The Barnyard Song,' 'McDonald's Farm,' 'The Frog's Courtship,' 'Kitty Alone,' 'Poor Little Lamb Cries "Mammy," ' and others. Some we have classed as Work Songs : 'Old Blue,' 'The Ground Hog,' 'Old Bob Ridley.' .So that the items assembled in this section are those that do not fit readily into any of the other classes of songs. How many of these are of Negro origin it is hard to say. Very few of our texts are described by the contributors as sung by Negroes. But many of them are reported by other collectors as J I N (i L K S A I! OUT ANIMALS 199 Negro songs. Some of them are old Englisli rhymes: '1 Had a Little Horse Whose Name Was Jack' and probably 'Said the Black- bird to the Crow' and 'My Old Sow's Nose'; 'Row the Boat Ashore' derives from a chanty; 'What Makes the Wildcat Wild' looks like a nonsense song of college boys. Some seem pretty certainly to have achieved currency as minstrel stage products : 'The Billy Goat,' 'lohnson's Mule,' 'The Kicking Mule,' 'The Preacher Song,' 'The Animal Fair.' But one can seldom be sure that the songs of the burnt-cork boys have not been caught up from the Negro in the cotton patch or the construction gang; certainly many of them are now traditional songs of the blacks. And there is often in these i ingles, especially those about the rabbit, the coon, the possum, and the terrapin, a sly humor that seems native to Uncle Remus. 152 Birds Courting As Barry pointed out in his notes on the New England versions (BFSSNE' XII 19), this goes back to a seventeenth-century English ballad 'The Woodv Queristers,' found in the Roxburghe. Pepys, and Douce collections {Roxburghe Ballads vi 301-3)- Some twenty birds speak in the English ballad; only the owl, turtledove, redbird. jaybird, sparrow, and raven appear in our North Carolina texts. The song — songs, perhaps one should sav — is known in Maine (BFSSNE XII 19). Vermont (BFSSNE xii 20), Virginia (SharpK 11 304), and North Carolina (SharpK 11 304), and some- thing resembling it has been reported from Florida (SFLQ viii 181). Our texts are less elegiac than the English song; they are suggestive of the social satire in such songs as 'When Young Men Go A-Courting' (p. 394). See also 'Said the Blackbird to the Crow,' below. A 'The White Owl with the White Head.' Obtained from J. R. Midgett of Wanchese, Roanoke Island, probably in 1922. With tlie tune, as sung by Mr. or Mrs. C. K. Tillett in December 1922. 1 In came the owl with his head rig:ht white : 'Lonesome day and a lonesome night. I thought I heard some pretty girl say, "Court all night and sleep next day." ' 2 Tn come the lonely turtle dove : 'That is not the way to keep her love. If you want to gain her heart's delight Keep her up hoth day and night.' 3 Up stepped the sparrow as he flew : 'If I was a young man I'd have two; If one forsake me and from me go I'd still have a string to my how, how, how.' 200 NORTH CAROLINA FOLKLORE No title. From Miss Gertrude Allen (later Mrs. \"aught), Taylorsville, Alexander county. Not dated. The first stanza almost identical with the first of A ; the second runs : 'Oh,' said the raven as he flew. If I'd been a young man I'd have two; One might forsake me and the other might go. Still I'd have a string to my bow, bow, bow.' c No title. Reported by \'. C. Royster from Wake county with the nota- tion : "Before the Civil War — personal recollections refreshed by talking with other old people." 1 Said the sparrow in the grass, 'I wish I had my bottle and glass And my true love to drink with me ; Then oh, how happy I would be !' Refrain : To my rye fol dol de diddle dol day To my rye fol dol de diddle dol day 2 Said the lonesome, lonesome dove, T'll tell you a better way for to gain her love: Keep her up all night and all the next day And never give her time to say "Go 'way !" ' D 'Bird Song.' Reported in 1923 by Mrs. Nilla Lancaster from Wayne county. This has no element in common with A, but its chorus and its first stanza link it with C, as C is linked by its second stanza with A. 1 'Long came a jay bird, hopping in the grass. With his bottle and his glass. 'Say, fine lady, won't you drink with me? Oh, how happy we will be !' Chorus: Rye fol dol dol dil dol da Rye fol dol dol dil dol da 2 'Whoop-dy doopty' went the old owl. sitting on a limb. Learning how to tailor so as to cut him out a coat ; Every fine lady he saw pass by Nod his head and wink one eye. 3 Says the redbird to himself. 'Meat and bread upon the shelf; Wouldn't be afraid, bet my life. Fetch her home to be my wife.' J I N c; L E S A B O IT T ANIMAL S 201 The Jaybird The jay, with his confidence and his impudence, appears to have struck the folk fancy, especially of the Negroes. His death by whooping-cough is sung in South Carolina (JAFL xmv 425), Ala- bama (ANFS 243), and Mississippi (JAFL xxvi 133-4), and is reported without specific location by Mrs. Richardson (AMS 99) and Talley {Negro Folk Rhymes 36). Snatches more or less like the second stanza of A are known in Virginia (FSV 201), Ten- nessee (BTFLS II 30), North Carolina (JAFL xxvi 131), Georgia (SharpK 11 305), and Iowa (JAFL xliv 170), as a square-dance song in the Midwest (Ford, Traditional Music of America 96), and as sung by Negroes in the South (Talley 14-15, TNFS 191 ). 'Jay Bird Died with the Whoopingcough.' Obtained in 1927 by JuHan P. Boyd from Minnie Lee, pupil in the school at Alliance, Pamlico county. 1 Jay bird died with the whoopingcough. Black bird died with the colic ; 'Long came a toad-frog with his tail bobbed off And that broke up the frolic. 2 He winked at me and I winked at him. I picked up a piece o' l)rickbat and hit him on the chin. He says, '(3h, little man, don't do that again !' And that broke up the frolic. 'Jaybird Died with the Whoopingcough.' Communicated hy Thomas Smith of Zionville, Watauga county, probably in 1913 or thereabouts, as a "dance song — fiddle and banjo," known to have been sung and played there "nearly eighty years ago." Jaybird died with tlie whoopingcough. Sparrow died with the colic. On came a frog with a fiddle cm his back Inquiring the way to the frolic. 'Way Down Yonder a Long Way Off.' Reported in 1914 by Charles R. Bagley of Moyock, Currituck county, as learned from his grandparents there. Way down yonder, a long way oiT. .\ jay bird died with the whooping cough. StilT shirt collar, three rows of stitches. Square-toed boots and short-legged breeches. NORTH CAROLINA FOLKLORE No title. Reported by V. C. Royster of Wake county as having come down from before the Civil War — "personal recollections refreshed by talking with other old people." A jay bird sal on a hickory limb. He winked at ine, I winked at him. I picked up a rock and hit him on the shin ; Says he, 'Okl fellow, don't you do that again.' 154 Redbird and Jaybird For other jingles about the jay, see pp. 201-2. A number of rhymes about him are reported by Perrow from Mississippi, gath- ered from both blacks and whites (JAFL xxvi 133), and by Miss Scarborough (TNFS no, in) and Talley (Negro Folk Rhymes 14-15) from the blacks, but none of them is just the same as our texts. A 'When I Went Down to Sycamore Town.' Found, without indication of its source, written down on the back of a Folk-Lore Society card and dated October 30, 1920. Probably Dr. Brown got his informant to write it down but omitted to add the informant's name. The jaybird and the redbird appear only in the last stanza. 1 When I went down to Sycamore town The water was wide and deep. I hopped upon an old gray goose And galloped across the creek. 2 When I first got on the other side The first thing met my mind I saw twelve partridges pulling a plow, With the foremost one behind. 3 The jaybird sat on the redbird's nest. The redbird sat and mourned. The blind man sat and shopped his shoe, And the boatman blowed his horn. B 'Red Bird Sitting in a Jay Bird's Nest.' Contributed by Charles F. Bag- ley in 1914, as learned from his grandparents in Moyock, Currituck county. Olxservc that tlic position of the two birds is here reversed from what it is in A. Redbird sitting in jaybird's nest. Jaybird sitting in de morn. Oh, look at the blind man sewing up tlie shoe And tlie dead man just comin": to. JIN C, L K S A n 0 LI T A N I M A I, S 203 JAYHiRi) I'l' IN Till': 'Simmon Tri<:I': See the headnotes to 'The jayhird,' ahoxc, and 'Possum Up a "Sininion Tree,' below. 'Jaybird Up in the 'Simmon Tree' From Thomas J. Gill, Jr., a Trinity College student (A.B. 1914), witli later address Laurinburg, North Carolina. Jaybird up in the 'siiiiinon tree. Sparrows on the ground ; Jaybird knocks the 'sininions down, Sparrows hand them round. Another copy, slightly different, from the same informant. This has "sparrow" instead of "sparrows" and "shake" instead of "knocks." 156 Said the Blackbird to the Crow Here to the basic stanza — A, the first stanza of B and C, and the last stanza of D and E — have been added divers stanzas deal- ing with the love affairs of birds, very much in the fashion of the songs given above under the title 'Birds Courting.' Davis (FSV 202-3) reports it from Virginia and Randolph (OPS ii 355-7) has versions from Arkansas and Missouri. 'Said the Blackbird to the Crow.' Reported in 191 5 by K. P. Lewis as obtained from Dr. Kemp P. Battle of Chapel Hill. Said the blackl)ird to the crow, 'What makes white folks hate us so?' *Oh, ever since okl Adam was born It's been our trade to pull up corn. And that's why white folks hate us.' 'Said the P.Iackl)ird to the Crow.' From Mrs. Laura M. Cromartie, Garland, Sampson county. Not dated. One su])poscs that tiie first per- son pronoun at the beginning of each stanza has crept in from the answers in the familiar nursery rhyme 'Who Killed Cock Robin?' I I, said the blackbird to the crow, 'What makes white folks hate us so?' "Cause pull up corn has been our trade Eber since old Adam was made.' 204 X () K T H CAROLINA FOLKLORE 2 I, said the tomtit as he run, 'Oh, if I had a bottle of rum An' two pretty girls to drink with me. Oh, how happy I would be !' 3 I, said the wood peck in the tree, 'I once courted a fair laidee. She grew fickle and from me fled ; Eber since my head's been red." c 'The Blackbird and the Crow.' From Obadiah Johnson of Crossnore, Avery county, in 1920. 1 Blackbird says unto the crow, 'The reason why we're hated so, Ever since old Adam's been born It's been our trait to pull up corn.' 2 'Hi,' says the blackbird, sittin' on a chair, 'Once I courted a lady fair ; She proved fickle and turned her back. And ever since then I've dressed in black.' 3 'Hi,' says the woodpecker, sittin' on a fence, 'Once I courted a handsome wench ; She proved fickle and from me fled. And ever since my head's been red.' 4 'Hi,' says the robin as away he flew, 'When I was a young man 1 chose two. If one didn't love me, the other one would. And don't you think my notion's good?' D 'Sapsuck A-Sucking Up a Hollow Gum Tree.' Reported by Charles R. Hagley in 1913 from Moyock, Currituck county, as learned from his grandparents there. 1 .Sapsuck a-sucking up a hollow gum tree : 'Once I comled a fair ladie ; She proved false and from me fled ; Ever since my head's been red.' 2 Up stepped the blackbird, said to the crow, 'What makes the farmer hate us so?' 'It's been the case ever since I've been born, 'Cause we jnill up the farmer's corn.' 'Too Hoo, Says de Owl.' I-"r(jm Miss Jean Holeman of Durham in 1922. With the music. Perhaps a chance putting together of two familiar JINGLE S A B 0 IT T A N I M A L S 205 stanzas. The first is similar to the final stanza of 'Hidi (Jiiili Lodi Quili," which will be found in the section on Work Songs. 1 'Too-hoo !' .says de owl a-settin' in de tree, 'What's to come o' yoti an' me? De creek's all mnckly an' de pon's all dry. If 'twan't fer de tadpoles we'd all die.' 2 Says de blackbird to de crow, 'What makes white folks hate lis so? Ever since I been born Been my trade to pull up corn.' 157 The Crow and thk Weasel Of the many jingles about birds, beasts, and fishes current among both whites and blacks in the Southern states, this one seems to have escaped the eyes of collectors. 'The Crow He Peeped at the Weasel.' Reported by K. P. Lewis from the singing in 1910 of Dr. Kemp P. Battle of Chapel Hill. The crow he peeped at the weasel. The crow he peeped at the weasel. The crow he peeped at the weasel, AND The weasel he peeped at the crow. 158 Chicken in the Bread Tray Tliis might as well, perhaps, be captioned 'Granny, will your dog bite?" for the two pairs of lines commonly go together. Miss Scar- borough (TNFS 194) calls it something that "every Southerner knows." It has been reported from Virginia (FSV 232). Kentucky (Shearin 38). Tennessee (JAFL xxvi 130), South Carolina (JAFL .x.xvi 127, .XLiv 431, in both cases from Negroes). Alabama (ANFS 241, Negroes), and Talley gives it in his Negro Folk Rhymes 7. Ford, Traditional Music of America 36. gives it as a square-dance song. It appears seven times in our collection, with little variation in form. The following, reported by Antoinette Beasley of Monroe, Union county, seems to be the standard text : Chicken in the bread tray Scratching out dough. Granny, will your dog bite ? No, chile, no. Of the other texts one, from Louise Bennett of Middleburg, Vance county, has "plate" for "tray" and "pickin' up" for "scratching 2o6 NORTH CAROLINA FOLKLORE out"; another, from Win. C. Daulken, who was a student at the University of North CaroHna in 1915, has "pickin' up" for "scratch- ing out" and "mammy" for "granny"; another, from V. C. Royster, Wake county, adds a hne : Get out er the corner, do, gals, do ; and another, from Caroline Biggers of Union county, has only the last two lines of the (luatrain. 159 The Old Black Hen A scrap somewhat resembling this has been reported as sung by Negroes (Talley 37-8). Otherwise I have not found it. 'Master Had an Old Black Hen.' Contributed by Mamie Mansfield from the Fowler School District, Durham county, in July 1922. Master had an old black hen. Black as any bear. Laid and set in an acorn shell Eighteen inches square. 160 Get Along, John, the Day's Work's Done This caption is not significant, but one does not know how else to title the jingle. The second and third lines of it appear with various minor changes as folk song in divers regions : in Ontario (JAFL XXXI 115, 148), Tennessee (JAFL xxvi 130), South Caro- lina (JAFL XXII 376, XLiv 435) ; in the Bahamas it is used as a prelude or motto at the beginning of folk tales (JAFL xli 486- 500) ; what seems to be a trace of it is found in an Indiana play- party song (Wolford 100). 'Get Along, John, the Day's Work's Done.' Reported by J. G. Mc- Adams apparently from .Alamance county as a "song jingle" "hoard sung during my childhood." Get along, lohn, the day's work's done. The goose chewed the 'bacco and the cat drank the wine, The kitten played the fiddle on the strawberry vine. 161 Possum Up a 'Simmon Tree Variants of this rhyme are numerous. For further examples, from all parts of the South, see Perrow (JAFL xxvi 131 ff.), Scarborough (TNFS 173), White (ANFS 236-8). It has been mixed in with the 'Old Bob Ridley' corn-husking song, too; see pp. J I N C. I. K .S A B O If T ANIMAL S 207 229-32. below. Kaiulolph (Ol-'S 11 361 ) reports a stanza from Mis- souri using the first two lines of our version D. Mrs. Steely found it in the Ebenezer coninuniity in Wake county. A No title. From Miss Louise Bennett, .Mi(kllel)urg, \anoe county. No date given. Posstim up a '.sininion tree, Rabbit on de ground. Rabbit said to de possum dar, 'Shake deni 'sinmions down.' B 'Possum Up de 'Simmon Tree.' From Miss Eura Mangum, Durham, 1922. Possum up the 'simmon tree, Rabbit on the ground. Rabbit said to possum. Rabbit said to possum, 'Throw some 'simmons down.' c 'Possum Up the 'Simmon Tree.' From J. Ben Harris, Warren county. No date given. Possum up the 'simmon tree, Raccoon in the hollow. Wake up. Black Snake, June-bug stole a half a dolla' ! D 'Possum Up a Gum Tree.' From Mrs. C. C. Thomas, place and date not given. Possum up a gum tree, Cooney in a hollow ; Dinah's in the mudhole ; Don't vou hear her holler? 'Raccoon Up de Tree.' Reported by Jesse L. Peterson, Durliam, as heard in Sampson county in 191 1. The last line seems to he misreported. Raccoon up de tree, Possum on de ground. Raccoon spit in de possum's face 'N de possum slop de possum down. F There is in the Collection also a text from Afartinsville, Virginia, con- tributed probably in 1920 by Miss Julia E. Self (later Mrs. L. E. Blackwell ) : 208 N (J R T II CAROLINA FOLKLORE Possum up the 'sinimon tree, Raccoon on the ground. Raccoon says to the possum, 'Shake me some 'simmons down.' 162 De Possum Am a Cunning Thing Similar stanzas appear in 'Lynchburg Town,' but not the chorus. See also the Negro songs reported by White, ANFS 237-8. The "Sandy" chorus is known also in Missouri (OFS 11 334). A 'De Possum Am a Cunning Thing.' From Aliss E. A. Pool, Raleigh (not dated) . 1 De possum am a cunning thing, He trabbles in de dark. Nuthin' 't all disturbs his mind Twel he hear ole Ranger hark. CJwnis: Do come along. Sandy boy. Do come along, oh, do. Don't you hear de jaybird sing? O Sandy, won't you come along too? 2 De squirrel am a pretty thing. He's got a bushy tail ; He eat up all ole Masser's corn Er-settin' on a rail. B 'De Possum Am a Cunning Thing.' From George Lawrence Andrews, Raleigh, about 1927-29. Almost identical with A. 'The Raccoon Is a Cunning Thing.' From J. D. Johnson, Jr., Garland, Sampson county, in 1919, "sung to the banjo by an old Negro in Eastern N. C." The raccoon is a cunning thing. • He walketh in the dark, And never thinks to curl his tail Till he hears old Ranger hark. 163 The Raccoon Has a Bushy Tail This stanza appeared early in blackface minstrel songs (of. 'Lynchburg 'IVnvn'). Davis reports it from Virginia (FSV 319) and Ran mentions what may be the same thing as known in Kentucky. 'The Rabbit Skipped. Nursery Rhyme.' Reported l)y Mrs. Doris Over- ton r^)rim of Durham in 1922. The rabbit skipped, the rabbit hopped, The rabbit bit olif the turnip top. 214 NORTH CAROLINA FOLKLORE 169 Rabbit Stole de Greens From C. R. Bagley of Moyuck, Currituck county, Trinity college stu- dent in 1914, with note that it was from eastern North Carolina and belonged to a class of songs "known among the Negroes as breakdowns." 1 Rabbit stole de greens, Rabbit stole de greens, Rabbit stole de greens. Break down, Molly, boo. boo, Break down, Molly, boo, boo. 2 Big pot o' punkins, Little pot o' peas ; De ole bar smile To see de pot bile. Break down, Molly, boo, boo, Break down, Molly, boo, boo. 170 It's All Night Long From Miss Kate S. Russell, Roxboro, Person county, about 1923. Of all tbe animals in tbis world rd ratber be a squirrel. I'd climb upon a telepbone pole And peep all over tbis world. It's all nigbt long. It's all night long. 171 Mr. Squirrel Althoug:h the squirrel figures often (but not as often as the rabbit, the coon, and the possum ) in Southern folk song, this par- ticular bit has not been found elsewhere. '.\Ir. Squirrel." Obtained from Miss Valeria Johnson Howard, Rose- boro, Sampson county. One day Mr. Scjuirrel went up a tree to bed. A great big bickory nut fell upon bis bead. 'Altbougb 1 am fond of nuts.' Mr. Squirrel tben did say, 'I'd very mucb ratber tbat tbey wouldn't come tbis way.' J I N c; L K S A I! () V T A N 1 M A L S 215 172 The Weasel and the Rat Very likely (if music-hall origin, hut I have not found it in print. 'Weasel and the Rat.' Obtained from Mr.s. W. L. Pridgen of Durham in 1023. Weasel and the rat. Mosqtiito and the cat. Chicken and the bunihle-hee ; The old baboon, The fuzzy little coon ; They all went wild but me. 173 Mole in the Ground The Loniaxes print this (ABFS 152-3) from a Brunswick record made by B. L. Lunsford. A variant of the last stanza appears m a river roustabout's song in Mary Wheeler's Stcamboatin' Days, pp. 86-7. The song is a medley possibly from the minstrel stage, possibly originating among the roustabouts themselves. 'Mole in the Ground.' Sung in 1921 by Fred Moody, Jonathan's Creek, Haywood county. With the tune. 1 I wish I was a mole in the ground ; I wish I was a mole in the ground ; If I's a mole in the ground I'd root that mountain down; I wish I was a mole in the ground. 2 I don't like a railroad man ; I don't like a railroad man ; A railroad man will kill you when he can And drink up your blood like wine. 3 Oh. Tempy wants a nine-dollar shawl ; Oh, Tempy wants a nine-dollar shawl ; When I come o'er the hill with a forty-dollar bill Oh, it's 'Baby, where you been so long?' 4 And it's 'Where have you been so long?' And it's 'Where have you been so long?' 'I've been in the bend with rough and rowdy men.' 'Tis 'Where have you been so long?' 5 I wisli 1 was a lizard in the sjjring; I wish I was a lizard in the spring ; If I's a lizard in the spring I'd hear my darlin' sing; I wish I was a lizard in the spring. 2 16 NORTH CAROLINA F O L K L O R K 6 Oh. Tenipy, let your hair roll down; Oh, Tenipy, let your hair roll down ; Let your hair roll down and your bangs curl around ; Oh, Tempy, let your hair roll down. 1/4 The Old Grey Horse Came Tearing Through THE Wilderness Sandburg (ASb 102) calls this a Negro spiritual. The contributor of A calls it a lullaby song. For its occurrence elsewhere see Bot- kin's The American Play-Party Song 268 and add to the references there given Virginia (FSV 260-1, listed as a Civil War song), the Ozarks (OPS 11 349-50), and Iowa (JAFL lvi 102). It is quite distinct from the immediately following item of 'The Old Grey Mare.' A 'Roll, Riley, Roll.' Contributed by Miss Mamie E. Cheek of Durbani in 1923. The old grey horse came trotting down the wilderness. Trotting down the wilderness, trotting down the wilder- ness. The old grey horse came trotting down the wilderness. Down in Alabam. Chorus: Roll, Riley, roll, Roll. Riley, roll. Roll. Riley, roll. Oh, Lord, I'm bound to go.^ B No title. Reported by Sarab K. Watkins from Anson and Stanly covinties. Old grey horse come trottin' out'n the wil'erness. trottin' out'n the wil'erness, Old grey horse come trottin' out'n the wil'erness. down in Alabam. c 'Oh, tbe Old Grey Mare She Ain't What She Used to Be.' Communi- cated in December 1919, by K. W. Litaker of Durham as beard in tlie cotton fields of Cabarrus county "within tbe last two years." With t'le tune as sung by Eula Mangum. This stanza is found along witli tbe "wilderness" stanza in Botkin's te.xts and elsewhere. ' The word "Riley" is not capitalized in the manuscript, but one sup- poses that it is a man's name. J I N C. I. K S A R () r T A N I M A L S 217 Oh, the old i^rcy mare she ain't what she used to be. She ain't what she used to be. she ain't what she used to be. ( )h. the old grey marc she ain't what she used to be Ten or twenty years ago. 175 The Old Grey Mare Rhythm as well as content distinf::uish this from the preceding sons^. 'Tlic Old (irey Mare.' Contrilnitcd by Mildred Peterson from Bladen county. The first line of each stanza is sung three times. 1 Once I had an old grey mare. Once I had an old grey mare. Once I had an old grey mare, Saddled her and rode her there. 2 When I got there she got tired. She laid down in an old courtyard. 3 Then they begin to sing and pray ; She jumped up and ran away. 4 Then I went down the road on her track ; Found her in a mud hole flat on her back. 176 I Had a Little Horse Whose Name Was Jack This jingle, descended probably from the old English nursery rhyme (Halliwell 139) beginning I had a little pony. His name was Dapple-gray, has been several times reported as folk song — the animal is more often a mule than a horse and sometimes is a dog, and once the name is Dap, not Jack. See TNFS 184. 185. JAFL xxvi 125, x.xxii 376, XXXIV 2,7- XLi 574. 'dl from the Southern states. No title. F'rom Flossie Marshbanks, Mars Hill. Madison county. No date given. I had a little horse whose name was Jack, Put him in the stable and he jumped through the crack. 2l8 north carolina folklore My Old Sow's Nose See the headnote to Randolph's Missouri text, OFS iii 149-50; known also in Virginia (FSV 147) and Kentucky (BKH 185). One suspects that it is an old English country song, hut I have failed to find it so recorded. 'What Shall I Do with My Old Sow's Nose?' From the manuscript songbook of Mrs. Harold Glasscock of Raleigh, lent to Dr. White in 1943. Most of the songs in the book Mrs. Glasscock learned from her parents. 1 'What shall I do with my old sow's nose?' ' 'Twill make as good plow. sir. as ever plowed rows. Plow, sir, shovel, sir, any stich thing.' Sow took the measles and she died in the spring. 2 "What shall I do with my old sow's head?' ' 'Twill make as good cheese 3 'What shall 1 do with my old sow's sides?' ' 'Twill make as good bacon, sir, as ever was fried. Bacon, sir, lard, sir, any such a thing.' Sow took the measles and she died in the spring. 4 'W^hat will I do with my old sow's hide?' "Twill make as good saddle, sir, as ever yot: did ride. Saddle, sir, blanket, sir, and any such a thing.' Sow took the measles and she died in the spring. 5 'What shall I do with my old sow's feet?' "Twill make as good souse, sir, as ever you did eat. Souse, sir, soap, sir, any such a thing.' Sow took the measles and she died in the spring. 6 'What shall 1 do with my old sow's tail?' "Twill make as good whip, sir, as ever you did flail. Whip, sir, stick, sir, any such a thing.' Sow took the measles and she died in the spring. 178 The Old Sow This nonsensical and fragmentary hit T have not found elsewhere. 'The Old Sow.' Contrilnited, apparently in 1922, by H. C. Martin of Blowing Rock, Watauga county. With the tune. The first eight syllables of the second line, and perhaps the last six of line 4. represent a "whistled" refrain. "Several lines missing," says tlio manuscript. J I N C. I. !•: S A 1! () U T A \ I M A I, S 2I9 And till' old sow went to the barn to pig, Hi hee hi hee hi hee hi hee barn to pig. And the old sow went to the barn to pig, But never cry di cr\- do cry da For old Susainia is a pretty woman. . . . 179 TllK KlTTKX Is UNDKK THK Sol) 'i'his hit of Jini;lc has not been found elsewhere. Is it a nursery rhviue? Or iust a college nonsense chant, like 'Turn the I)anii)er Up'? "The Kitten is under tlie Sod.' Reported by K. P. Lewis of Durham a.s sung by Dr. Kemp P. Battle of Chapel Hill. The direction is "repeat in varied manner until singers are weary." The kitten is under the sod, the sod. The kitten is under the sod. 180 The Animal Fair Spaeth (Krad 'lim and Weep ~g) gives this as a popular song of "reconstruction days" but says nothing of its authorship. It is reported as folk song from Virginia (FSV 204). Tennessee (BTFLS V 45-6), Georgia (SSSA 241), and Missouri (OFS iii 207) ; also by Sandburg (ASb 348-9), by Miss Pound in her sylla- bus, and by Talley for the Negroes {Negro Folk Rhymes 159-60). Doubtless it is much more widely known than this list would indi- cate. It appears only once in our collection. 'The Animal Fair.' Reported by Miss Foy in 1920; but the manuscript does not mention the region. 1 I went to the animal fair ; The birds and the beasts were there. The big raccoon by the light of the moon Was combing his auburn hair. 2 The monkey he got drunk And fell on the elephant's trunk. The ele])hant sneezed and fell on liis knees And thai was the end of the monk, the monk, the monk. 181 The Monkey Marrhcu the Baboon's Sister Spaeth, Read 'Em and Weep 18-19, -"^'^ys this comic song was sung by Charles Taussig in "reconstruction days." Auner of Phila- delphia printed it as a penny song. It is known probably all over 220 N' 0 R T H CAROLINA F O L K 1. U R F. the country: reported as traditional song from Maine ( FSONE 241-3), from Virginia (FSV 204), from the Southern mountains (AMS 86-7), from Texas (TNFS i8o. Negroes), from Michigan (BSSM 471), and without location by Sandburg ( ASb 143). A 'Monkey Married the Baboon's Sister.' Reported by K. P. Lewis as set down from the singing of Dr. Kemp P. P.attle of Chapel Hill in 1910. 1 The monkey married the baboon's sister. Smacked his mouth and then he kissed her, Kissed her so hard he raised a blister, .And she set up a yell. 2 What do vou think the bride was dressed in? A blue gauze veil and a green glass breastpin, White kid gloves ; she was interestin' ; Oh, she cut a swell. B 'The Monkey Married the Baboon's Sister.' From Miss Amy Hender- .son of Worry, Burke county, in 1914. The same as .\ e.xcept in the second stanza, which runs : What do you suppose the bride was dressed in ? White gauze veil and a green glass breastpin. Red kid gloves ; looked quite interesting ; She was quite a belle. c 'Monkey Married a Baboon's Sister.' Obtained by Julian P. Boyd in 1927 from Minnie Lee, pupil in the school at Alliance, Pamlico county. The first four lines oidv, the fourth of wliicli varies from those of A and B: Ha ! ha ! ha ! And goodbye, John ! 182 The Catfish The A text, the only one that has more than one stanza, is to be found in Mountain Songs of North Carol ina (New York: G. Schirmer, n.d. ) by .Susannah Wetmore and Marshall Bartholomew, pp. 25-7. The cattish stanza is known in Kentucky (JAFL xli.x 235, as a stanza of 'Turkey in the Straw'), South Carolina (JAFL XLiv 436), and Texas (TNF.S 199), and has become a "jackfish" in Virginia (SharpK 11 316, where it is called a jig and has a chorus ) ; the snake and the hornet's nest found their wav to the minstrel stage more than a hundred years ago (Damon's Scries of Old American Songs No. 28 ) and have been reported more recently from South Carolina (JAFL xi.iv 425 i and .Alabama (ANFS 203, J I N G h K S A H O r T A N 1 M A L S 221 J46, TNFS 197), and Talley {Xcgro l-'olk Rhymes 103) reports the Iiornet's nest; the terrapin and tlie toad are hnked together in un- numbered Negro songs. A 'Banjo Sam." Obtained from Obadiab Johnson of Crossnorc, Avery county, probably in 1940. 1 Cattish, cattish, goin' up stream, Cattish, cattish, wliere you been? 1 grabbed that cattish by the snout, I pulled that cattish wrong side out. Yo-ho ! Banjo Sam. 2 As I was goin' thro' the field A blacksnake bit me on the heel. I grabbed me a stick and I done my best, And I ran my head in a hornet's nest. Yo-ho ! Banjo Sam. 3 And^ I was goin' down the road, I met a terrapin and a toad. The terrapin he began to sing. The toad he cut the pigeon wing. Yo-ho ! Banjo Sam. B-D All of these consists only of tbe catfish stanza. B. contributed by Wil- liam B. Covington as part of his "reminiscences of my early youtb in the country on the border of tbe sand hills of Scotland county," runs I saw that cattish going up stream, I asked that cattish what did he mean ; I caught that catfish by the snout, I jerked that catfish wrong side out. C, reported by McKinnon from eastern North Carolina, differs from the first stanza of A but slightly : Catfish, cattish, swimming up stream. Ask that cattish what he means ; Ketch that catfish by his snout. Turn that cattish round side out. D. from W. B. Leake of Rich S(iuarc. Northampton county, and called "Negro fragment," differs altogether in its outcome : Catfish swimming down the river, Nigger threw out his line. Catfish said to the nigger, 'Aha, you didn't ketch me that time.' ^ Miswritten, one supposes, for "As." 222 north carolina folklore Lulu A medlev. as are so many of the traditional songs of the Southern mountains. Since our text was published in 1909 Henry has re- ported a briefer version from Avery county (JAFL xlv 167-8, FSSH 436-7). Perrow (JAFL xxvi 127) prints a song from Ken- tucky containing our first stanza with "Dad's old lip" for "my old ad" and suggests that our "ad" should be "dad" — the granddaddy of all fish. "Lulu.' Rejxjrted in JAFL xxii (1909) 248 by Louise Rand Bascom from the mountain country of North Carolina, without more definite location. Miss Bascom notes that the last two lines are "like the popular song which used to be sung everywhere, Johnnie get your hair cut, Johnnie get your hair cut, Johnnie get your hair cut Just like mine." 1 I went a-fishin' an' fished for shad ; First I catight was my old ad. Jerked him tip an' he fell back, Next one bit was a great big cat. 2 r 11 give yoti a nickel An' I'll give you a dime To see little Lulu Cut her shine. 3 My old missus promised me That when she died she'd set me free. An' now she's dead an' gone to hell ; Hope the devil will chtmk her well. 4 Shout, little Lulu, Shout your best,' Fur your ole grandniaw's Gone to rest. 5 The hull frog's up In the bottom of the well ; He swore by God He'd gone to hell. 6 He jumped in the fire An' scorched his hand ; If he ain't in a hot place I'll be damned, J I X C. I, F. S A H O r T ANIMALS 223 7 Love you fur a nickel, Love you fur a dime ; Lulu, get your hair cut just like mine. 184 Jonah I'^ishing for a Whale This appears to be a secularizing of a Bible theme. It has not been found elsewhere. For Negro songs about Jonah, see pp. 405-8. "Jonah Fishing for a Whale.' Reported by Judge R. W. Winston of Chapel Hill. 1 Cheer up, cheer up, my lively lads, Uon't let your spirits fail ; h^or Jonah's down in Sampson pond A-hshin' for a whale. 2 And when he ain't a-whaling He's at some other fun — Down in the swamp a-cutting reeds To string his whales upon. 185 Sn.\ke Baked .\ Hoecake White ANFS 158-9 and 246-7 presents evidence that this song has been known in America since about 1810-12 and quotes from a letter remarking upon its occurrence in Washington Irving's note- book for 1817. Sharp found it as a nursery song in Virginia in 1918 ( SharpK 11 346), and Davis so reports it ( FSV 206). Not improbably 'I Went Down to the Low Ground,' No. 187 of the present collection, is derived from it. It appears also as the tinal stanza of one of the lullabies, 116 B. A 'Snake Baked A Hoecake.' Reported by K. P. Lewis, Durham, as set down from the singing or recitation of Dr. Kemp P. Battle of Chapel Hill in September lyio. Snake haked a hoecake, set the frog to mind it. Frog he went a-nodding, lizard came and stole it. 'Bring hack my hoecake, you long-tailed ninny !' B 'The Snake Baked a Hoecake.' From .Miss Mamie Mansfield, I-^owler School District, Durliam, in 1922. The snake haked a hoecake, Left the lizard to mind it. 224 NORTH CAROLINA F 0 L K L 0 R F. The lizard came and stole it. "You bring back my hoecake, You long-tailed Nannie!' 'Snake Baked a Hoecake.' From Aliss Amy Henderson, Worry. Burke county, about 191 5- Snake baked a hoecake and set a frog to mind it. Frog went to sleep and lizard come and find it. 186 Row THE Boat Ashore Originally a capstan chanty and so reported from Lancashire (JFSS II 248, where the refrain is "Roll the boat ashore") and from Newcastle (JFSS v 43, where the refrain is "And you rowed about the shore"). Divers American texts lack the refrain wliich gives the title to our North Carolina text but yet are held together by the mention of "the hog-eye" or "the hog-eyed man."^ So texts from Kentucky (SharpK 11 360), Alabama (ANFS 246, Negroes), and Wisconsin (JAFL lii 49-50). Sandburg reports it from South Carolina Negroes (ASb 380) and from an old sailor apparently at San Francisco (ASb 410-11), both times with a re- frain which evidently represents our "Row the Boat Ashore." Our North Carolina text has lost all consciousness of the sea. ■Rodybodysho." Reported by Evelyn Moody from Stanly county. 1 .As I went through my harvest field A black snake caught me by the heel. I wheeled around to run my best And I ran my head in a hornets' nest. Chorus: Rodybodysho and a hog eye. Rodybodysho and a hog eye. All I eat is hog eye meat. 2 As I went down the Cheraw hill There I met my brother Hill Sitting on a potato hill Cracking the hones of a whippoorwill. 'Written 'hawk's-eye man' in JFSS n 248, where it is noted that a te.xt in Tozer's Sailor So>ujs writes it "ox-eyed man." The meaning of the phrase is not clear. Sharp. JFSS v 43, quotes Whall's Ships. Sea Sotujs, and Shanties: "the barges in which gold-diggers were conveyed to California in 1849 were known as 'hog-eyes.' " Odum, JAFL xxiv 270, says that among the Negroes "on a hog" means "broke." But in the songs listed above it seems to have an erotic implication. J 1 N (I I. K S A H () r T A N 1 M A I. S 225 3 I went down to ni\- pea patch To see if luy ole hen had hatched. The eggs was pipped, the chickens all gone, Down in the low-grounds scratching up corn. 187 1 Wknt Down to tuk Low Ground The first line of this occurs in a stanza (|U()tetl by Cox (SFLQ vi 249) from a version of 'Shoot the BulYalo' given in MWS. Other- wise 1 have not found it recorded by collectors. But see 'Snake Baked a Hoecake,' above. No title. Contril)utecl, in 1923 or therealxuits, liy R. S. Russell of Rox- boro, Person county. 1 went down to the low ground To see about my farm ; I ran upon a black snake With an ash cake under his arm. How come that snake don't die? How come that snake don't die? 188 As I Went Up the Silver L.\ke This 1 have not found reported elsewliere. '.As I Went up the Silver Lake. Nursery Rbyme.' Reported, i)rol)ably in 1922, I)y Airs. Doris Overton Brim of Durbam. As I went up the silver lake There I met a rattlesnake. He did eat so much cake That he had the tunniiy ache. 189 Way Down Yonder in Pasquotank; For divers rhymes about die bullfrog, see White's note, ANFS 244. Our particular rhyme he says be has known from boyhood. Forms of it showing the rhyme with "bank" (though not the proper noun Pascjuotank ) have been reported from Virginia (FSV 151 ), Tennessee (JAFL .xxvi 135), Soudi Carolina (JAFL xliv 425. Negroes), Alabama (ANFS 244), and Mississippi (JAFL xxvi 135)- 'Pasquotank.' Contributed, probably in 191 3, by the Reverend L. D. Haynian of Elizabeth City, Pasquotank county. Witli the tune. X.C.E.. V(.]. Ill, (17) 226 N t) R T H C A R O L I N A FOLKLORE Way down ycmder in Pasquotank. Where the bullfrogs jump from bank to bank, They jump so high they break their shank. The old grey goose went "yankety yank.' 190 Ninety-Nine Blue Bottles This sounds like a college song, though it may of course be a music-hall product. It is listed in Miss Pound's Midwestern sylla- bus, with "forty-nine" instead of "ninety-nine." Randolph (OPS III 210) reports" it from Missouri. Presumably the blue bottles are bluebottle flies, though the term is not hyphenated in the manuscript. 'Ninety-Nine Blue Bottles.' Reported by K. P. Lewis as obtained in 1910 from Dr. Kemp P. Battle of Chapel Hill. T Ninety-nine blue bottles were hanging on the wall ; Take one blue bottle away from them all And ninety-eight blue bottles will be hanging on the wall. 2 Ninety-eight blue bottles were hanging on the wall ; Take one blue bottle away from them all And ninety-seven blue bottles will he hanging on the wall. "Etc., etc., until tj-.c last blue bottle is removed or until the singer faints from exhaustion." 191 A Picnic This the editor heard recited by an old carpenter and boatman in Michigan some thirty years ago, l)ut he has not succeeded in finding it in print. Presumably it is a product of the vaudeville stage. 'A Picnic' Contributed in 1923 by Clara Hearne of Pittsboro, Chatham county. What's any better than a picnic ? The victuals all on the ground. Flies in the buttermilk, bugs in the butter, /\nd the skeeters hunmiing around. Chorus: Gain' down, children, Goin' down, 1 .say ; Goin' down, children. To have a holiday. J 1 N t; L E S A H 0 U T ANIMALS 227 192 Two Ijttlk r^LEAS This l)it of folk Iiunior. a ])art of the miscellaneous folk song dealing with birds, beasts, tishes. and insects in which this ])art of the country abounds, I have not found elsewhere. 'Two Fleas.' Communicated by Mrs. W. L. Pridgen of Durham, prol)- ably in 1923. Two little fleas sat on u rock. One to the other said : 'I've had no place to hang my hat Since niy poor dog's been dead. I've searched this whole world over ; No longer shall I roam. The first dog that shall show himself Shall be my Home, Sweet Home.' 193 Went to the River .\xd I Couldn't Get Across This jingle is ubicjuitous in the .South — see White's note, ANFS 194-5: Randolph (OFS 11 330-1 ) reports it also from Missouri — but the traveler usually has recourse to an old grey, or blind, horse (in New Orleans [TNFS 185] to an alligator, in Kentucky [JAFL XXVI 197] to a possum). The Negro as a means of transportation appears, however, in versions from South Carolina (TNFS 184) and (apparently) from Texas (TNFS 184). See also No. 462, below. "Went to tlie River and I Couldn't Get Across.' From Dr. E. V. Howell of Chapel Hill. Not dated. One couplet only. Went to the river and I couldn't get across. Jumped on a nigger's hack and thought he was a horse. VII \V () R K SONGS RH\'THA11CAL chants of labor — spinning songs, sailors' chant- ies, the songs of workers in construction gangs of various sorts — are an important part of folk song, even in America, as appears in tlie collections of Negro songs of this character made by Odum (jAF"L XXIV 378-93) and by Odum and Johnson (Negro ITorkaday Soiu/s, 1926). With one exception there is little of this sort of song in our collection. That exception is the cornhusking songs. There are a dozen of them, some with numerous variants. They are, however, not work songs in the sense of marking and regulating the muscular rhythm of the work involved but are simply enter- tainment to lighten it — tliough sometimes a "leader" walks up and down before the pile of unliusked corn singing the stanzas and directing the buskers to come in on the chorus. One of the songs with the greatest variety of versions. 'Old Bob Ridley.' has even got over to England; Williams (FSUT 224-5) says that, though of American origin, it is very popular throughout the Thames val- ley. Several of these husking songs — 'The Old Turkey Hen,' 'Run, Sally. My Gal,' 'Up Roanoke and Down the River.' 'Hidi Quili Lodi Quili' — make no mention of corn or of husking. One. 'Here, Jola, Here,' is evidently a hunting song. Two or three bits are reported as hog-calling chants. There are several songs that are not strictly speaking work songs but that have to do with farm life and work, especially the raising of cotton. 'Down on the Farm' is sentimental, the parody of it is sarcastic; 'Picking out Cotton.' 'The Cotton Picker,' and 'The Humble Farmer' are bitter; but 'The Boll W'eevil.' though its sub- ject is the worst enemy of the cotton farmer, bubbles with irresistible Negro humor. The weevil is "lookin' for a home" and despite all the farmer's efforts he always finds one. 'The Young Man Who Wouldn't Hoe His Corn' is not peculiar to North Carolina but is known all over the country. Hunting is rather a sport than a labor, even on the frontier, but it is traditionally accompanied by or celebrated in song. In 'The Duke of Buckingham' North Carolina has preserved an English hunting song of the seventeenth century. 'The W'ild Ashe Deer' professedly records the chase of a fleer from Ashe into Watauga W O K K SO N (i S 22g count\, hut I liavr not Icanit'd wlicu. "Old Blue' records toucliiuKly a hunter's love of his doi; : When 1 get to heaven T know what I'll do; I'll gral) my iiorn and I'll hlow for Blue. lUit among hunting songs none can vie in the southern Ai)i)alaehians with "Tlie (Iround Hog.' Whet up your knife anti whi>tle uj) your dog, We're going to the hill^ to hunt a ground iiog. The whole family takes ]iart in the expedition and in the sul)se(|uent feasting : Up stepped Susie with a snigger and a grin, (irouiul hog grease all over her chin. The rude hut happy life of the frontier is adniirahly pictured. There are a few songs of river hoatnien, and one, 'Haul. Haul, Haul. Boys,' that is called by the contributor a tishing song, which may mean that it was sung by fishermen as they hauled their nets. Of clianteys of deep-sea sailors there are surprisingly few\ con- sidering how important sea life has been to the people on the islands and the banks. 'Old Horse' voices the seaman's resentment at his diet of salt horse; in 'For Six Days Do All That Thou Art Able' he grouses about having to work on Sundays ; the 'Alphabet of the Ship' is the sailor's counterpart to the woodsman's alphabet often reported from the lumbering regions; but none of these is properly speaking a chantey. 'Whip Jamboree,' on the other hand, and possibly 'Sal's in the Garden Sifting Sand' are chanteys, and '[ Have a F"ather in My Native Land' is reported as such, though it hardly sounds like one. Finally we have 'Working on the Railroad.' 'Reuben's Train.' 'The Little Red Caboose behind the Train,' and a few fragments that have to do with railroads or railroad workers. There are in the collection several songs about holioes. whose life is more or less tied up with railroads. Some of these will be found among the American ballads. Surely it would never do to ])nt hobo songs among work songs ! 194 Old ]*)()b RiDi.EV Presumably a song from the minstrel stage that has jjassed into the repertory of folk singers, though perhaps it represents the reverse of that process. Professor Hudson tells me that 'Young Bob Ridlev' was printed in Hob Hart's Plantation Songster ( New York: Fitzgerald, about 1863) and in The Slii'linc/ Song Book Xo. 3 (New York: Oliver Ditson. about 1864). Williams ( FSUT 230 XORTH CAROLINA FOLKLORE 224-5) says that though of American origin it is "very popular throughout the Thames valley." It is popular also in North Caro- lina, as our numerous texts show. Only one of them, C, is de- scribed by the contributor as a cornhusking song, but it may safely be assumed that all are so used. They combine some form of the name Ridley with the story of the catching and cooking of a super- latively fine possum. Davis (FSV 320) reports it from Virginia. Perrow (JAFL xxvi 131) reports from the singing of North Caro- lina Negroes a cornshucking song about the possum and Miss Polly Bell much like our texts C D E, but it knows nothing of Bol) Rid- ley. These elements appear also in Uncle Remus's 'De Old Sheep Sharp' (Uncle Renins and His Friends [1920 ed.] 207-9) but again without Ridley. On the other hand, his name has crept into a quite different song, a form of 'Lynchburg Town,' reported from the singing of X'irginia Negroes (JAFL xxviii 139). There is perhaps some thread of connection between this and the two next following items, 'Jimmy My Riley' and 'Sheep Shell Corn by the Rattle of His Horn.' 'Robert Ridley. Hoc' Communicated in 191 3 by Charles R. Bagley as learned from his grandparents in Moyock, Currituck county. 1 Robert Ridley hoo, hot Robert Ridley boo Robert Ridley boo, what Makes you treat dat nigger so? 2 Possum up de simmon tree Looking cunning down at me. Up wid a brick and all on the sly Fetch him zip ! right in de eye. 3 I took him down to Polly Bell, For I knew she'd cook him well. Some to bake, some to chew. Some to bile for the barbecue. B 'Possum up a 'Simmon Tree.' From Miss Lois Johnson, Thomasville, Davidson county. Not dated. Not described by the informant as a corn- husking song, but evidently a fragment of the same song as .A. The second stanza here, like the first stanza of A, is clearly a chorus. 1 i'ossum tip a 'simmon tree Looking cunning down at me. I'icked up a rock all on the sly And hit him zip! right in the eye. 2 Old l>ob Hridelv, ho ho ho Old Bob Bridely, ho ho ho Old P.ob P.ridely, ho ho ho \\ bat made you fool that posstnn so ? W () R K SONGS 231 C 'Corn Shucking Son.t;.' From Miss Minnie lirvan Farrii>r, Duplin county. With the tune. 1 ( )1(1 J^xil) Ixidlfv. coiiK' blow vimr horn, Sheep in tlie pasture, cow in the barn. Old Boh Ridley, come hlow your horn. Sheep in the pasture, hogs in the corn. Chorus: Boys, conie along and shuck that corn. Boys, come along to the rattle of the horn ; We shuck and sing till the coming of the morn, Then we'll have a holiday. 2 ( )ld I'.oh Ridley, o-oh ! o-oh ! How could you fool that possum so? I picked up a rock all on the sly And hit him zip right in the eye. 3 I took him down to Polly Bell. Because I knowed she'd cook him well. She made a frye. she made a stew, A roast, a brile, and a barbecue. D 'Old Bob Ridley.' From H. C. Martin of Blowing Rock, Watauga county. Three stanzas and chorus. The first stanza corresponds with negligible differences to the second of A, the second to the last stanza of C ; tlie chorus runs : Old Bob Ridley, oh, oh, Old Bob Ridley, oh, oh. What made you treat dat possum so ? The third stanza is new : 3 Ole massa say he never see A possum half as fat as he. We eat and we danced and we eat all night. And we never eat him up till de morning light. 'Possum Tree.' From the manuscripts of Obadiab Johnson of Cross- nore. Avery county, copied out in 1940. With the tune. Sung by Clarice Burleson and Joe Powles, August 8, 1940. There is here no mention of Ridley or of cornhusking, yet it is clearly a form of the song we have already seen in C and D. I IVIy dog did bark and 1 went to see A possum up a persimmon tree. I picked up a rock all on a sly And tuk that possum ker-zi[) in the eye. 232 NORTH CAROLINA F O L K L 0 R K CJionis: Although you know it is nothing to me, I'll talk about things I don't like to see; Although you know that I don't like to see A possum a-climbing right down at me. 2 1 tuk it down to 1 Jolly ^ Bell Because 1 knew she'd cook it well. We had a roast, a boil, a stew, A bake, a fry, and a barbecue. 'Ground Hog.' Under this title Alex. Tugman of Todd, Ashe county, sent in. probably in 1922, the first stanza and the chorus of the C ver- sion of 'Old Bob Ridley." Jimmy My Riley This cornhusking song I have not found elsewhere. The refrain line, however, sounds as if it might be a memory of the refrain line of 'Old Bob Ridley,' and stanzas 2 and 3 are strongly reminis- cent of stanza 2 of 'Sheep .Shell Corn by the Ratde of His Horn,' below. 'Jimmie-My-Riley.' From G. S. Black, Cabarrus county, in 1920. 1 jimmie-my-Riley was a grand old rascal jimmie-my-Riley ho jimmie-my-Riley was a grand old rascal jimmie-my-Riley ho Chorus: Pick it up and shuck it u\) and throw it over yonder Jimmie-my-Riley ho Pick it up and shuck it up and throw it over yonder Jimmie-mv-Riley ho 2 The cows in the old field hornin' jimmie Riley Jimmie-my-Riley ho The cows in the old field hornin' jinnnie Riley Jimmie-my-Riley ho 3 The mules in tho old beld kickin' jimmie Riley jimmie-my-Riley ho The mules in the old field kickin' jimmie Kiley jimmie-my-Riley ho ' So the manuscript; i)robably just a slip of the ikmi for "Polly." WORK S O N C S 233 196 SiiKKi- SiiKij, Corn by thk Rattlk of 11 is Horn This C()rnliuskin.u: sonij is probably connected frenetically with 'Jimmy My Riley,' thouf^h which is source and which is product 1 see nothing to indicate. The curious notion that a sheep shells corn by the rattle of his horn appears also in South Carolina (JAFL XLiv 426) and what seem like confused memories of it in North Carolina (JAFL xxvi 131) and Arkansas (TNFS 215, in the middle of a "spinning song"!). A 'Corn-Shucking Song: Blow, Horn, Blow.' This song appears three times in the Collection, with only the slightest variations — which arc here recorded in the footnotes. AH the copies come, through different hands, from Miss Elizabeth Janet I'.lack of Ivanhoe, Sampson county, in 1920. The first line of stanza 2 seems to be an echo of the correspond- ing line in 'Jimmy My Riley.' The stanzas are sung by a 'leader' and the whole company of buskers come in on the chorus. The commas in tbf "blow born blow" line are editorial and may be wrong. 1 Sheep shell corn hy the rattle of his horn. Blow, horn, blow- Send to the mill hy the whippoorwiil. Blow, horn, blow^ Chorus: O! blow vour horn, blow horn, blow! (J! blow vom- horn, blow horn, blow! 2 Cows- in the old field, don't yon hear the bell? Blow, horn, blow- Gals up stairs kicking tip hell ; Blow% horn, blow. 3 Shuck this corn, boys, let's go home, Blow, horn, blow- Shuck this corn, boys, let's go home. Blow, horn, blow-. Refrain:'^ Hunt for the nubbins, bang a rang! Hunt for the nubbins, bang a rang! B 'Sheep Shell Corn.' Contributed liy Kvt-lyii Moody of Stanly county. Only two lines remembered : ' This fourth line missing in one of the copies, dout)tless by oversight. - One of the copies has here "Come." ■'' Called in one of the copies "Grand Chorus, to he sung at the end." 234 NORTH C A R 0 L I N A F 0 L K L () K K Sheep shell corn hy the rattle of tlie horn, I never saw the like since I been born. c 'Sheep Slicll Corn." An anunymuus sheet in the Collection, with tune. A reduced form of A. 197 Bugle, Oh ! A cornhusking chant that makes no mention of cornhusking. I have not found it elsewhere. 'Corn Shucking Song.' Communicated in 1920 by S. M. Holton, Jr., as learned in Yadkin county. Each stanza is made up like the first ; that is, the leader sings the first line, repeats it as the third line, introduces added matter in the fifth line, repeats this as the seventh line; and the even-numbered lines are entirely refrain, "Bugle oh" up to the last line, where it becomes "Bugle, oh ! Oh, Bugle, oh !" Only the first stanza is here given in full. 1 Goin' down the country, Bugle, oh ! Goin' down the country, Bugle, oh ! Red breast horses, Bugle, oh ! Red breast horses, Bugle, oh ! r)h, bugle, oh ! 2 Comin' in a canter, Met my darlin'. 3 Took her in the buggy. Courtin' in the kitchen. 4 Then got married ; Dancin' at the weddin'. 5 We had a little baby, Named him Jimmy. 198 Come to Shuck Dat Corn Tonight A cornhusking song that I have not found elsewhere. 'Corn Shucking Song.' Reported by Mrs. C. C. Thomas as learned from her mother; but there is no indication of when or where. Come to shuck dat corn tonight. Come to shuck with all your might ; WORK S () N (I S 235 Come fur to shuck all in sij^lit, Couie to shuck (1;U corn tonight. Couie to shuck dat i^oldcn ^rain ; W'har dar's 'nuff dar ai' no pain. Ef you shuck 'tis all yo gain ; Come to shuck dat golden grain. 199 Df. SiiucKixn OR nr. Corn This appears in the Collection without name of informant, hut there is no douht of its authenticity. Dr. Brown had included it in some sheets that he prepared for puhlication ahout 1916-17. Not improbahly it is from his own early recollection. For the occur- rence elsewhere of the opening line, in Alabama and Mississippi, see ANFS 381. Only the chorus connects it with cornhusking. The rest of it may go back to some Negro minstrel piece. I have not found it recorded. The chorus is repeated after each stanza. 'Tlie Sweet Bye and Bye' is, of course, a familiar popular song. 1 White folks send their chillun to .school To learn to read and write. But niggers send their chilluns to school To larn to fuss and fight. You'll never learn a nigger nuffin. So ain't no use to try. For the Dehil's guin to get 'em all In the sweet bye and bye. Chorus: Ain't you gooin'. ain't you gooin. Ain't you gooin to de shuckin ob de corn ? Yes, Ise gooin, oh yes Ise gooin, Ise gooin to de shuckin ob de corn. 2 As I was walking down the street Tother Wednesday night. I saw two little nigger boys Get into a fight. Policeman said, 'I'll get you. But it's no use to try ; For de Debil get you for me In the sweet bye and bye.' 3 'Dere's gold in de mountain And silver in de mine ; All this I'll give you If you only will be mine.' 236 N 0 k 1' H C A R 0 L I N A F O L K L 0 R IC "Go away. Old Satan, You can fool who you will. You can fool all the poor white trash. But you can't fool Uncle Bill.' 4 'Tvvas only tother Sunday night. As I lay half awake. Old Satan came to my bedside And he began to shake. He shook me hard, he shouk me long, He shook me out of bed, He caught me by my necktie, And this is what he said : The chorus of tliis song, in a somewhat different form, was contributed ( without indication of time or place ) by C. L. Walker. Since, in the absence of the tune, 1 am not sure of its metrical construction, it is here given as in the manuscript : You gwine, aint you gwine. aint you gwine to the shuckin of the corn. O yes I gwine to stay to morning when (jable blows his horn, Am gwine to stay till the coming of the dawn. 200 Shuck Corn, Shell Corn This cornhuskin^^ song has already been reported by Perrow (JAFL xxviii 139) from the singing of North Carolina Negroes: I have not found it elsewhere. 'Shuck Corn.' Communicated, probably in 1922 or thereabouts, by Mrs. Nilla Lancaster from Wayne county, and also, with almost identical text, by Miss Clara Hearne of Pittsboro, Chatham county, in 1923. The last four lines appear to be a chorus. Shuck corn, shell corn. Carry corn to mill. Cirind de meal, gimme de luisk. l)ake' de bread, gimme de crust. b"ry de meat, gimme de skin — And dat's de way to bring 'em in. \\'(jn't y(ni git up, old hor.se? I'm on de road to Brighton. Won't you git up, old horse? I'm on de road to I Brighton. 'So Mrs. Lancaster's text; .Miss Hearne's lias here "break." W () K K SONGS 237 201 Round It Lr a IIkat It Up ihis Ini^kin^ sont; is a composite. Tlie opening stanza is a mem- ory of the cliorus of "Jimmy My Riley.' Mrs. Steely found it in the Ebenezer community in Wake county. The central stanza is a part of the sontj "My Honey, My Love' in Harris's Uticlc Ronns and His hricinis. ihe Juha lines, which the informant does not j)rescnt as really a part of the song, are a dance song. See ANFS 163 and the references there given. 'Corn Shucking Song.' Contributed by Miss Amy Henderson of Worry, Burke county. ])robably in IQ14. Round it up a heap it tip a Round it up a corn A-jooi^-a-loa De big owl hoot and cry for his mate My honey, my love! Oh. don't stay long, oh. don't stay late My honey, my love ! It ain't so ftir to de goodby gate Oh, my honey, my love ! "And when they wouUl finisli slnicking," says the informant, "sometimes they would pat this : julja (lis and juha dat And juha killed de yaller cat. Juha ! juha ! and several would jump up auti take stei)s in time to it." 202 0)RN-Shucking Song This is written in Dr. Brown's hand at the foot of the typescript of 'De Shucking oh de Corn' (see above), among sheets that he was preparing for publication in 1916-17. It is fairly close to one of Uncle Remus's songs as given in Bright's edition of Uncle RcDiiis. His So)tgs and Sayings, pp. 184-7. ^'"" "the lost ell and yard,'' which means the constellation Orion with its belt and sword or club, see Annie Weston Whitney's article in JAFL x 293-8. Oh, de fus news ye know de day'll be a-breakin', Heyho ! Hi O! Up '11 down de banjo An' de fire be a-btirnin' an de ash cake a bakin', Heyho! (etc., as above) An' de hen'll be a-hollerin' an' de boss'll be a-wakin', Heyho ! (etc., as above) 238 NORTH CAROLINA FOLK L OR K Better git up, nigger, an give yoself a shakin'. Hi O ! Miss Cindy Ann ! Fo' de los' ell an' yard is a-huntin' fer de mornin". Hi O ! git along, go 'way En' she'll ketch up wid us fo' we ever git dis corn in ; O go 'way, Cindy Ann. 203 The Old Turkey Hex This I have not found recorded elsewhere. Dr. Brown notes on the manuscript that the informant learned it on her father's farm in Montgomery county. 'The Old Turkey Hen.' Reported by Miss Jewell Robbins (afterwards Mrs. C. P. Perdue), Pekin, Montgomery county, some time between 1921 and 1924, with the notation that it is a "corn-shucking hollow" in which the leader sings the odd-numbered lines as he walks the corn pile and the shuckers sing the refrain, the even-numbered lines. 1 Seven years a-boiling Ho-ma-hala-way Seven years a-baking Ho-ma-hala-way. 2 They blowed the horn for dinner Ho-ma-hala-way The people could not eat her Ho-ma-hala-way. 3 They carried her to the old field Ho-ma-hala-way The buzzards could not eat her Ho-ma-hala-way. 204 Rux, Sallie, My Gal Submitted as a "corn-sliuckins' hollow" in which the leader walks the corn pile and sings the first line each time and those who are shucking answer with "bu-ga-lo." I have not found it in print. It should perhaps have been entered as a form of 'Bugle. Oh!' above. 'Run, Sallie, My Gal.' Communicated in 1921 by Miss Jewell Robbins (later Mrs. C. P. Perdue), Pekin, Montgomery county. With the music. I Run, Sallie, my gal Bu-ga-lo Run, Sallie, my gal Bu-ga-lo. w () K K SO i\ (; s 239 J Tlic bull in the iiK-adcw Bu-ga-lo As fat as he can wallow ' r.u--a-lo. 205 Up Roanoke and Down tiik Rivkr Another c()rnliuskin,t!: song. I have not found it elsewhere. It consists of single lines, followed always by the refrain line, which is the same throughout. Each of the single lines is repeated once, making, with the refrain line, a four-line stanza. A leader sings the single lines, the whole company of buskers comes in on the refrain. Only the first such stanza is here given in full; after that, the single lines. 'The Old Corn Song of Long Ago.' Reported by S. M. Holton, Jr.. as sung in Davidson county. The refrain line in the manuscript is headed throughout by the word "Drines," the meaning of wliicli the editor does not know ; the other lines are headed "Leader." 1 Up Roanoke and down the river. Oho, we are 'most done. Up Roanoke and down the river. Oho. we are 'most done. 2 Two canoes, and nary paddle. 3 There is where we run the devils. 4 Away over in reedy bottom. 5 There is where we trick the devils. 6 jack de Gillam shot the devils. 7 Blue hall and a jxjund of powder. 8 Shot him in the rim of the belly. 9 That's the way we killed the devils. 206 HiDI Qui LI LODI QUILI The final stanza of this cornhusking song appears in version E of 'Said the Blackbird to the Crow'; also (with "crane" for "crow," which betters the rhyme) in Talley's Negro Folk Rhymes 59 and Randolph's OFS 11 356, from Missouri. Stanzas i and 2 I have not found elsewhere. ' This is more often found as the description of some swain's "girl in the hollow." 240 NORTH CAROLINA FOLKLORE 'Hidi, Quili, Lodi, Quili (Corn Shucking Song).' Reported in 1913 by Charles R. Bagley as heard from his grandparents in Moyock, Currituck county. 1 Hidi, quili, lodi, quili, Hidi, quili, quackeo, If you'd uh been as I'd uh been You would uh been so pretty O ! 2 yuinckuni quanckum made a song And he sang it all along, Heels in the path and toes in the grass. Don't take nothing but dollar and half. 3 The ole fish hawk said to the crow, T hope to the Lord tonight it'll rain; The creeks am muddy and millpond dry ; 'Twasn't for tadpoles minnows all die.' 207 Here, Jola, Here This seems to be a hunting song (cf. 'Old Blue') used to accom- pany the work of cornhusking. I have not found it elsewhere. 'Corn Husking Song.' Communicated by CaroHne Biggers of Monroe, Union county, with the explanation that the leading part, i.e., the odd- numbered lines, is taken by one male voice and the even-numbered lines, i.e., the chorus, are sung in unison. Jola was a coon dog. Here, Jola, here. Jola was a possum dog. Here, Jola, here. Jola was a rabbit dog. Here, Jola, here. Jola was a bird dog. Here, Jola, here. 208 Come away from Tii.\t ( )lu Max Reported as "a call for hogs — tune quite musical" (but the music is not scored on the manuscript), this looks like a fragment of a ballad. I have not found it elsewhere. 'Come away from That Old Man.' Submitted by Frederica Jenkins of Wilmington, New Hanover county. Not dated. Come away from that old man ! He will kill you if he can. Come awav, o-oh ! WORK S C) N G S 241 209 Sally, Molln, I'olly A hojj-calliiig chant from Wake county, rcporti-d in k^j^ by Beulah Walton of Morrisville. Sallv. Alollv. Pullv. O • Come on git cawn ! Little in the basket, more in the crib, Come on git cawn ! 210 Down on the Farm This song about tlie good old days of childhood is not properly speaking folk song, though it has approached that status in North Carolina : it appears four times in our collection as traditional song. A more compelling evidence of its popularity is the fact that it has prompted a parody. The four regular texts are : A From W. Amos Abranis of Boone, Watauga county. B From O. L. Coffey, ShuH's Mills, Watauga county. C From Mrs. Mary Martin Copley, Durham. D From Miss Clara Hearne, Pittsboro, Chatham county. Since these texts do not differ significantly (except that D is incom- plete) it will be sufficient to give one of them. Professor Abrams's. 1 While a boy I used to dwell in a home I loved so well, Far away among the clover and the bees ; Where the morning-glory vine round the cabin porch did twine, \\ here the robin-redbreast sang among the trees. Chorus: Oh, many weary years have i)assed since T saw the liome place last, And a memory dear steals o'er me like a charm ; Every old familiar place, every kind and loving face, In my boyhood's happy day down on the farm. 2 Oh, there's a father old and grey, there's a sister \()iuig and gay, .\ mother dear to shield us from all harm ; There 1 spent life's happy hours running wild among the flowers. In mv boyhood's happy days down on the farm. 3 -And today, as I draw near the old home 1 love so dear, A stranger comes to meet me at the door; X.C.F., Vol. TTI. ri8) 242 NORTH CAROLINA F 0 L K L 0 R K 'Round the place there's many a change, and the faces all seem strange. Not a loved one comes to meet me as of yore. 4 And my mother dear is laid 'neath the old elm tree's quiet shade, Where the morning's golden sun shines hright and warm ; And it's near the old fireplace there I see a stranger's face In mv father's old arm-chair down on the farm. And now for the realist's report of life down on tlie farm. 'Down on the Farm.' Contributed l)y Macie Morgan of Stanly connty. 1 Down on the farm 'bout half past four I slip on my pants and sneak out the door. Out in the yard I run like the dickens To milk all the cows and feed all the chickens. Clean out the barnyard, curry Rhoda and Jiggs, Separate the cream and slop all the pigs. Hustle two hours, then eat like a Turk. By heck ! I am ready for a full day's work. 2 Then I grease the wagon and put on the rack. Throw a jtig of water in the old grain sack, Hitch uj) the mules, slip down the lane — Must get the hay in, looks like rain. Look over yonder ! Sure's I am born. Cows on the rampage, hogs in the corn. Start across the meadow, run a mile or two Heaving like I am wind-broken, get wet clean through. 3 Back with the mules ; then, for recompense, Rhoda gets a-straddle the barb-wire fence. Joints are aching, muscles in a jerk. "Whoop ! fit as a fiddle for a full day's work. Work all the summer till winter is^ nigh. Then figure at the bank and heave a big sigh. Worked all the year, didn't make a thing ; Less cash now than I had last spring. 4 Some folks say there ain't no hell. .Shucks! They never farmed; how can they tell? When spring rolls round and I take another chance. As fuzz grows longer on my old gray pants. (Hve my galluses a hitch, belt another jerk, (iosh! I'm ready for a full year's work. * The manuscript has instead "tlie," doubtless by a mere slip of the pen. W () U K SONGS 243 211 Negro Cotton-Pic ker Brief as this is, it is a coniijosite. Soniethins' like the tirst line is reported from Alahaiiia (ANFS 285) ; the last two lines are something- of a commonplace in Negro song, reported from Vir- ginia (JAFL xxviii 140) and South Carolina (JAFL xliv 432) and without definite location by Odum (JAFL xxiv 267) and the Loniaxes (ABFS 234). No title. Communicated in UJ23 by Mrs. Xilla Lancaster from Wayne county. Way down in de bottom, when the cotton's all rotten, Can't pick a hundred a day. Aui^ht tor auti^ht, and Hijger for tigger. All for de white man an' none for de nigger. 212 Pickin' Out Cotton This looks like an authentic work-song, but I have not found it elsewhere. The longer text appears in the Collection in Dr. Brown's hand but without indication of source; probably he took it down from someone's singing but neglected to note wdio sang it, and where, and when. The shorter version does not dit¥er from the longer except by lacking the second half. A 'Pickin' out Cotton.' Manuscript in Dr. P>rown's hand without notation of date or source. '1 fello. my little girl, which away, which away. Which away, which away, which away, which away ?' 'Mammy sent me to pickin' out cotton ; Daddy said the seed's all rotten.' 'How can you tell that the seed's all rotten. How can you tell that the seed's all rotten ?' 'Can't I tell by looking at the cotton. Can't I tell by looking at the cotton? ( )h, won't yoti gimme chow terbocker, tih ? ( )h, I w ant a chow terbocker, uh. ( )h, won't you gimme chow terbocker? ( )h. can't \-ou gimme chow terbocker?' 'llello. my little girl, which away, which away, W Inch away, which away, which away, which away ?' 'All the way to July Ann Clebber, All the way to July Ann Clebber. That's the death my heart can sever, 244 ^' O R T II CAROLINA FOLKLORE That's the death niv heart can sever. Oh, won't you gimme chow terhocker, Oh, won't you gimme chow terbocker? Mammy's sent me to pickin' cotton, Daddy swore the seed's all rotten.' 'How can you tell that the seed's all rotten?' 'Can't 1 tell by looking at the cotton? Oh. gimme chow terbocker, uh.' B 'Pickin' out Cotton.' Obtained from A. J. (or from J. H.) Burrus, Weaverville, Buncombe county, in August 1922. With the tune. The first eight lines are the same as in A ; and then it runs : "Then the per- former gets in a big way and goes off on Ho — won't you give me chaw o' tobacco. Ho — won't you give me chaw o' tobacco, ad infinitum." 213 The Humble Farmer The Loinaxes (OSC 280-1 ) report this, with the variations to be expected in anything that passes by oral tradition, as sung by a Negro share-cropper in Texas in 1934. It presents a fairly vivid picture of the plight of the share-croppers in the cotton country. 'The Humble Farmer.' Obtained, sometime in the period 1921-24, from Miss Jewell Robbins (later .Mrs. C. P. Perdue), Pekin, .Montgomery county. The last two lines of the first stanza should probably read 'Twas caused by picking cotton From out the cotton bolls. What is here marked "chorus" is merely another stanza in the Te.xas version, where the chorus is only two lines. I 1 saw an humble farmer ; 1 lis back was bending low, A-picking out the cotton Along the cotton row. His shirt was old and ragged. His pants were full of holes; 'Twas caused bv picking oiU the cotton bolls, Tlie cottfin from the bolls. Chorus: 'Now pay me,' says the merchant, 'Pay me all you owe. Unless you pay me up, sir, COTTON P I C K P: R S U (IRK S U N (1 S 245 I'll sell to you no more.' '1 cannot pay,' says farmer. '1 cannot pay at^ all. You sold your goods so high, sir I'll finish \t next fall' 2 Up steps a fair-skinned merchant With a high-top derhy on. Says 'F^ay nie, Mr. Farmer, Or you to me belong.' 'I cannot pay,' says farmer, I cannot pay at^ all ; I'll pay you some today, boss, And finish it next fall.' 214 Boll Weevil Blues The boll weevil invaded Texas from Mexico about the end of the nineteenth century; now he is known and dreaded wherever cotton is grown in the United States. And the song about him is perhaps equally ubiquitous. Its origin is as obscure as that of 'Joe Bowers' or 'Jesse James.' Texts vary somewhat, but are pretty sure to emphasize "the weevil's relentless determination to find a home. For other texts see AMS 90-1, ANFS 351-3, ASb 8-10, FSAI 199-200, TNF.S 77-9, ABFS 112. A 'Boll Weevil Blues.' Obtained from Olxicliah Johnson, Crossnore, Avery county, in 1940. 1 Farmer said to the boll weevil, 'I see you're on the square.' Boll weevil said to the farmer, 'And my whole family's there ; I have a home, I have a home. 2 'Look up your bar'l o' pizen, And scatter it on the row,' Boll weevil said to the farmer ; 'You scatter pizen, though I have a home, I have a home.' 3 Boll weevil said to the lightning bug 'Kin I get up a trade with you? Ef I wuz a lightning hug Fd work the whole night through. All night long, all night long.' ^ So the manuscript ; the context indicates tliat "at" shonld be "it." 246 NORTH CAROLINA FOLKLORE 4 'Don't you see how them creeturs Now have done me wrong? Boll weevil's got my cotton And the merchant's got my corn. What shall I do ? What shall I do ?' 5 Boll weevil said to the merchant, 'Better drink you^ cold lemonade; When I git thru with you Gwine drag you out o' the shade — I have a home ! I have a home !' 6 Boll weevil said to the doctor, 'Better po' out all them pills ; When I get through with the farmer He can't pay no doctor's bills — I have a home ! I have a home !' 7 iioU weevil said to the preacher, 'Better shet your church house door; When I get thru with the farmer He can't pay the preacher no more — 1 have a home ! 1 have a home !' 8 Boll weevil said to the farmer, 'Better sell yo' old machine; \Mien I get thru with you You can't buy no gasoline — I have a home ! I have a home !' 9 Boll weevil said to his wife, 'Better stan' up on yo' feet 'N look way down here in Georgy At all the cotton we got to eat — All night long, and all day too !' 10 I^oll weevil said to the farmer, '1 wisht that you wuz well.' {•"arnier said to the boll wee\il, 'I wisht you wuz in hell!' l')oll weevil blues! I'oll wee\il blues! B 'Roll Weevil Bines.' I^'roiii the John lUirch lUaylock Collection. I I'.oll Weevil said to the doctor, 'You can roll out your little pills; When I get through with the cotton ^'ou can't i)ay no doctor's bills. i want your home. I want your home.' ' So tlu' inannscript ; prfihahiy slionld lie "yo." W () K K SON C. S 247 2 lioll Weevil said to the store-keeper, 'You can . . . out your uieat ; W'heu I get through with tlie cottou You wout' have nothing to eat. 1 want your home, I want your home.' 3 r.oll Weevil said to the farmer. '1 wish you mighty well.' The farmer said to the Boll Weevil. '1 wish you were in — Hope Dale.' 'I want your home, I want your home. 4 The farmer said to the Boll Weevil, 'I thought you were on the square.' The Boll Weevil said to the farmer, 'My whole dang family's there. 1 vvant vour home. T want your home.' 215 Ole Massa's Going Away This might be accounted a work song in reverse. 1 have not found it elsewhere. 'Ole Massa's Coin' Away.' From C. M. Hutchings, Durham, c. 1913- Ole Massa's goin' away, boys. He's goin' to see his brother. We'll wait till he gets out of sight, Then we'll throw down the hoe and the shovel. 216 The Man Who Wouldn't Hoe His Corn For reports of this purely indigenous American song from other regions, see BSM 440 and' add to the references there given Vir- ginia (FSV 172-3), South Carolina (OSC 286-7). Arkansas (OFS III 196), Indiana (BSI 307), and Ohio (BSO 243-4). "The Man Who Wouldn't Hoe Corn.' Obtained in the summer of 1945 by Professors W. Amos Abrams and Gratis D. Williams of the Appa- lachian State Teachers College from Pat Frye of East Bend. Yadkin county, concerning whom see the headnote to version G of 'Lady Isabel and tile Elf-Knight' in Volume II. I There was a young man lived on Beaver's Creek, He didn't make corn for to .sell nor keep; And for the reason T can't tell. For this young man was always well. 248 NORTH C A R 0 L I N A K O I. K L O R E 2 He went to his corn field and looked in. Shallot weeds was to his chin ; The weeds and grass so thick did grow That he was afraid to venture with his hoe. 3 The nearest house that he went to, The girl he courted, I suppose, She says to this young man in a great scorn. 'Oh,' she says, 'young man. have you wed out your corn?" 4 He answered her with this reply : 'No, kind miss, I've laid it by. There is no use to strive in vain When I know I shan't make nor a grain.' 5 'What is the use for us to wed. When you can't make your own l)read ?' Saying 'All I am I expect to remain. For a lazy man I shan't maintain.' 217 The Old Chisholm Trail The cowboy classic, sung probably wherever cattle are driven over the plains to market. See CS 28-37. Randolph (OFS 11 174-5) has found it in Arkansas. Neely and Spargo (TSSI 184-5) report a song with the same refrain but a widely different text from Illinois. The Old Chisholm Trail." From the John Burch Blaylock Collection. 1 Come along, boys, and listen to my tale. I'll tell you of my troubles on the old Chisholm trail. Refrain: Come ti yi youpy youpy ya youpy ya, Come ti yi youpy youpy ya. 2 I started up the trail October twenty-third. I started up the trail with the 2-U herd. 3 ( Jh, a ten dollar boss and a forty dollar saddle. And I'm goin' to punchin' Texas cattle. 4 I wake u]) in the morning on the old Chisholm trail, Rope in niv hand and a cow by the tail. 5 I'm uj) in the mornin' afore daylight. And afore I slecj) the moon shines bright. 6 ( )ld P>en l')<)lt was a tine old man. And you'd know there was whiskey wherever he'd land. WORK SONGS 249 7 Mv lins.s ihrowi'd UK' oft" ;it tlic creek called Mud; My lu)ss throwed uic olt 'it >uud the J-V herd. 8 Last time he was i^oiui,^ 'cross the level, A-kickin<;- up his heels and a-running; like the devil. 9 It's cloudy in the west, a-looking like rain. And mv damned old slicker's in the wat^on aj^ain. 10 Crippled my hoss, 1 don't know Ikjw, Ropin' at the horns of a 2-U cow. 1 1 We hit C aldwell and we hit her on the fly. We hedded down the cattle on the hill close hy. 12 No chaps, no slicker, and it's pourini;- down rain; And 1 swear, liy all, I'll never night-herd again. 13 Feet in the stirruj^s and a seat in the saddle, I hung and rattled with them long-horned cattle. 14 Last night 1 was on guard and the leader hroke ranks; I hit my horse on the shoulders and 1 spurred him in the flanks. 15 The wind commenced to hlow, and the rain hegan to fall; It looked, hy gral), like we was goin' to lose 'em all. 16 I jumped in the saddle and grabhed holt the horn, Best blamed cowpuncher ever was born. 17 I popped my foot in the stirrup and gave a little yell; The tail cattle broke and the leaders went to hell. 18 I don't give a damn if they never do stop, ril ride as long as an eight-day clock. 19 Foot in the stirrup and hand on the horn, Fm the best damned cowboy that ever was l)orn. 20 I herded and I hollered, and I done very well. Till the boss said, 'Boys, just let 'em go to hell.' 21 There's a stray in the herd and the boss said kill it, .So I shot him in the rump with the handle of the skillet. 22 We rounded 'em u]), and we put 'em on the cars. And that was the last of the old Two-Bars. 23 Oh. it's bacon and beans most every day ; Ld as soon be eatin' prairie hay. 24 I'm on mv best horse and Fm going at a run, Fm the tjuickest shooting cowboy that ever pulled a gun. 250 N 0 R T H C A K O I. I X A F 0 L K L 0 R E -'5 1 wt-'iit t(i the boss to draw my roll, To come back to Texas, dad-burn mv soul. 26 I went to the boss to draw my roll ; He had it tiggered out I was nine dollars in the hole. 27 I'll sell my outfit just as soon as I can; I won't punch cattle for no damned man. j8 (ioin' back to town to draw my money, Goin' back Ikjuic to see my honey. jg With my knees in the saddle and my seat in the sky, I'll (|uit punching cows in the sweet bye and bye. 218 The Uuke of Buckingham This song of the fox liunt is quite certainly descended from a broadside preserved in the Roxburghe collection, 'The Fox-Chace ; Or, The Huntsman's Harmony, by the Noble Duke of Bucking- ham's Hounds' (R. B. i. 360-4). The names of the hounds are not the same, but the structure is. By what stages the song has come 'lown from seventeenth-century England to twentieth-century North Carolina has not been discovered. Our text is only a two-stanza fragment. Chappell ( FSRA 176-8) reports a much fuller version, '»-ith the music. 'The Duke of Buckingham.' An "ohl hunting song" collected I)y Julian P. Boyd of Alliance, Pamlico county, in \^)2/, irom James Tingle, one of his pupils in the school there. 1 The Duke of Buckingham, One morning in May, Went out to take a fair trial. He had dogs of his own. Just as good as ever known ; Nary one in the pack did tire. 2 There wa.^ i'aylor and jowler, Lesbe and Knowler, Ringwood, Rtishwood, and Crowner, Mary, Lester, Seamster, Julie, i'dower, and (lamester, ( )verwf)od, Rookwood, and lierrin. . . . 219 Thk Wh.o .Asii!'. 1)ki:k Hardly folk song, perhaps, this i)iece has none the less an interest for studeiUs tO folklore. According to the contributor, "A real W () R K SON (". S 251 (Iccr chase from Ashe county into Watauga inspired one of the pursuers to write this poem. The scene of tliis chase started not far from Jefferson in Ashe county." That is the local legend. But 1 have found no one who can confirm it as to person and date. On the other hand, there is plenty of evidence that the song was current as a printed hallad ahout a hundred years ago. The Los .Angeles I'uhlic Library has a broadside of it, the text identical with Mrs. Hyers's, which was published by John IL Johnson, "Song Publisher,'" at 7 North Tenth .Street, Philadelphia; and Mrs. Clark Larrabee of the Free Library of Philadelphia tells me that Johnson did business as a stationer at that address from 1858 to 1865, hav- ing been in business in Philadelphia, though not at that address, as early as 1849. The Free Library, Mrs. Larrabee further informs me, has in its files of unbound sheet music a copy of 'The Wild Ashe Deer,' music by Mrs. V. Pendleton, published in Philadelphia by Lee & Walker in 1854. This edition is not illustrated; but she is advised by an expert on early American sheet music that there is an earlier edition which is illustrated. Johnson's print, "revised and printed expressly for the Public Schools," has a spirited wood- cut of the chase — perhaps inherited or bought up from the earlier illustrated edition. The text of the song is decidedly 'literary,' modeled on one or another of a number of English hunting songs. Shall we accept the local legend and believe that someone in Watauga county did take part in, or perhaps only hear about, such a hunt, wrote the poem, set it to music, and afterwards sent it to Philadelphia and had it published ? Or shall we think that the printed song, coming to be known in Ashe and Watagua counties, suggested — from the cue of the name of the former of these counties — the local legend? The editor does not know. There are precedents for both procedures. 'The Wild Ashe Deer.' Communicated in 1922 by Mrs. N. T. Byers of Zionville, Watauga county. With the music. 1 Away and away we're bound o'er the moimtain, over the mountain, over the mountain. Over the valley, the hill, and the fountain, away to the chase, away, away ! We heed not the tempest, the wild winds of dans^^er, hut joyously shouting away goes the ranger. Joyously shouting away goes the ranger, awav to the chase, away, away ! 2 Away and away our wild steeds are bounding, oiu- wild steeds are bounding, our wild steeds are hounding, Throttgh brake and through valley our shouts are resound- ing, away to the chase, away, away ! Listen to the hound bells sweetly ringing,^ over the hill ^ So the manuscript, implying that the hounds wore bells ; but the meaning clearly is that the baying of the hounds makes music, as Theseus's did for Hippolyta. Johnson's text has a better reading : List to the hounds, bells sweetly ringing. 252 X fi K T II C A K 0 L I X A FOLKLORE the wild deer is springing. Over the hill the wild deer is springing; away to the chase, away, away ! 3 See there the wild deer, trenihling. panting, trembling. panting, trembling, panting, l-'earfully poising, one nn)ment standing: oti then he speeds, away, awaw He's gone. boys, he's gone ! Pursue him. pursue him ! Hurrah, boys, hurrah ! I see him ! I see him ! Hurrah, boys, hurrah! I see him! I see him! Away to the death of the Wild Ashe Deer ! 220 Old Blue For the affiliations of this song, see White's headnote to his Alabama text (ANFS 207) and add to the references there given Mississippi (JAFL xxxix 177, FSM 201-2), Arkansas (OFS 11 382-3). and Texas (OSC 111-12). The Alabama text lacks the homely particularity of our stanzas 3 and 6. For the chain used in the burial, commonly a silver spade and a golden chain and asso- ciated with the burial of persons, not dogs, see JAFL xi 22. NWS 129 and 198, and 'Down by die Weeping Willow Tree' in this volume. Our text is not strictly speaking from North Carolina, being described by the contributor as "heard in the Mississippi valley in West Tennessee." but is included here for good measure. 'I Had a Dog and His Name Was Blue.' Contributed by M. R. Cham- bers as heard in West Tennessee. Not dated. 1 I had a dog and his name was Blue. Just listen and I'll tell you what that dog would do. Chorus: Here. Blue, you rounder you! Here. Blue, you rounder you! 2 One morning, whilst he was out with me. He treed a possum up a white oak tree. 3 1 took niv ax and 1 cut him down .\nd put sweet taters all around his ham. 4 (i«jt up next morning; lUue was sick. I sent for the doctor to come here c|uick. 5 Tlu' doctor come, he come in a run, And he says, '( )ld lUue. yom- hunting is done.' 6 ( )ld lUue died; and he (\\v(\ so hard Jle dug little holes all around in the vard. w (> K K s () N i; s 253 7 I dug his grave in a shady place. I ki\ered it over with a possum face. S 1 let him down with a golden chain; \\ ilh every link I caUed his name. 9 ( )kl Ijkie's dead, and he's gone to rest. He was jus" a dog. l)ut he done his hest. 10 When 1 gets to heaven, I know what I'U (h) ; I'll gral) mv horn, and I'll hk)w for lUue. 221 The Ground Hog This is peculiarly a song of the southern Appalachians. Although the habitat of the creature (known also as whistlei)ig, and in the Northern states as woodchuck ) reaches from Canada well towards the Gulf of Mexico, he is the subject of popular song only in the southern Appalachians; the song is known in Virginia (FSV^ 246), West Virginia (FSS 498), Kentucky (Shearin 38, LT 30-3), North Carolina '(SSSA 5-6, FSSH 388,1 3^0.2, JAFL xlv iS4-5,^ i^v6. BMFSB 38-9), Georgia (FSSH 389), and less definitely the Soudi- ern mountains (AMS 92-3). Its appearance in the Ozarks (OFS III 150-3) is doubtless due to immigration from Kentucky. It has not been found in the Northern states, nor is it a Negro song — White reports only a two-line fragment from Tennessee Negroes (ANFS 160). Apparently it originated in the frontier life of the South, probably in the early nineteenth or possibly in the later eighteenth century. Besides the texts here given the Collection has two recordings of it: one from Obadiah Johnson. Crossnore, Avery county, in 1940. and one from Bonnie Wiseman, Hinson's Creek. Avery county, in 1939. A 'Ground Hog.' Contributed by Miss Clara Hearne from Pittsboro, Cbat- bam county, some time in 1922-23. The first line of eacb stanza is sung twice, making witli tbe refrain a stanza of four lines, as printed bere for stanza i. 1 Whet up your knife and whistle up your dog. Whet up your knife and whistle up your dog. We're going to the hills to hunt a ground hog. Whack fal doodle all day. 2 Too many rocks, too many logs. Too manv rocks to hunt ground hogs. 3 Over the hills and through the hrush. There we struck that hog's sign fre.sh. * This text Henry obtained in New Jersey, but it was learned in North Carolina. 254 NORTH CAROLINA FOLKLORE 4 Up came Berry with a ten toot pole And roused it in that ground hog's hole. 5 Up came Kate and stood right there Till Berry twisted out some ground hog's hair. 6 Kate and Berry kept prizing ahout ; At last they got that ground hog out. 7 Took him to' the tail and wagged him to a log And swore, hy grah, it's a pretty fine hog. 8 Meat in the cupboard, hide on the churn; That was a ground hog, I'll be durn ! 9 Work. boys. work, as h.ard as you can tear. The meat '11 do to eat and the hide'll do to wear. 10 \\ ork. boys, work for all you'll earn. Skin him after night and tan him in a churn. 1 1 They put him in a pot and the children began to smile ; They ate that ground hog before it struck a boil. 12 Up stepped Susie with a snigger and a grin. Ground hog grease all over her chin. 'Ground Hog.' Received from J. T. C. Wright of the .\ppalachiaii Teachers College, Boone, Watauga county, in 1922. Four-Hne stanzas as in A. 1 I shouldered up my gun and I wiiistled to my dog. I shouldered up my gun and I whistled to my dog ; Ise gwine up the mountain for to catch a groundhog. Law, man, law ! 2 I treed him in the mountain and I treed him in a log, I treed him in a holler and 1 treed him with my dog. 3 I cut a long pole for to twist him out. Great God a'mighty, what a groundhog stout ! 4 God a'mighty, man, just look at Jim! Groundhog gravy all over his chin. 5 Run here, mama, and run here quick. This old groundhog has made me sick. 6 Run here, doctor, run here quick. This old groundhog has made me sick. ' So in the manuscript ; a slip of the pen, apparently, for "by." w () K K s () N c; s 255 7 Ise iiebber j^wiiK' to cut groundhog ii<» more, For it 1 do Isf ;i dead man shore. 'The Gruuii' Hog." Reported liy Mrs. Sutton, prol)al)ly in i<>2(), witli the comment: "'I'lie song is a sort of hunting tune, and the loud 'whoopees' in it are most effective when it's sung as a ehorus. ... It is very popular, especially with the kiddies." 1 Whet up yer knife and whistle up yer dog. We're ofi to the woods fur to ketch a groun' hcjg. Chorus: Whoopee, whoopee, doodle dal day, Whoopy doo doodle doo dal day. 2 Cut and trim a long slim pole. Twis' ole groun' hog out'n his hole. 3 I'ut that hog in a big tow sack. Bring him home swung down my back. 4 Skin that groun' hog and tan his hide, Put my baby gal safe inside. Mrs. Sutton also reports the following stanza as a "hanjo tune," ob- tained from Reems Creek, Buncoinbe county. The tune was taken down by Miss \'ivian Blackstock. Whet u\) your knives, call up your dogs, Go to the woods, catch a ground hog. Meat's good to eat, hide's good to wear. Rang tang a f odalink a day ! 222 I'll Fire Dis Trip Though not strictly from North Carolina, this item is so inter- esting as a relic of steamboating on Southern (it seems to be in Negro speech ) rivers that it is here included. 'Boating Song.' Reported by Mrs. C. C. Murphy of Ivanhoe, Sampson county, as obtained from Mrs. J. N. Corbett, who knew it as sung on Flint River, Georgia. 1 I'll hre dis trip an' I'll tire no mo' Fire down below ! I'll fire dis trip an' I'll fire no mo' Fire down below ! 2 Miss Nancy Belle, 1 wi^ll you well Fire down below ! X.C.F.. Vol. Ill, (f)) 256 NORTH CAROLINA FOLKLORE !Miss Xancy Belle, I wish you well l-'ire down below ! 3 De bullies' boy is Uncle Gable Vive down below ! Bring on dat wood while you he's able ! Fire down below ! 223 Hi Yo Boat Row This is a broken memory of one of Dan Emmett's early (copy- right 1843) successes on the minstrel stage, 'De Boatmen's Dance' (No. 32 in S. Foster Damon's Series of Old American Songs). Davis lists it from Virginia (FSV 249) and Perrow reports a form of it as sung by Negroes in Kentucky (JAFL xxviii 143). 'Hi Yo Boat Row.' Reported in 1913 by Charles R. Bagley of Moyock, Currituck county, as learned from his grandfather there. 1 Hi yo, boat row. Hoy, down river on old Ohio. Boatman dance and boatman sing. Boatman do most anything. 2 Hi yo, boatman cow,^ Stole my pit^ and stole your shoat, Run down the river and jnit him in the boat. 224 We Live on the Banks of the Ohio Although this has not been found elsewhere, it may be assumed to come from the age of plantation melodies, in which, as Dr. White has pointed out, "the masters are kindly to an almost suspicious degree. . . . Beyond doubt, the Negro minstrel song . . . was com- monly used as an instrument of propaganda against the interests of the Negro himself" (ANFS 10). No title. Set down by K. P. Lewis frcnii the singing in iqio of Dr. Kemp P. Battle of Chapel Hill. I We live on the banks of the ( )-hi-o O-hi-o, Odii-o, Where the mighty waters rapidly flow And the steamboat sweeps along. ' One supposes that "cow" is niiswritten for "row" and "pit" for "pig," and that tlie omission of the second line of the refrain in this stanza is morclv actidcntal. W O K K SONGS 257 Clioriis: We live on tlic banks of the O-hi-o, O-hi-o, O-hi-o, We live on the banks of the ( )-hi-o, ( )n the banks of the ( )-hi-o. 2 ( )k' niassa to liis darkies is good, Tra-H-la-la. tra-li-la-la. He gives us our clothes, he gives us our food. And we merrily work all day. 3 Droop not, darkies, as you go, Tra-li-la-la. tra-li-la-la, Back to the banks of the O-hi-o, The river we love so well. 225 A Boat, a Boat, Across the Ferry This round is s^iven, with no indication of source, in F.SSC viii 141. 'A Boat, a Boat, Across the Ferry.' Reported by K. P. Lewis of Dur- ham as obtained {probably in lyio) from Dr. Kemp P. Battle of Cliapel Hill. A boat, a boat across the ferry, For we are going to be merry. To laugh and quaff and drink old sherry. 226 Haul, Haul, Haul, Boys This is listed in the manuscript as a "fishing song," that is, presumably, a song sung as fishermen pulled in their nets. In word- ing it is close to the bowline chanty 'Haul away. Jo' (Whall, Sea Songs and Shanties, p. 85; Shay, Iron Men and Wooden Ships, p. 92), and probably it is merely an adaptation of that chantey to the fisherman's trade. 'Fishing Song.' Contributed by Miss Emma Bobbitt, Bayboro, Pamlico county. Haul, haul, haul, boys, haul and be lively. Haul, oh haul. boys. haul. She will come, she must come ; haul, boys, haul. She will come, she must come ; haul, boys, haul. Well, it seems to me like the time ain't long; Haul and be lively, haul, boys, haul. 258 NORTH CAROLINA I" O L K L O R P: 227 Old Horse. Old Horse The sailor's protest against his rations of salt horse is known in Maine (MAI 223-6, SBML 104-5), Massachusetts (FSONE 142-4). and "by men aboard American sailing ships, also ... by white men along the Gulf" ( P^B 62-3); very likely it was known to all sailor men in the old windjammer days. It is quite distinct from the homiletic 'Poor Old Horse,' which is a landsman's song. 'Old Horse, Old Horse.' Reported, probably in 1927. by Julian P. l')oyd as obtained from Duval Scott, a pupil in the school at Alliance, Pamlico county. 'Old horse, old horse, how come you here?' 'From southern shores to Portland's piers I've carted stone for piles of years, Till, killed by work and sore abuse, They salted me down for sailors' use. The sailors they did me despise. They knocked me down, and damned my eyes. Pulled off my meat and picked my bones And threw the rest to Davy Jones.' 228 b^oR .Six Days Do All That Thou Art .Able Grousing of sailors at having to work on Sunday. A Negro spiritual of like content — though it has nothing to do with sailors — 'That Ain't Right.' is reported from Tennessee (JAFL xxvii 262), Alabama (JAFL xliii 323). and as sung at a Negro meeting in St. Louis by Jubilee singers (JAFL xxxv 331). 'For Six Days." Rep\k ."^ong-, which reports a record of it made in California. 'Little Red Caboose Behind the Train.' From the John Burcli Blaylock Collection. 264 NORTH CAROLINA FOLKLORE 1 Now I am a jolly railroad man and braking is my trade; I work upon the road both day and night, Turning switches, and making flies, as along the road we And see thai all the train is made up right. ^Ve are always ready when we are called to go. It's whether in the sunshine or the rain. And a jolly crew you'll always find if you will go and see In the little red caboose behind the train. Chorus: Then here's luck to all the boys that will ride upon the cars, May happiness to them always remain ; The angels, they will watch o'er them when they lie down to sleep In that little red caboose behind the train. 2 We hang a red light on each side, another on behind, As the day goes by and night comes stealing on. And the boy that rides ahead, you bet, he keeps it in his mind That all the train is coming along. And when we're near the station, we're startled from our thoughts By the sound of the whistle's piercing scream ; We skin out on the hurricane deck while the curve winds up the wheel Of the little red caboose behind the train. 236 Reuben's Train R. W. Gordon, Nczv York Times Magazine, January i, 1928, prints a mountain banjo song, 'Old Reuben,' with stanzas cor- responding to stanzas i and 2 of B and agreeing on Reuben's fond- ness for licjuor and his consequent difticulties as a railroad man. And R. D. Bass, JAFL xliv 431, prints a stanza as sung by Negroes in South Carolina in 1905. 'Reuben's Train.' Coninninicatcd I)y Arthur Moore, Lenoir, Caldwell county. With the tune. Tliere is also a recording of it from the sing- ing of Mrs. Manassa Wiseman of Avery county, but I have not seen her text. I ^'ou (JUght to be in town W hen Reuben's train went down ; \i)\\ could hear the whistle blow a hundred miles. \V () K K SONGS 265 Chorus: A luiiidrt'd miles, a luuulrcd miles. A hundred miles from my home. \\)u could hear the whistle hlow a hundred miles. 2 Old Keuhen made a train And he ])ut it on the track. For 1 heard the whistle hlow a hundred mile.s. 3 The train is off the track And 1 can't "et it hack. And I'll sidetrack mv train and yo home. B 'Old Rcul)en.' Obtained from Cousor, Bishopvillo, South Carolina. 1 Ole Reuhen. he got drunk An' he pawned his watch and trunk. O Reuh. Reu-eu-euhen, Dat you. Reuhen ? I doan know. 2 When you hear dat whistle hlow, l)low'. ( )ne hundred miles helow, O Reuh, Reu-eu-euhen. Dat you, Reuhen? 1 doan know. 3 Ole Reuhen went to town An' he drank that licker down. O Reuh. Reu-eu-euben, Dat you, Reuben? I dt)an know. 4 Den for she you'll know- Old Reuben's gone to Mexico. O Reub, Reu-eu-euben, Dat you, Reuben? I doan know. 5 Ole Reuben made a train An' he put it on de track. O you Reuben-eu-Reuben. Dat you. Reuben ? I doan know. 6 Oh, Reuben had a train. It run from Boston to Maine. Hear dat whistle blow one hundred miles below, O Reub-Reu-eu-euhen. 7 An' ole Reuben wrecked dc train. An" he never did get back. ( ) Reub. Reu-eu-euben, Dat you, Reuben? I doan know. 266 north carolina folklore If the Seaboard Train Wrecks 1 Got a Mule to Ride This fragment is a rather incongruous combination of a vivid bit of a spiritual and a couplet from a railroad song. For the for- mer see ANFS "j}, and the references there given and add Tennessee (JAFL XXVII 261), South Carolina (JAFL xxvii 251), and Work's American Xcgro Songs (1940 edition) iii antl 133. For the latter see ANFS 306-7 and 354. 'If the Seaboard Train Wrecks I Got a Mule to Ride.' Obtained from a Duke University student, Fairley. No date on the manuscript. 1 Yoii better mind, sister, how yuii step on the cross. Your right toot will slip and your soul will be lost. 2 If that Seaboard train don't wreck on the road, I'm Alabama bound, Alabama bound. 238 Seaboard Air Line A fragment of railroad song. Not found elsewhere. 'Seaboard Air Line.' Contributed by Lucille Cheek of Chatham county in 1923 as "sung by W. F. C. boys to the tune of 'Sweet Adeline.' " Seaboard Air Line Never on time ; At half-past nine Your headlight shines ; In all my dreams Your whistle screams ; You are the idol of my heart, Seaboard Air Line. 239 A Southern Jack A work song of firemen on a locomotive; the "iack" is the engine See ANFS 280. 'A Soutliern Jack." ContrilnUed in 1919 by W. T. Huckal)ee, jr., with the notation that lie licard it in All)emarle, Stanly county. I got a southern jack, 1 got a southern jack. b'irst thing yi^ do shovel in the coal. Next thing yi^ do watcli the drivers roll. I got a southern jack. 1 got a southern jack ; All aboard on the southern jack! ' So tlR- mamiscrii)!. Is it intended to represent the Negro's pronunci- atii)ii of "I" nr is it for "ye," i.e., "you"? W O K K S O N G S 267 240 1 I'kKN" a M INKR From Miss Jewell Robhins, Pckiii, Montgomery county (later Mrs C. P. Perdue), witii iihonograpli recordinjj; ; c. 1921-24; described as ;i "Negro halloa." Cf. "John Henry.' \'ol. II. No. 270. 1 I been a miner all n' my life. Never lost uothin' ])ut a l)arl(i\\t' knife' 2 \V\f^ John llemy, lii*^ John lienrv. Hig John Hemy. po(jr hoy hlind. 241 Some of These D.ws .\nd It Won't Be Lo.ng A From Mrs. [O. L.?] Coffey. ShuII's \Iills. Watauga county; undated. Dr. White comments : "This is a gang work-song, probably Negro. A little unusual from Mrs. Coffey of Shull's Mills." Cf. NWS 139. 1 O some of the.se days and it won't be long You'll call my name and I'll he gone. Chorus: On. boys, don't roll so slow. When the sun goes down you'll roll no more. 2 I wish to the Lord the train would come For to carry me hack where I came from. 3 I wish I was a rich man son. I'd stand on the hanks and see the work [done?] 4 But as it is I am a poor man son ; I'll wait in the cut till the pay train comes. 5 Oh. the pay train time come and time gone. Poor me here for to weep and to moan. 6 0 when I was sick and in my bed I had my diney fDinali?] for to hold my head. 7 Roll on, boys, and make yom- time. For the day will come and I'll make mine. Roll, roll, boys. B From Howell J. Hatcher. Trinity College student. December 5. 1919, with music and note : "Sung by Negro worker on farm." As in Wliite ANFS 258 (without music). Some of these days and it won't be long You're gona call me and I'll be gone. ^ "Barlowe knife" — a cheap pocket knife, of a sort once conimoii in the South. 268 N O R T II C A R 0 L 1 N A FOLKLORE 242 I Aix't A-Gonxa Work a No j\1o' ! I->oni J. I). Johnson, Jr., of Garland, Sampson county, December 1919; witli note: "Sung to banjo by old Negro in eastern North Carolina." As in White ANFS 294 (without music). I aint a gonna work a no mo' ! I aint a gonna work a no mo' ! Done an' work-ed 'till my hands got sore. 1 aint a gonna work a no mo' ! 243 Roll Down Dem Bales o' Cotton From Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P. Perdue), with recording, c. 1925. Roll down dem bales o' cotton. Roll down dem bales o' cotton, Roll down dem bales o' cotton ; I ain't sfot lonc" to stay here now. 244 I Wish My Captain Would Go Blind From Thomas Litaker, Trinity College student (in 1922 and 1926) from Concord, Cabarrus county, with music and note: "Heard in Cabarrus County, N. C." As in White ANFS 258 (without music). 1 wish my captain would go blind. Wouldn't go to work till half past nine. 245 Lavender Girl This is the first stanza of the once-popular sonj^ 'Lavender Girl.' to be found in a well-known songliook of a hundred years ago, The I'orgct-Mc-Xot Songster, and doubtless elsewhere. Our text differs .scarcely at all from that of the songbook. No title. Contributed by Mrs. R. D. Blacknall of Durham as one of several "old songs of my mother's. . . . She sang them, to my knowl- edge, since 1862." When the sun climbs over the hills And the skylark sings so merrily, Tlien I my^httle basket till And trudge away to the village cheerily. Light my burden, light my heart ; W OK K S () N C S 269 Nought care 1 for Cupid's darl. I kee]) uiy mother, uiyself, aucl my brother P)y trudgiug away to sell uiy lavender. Ladies, try it ! Come and l)u\' it ! Never saw ye nicer lavender. Ladies, buy it. try it. buy it! Come. come, and bu\' mv lavender. 246 Run Here, Doctor. Run Here Quick Reported as Negro song from North Carolina (ANFS 279), South Carolina (JAFL xliv 426). and with some alteration as a rope-skipping rhyme from Massachusetts (JAFL lii 305) and a Negro song from Virginia (TNFS 151). In the form given below it is a work song; the "huh" is a grunt of physical effort. 'Run Here. Doctor.' Contributed I)y Dr. N. I. White in 1922 vvitli the notation: "First heard about 1908." Run here, doctor (hub) Run here quick; (huh) Little Mary (huh) Swallowed a stick, (bub) 247 The Washtub Bfates This simple but poignant little song is the humble lyrical ecjuiva- lent of Pearl Buck's story The frill. 'The Washtub Blues.' Obtained by Julian P. Boyd from one of his pupils in the school at Alliance, Pamlico county, in 1927. 1 I washed dat woman's clo'es And I hung 'em on de line. My back most a-breakin', I's a-burtin' all de time. 2 And when I got 'em finished I tuck 'em to her do'. She fussed and she raved And .she flinig 'em on de flo'. 3 Ob, Lordy, lissen heab, Lm mighty weak ! You'll have to come right near, 'Cause I ffot de washtub blues! VIII FOLK LYRIC BESIDES BALLADS, which tell a story, and the several sorts of songs dealt with in sections LVIL there is in our collection, as in folk songs generally, a large body of songs that may con- veniently be called folk lyric. They deal most often — not always — with some aspect of love between the sexes. But they tell no story. Indeed, they often have no definite theme; they are medleys, incon- sequent, and their component stanzas interchange freely from song to song. They are made up of images, figures, fancies strung to- gether on a tune or a mood, and even the mood is likely to change within the limits of a single text. Certain images are especially beloved: the call of the cuckoo, the castle (or cabin) on the moun- tain top, the whistle of a distant train, the turtle dove flitting from pine to pine mourning for its true love, chickens crowing on Sour- wood Mountain, the willow tree, the leaves that wither, flowers that fade, the love letter, the "who will shoe your little foot, and who will glove your hand" of 'The Lass of Roch Royal,' and others. Some of the songs seem to be as completely stream-of -consciousness stuff as Tristram Shandy or Ulysses. Of these it might be said with more plausibility than of any other form of folk song that das Volk dichtct. The images sometimes go far back in English folk song, sometimes, as in ".Sourwood ^Mountain,' seem to be original in the .Southern mountains. Along with the older and more authentic folk lyric exist many songs and bits of song that were originally popular sentimental ditties but have been passed from mouth to mouth so long that they have become folk song of a sort. Some of them are by known authors, some are relics of the minstrel stage. An attempt has been made here to pick out those that have acquired something like folk currency, relegating the others to a list in the appendix. The humorous songs included in this division are generally of less interest than the love songs. Some are from the minstrel or vaudeville stage, some arc familiar as college songs, some are rig- mar(jles or nonsense songs. But even in the field of humor the best pieces, and proi)ably the oldest, deal with the j)erennial prob- lems of the relations between the sexes: 'The Lords of Creation' tells how and wliy the women will always control the men, in 'I Love Little Willie' a girl demurely relates the stages of her sue- F () 1. K 1. V K 1 C 271 ces^ful intrii,nie, and ''VUv I'oor Manifd Man" (k->cril)e> liis miser- able plij^lit. But none of tlieni is comparable in worth as folk sonjj with such songs as "'riie Inconstant Lover' or 'The Wagoner's Lad' or "Little Sparrow' or "Sourwood Mountain.' 248 TiiK Inconstant Loner Of the many folk lyrics, or fragments of folk lyric, on this theme, it is convenient to assemble some under this title. They are linked together by the recurrence of certain images, motives — which, however, may also appear in fairly fixed connection with other motives and images and are accordingly, in that case, presented m this volume under other titles. See BS.M 473-4. and add to the references there given X'irginia (FSV 82-3), Arkansas (OLS i 270-1), Missouri (OFS i 271-2). Indiana (BSI 346-7, SFLQ iii 204-5), and Wisconsin (JAFL lii io-i, from Kentucky). It per- haps goes back to the Scottish 'The Poor Stranger' (Christie 11 220-1), of which according to Kittredge (JAFL xxx 346) Pitts printed a London broadside in the last century. In this country it frequently blends with or takes up stanzas from 'The Cuckoo' (as in stanza 4 of A and stanza i of E in our texts). Our E is very close to Cox's 'A Warning to Girls' ( FSmW\' 37-8)- See also 'Prettv Saro' and 'Old Smoky,' below. 'Forsaken Lover.' Reported liy Mrs. Sutton, who does not give the name of her informant or the date and place, but notes : "I was so thank- ful for this show of spirit in one of the mournful ballads that 1 told the old lady I liked it best of all her songs. I asked her what 'unconscious lover" meant. She said, "A man that don't have no conscience, and the most of 'em don't.' " 1 ril take off this black dress. I'll ptit on the green; For I am for.saken. and I'm only nineteen. 2 Oh. meeting is a pleasure, and parting is grief. An unconscious lover is worse than a thief. 3 He'll court vou. and kiss you, and get your heart warm; As .soon as your back's turned he'll laugh you to scorn. . 4 A sparrow's a pretty bird, she sings as she flies. She brings vou good tidings and tells you no lies. 5 I^'orsaken. forsaken, forsaken am I, lUit he's shore mistaken if he thinks I will cry. 'Going to Georgia.' From tlie manuscript book of songs of Miss Edith Walker of Boone, Watauga county. Xot dated. N.C.F.. Vnl. TIT. (20) ■2~2 NORTH C A R (J L 1 \ A F (J I. K L 0 R K 1 I'm going to Georgia. I'm going to roam, I'm going to Georgia to make it my home. 2 Young ladies, take warning, take warning by me, ]3un't never put dependence in a green growing tree. 3 The k-aves they will wither, the flowers they will die ; A voung man will f(jol you, like one has fooled I. 4 They'll hug you and kiss you and tell you more lies Than the leaves on the timber and the stars in the skies. 5 My father is a drunkard, my mother is dead, l\lv husband's off gambling; Lord, I wish I was dead. 6 Your grave it will moulder and turn into dust. There's not one in twenty a poor girl can trust. c * 'YouiiK Girls, Take Warning.' Secured from Mrs. Loraine Iseley Pridgen of Durham in 1923. 1 Young girls, take warning, take warning from me ; Don't put your dependence in a green growing tree. 2 For the leaves they will wither, the roots they will die ; The young boys will leave you, 'cause one has left 1. 3 They will hug you, they will kiss you, they will tell you more lies Than cross ties on railroads and stars in the skies. 4 I once had a lover as dear as my life. And oft did he promise for to make me his wife. 5 I left my poor daddy against his commands, I left my poor mother a-wringing her hands. 6 And now I'm unhappy, I am sick on my bed; My husband's off' gambling ; Lord, 1 wish 1 was dead. 7 I'm going away to Georgia. I am going away to roam, Lm going away to Georgia for to make it my home. 'We Loved, but We Parted.' Reported by A. C. Jordan of Durham as received from his brother, who said that "as a small hoy out in Orange county, Nortli Carolina, he lieard the song sung i)y an old Negri), June Vaniiook, and later by neiglil)orh(K)d iioys who played the banjo." The first three stanzas lielong ratlier with 'We Have Met and We Have Parted,' and tlie fiftii to another folk lyric, 'Poor Stranger a Thousand Miles from Home' (HSM 487); hut the fourtli stanza is a persistent fe;itin'e of "Tiie Inconstant Lover.' Folk i. n k i f 273 1 We l(i\(.'(l, hut \\c ])arU'(l ; wIkmi sIk' said iijoodhyc She swore that she h)\v(\ me until she would die. 2 Then you came aloiiii", while 1 was away. She went and f(jroot me. just like folks all say. 3 Now you think she lo\-es you. Dut just wait and see; I'^or she will forget you like she forgot me. 4 She'll hug you. she'll kiss \-ou. she'll tell you more lies 'idian the cross-ties on the railroad or the stars in the skies. 5 ( io huild nie a log cabin on the motnitain so high. \\ here the wikl goose can't hnd me nor hear mv ]M)or cry. 'Cuckoo Is a Pretty Little Bird.' From the Joliii Ikirch Blaylock Col- lection, made in Caswell and adjoining counties in the years 1927-32. Here, for tlie first time in our collection, the cuckoo stanza appears in its normal form. For stanza 6 see BSM 487 and 488. and compare stanza 5 of version D above. With stanza 5 compare 'Seven Long Years Lve Been Married,' p. 56, and with stanza 4 'Troubled in Mind,' ji. 344. 1 Cuckoo is a i)retty bird. She sings as she flies. She'll bring you good tidings. She'll tell you no lies. 2 I once loved a fond young man As dear as my life, And ofttimes he'd promise To make me his wife. 3 He fulfilled his promise ; He made me his wife. Now see what I've come to By changing my life. 4 It's trouble, it's trouble. It's trouble on my mind ; If trouble don't kill me I'll sure live a long time. 5 My children are crying. They're crying for bread. My husband's off gambling — Lord. I wish I was dead. 6 ril build me a castle Un the mountain so high Where the dear Lord can see me And hear my poor cry. 274 N' () R T H CAROLINA FOLKLORE 7 Vount;- ladies, young ladies, Take warning from me; Never put your dependence In a green growing tree. 8 h'or the leaves they will wither, The roots they will die. A young man will fool you. For one has fooled I. I'm going to (leorgia, I'm going to Rome, I'm going to Georgia And call it my home. 'Little Sparrow.' Reported by Mrs. Sutton as a fragment of the song so called, but it belongs rather to The Inconstant Lover.' 1 Young woman, young woman, take warning from me. Don't put your affections on no green growing tree. 2 He'll swear that he loves you, he'll tell you more lies Than there's ties on the railroad and stars in the skies. 249 The Turtle-Dove The turtle-dove is a recurrent figure in the folk lyric of love and has been for a long time. In England it appears in a ballad of the seventeenth century {Roxhurghc Ballads vii ^22) and in our own time in Sussex (JFSS iv 286-90) and in Dorset (JFSS iii 86-8) ; Scotland has a song (Christie 11 164-5) containing not only this but many of the other elements of traditional love lyric cur- rent in the United States; in this country it appears in songs from Virginia (SharpK 11 T16, SCSM 316), North Carolina (SharpK II 113-14), and Missouri (BSM 479, 481. 482, 486), and doubtless elsewhere. Mrs. Steely reports it from the Ebenezer connnunity in Wake county. Our text contains another element of folk lyric, that of going up on a mountain; see 'Old .Smoky' and 'The Incon- stant Lover' in this volume and B.SM 487. 'Little Turtle Dove.' As sung by Letch Reynolds, in Sandy Mush township. Buncombe county ; not dated. I poor little turtle dove A-sitting in the i)inc' ]\Iotu"ning for its own true love; And whv not me for nune-oh-mine, And \\\\\ not nic for mine? V () 1. K I. V K I C 275 I'm nut t;ninj4 to mai"r\- in the spring ol the year, I'll marry in the fall. I'm going to marry a i)rctty little girl Who wears a dollar shaw l-a-shawl. \\ ho wears a dollar shawl. I'm not going to marry in the tall ol the year, I'll marry in the spring. I'm going to marry a pretty little girl Who wears a silver ring-a-ring, Who wears a silver ring. 1 went up on the mountain To get a turn of corn; The squirrel curled his tail around And the possum hroke his horn-a-horn. And the possum hroke his horn. I went up on the mountain To give my horn a l)low ; Away down in the valley 1 heard a chicken crow-a-crow, 1 heard a chicken crow. Hogs in the pen And corn to feed them on ; And all I want is a pretty little girl To feed 'em when I'm gone-a-gone, To feed 'em when I'm gone. 250 Thk Wagoner's L.\d Tliis is one of those folk lyrics of unliappy love that are of uncertain content, taking: up or slou.trhing: ott plu'ases and inia.s:es as thev pass through the minds and feelings of singers. The core of it. 'in so far as it has one, is the lovelorn girl trying to prevent the wagoner lad from leaving lier. It slips almost unnoticed into another (if it really is another) often called 'Old Smoky.' .\nd like "Old Smoky' it' belongs to tlie soutliern Appalacliians and to the days of what Winston Churchill called "The Crossing," the time of freighting over the mountain passes to the newer country in the West. It is known in Virginia ( SharpK 11 127. SCSM 2-y;, FSV 83-5), Kentuckv (JAFL xx 268-9, LT 64, SharpK 11 124-5, BKH i\g-20, Shearin's svllabus), Tennessee (ETWVMB 37, SharpK 11 125-6. 127. and' a trace of it in JAFL xlii 292-3). Nordi Carolina (JAFL xxviii 159. xi.v 108-10, SharpK 11 123-4. 126-7, SCSM 277-9. FSSH 279-80. SSS.\ 2-3. 18-9), Georgia (FSSH 280-1. IA1'"L XI. V iio-TT). and Indiana (SMAJ iii 212-13. 276 NORTH CAROLINA FOLKLORE 215-16). There is a trace of it reported from Mississippi (JAFL XXIX 148), another from Arkansas (OFS iv 216), another from Iowa (jMAFLS XXIX 49), and another from Nova Scotia (BSSNS 138). ]Mrs. Steely found it in the Ehenezer community in Wake county. I have found no trace of it in the New En.^^land states; its appearance in Indiana tradition is intelli.c^ihle enough if we rememher that that state was in great part settled from the South. There are three texts of it and three fragments that may be assigned to it in the Brown Collection, besides an Ediphone record. A 'W'agoner's Lad.' Contributed Iw I. G. Greer of Boone, Watauga county, about 1916. 1 I'm but a poor ori)han, my fortune's been bad; I've a long time been courted by a wagoner's lad. He courted me truly by night and by day ; But now he is loaded and going away. 2 'Your horses are hungry, go give them some bay ; Come sit down beside me, darling, as long as you stay." 'My horses aren't htmgry, nor they won't eat your hay. So fare you well, darling, I've no time to stay.' 3 He mounted his horses and away he did ride And left the girl weeping on New River side. But when he returned, she crowned him with joy And kissed the sweet lips of the wagoner boy. 4 'I can love yott right lightly, or I can love long; I can love an old sweetheart till a new one comes on, I can hug him and kiss him and keep him with ease, Then turn my back on him and court who I please. 5 'So hard is the fortune of poor woman-kind! They're always controlled and they're always confined. Controlled by their parents until they're made wives. Then slaves for their husbands the rest of their lives. 6 'Young ladies, young ladies, take warning from me, Never cast your affection on a young man so free. He will hug you and kiss you and tell you more lies Than the leaves on the green trees or stars in the skies.' B 'Tile Wagoner Lad." Reported by Mrs. Sutton from tbe singing of Myra Barnc-tt (.Miller), who lived as a nurse with the Minish family in Mrs. Sutton's cbildhood and from wboni Mrs. Sutton (then Maude Minish) first beard many of tlie ballads wbicb slie was afterwards to report for tbe Brown Collection. \h\t she heard it also from many others. "1 have variants ig girl court and little girl slight you, Tink-tank-tondU- all the dav. 7 1 got a girl in the head of the holler. Tink-tank-toodle all the dav. FOLK LYRIC 281 SIh' Wdii'l come and 1 won't foller, 'l"ink-tank-t(i(i(llr all llic day. 8 She sits up with old Si 1 lall. Tink-tank-toodlc all the da\-. Me and Jeff can't go there at all. 'J'ink-tank-toodle all the day. 9 Some of these days he fore verv lon^ 'I'ink-tank-toodle all the day. I'll i^et that girl and a-honie I'll run Tink-tank-toodle all the day. Greer'.s other text differs sliglitly in the refrain hne. which liere rnns : 'He-tink-toodle all the day," by having a stanza marked "chorus" : I've got a gal in the Sourwood Motintain He-tink-toodle all the day I've got a gal in the Sourwood Mountain He-tink-toodle all the day, and hy tlie introduction of a stanza (the tliird) not in tlie other version: Get your dog and your old gun, He-tink-toodle all the day Let's go a-huntin' and have a little fun. He-tink-toodle all the day, and by having as its seventh stanza the first stanza of Smith's version ( B. l)elo\v). (Otherwise its stanzas correspond ( witli the difference in the refrain line noted above and with "Buffalo Holler" in place of "the head of tlie holler") with those of the first version, but in a different order; using the order of the first version, this version consists of stanzas i, 7 (its third stanza is given above), 5, 4, 9, 7 (stanza 8 of the first version does not appear ) . B 'Sourwood Mountain.' Contributed, probalily in 191 5, by Thomas Smitli of ZionviJie, Watauga county, with the notation that "the above jig has been sung and played as far back as tiie oldest person of this place can rememl)er." W'itii tiie tune, as sung by Mrs. Joseph Miller. 1 Chickens are crowing in the Sourwood Mountains. Chickens are crowing for day. Chickens are crowing in the Sourwood Mountains, ( )h fod da link a day. 2 I have a love in the Sourwood Mountain, Oh fod da link a day. I have a love in the Sourwood Mountain, r)h fod da link a day. 282 NORTH CAROLINA FOLKLORE 3 She won't come and 1 won't call her. Oh fod da link a day. She won't come and 1 won't call her, Oh fod da link a day. 4 Wake up. Sam. and let's go a-hunting. Oh fod da link a day. Wake up, Sam. and let's go a-hunting, Oh fod da link a day. 5 Way o\er in the Ikickeye hollow. Oh fod da link a day. Way over in the P)Uckeye hollow, Oh fod da link a day. 'Sourvvood Mountain.' The Collection has two texts contributed by Louise Rand Bascom. In her 1909 paper on North Carolina balbds (J.'\FL x.xii 238-50) she speaks of 'Sourwood Mountain' as a ballad she would like to get but of which she knows only one stanza ( which is the first stanza of A). Later, evidently, she secured the two texts in our collection. The first of these corresponds to the first five stanzas of -A except for a somewhat different refrain line: 'Taddle-tink-tank- toodle all the day.' The other is also of five stanzas, the first three of which correspond to stanzas i, 5, 7 of .\ (with a slightly different refrain line) and tlie other two are 4 A i)retty little girl went a-floating down the river. Fol-tom-tollie-tum all the day, Ef I could a swum I'd a went with her, Fol-tom-tollie-tum all the day. 5 The chickens is a-crowin' in the sourwood holler, Fol-tom-tollie-tum all the day, Ef ye don't helieve it, Fll het yon ri dollar, Fol-tom-tollie-tum all the da v. 'Sourwood Mountain.' Contributed by J. E. Massey of Klon College, Caswell county, apparently in 191 7. 1 Chicken crowing on .Sourwood Mounlaiii, Hey ho diddle dum day (jet your dogs and we'll go a-luuuing, lley ho diddle dum di-ay. 2 My true lo\e she lives in Letcher, Hey ho diddle dum dav She won't come and 1 won't fetch her. Hev ho diddle dum di-ay. r () I. K I, ^■ R 1 c 283 3 Big doi^- bark and little one bite you, Hey ho diddle duni day llii^ girl'll court and little one slight you, 1 ley ho diddle duni di-ay. 4 My true love lives up the river. Hev ho diddle duni day A few more jum])s and I'll be with her, Hey ho diddle duni di-ay. E 'Sour wood Mountain.' Reported hy Mrs. Sutton, apparently in 191 6 or 1917. She says: "Its rhythm is irresistible. The words cannot be applied to the tune by anybody but a mountaineer. I heard it first at a dance given for the drafted men who were leaving Xewland [Avery county] for Camp Jackson." She gives only three stanzas. 1 Chicken crowin' on Sourwood Mountain, Yoy ho diddle dum day Git your dogs and we'll go a-huntin', Yuly ho diddle dum day. 2 .Mv little gal's a blue-eyed daisy, Yoy ho diddle dum day If I don't git her I'll go crazy, Yoy ho diddle dum day. 3 Big dog bark and little dog bite ye, Yov ho diddle dum day Big girl coiu-t and little girl slight ye, Yoy ho diddle dum day. F 'Sourwood Mountain.' Contrilnited by Otis Kuykendall of Aslievillc in 1939. The refrain line here is entirely different. 1 I've got a girl in Sourwood Mountain, She's both crippled and blind. She's broke the heart of many a poor boy. But she can't break the heart of mine. Chorus: Chickens a-crowing in the Sourwood Mountain, Tell my honey she had better get away. Chickens a-crowing in the Sourwood Mountain. Tell my honey it's not long till day. 2 Jav bird a-sitting on a hickory limb. Tell my honey she had better get away, Mv big rifle will sure get him. Tell mv honey she had better get away. 284 N <» K T II CAROLINA FOLKLORE 3 The big clog bark and the little dog bite you. Tell my honey she had better get away. Big girls court you and the little girls slight you, Tell my honey she had better get away. G 'Sourwood Mountain.' Contributed by Miss Kate S. Russell of Rox- boro, Person county, in 1923 or thereabouts. Here again the refrain line is slightly different from those given before. It runs the same throughout the song. 1 Chickens crowing on Sourwood Mountain, Hay ho didyum day. Get my dog. and I'll go hunting. Hay ho didyum day. 2 My true love lives up the hollow, She won't come and I won't follow. 3 My true love is a blue (or black or brown) -eyed daisy; If she don't come, I'll go crazy. 4 Old man. old man, I want your daughter To bake my bread, and carry me water. H 'Chickens A-Cro\ving in the Sourwood Mountains.'^ Reported by Ger- trude Allen (later Mrs. Vaught) from Oakboro, Stanly county. The manuscript is in six-line stanzas, pretty certainly wrongly, but the editor will not undertake to correct the error. 1 Chickens a-crowing in the Sourwood mr)untains.^ Hay oh doodle may day So many pretty girls I can't count them. Hay oh doodle may day They won't come and I won't call them. Hay oh doodle may day. 2 Old man. old man. I want your daughter, Hay oh doodle may day Bake my bread and carry my water. Hay oh doodle may day Get your gun and we'll go hunting, Hay oh doodle may da\-. I 'Sourwood Mountain.' .X fragment reported by Dr. Brown as follows : "Tiie lines of Sourwood Mountains arc frc(|uently affected 1)\' local cur- rent events. For instance, I heard a man witli newly acciuired religion singing— ^ "Mountains" is written "mounts" in Ijoth i)laccs, doubtless merely a slip of the pencil. F 0 I. K 1. N K 1 C 285 The chickc'ncy crow 011 I he Sourwdod .Mountains You better be gittin' away. Or the (le\il is sure a-goin' to git you Long 'tore the Judgement Day." Not perhaps assignable witli certainty to 'Sourwood ^b)untain' yet clearly akin to versions G and H above are the following fragments. J 'Old .Man, Old Man.' Reixirtcd in July \')22. by Miss Jennie IV-ivin of Durham. 'Old man, old man, what'll you take for your daughter?' 'Fifteen cents, a dollar an' a cjuarter. Take her an' go, And I don't want to catch her in town no more.' K 'Song.' From Miss Mamie E. Cheek of Durham. No date given. '( )ld man, old man, I want your daughter.' 'Well, you can have her for a dollar and a (|uarter.' 252 Pretty Saro A favorite song in the South, and carried thence to the Midwest. It is reported as traditional song from Virginia (SbarpK 11 12, SCSM 327-8, FSV 89-90), Kentucky (Shearin 22), North Carolina (SharpK 11 10, 11, SCSM 327, JAFL xlv i 12-13, FSSH 283), Georgia (SharpK 11 11-12), Mississippi (FSM 164-5), the Ozarks (OFS IV 222-4), Indiana (BSI 362), and Iowa (MAFLS .x.xix 106-7). Mrs. Steely found it in the Ebenezer community in Wake county. The author — if it had one — has not been discovered. A 'Pretty Saro.' From Miss Pearle Webb, Pineda, Avery county. Not dated. I When first to this country a stranger I came, I placed my affections on a handsome vonng dame. I looked all around me, and I was alone And a i)oor stranger and a long way from home. Chorus: Oh, Saro, i)retty Saro, I love you, I know, I love you, pretty Saro, wherever 1 go ; No tongue can express it, no poet can tell How trtdy T love you, oh. I love you so well. 286 X 0 K T H C A R 0 L I N A FOLK I, O R E 2 Down in some lonely valley, in some lonely place. Where the small birds are singing and the notes to increase The thoughts of pretty Saro so neat and complete. I want no h^etter pastime than to be with my sweet. 3 (^h, 1 wish 1 was a poet and could write some tine hand; I would write my love a letter that she might understand And send it by the waters where the island overflows. And think of pretty Saro wherever I go. 4 Mv love she don't love me. as I understand, She wants some freeholder, and 1 have no land. Ikit 1 can maintain her with the silver and gold And all the pretty tine things that mv love's house can hold. 3 Oh. Saro. pretty Saro. 1 must let you know How truly I love you — 1 never can. though ; No tongue can express it. no poet can tell How truly I love you. I love you so well. 6 It's not the long journey I'm dreading to go Nor leaving of this country for the debts that I owe; There is but one thing that troubles my mind. That's a-leaving jiretty Saro. my true love, behind. 7 Farewell, my dear father, likewise my mother too, I'm a-going to ramble this country all through. And when I get tired. I'll sit down and weep And think of pretty Saro wherever she be. 8 ( )h. 1 wish I was a little dcjve. had wings and could fly. Straight to my love's bosom this night I'd draw nigh And in her little small arms all night I would lay And think of pretty Saro till the dawning of day. 9 I love you, pretty Saro, I lo\e you, I know, I love you, pretty Saro, wherever I go. On the banks of the ocean and the mountain's sad brow I loved you then dearly, and I love you still now. 'Pretty Saro.' KeixDrted by Thomas Sniitli of Zionvillc as sung, in January 1915, by Mrs. Polly kayfield of Silvt-rstoiK', Watauga county, who liad heard it sung over fifty years earlier. W'itli tiie tune. 1 I'retty Saro, i)relty .Saro, 1 love you, I know. 1 love vou so dearly 1 never can show. K () L K I. N' K 1 C 287 J On the banks of dd Cow if. on the hanks nf said hrow,^ 1 k)ved yon dearly, and 1 l(i\e Non still now. j^ Down in some lonely valley, in some lonely place, 1 hear small hirds singing their notes to increase. 4 It makes me think of ]M-etty .Saro, her ways were so complete. 5 It's iK)t this long jonrney that tronhles my mind. Nor the country I'm leaving hehin1. II L (Jl) 288 NORTH CAROLINA FOLKLORE 4 The <^rave will decay you And turn you to dtist. Not a boy in ten thousand That a jioor girl can trust. 5 They will tell you they love you To give }'our heart ease. And when your back's turned upon them They'll court whom they please. 6 It's raining, it's hailing. The moon gives no light. Your horses can't travel This dark stormy night. 7 So put up your horses And feed them some hay. Come and sit here beside me As long as you stay. 8 'My horses ain't hungry. They won't eat your hay. I'll drive on, my true love, And feed on my way.' 9 As sure as the dew drops Fall on the green corn ]\Iy lover was with me ; But now he is gone. lo So back to Old Smokey, Old Smokey so high, \\'here the wild birds and tiu-tlc doves Can hear my sad cry. 'On Top of Old Smokie." Sent to Miss Constance Patten, Duke Uni- versity, by Lillie Rhinehart in 1936. The first six stanzas are the same as in A except for negligible verbal variations. In the remaining six stanzas the order is difi^erent and two new stanzas are introduced : 7 I am back to old .Smokie, ( )1(1 .Smokie so high. Where the wild birds and turtle doves Can hear my sad cry. S .\s sure as the dew drops Falls on the green corn Last night he was with me; But tonight he is gone. I" () I. K I. \ K I C 289 9 'C\)nu\ put up your horses And feed them some hay And sit down beside me As long- as you stay.' 10 'My horses is not hungry And they won't eat ycjur hay. So farewell, my true love, I'll s})eed on my way. 11 A\'hen I get to Old Smokie I'll write you my mind. My mind is to marry And leave you behind. 12 'Your parents are against me And mine are the same ; So farewell, my true love, I'll be on my way.' 'Old Smoky.' Copied from a manuscript in the po.ssession of 01)adiah Johnson which bore tliis note : "Words by Phebe P)enfield. Crossnore ; sung by Anne Johnson to the tune of 'Little Mohee.' " But Johnson also sang it himself, July 14, 1940. The te.xt is the same as A so far as A goes, with negligible verbal variations ; then the following lines are added : 1 1 A\'ay down on old Smoky, all covered with snow, I lost my blue-eyed boy by courting too slow. 12 I wrote him a letter of roses and lines; He sent it back to me, all twisted and twine. 13 He says keep your love letters, and I'll keep mine. You write to your true love and I'll write to mine. 14 I'll go to old (Georgia, I'll write you my mind; Mv mind is to marry you and leave you behind. D 'Old Smoky.' Obtained from Zilpah Frisbie of McDowell county in 1923. A somewhat reduced form corresponding to stanzas 1-4 and 7-8 of A and ending thus : Your parents are against me, mine are the same ; So down on your book, love, please mark off my name. On top of old Smoky on a mountain so high. Where the wild birds and turtle doves may hear my sad crv. 290 NORTH CAROLINA FOLKLORE E 'Old Smoky." From Mrs. Sutton, without notation of where or from whom she got it. The same, with slight verbal variations, as stanzas i, 2, 3, 7, 8 of A. 'Old Smoky.' From the manuscript book of songs of Miss Edith Walker of Boone, Watauga county. The text is the same as E. 'On Top of the Smokies All Covered with Snow.' From the John Burch Blaylock Collection, made in Caswell and adjoining counties in 1927-32. Nine stanzas, of which the first eight correspond, with slight variations, to stanzas 1-8 of A and the ninth is stanza 12 of B. 254 Little Sparrow This lyric of the lovelorn is a favorite in the Southern moun- tains. See BSM 477 and add to the references there given Vir- ginia (FSV 80-1). Florida (SFLQ viii 172-3), Missouri (OFS i 315-17), and Indiana (SFLQ in 205, BSI 328). It is often called 'Come all you fair and tender ladies,' from its opening line. It is distinguished from other songs of a like spirit, such as 'The Incon- stant Lover,' by the image of the bird and, generally, by the likening of love to a fair dawn that turns into bad weather. One of the following texts is marked by a trace — rare in American tradition — of the old English 'Seeds of Love' sons:. 'The Little Sparrow.' Contributed by J. W. Miller of Lincoln county as "sung by a woman in 1907." T Come all ye fairer tender ladies. Take warning how you love young men ; For they're like a star in the summer morning. They are here but soon are gone again. 2 For once I had an untrue lover Which I claimed to be my own. He went right away and loved another, Leaving me to weep alone. 3 If I had known before I loxed him That his Ujve was false to me T would have locked my heart with a key of golden And ])inne(l it there with a silver pin. 4 Oh, if I were a little sparrow And I had wings to fly, I'd f\y right away to my true love's window, I'd listen what he told. K O L K I. N U 1 C 291 5 I hit then as it is I'm no little sparrow. Neither have 1 wings to Hy. So I'll sit right down in ni\- griel and sorrow, ril sit here till 1 die. H 'Little Sparrow.' Repurti'd l)y .Mrs. Sutton from tlie sint;iiiK of Myra Barnett, and therefore prol)al)iy to he dated in the first deeade of the present century, it is suhstantialiy liki- ,\, yet (Hfifcrs in details inter- estingly. 1 Come all ye fair and tender ladies, Be careful how you court young luen. They're like bright stars in a summer morning, Thev tirst are here and then they're gone. 2 They'll tell to yon some tender story, Declare to you that they are true. Then straightaway go and court some other. And that's the love they have for you. 3 Oh. love is sweet and love is charming And love is plea.sant when it's new. But love grows cold as love grows older, And fades away like the mountain dew. 4 I wish that I'd a never seen him. Or that I'd died when I was young. To think a fair and handsome lady Was stricken by his lying tongue ! 5 I wish 1 was a little sparrow, Had wings, and oh ! could fly so high. I'd fly away to my false lover And when he'd ask, I would deny. 6 Alas, I am no little sparrow. No wings, and cannot fly so high. I'll sit me down in grief and sorrow And try to pass my trouble by. c 'Come All You Fair and Tender Ladies.' Another text contriljuted by Mrs. Sutton, obtained probably several years later than B. It seems to be incomplete, but is interesting by reason of its variations from B. especially its last two lines, whicli hark back to the old English love song 'Seeds of Love.' 1 Come all you fair and tender ladies. Be careful how you court young men. They are like bright stars of a summer's morning; Thev first are here and then they're gone. 292 NORTH CAROLINA FOLKLORE 2 They'll tell to you some lovin' story, Declare to you that they are true, And then they'll go and court another And that's the love they have for you. 3 I wish I was a little sparrow, Had wings and could fly oh, so high. I'd fly into my true love's dwellin' And as he called I'd he close hy. 4 But as it is I am no sparrow. Neither have wings can fly so high, I'll sit me down in grief and sorrow And try to pass my trouhle hy. 5 If I had a known before I courted That love would a been so hard to gain I'd a put my heart in golden boxes And a locked it with a silver chain. 6 Of all the herbs that grow in the garden Be sure to get the rue and thyme. . . . D 'Come All Ye Fair and Tender Ladies.' As sung by Obadiah Johnson of Crossnore, Avery county, in July 1940. With the tune. There arc two copies of his text, the longer of which, six stanzas, ends somewhat truculently : I hope there is a day a-coming When my lover I shall see. I hope there is a place of torment To punish my love for denying me. E 'Come All Ye Extanded Fair Ladies.' From Macie Morgan, Stanly county. A very much confused text, metrically and otherwise, but it does not contain anv elements not found in A or B. 'A Wish.' From W. Amos Abrams of Boone; not dated, but prob- ably some time in the iy30s. One of the comiK)sites so often found in folk lyric. The second, third, and fifth stanzas lielong to "Tiie Butcher Boy,' the first stanza is from 'Little Sparrow.' 1 I wish I was a little sparrow ; I'd fly away from sin and sorrow, I'd fly away like a turtle dove, I'd fly in the arms of my true love. 2 In yonder lands there is a home. They say that's where my true love's gone. r o L K I. \- i< 1 c 293 lUit there's a t^irl sits on his knee. ( )h, don't \'on know that's ^rief to nie ? 3 It's grief to me, U! tell my why,' Because she has more gold than 1. But her gold will melt, her silver fly ; She'll see the day she's poor as I. 4 Oh. 1 wish. I wish, hnt 1 wish in vain. That he'd C(.)me hack to me again. But now he['s| gone, left me alone. Poor orphan girl without a home. 5 Go dig my grave hoth wide and deep. Place a marhle stone at my head and feet And on my hreast place a turtle dove To testify that I died of love. 255 Kitty Kline (3f this sonj? Louise Rand Bascom remarks that it is "the ballad which is most universally known" in western North Carolina; that it "might be called the national song of the highlanders." She also notes, what is evident in our texts, that it has "as many ver- sions as there are singers" (JAFL xxii 240). It is in fact an outstanding example of that type of folk lyric which picks up motives, recombines them, drops them, takes up others, until it is hardly possible to say whether a given text is to be reckoned a form of a particular song or not. Thus the first of the two texts given by Miss Bascom (JAFL xxii 240-1) does not contain the name 'Kitty Kline' at all. Two themes are fairly constant: the "take me home" theme (sometimes combined with elements from 'The Lass of Roch Royal') and the "free little bird" theme. Miss Bascom thought that the song belonged peculiarly to the Tennessee- North Carolina mountain region. Besides her texts (reproduced here for the sake of completeness) it has been reported from east Tennessee by Perrow (JAFL xxvi 134) and by Isabel Gordon Carter (JAFL xlvi 49). and Mrs. Steely found it in the Ebenezer communitv in Wake countv. But Randolph reports clear traces of it from the Ozarks (OFS iv 156-8. 188). A 'Kitty Kline' Louise Rand Bascom in JAFL xxii (1909) 240-1. I Take me home, take me home, take me home, Take me home, take me home, take me home. When the moon shines bright, and the stars give light. Take me home, take me home, take me home. ^ Texts of 'The Butcher Boy' show tliat this line should run 'It's grief to me. I'll ttil you why.' 294 \ () R T H CAROLINA F O L K L 0 R K 2 'Oh. who will shoe your little feet. Oh, who will glove your little hand. Oh, who will kiss your sweet rosy cheek W lien I'm gone to that far-distant land?' 3 'Oh, Pop])er'll shoe my little feet. And Mommer'll glove my little hand. And you shall kiss my sweet, rosy cheek, When you come from that far-distant land. 4 'Oh. I can't stay hyar hy myself. Oh, I can't stay hyar by myself. I'll weep like a wilier, an' I'll mourn like a dove. Oh, I can't stay hyar by myself. 5 'If I was a little fish 1 would swim to the bottom of the sea, And thar I'd sing my sad little song. Oh. I can't stay hyar by myself. 'Oh. I can't stay hyar by myself, etc. 6 "If I was a sparrer bird, I would fly to the top of a tree. And thar I'd sing my sad little song, Oh, I can't stay hyar by myself. "Oh. 1 can't stay hyar by myself, etc. 7 'Yonder sets a turtle-dove. A-hoppin' from vine to vine. He's a-mournin' fur his own true love, An' why not me fur mine ? S 'I'm a-goin' ter the top of that nigh pine, I'm a-going' ter the top of that nigh pine, An' ef I fall 'thout breakin' my neck. You'll know who I love the best.' B 'Kitty KliiK-.' Miss I'ascom's second text. JAFL xxu 241. I Take me home to my Mommer. Kitty Kline, Take me home to my Mommer, Kitty Kline, When the stars shine bright, and the moon gives light. Take me home to my Mommer. Kittv Kline. 2 Take me home to my Mommer, Kittv Kline, Take me home to my Mommer. Kitty Kline. With my head ui)on your breast like a birdie in its nest, Take me home to mv Mommer, Kittv Kline. r o L K I. V R I c 295 3 I'm as tree a little bird as 1 can be, I'm as free a little bird as 1 can be, I'll build my nest on sweet Kitty's breast, W'liar tbe bad boys can't tear it down. Take me liome to my Mommer, etc. The ballad then proceeds as in versinn A until after the stanza about the "sparrer" bird, when tlicse stanzas are added : 7 If 1 was a honey-bee, I'd dip the honey from the flowers. An' I'd fly an" sing my sad little song, I can't stay hyar by myself. 8 So fare ye well, Kitty Kline, So fare ye well, Kitty Kline, You shall wear my gold-diamont ring. When I'm in a far-distant land. c 'Katy Cline." From Thomas Smith of Zionville, Watauga countj\ in 1915, with the note that these "are all the words I have been able to obtain of this song. It has been played on the fiddle and picked on the banjo here for probably 90 years." 1 Oh, say that you love me, Katy Cline, Oh, say that you love me, Katy Cline, Oh, say that you love, you sweet turtle dove, Oh, say that you love me, Katy Cline. 2 If I was a little bird, little bird. If I was a little bird I'd build my nest in sweet Katy's breast Where the bad boys wottld never bother me. D 'Katy Kline.' Obtained from Miss Florence Shuman, Black Mountain, Buncombe county, in 1920. 1 Oh, say, don't you love me. Katy Kline ? Oh, say, don't you love me. Katy Kline? If you love me. Katy Cline. ])ut your little hand in mine. Oh. say, don't you love me. Katy Kline? 2 Say vou call me a dog when I'm gone. Say you call me a dog when I'm gone ; But when I return with a ten dollar l)ill. It's 'llonev. where you been so long?' E 'Katy Kline.' From (iertrude Allen (later Mrs. \aught). Taylorsville. .\lexander county. 296 NORTH CAROLINA FOLKLORE Oh, say that you love me. Katy Khne, Katy KHne, Oh, say that you love me, Katy Kline. Oh, say that you love me, that you will he mine. Oh, say that you love me, Katy Kline. F 'I'm as Free a Little Bird as I Can Be.' From .Miss Maude Minnish ; not dated, but before she became ]\Irs. Sutton and therefore before June 1923. She does not say from whom she got it, but notes that it goes to "a banjo tune, the lightest and tunefullest imaginable." 1 I'm as free a little hird as I can he. I'm as free a little bird as I can he ; I'll hang my harp on a weeping willow tree ; I'm as free a little bird as I can be. 2 Take me home, sweet Kitty, take me home. Take me home, sweet Kitty, take me home. I'll build my nest in the sweet Kitty's breast Where the bad boys cannot trouble me. 'I'm as Free a Little Bird as I Can Be.' Lines to accompany the tune as set down by Miss Vivian Blackstock. Not dated. I'm as free a little bird as I can be. I'll hang my harp on a weeping willow tree, I'm as free a little bird as I can be. H 'Free a Little Bird." Sung by Tom Boyd on Rabbit Ham. Buncombe county. Not dated. 1 Take me home, birdie, take me home ; Take me home by the light of the moon. When the moon is shining bright and the stars are giving light. Take me home to my mamma, take me home. Clionis: I'm as free a little bird as I can be ; I'm as free a little bird as I can be ; I'll build my nest in the weeping willow tree Where the bad boys will never bother me. 2 Oh. I wi.sh I was a little bird, I'd build my nest in the air; 1 would fiv side by side of my sweet Kitty Clyde And build in her soft silken hair. FOLK L Y K I C 297 3 I'm as free a little bird as 1 can l)c ; I'm as free a little bird as 1 can be; I'll build my nest in my sweet Kitty's breast W'licre the bad boys will never bother me. 256 Ai.i, Aroi'nd TiiK Mountain, riiARMixr, I'ktsn' The two texts j^iven below differ ratlier widely, hut both are no doubt forms of one son.n'. Louise Rand Bascoiu jjrinted two stanzas of it from this state in JAFL xxii 246. Randolph found it in Missouri (OFS iii 185-6). Davis (FSV 243) lists what are prob- ably (I have not seen the texts) forms of it from Virj^inia. The Archive of American Folk Song has recordings under the title 'Charming Betsy' from New York, Virginia, and Kentucky. A 'Charming Betty.' Reported by Thomas Smith of Zionville, Watauga county, in 191 5, with the notation that it "was popular in this vicinity 20 or more years ago. Fiddlers played and sang it a great deal. A good fiddler, Henry Brinkley of Brushy Fork, used to be especially compli- mented for his skill in playing this tune." 1 The first time I saw you, charming Betty, You was riding on the train ; The next time I saw you, charming Betty, You was wearing my gold watch and chain. 2 Throw your arms around me, charming Betty, Throw your arms around me, Cora Lee ; Throw your arms around me, charming Betty, And give this poor heart ease. 3 I wrote you a letter, charming Betty, I sent it safe by hand. And when I got the answer You were courting some other man. 'Charming Betsy.' As sung by Andy McGee of the Forks of Sandy Mush. Not dated. 1 It's all arotmd the UKjuntain, charming lletsy, It's all around the mountain, Cora Lee, And if nevermore I see you, Dear love, remember me. 2 I hate to have to leave you, charming Betsy, I hate to have to leave you, Cora Lee ; If I nevermore see you. Dear love, remember me. 298 NORTH CAROLINA F O L K L O K K 3 It's all around the mountain, charming Bets\. It's all around the mountain. Cora Lee ; I'm going away, charming Betsy, And you'll nevermore see me. 257 The Blue-Eyed Boy One of tliose Protean folk-lyrics whose identity is hard to lix because they shift from text to text, taking on new elements and dropping old ones from the general reservoir of the folk fancy. What may however fairly be called forms of this song have been found in North Carolina '( BMFSB 50-1 ), Arkansas (OFS iv 262), Missouri (BSM 478-80. OFS iv 261), Indiana (BSI 339), and Nebraska (ABS 212-13). The two texts in our collection illustrate its instability. A 'Blue-Eyed Boy.' Comnninicated by \V. Amos Abrams of Boone, Watauga county. Not dated. The second quatrain is in Iiis copy marked "chorus," but one suspects that it is really the first quatrain that serves that function. 1 Oh, bring me back my blue eyed boy. Oh, bring my true love back to me. Oh, bring me back my blue eyed boy And forever happy will I be. 2 Must I go bound while he goes free? Or must I act the childish part ? Must I love a man that don't love me And marry the man that broke my heart ? 3 There is a ring that has no end. It is hard to find a faithful friend. But when you find one good and true Change not the old one for the new. 4 There is a tree I love to pass That sheds its leaves as green as grass ; But none so green as love is true. Change not the old love for the new. 5 Some say that courting is pleasure ; But oh, what pleasure do I see? For the boy I love most dearly Has now forsaken me. B 'HIue-Eyed Boy.' This second text is also from Professor Abrams, but bears no date nor any indicatii n of source. Here the right quatrain is marked as chorus. K O L K I. Y R 1 C 299 1 Some say that low is pleasure. But no pleasiu'e do I see ; I^'or the only hoy I ever loved Has gone s(|uare haek on nie. Chorus: ( )h. hrins,^ me hack my darling. * ( )h, hring him hack to nie. Uh. hring me hack my darling; He's all the world to me. 2 There's many a change in seasons, Uh. there's many a change in sea ; And there's many a change in a young man's heart ; But there's no change in me. 3 Last night he came to see me ; Last night he smiled on me. But tonight he's with another girl — He cares no more tor me. 4 ( )h, don't you rememher That night long, long ago \\ hen he asked me to be his hride Of course I answered No. 5 He's gone, though, now. God bless him, He's mine where'er he he. He may roam this wide world o'er and o'er But he'll find no girl like me. ^50 The False True-Lover Among the song- fragments that float in the consciousness of folk singers ready to be incorporated into the song of the moment a favorite is that dialogue of lovers' parting from 'The Lass of Roch Royal '^ beginning "Oh, who will shoe your pretty foot, and who will glove your hand?" This has already appeared as part of one of the texts of 'Kitty Kline.' above. It is part of at least four other- songs in North Carolina, of which the present item is one: ^ At least it is incorporated in that ballad. Perhaps even there it has merely been taken up from the store of lyric motives in the folk memory. " It is often hard to say whether two texts are versions of one song or are two separate songs that use in part the same material. The five texts here assembled under the title 'The False True-Lover' — the title, borrowed from the Missouri collection, is not used in any of the North Carolina texts — are held together not only by the shoe-and-glove motive but also by the phrase "drinking of sweet wine" in four of them, "ten thousand miles" in three, the "stormy rolls the ocean" stanza in two, the 300 NORTH CAROLINA FOLKLORE the other three are 'I'll Hang My Harp on a Willow Tree,' 'By By, My Honey,' and 'Those High-Topped Shoes,' given later in this section. For its appearance elsewhere in American folk song, in various combinations, see BSM 480 and Kittredge's bibliographical note in JAFL xxx 304-5. A 'You Have Forsaken Me.' Reported by Thomas Smith of Zionville, Watauga county, as sung by Clyde Corum in March 1915. Corum, a young banjo-picker of Zionville, got the song from W. E. Snyder of Boone, a neighboring town. "This song is well known in this section and is sung to two different tunes." 1 It was on a cold and v\^indy night \\ hen I was drinking of sweet wine And thinking of my old true love \\'ho stoled this heart of mine. 2 'Oh, fare you well, my pretty little miss. Oh, fare yoti well for a while ; I'm going away, hut I'm coming hack again If I go ten thousand miles.' 3 'Ten thousand miles away,' said she, 'my love, For I know that never can be. For the parting of old true love Would be the death of me.' 4 'Oh, who will shoe your feet, my love. And who will glove your hands, And it's who will kiss your sweet rosy cheeks When I'm in a foreign land?' 5 'My papa will shoe my feet, Aly mama will glove my hands. And you may kiss my sweet rosy cheeks W^hen you return again. 6 'Go dig up the red rosebush. Plant otit the weeping-willow tree ; For it's to be seen by the wide world That you have forsaken me.' 7 'When I forsaken you. my love. The rocks by the sea shall meet^ turtle-dove or its equivaknt in three, and the assertion that rocks will meh and the sea will burn and firo turn to ice before be will forsake his love which appears with variations in three of them. Two of them, A and D, have the stanza about pulling up the rose bush and planting the willow tree, and two others. I' and C. the simile of the instrument "just newly put in tune." ^ Texts B and E have "melt," wbicli is surely right. FOLK I. V K 1 C 301 And the fire shall trceze to a solid cake of ice And the raging sea shall hum.' 8 "1 wish to the land' 1 never had heen horn Or 'a' died when 1 was young. I'd never saw your sweet ro.sy cheeks Or 'a' heard your flattering tongue. 9 '( )h. don't \'ou see that i)rett\ little hird I'dving from vine to vine And chirping there for its old true love Who stoled this heart of mine? 10 "Oh. who will make your l)e(l. my love, And who will dress it neat ? And it's who will lie all in your arms If you no more I see?' 11 'I'll take no stranger hy my side, I'll keep no company, I'll never enjoy the love of no hride If you no more I see.' B 'As I Walked Out Last Christmas Day." From J. P.. Midgett of Wan- chese, Roanoke Island. Secured probal)ly in 1920. With tlie tune as sung by Mr. (or Mrs.) C. K. Tillett in 1922. 1 As I walked out last Christmas day. A-drinking of sweet wine. It was there I spied that pretty little girl That stold this heart of mine. She looks just like some instrument That's just been put in tune; She looks just like some, pink or a rose That blooms in the month of June. 2 'Oh, who will shoe your feet, my love. And who will glove your hand, And will kiss your rtihy lips While I'm in a foreign land?' 'jVIy mother she will shoe my feet. My father will glove my hand ; No man shall kiss my ruby lips While you ['re I in a foreign land." 3 'The blackest crow that ever flew Shall in those days turn white If ever I prove false to you ^ Miswritten surely for "Lord." 302 NORTH CAROLINA FOLKLORK Broad day shall turn to night ; If ever I prove false to you The rock shall melt in the sun, The fire shall freeze tell ever more be/ And the raging seas shall burn.' 4 'Oh, don't you see that turtle dove As she flies from pine to pine ? She's mourning of the loss of her own true love Just like I mourn for mine. I wish to Ciod that I was dead Or had died when I was young. I never should have grieve [d] or shed a tear Over no poor woman ['s] son.' 'Song.' Communicated by Elsie Doxey of Currituck county. Not dateil. but probably sent in some time in the 1920s. It belongs to the same tradition as B, but has interesting variations. 1 A-sitting one cold winter night A-drinking of sweet wine, A-courting of that pretty miss That stole that heart of mine. 2 She is like some pink or rose That blooms in the month of June, Or like some musical instrument That is newly put in tune. 3 'Oh, fare you well, my dearest dear. Oh, fare yoti well for a while ; I'll go away, but I'll come back again. If I go ten thousand miles.' 4 'Oh, who will shoe my feet, my dear. And who will glove my hands? Or who will kiss my ruby lips \\ hen you're in a foreign land ?' 5 'Your brother will shoe your feet, my dear, Your mother will glove your hands ; And 1 will kiss your ruby lips When I return again.' 6 'Oh. don't you see that turtle dove A-flying from vine to vine ? A-mourning for the loss of its own true love As 1 shall mourn for mine.' ^ So run the last four words of this line in the manuscript. I do not know how to correct them. K 0 I, K LYRIC 303 1) 'Should 1 I'rcive False to Thfc' Another text reported l)y Tiioinas Smith of Zionville in 11)15. The stanza marked "chorus," which it shares with version E, is found also in quite different contexts in this collection and elsewhere; see 'Storms Are on tlie Ocean' and luadiiote thereto, pp. 311-313 of the present volume. 1 I roved. I roved all winter night A-drinking of .sweet wine, A-courting a pretty little nii.s.s W ho broke this heart of mine. Chorus: Thotigh storms may roll the ocean, The heavens may close^ to be, This earth would lose its motion, my love, Should I i)rove false to thee. 2 'Oh, who will pull up the rosy bush And plant the weeping willow tree ? For it's plain to be seen by the wide world around That you've forsaken me.'- 3 "(Jh, who will shoe your pretty little feet. And who will glove your hands. And who will kiss your rose-red cheeks When I'm in a far-ofif land?' 4 'My papa will shoe my pretty little feet. My mama will glove my hands. And you may kiss my rose-red cheeks \Mien vou return again.' 'Who Will Shoe My Pretty Little Feet?' Sung by Mrs. N. T. Byers of Zionville, Watauga county, July 24, 1922. With the tune. I 'I'm going to leave you now. I'm going to stay for a while ; But I'll return to you. my love. If I go ten thousand miles. Chorus: 'Oh. stormy rolls the ocean. The heavens may cease to be. This earth would lose its motion, my love. Should I prove false to thee. ^ Mis written, no doubt, for "cease." the reading of E in this place. - This stanza, which appears also in A, carries a faint echo of a song beloved in England but seldom found in America. 'Seeds of Love.' N C.F., Vol. HI. (22) 304 NM) R T H CAROLINA FOLKLORE 2 'Oh. who will shoe your pretty little feet, And who will glove your hands. And who will kiss your red rosy cheeks When I'm in the foreign land?' 3 'My papa will shoe my pretty little feet. My mama will glove my hands, And you may kiss my red rosy cheeks When you return again.' 4 'Should I prove false to thee, my love, The rocks would melt by the sun And the fire would freeze in a hard cake of ice And the raging sea would burn.' 259 I'll Hang My Harp on a Willow Tree Here the shoe-and-glove stanzas from 'The Lass of Roch Royal' are combined with the refrain of a very familiar song. There is a quite unauthenticated legend that this song, a very popular parlor song of the last century, was the work of a young British officer who fell in love with the Princess Victoria before she came to the throne. Its actual authorship seems not to be known. It is re- ported as traditional song in Scotland (Ord 56-7), is listed in the Sliearin and Pound syllabuses, and is to be found in several books of popular songs — without, of course, the shoe-and-glove stanzas. A 'I'll Hang My Harp on a Willow Tree.' Contributed by Miss Amy Henderson of Worry, Burke county; not dated, but at some time before igi6. Note tbat the rhythm of lines i and 5 has been cbanged from that found in these stanzas elsewhere. 1 'Oh ! who's going to shoe my pretty little foot, foot, foot, And who's going to glove my lily-white hand, And who's going to kiss my ruby lips When you're in a far distant land ?' Cliorus: Adieu, kind friends, adieu, adieu. I stay no longer here with you. I'll hang my harp on a willow tree And go for the fellow that goes for me. 2 'My Pa's going to shoe my pretty little foot, fool, foot. My Ma's going to glove my lily-white hand; I know who'll kiss my ruby lips When I'm in a far distant land.' !•• 0 L K I. ^• K I C 305 'I'll Hang My Harp uii a Willow Tri'i.'.' Cnntriliutod by I. (]. (irccr of I'xidiK-, Watauga county. The chorus onl.\. \\ ith tlir music. I'll lians^" my harp t)n a willow tree. .Vdic'u, kind friends, adieu, adieu. I'll liaui; ni\- harp on a weeping willow tree And n)a\' llie world ^o well witli thee. 260 Red Rtnkr Valley This is (|uite distinct from 'Tlie Red River Sliore,' for which see the headnote to 'New River Shore.' That is a hallad, tells a story; this is simply a girl's grief at her lover's departure. It is known in Virginia (FSV 96), Kentucky (BTFLS iii 93, ASb 130-1), Tennessee (ETWVMB 82-3). the Ozarks (OFS iv 201-4), Michi- gan (BSSV 482), and Iowa (MAFLS xxix 74-5). Mrs. .Steely found it in the Ebenezer community in Wake county. The North Carolina texts differ chiefly by omitting or including certain stanzas. A 'Sherman X'alley." From the manuscript hook of songs of Miss Edith Walker, Boone, Watauga county. Secured in 1936. 1 From this valley they tell me you are going. How I'll miss your blue eyes and bright smiles ! For you carry with you all the sunshine That has brightened my path for a while. Clionts: Let's consider a while ere you leave me. Do not hasten to bid me adieu. But remeiuber the bright Sherman X'alley And the girl who has loved you so true. 2 When you are far from this scene of the valley And they tell me your journey is through. Will you think of the home you are leaving And the girl who has loved you so true? 3 I have waited a long time, m\- darling. For the word you never would say. But alas, my poor heart it is breaking. For they tell me you are going away. 4 Do vou think of the home you are leaving, How lonely and dreary it will be ? Do you think of the fond heart you are breaking And the girl who has loved vou so true? 306 NORTH CAROLINA FOLKLORE B 'Sherman Valley.' Contributed by Miss Addie Hardin of Rutherwood, Watauga county, in July 1922. \\'ith the tune. The chorus as in A ; stanzas i and 2 correspond to stanzas i and 3 of A ; stanzas 3 and 4 are as follows : 3 Oh. think of the home you are leaving And the friends who have loved }ou so true ; Oh. think of the heart you are breaking And the shades you are casting over me. 4 You may go, you may go, God bless you, You may roam over land and o'er sea, You may roam this wide world over. But you'll find no other friend like me. c 'The Red River Valley.' Obtained from Mrs. Minnie Church, Heaton, Avery county, in 1930. Four stanzas, corresponding to stanzas i, 4, 3, and chorus of A but with "Red River" in place of "bright Sherman." D 'Little Lonely \'alley.' Obtained from O. L. Coffey of Shull's Mills, Watauga county, in 1939. Chorus as in A but with "little lonely" in place of "bright Sherman"; stanzas i, 2, 3, and 5 correspond to stanzas I, 4, 3, and 2 of A ; stanza 4 corresponds to stanza 4 of B. E 'Red River Valley.' From the John Burch Blaylock Collection, made in Caswell and adjoining counties in the years 1927-32. Five stanzas, the first four of which correspond, with minor variations, to stanza i, chorus (with "Red River" in place of "bright Sherman"), stanza 4. and stanza 3 of A. The fifth stanza is not in A : 5 When I'm dead and gone from you, my darling, Never more on this earth to be seen. There is just one little favor I ask you; It's to see that my grave is kept green. 'Bright Sherman Valley.' Another text from the Blaylock Collection. Four stanzas, of which the fourth repeats the second. The stanzas correspond, with minor variations, to stanza i, chorus, stanza 3, and chorus of A. 261 The Slighted Sweetheart One more song of broken love — with a curious break in tone in the last line of the tliird stanza. It is known also in Kentuckv (BKH75-6). 'The Slighted Sweetheart.' From the manuscript songbook of Miss Lura Wagoner of \'o.\, Alleghany county, where it is dated April 6, K () 1, K 1. V K I C 307 If,i3_the date oi its entry in the Imuk. 'I'lie last stanza is one likely to be attached to any ballad ending in a deatii ; it is the regular ending of 'Tlie Butcher Boy.' The whole tiling is probably conceived as a monologue, though some lines may be meant as spoken by the second party to the (|uarrel. 1 My dear sweetheart, so fare yoti well. You slighted me, hut I wish yott well. .\nd it on earth we no more see, 1 wouldn't serve you like you did me. 2 We'll go to Christ to mottrn and weep, h'or fm satisfied 1 never can sleep. You've turned me away and hroke my heart. Uh. how can 1 from >()tt depart? 3 My dear sweetheart, my harmless dove, Hope we will meet in a world ahove And there in peace we'll live forever — My dear sweetheart, you are so clever! 4 A many an hour I've spent with you ; 1 never knew you were not true. I've found it out ; I cried aloud And die I must in all this crowd. 5 You are all for this to blame That I must die in grief and pain. But after death 1 will go home; Then think of me you have served so wrong. 6 The pain of love, I know full well. No heart can think, no tongue can tell ; But I'll tell you now in a few short lines Love is worse than sickness ten thousand times. 7 Come all sweethearts from east to west. Come view my grave while I'm at rest ; Come, all sweethearts from far and near. Don't lose your lives, for they are dear. 8 My dear relations all around, I'ni going to heaven to wear a crown, I'm going there forever to dwell. My pain is delight, so fare you well. 9 Go dig my grave both wide and deep. Place a marble stone at my head and feet, And on my breast a little (k)ve To show to the world that I died for love. 308 NORTH CAROLINA FOLKLORE 262 The Slighted Girl Despite the similarity in title and situation, tliis is a quite dif- ferent affair from 'The Slighted Sweetheart' (p. 306). It consists mostly of floating stanzas of love lyric that reappear in other con- nections. A song reported from Tennessee (SSSA 170) has a chorus like the first stanza of this song with the sexes reversed: "There are more pretty girls than one," etc. Otherwise the present song has not been found elsewhere. 'The Slighted Girl.' From the manuscript Ijook of songs of Miss Lura Wagoner of Vox, Alleghany county, lent to Dr. Brown in the summer of 1936. The song was entered in the book some twenty years earlier. 1 You need not flirt nor flounce around. There's more pretty boys than one. my love, There's more pretty boys than one. 2 Don't you remember the very time That you bowed to me and said If ever you married that I might be the one, my love, That I might be the one? 3 But now you've broken all promises, Just marry who you please. While my poor heart is breaking d(nvn You're living at your ease, my love, Yoti're living at your ease. 4 The blackest crow that ever flew Will surely turn to white If ever I prove false to yott, Bright days shall turn to night, my love. Bright days shall turn to night. 5 Bright days shall turn to night, my love. The elements shall mourn. If ever I prove false to you The roaring sea shall burn, my love. The roaring sea shall burn. 6 Oh, don't you see that little dove? It's flying from tree to tree. It's mourning for its own true love; And why not mine for me, my love. And why not mine for me? "J You think, 1 know you tliink, 1 should. You're blind and cannot see. V (I I. K I. V R I c 3oy The reason why I do not niovun. He does not mourn for u\v. my love. He does not mourn for mc. 8 You've trami)U'(l the i^recn i;'"'-'^'^ under your feet. It's risen and or(j\vin<;- aj^ain. I loved you as 1 loved my life And yet it caused me pain, m\- love. And yet it caused me ])ain. 9 Vou slighted me once and also twice. You slighted me three or four ; You slighted me for that pale-faced girl And now you can take her and go, my love, And now you can take her and go. 10 Oh, yes. I see that little dove, It's flying from vine to vine ; It's mourning for its old true love. And why not me for mine, my love. And why not me for mine ? 1 1 The time has come, my dearest dear. When you and 1 must part. And no one know[s] the grief and woe Of this poor aching heart. 12 Darling, darling, do hush up! I hate to hear you cry. As other friends are having to part. And why not you and I, my love, And why not you and I ? 263 The Pale Wildwood Flower This is the same as 'The Pale Aniaranthus' reported as known in Kentucky (Shearin 24-5), Virginia (FSV 86), and the Ozarks (OFS IV 315-17) ; both Davis's and Randolph's texts and those from North Carolina (one from Avery county, fairly close to our A. is given by Henry in BMFSB 49) show curious corruptions of the word amaranthiis. Undoubtedly the song circulated at some time as a sheet music or perhaps songbook piece of parlor sentiment, but I have not succeeded in finding it in print of that sort. That the text has been passed on by word of mouth is evident in the vari- ations shown in the North Carolina versions. It even has two titles, as will be seen below. P.esides the texts here given the Col- lection has two recordings of it: one from the singing of Mrs. W. \V. Hughes, Jonas Ridge, in 1940, the other from Miss Beulah Walton, Durham. 310 NORTH CAROLINA FOLKLORE 'Raven Black Hair.' Secured in 1915 or thereabouts from I. G. Greer of Boone, Watauga county. With the tune. The "Armeta" of line 4 is what is left of "Amaranthus." 1 I will twine with these locks of raven black hair The roses so red and the lilies so fair. The myrtle so bright with its emerald hue. And the pale Armeta with eyes of dark bine. 2 He taught me to love and he promised to love. To cherish me always all others above. I woke from m\- dreaming ; my idol was clay, The passion of loving had faded away. 3 He taught me to love and he called me his flower That blossomed to cheer him through life's lonely hour. But another has won him. I'm sorry to tell ; He left me no warning, no words of farewell. 4 I'll dance and I'll sing and my life shall be gay. I'll charm every heart in each crowd I array ; Though my heart now is breaking, he never shall know That his name makes me tremble, my pale cheeks to glow. 5 I'll dance and I'll sing and my life shall be gay, I'll stop this wild weeping, drive sorrow away. I'll live yet to see him regret the dark hour That he won and neglected this frail wikhvot ]KTMUi, and the fourth to stanza 2 of B. 'Somebody Is Tall and Handsome.' This is anonymous but is probably from Mrs. Coffey of Shull's Mills, Watagua county. It is not just the same as any of the preceding texts but introduces nothing that is not found in one or another of them. 276 You, You, You This fragment is in a different rhythm from 'Somebody.' It has not been found elsewhere. 'You, You, You.' Contributed by Mrs. W. L. Pridgen of Durliam. Somewhere somebody's waiting for you. Somewhere somebody's heart is true, Sometime you'll love somebody who'll love you true. Somewhere somebody's waiting for you, you, you. 277 Cold Mountains I have found this reported as folk song elsewhere only by Davis from Virginia (FSV 93). 'Cold Mountains.' Obtained from Mrs. Minnie Church, Heaton, Avery county, in 1930. The text seems corrupt in places but is here given as in the manuscript. With the tune, as sung by Mrs. Alice Cook and by Miss Hattie McNeill. I Cold mountains here are all around me. Cold waters gliding down the stream ; Oft in my sleep I think I find her But when I wake it's all a dream. 326 NORTH CAROLINA FOLKLORE 2 When I awoke and did not tind her All on my bed I wept and mourned ; Tears from my eyes fell without number All because I'm left alone. 3 Hills and mountains all dressed a-mourning, The lofty trees bown down to me. Birds of the air are well adourning. Come help me mourn, she's fled from me. 4 The wild beast hear my limintation, The lonesome desert hear my mourn, Yes, heathen nations without number. Oh, weep ! My bosom friend is gone. 5 When will my mourning days be over? Yes, all my mourning days be gone? I can't stay here, I'm not befriended ; I to some foreign land must roam. 6 Farewell, my dear ; I hate to leave you. I hate the time that we must part. Altho I love you without measure, Here is my hand ; you've got my heart. 278 My Home's across the Smoky Mountains One of the numerous bits of love lyric current among ballad- singing folk. This particular bit I have not found reported from outside the state. A 'My Home's across the Smoky Mountains.' Reported in June 1948, by Professor Hudson, from the singing (at Chapel Hill) of Bascom Lamar Lunsford of South Turkey Creek, Buncombe county. Mr. Lunsfonl described it as a popular banjo song. 1 My home's across the Smoky Mountains. My home's across the Smoky Mountains, My home's across the Smoky Mountains, And you'll never get to see me any more. 2 Goodbye, little sugar darling. Goodbye, little sugar darling. Goodbye, little sugar darling. You'll never get to see me any more. 3 Rock my baby, feed it candy. Rock my baby, feed it candy. Rock my baby, feed it candy. You'll never get to sec me any more. FOLK LYRIC 327 4 J\I\- home's across the Smoky Mountains. My home's across the Smoky Moimtains. My home's across the Smoky Mountains, And you'll never get to see me an\' more . R Tni (k)ing over Rocky Mountain.' Altliough the sheet on whicli it is written hears no contrihutor's name, there is no reason to question its genuineness. It was doubtless noted down by Dr. Brown from some one of his contributors and lie neglected to record the name of his informant. 1 I'm going over Rocky Mountain, I'm going over Rocky Mountain. I'm going over Rocky IMountain, my love, And I will never see my darling any more. 2 Where is the finger ring I gave you, Where is the finger ring I gave you, Where is the finger ring I gave you. my love? For I'll never see you, darling, any more. 279 Must I Go to Old Virginia? The only trace of this the editor has found elsewhere is a line from 'Must I Go to Mississippi ?' reported by Henry from North Carolina ( SSSA 24), and here the resemblance does not e.xtend beyond the single line (see stanza 4). But our song bears the marks of authentic folk song. The last stanza is from The Drowsy Sleeper.' 'Must I Go to Old Virginia?' From the manuscript songbook of Miss Lura Wagoner of V^ox, Alleghany county, which was lent to Dr. Brown in 1936. 1 Must I go to old Virginia? North Carolina is my home. I used to court a pretty fair gentleman. And his name it was unknown. 2 His hair was hlack and his eyes did sparkle, And his cheeks were diamond red. On his hreast he wore white linen. Oh, the tears that I have shed ! 3 When I am asleep I am dreaming ahout voil W hen I am awake I take no rest. Every moment seems like an hour, Everv moment seems like death. 328 NORTH CAROLINA FOLKLORE 4 Must 1 go to Mississippi? For your sake must I die ? Must I leave you broken-hearted? Oh law. darling, don't you cry. 5 Papa says I must not marry, Mama says it will not do ; But, dear darling, if you are willing I will run away with you. 6 Wake up, wake up. you drowsy sleepers, Wake up. it is almost day. How can you sleep, oh, how can you slumber When your true love is going away ? 280 Red, White, and Blue This is the old English song of a lovelorn girl more often called 'Green Grows the Laurel,' concerning which see BSM 480 — and add to the references there given Virginia (FSV 86), Kentucky (Shearin 37), North Carolina (FSRA 136), Mississippi (JAFL XXXIX 147), Missouri (OFS i 273-5), and Michigan (BSSM 102) : it is also listed for the Midwest (Pound 74). Mrs. Steely found it in the Ebenezer community in Wake county. Our three texts are fairly close together, yet their differences interestingly illustrate the way of the folk with a song. 'Red, White, and Blue.' From the manuscripts of G. S. Robinson of Asheville, obtained in 1939. 1 Ah, once I had a sweetheart but now I have none. He's gone and left me ; I live all alone. I live all alone, and contented will be. For he loves another one better than me. CJwnis: Green grow the laurels all wet with the dew. Sorrow of the time that I i)arted from you. The next time I see you I hope you'll prove true And change the green laurels to red, white and blue. 2 I passed my lover's window both morning and night, I passed my lover's window both early and late. To see my love sit there it makes my heart ache ; He's a lad of the laurels, a lad of the lakes. 3 T wrote mv l<)\e a letter all red rosy lines. She wrote me another all twisted in twine K () L K r, V K I C 329 Saying, 'Keep your loxx'-letters and 1 will keep mine. You write to your sweetheart and I'll write to mine."' B '1 Oiicc Had a Swocthoart.' Repdrtcd by W. Amos Ahrams as ohtaiiiod from Margaret Barlowe, a stiuk-nt at tiu- Appalacliiaii 'I'rainiiig Collej^c at Boone. Not dated. I 1 once had a .sweetheart, but now I have none, He's gone and left me and left me alone. But since he has left me contented I'll be. He is loving another girl better than me. Chorus: Green grows the wild lilies and so does the rose. It's sad to your heart when parting with yours. I hope the next meeting we will also prove true And change the green laurels to the red, white, and blue. 2 He wrote nie a letter all twinkling and twine; I wrote him an answer on red roses line. Saying, 'Keep your love-letters and I will keep mine ; You write to your sweetheart and I'll write to mine.' 3 He passed by my window both early and late. The looks that he gave me would make my heart ache. The looks that he gave me ten thousand would kill ; He is loving another that makes him quite ill. 4 I of ttimes have wondered how women love men ; And yet I do wonder how they can love them. I've had some experience, I want you to know; Young men are deceitful wherever they go. 'Green Grows the Wild Olive.' Reported in 1922 by Miss Mamie Alans- field of Durham as sung by Miss Madge Nichols. I once had a sweetheart, but now I have none. He has gone and left me, and left me alone. He has gone and left me; but contented I'll be. He is loving anotl|pr girl better than me. Chorus: ( jreen grows the wild olive, and so does the rose. It's sad since I parted my heart from yours. I hope the next meeting will prove to be true And change the green olive to the red. white, and blue. ^ Observe that in this stanza it is the man that is speaking. For the right form of this part see B. 330 NORTH CAROLINA FOLKLORE 281 Down in the Valley (Birmingham Jail) This is a favorite song in the Southern highlands, known in Virginia, Kentucky, Georgia, and also in Louisiana, Texas, Arkan- sas, and Missouri. See BSM 488, and add to the references there given Kentucky (ABFS 147-8), Georgia (SSSA 179), Arkansas (OFS IV 284-5), Oliio (ASb 148), and tlie Archive of American Folk Song, which has recordings of it from Virginia, Kentucky, and Texas. Mrs. Steely found two forms of it in the Ebenezer community in Wake county. In it the theme of far-off valley sounds heard from a hill top is commonly combined with a con- vict's love message. A 'Down in the Valley.' Contributed by Mildred Peterson of Bladen county in 1923. 1 Down in the valley, valley so low, Late in the evening, hear the train blow ; The train, love, hear the train blow ; Late in the evening" hear the train blow. 2 To build me a mansion, btiild it so high. So I can see my true love go by, Love, see her go by, So I can see my true love go by. 3 Go write me a letter, send it by mail. Back it and stamp it to the Birmingham jail. Birmingham jail, love, Birmingham jail. Back it and stamp it to the Birmingham jail. 4 Roses are red, love, violets are blue. God and his angels know I love you, Know I love you, know I love you, God and his angels know I love you. B 'Birmingham Jail.' Contributed by Otis Kuykendall of Asheville in August 1939. Here the valley is replaced by the levee — perhaps a more familiar scene of activity for a convict. 1 Down on the levee, levee so low. Late in the evening hear the train blow. Hear the train blow, love, hear the train i)low, Late in the evening hear the train blow. 2 Roses love sunshine, violets, and you. Angels in heaven know I love you. Write nu' a letter, send it by mail ; Send it in care of the P.irmingham jail. FOLK LYRIC 331 282 I Sent My Love a Letter The 'bird in a cage' refrain and the notion of writing a letter to one's love are recurring elements of folk lyric. Something like the combinations of our texts is reported from Kentucky (BKH 141, AS!) 213 — the latter sung by Negroes). Compare also 'Red, White, and Blue' and 'Down in the \'alle\-.' aliove. Xo title. Obtained from William C. Daulken, student at the University of North Carolina, in 1915. The manuscript has "him (or her)" in lines I and 3, to show that it may l)c sung by a woman or a man ; but the second stanza implies that it should read simply "her." 1 I sent her a letter, 'Twas only one line, 'Twas only to ask her Would she be mine. Refrain: Bird in a cage, love, singing to me, Bird in a cage, love, singing to me. 2 She sent me a letter, 'Twas only one line, 'Twas only to promise She would be mine. B 'I Wrote My Love a Letter.' Reported by W. Amos Abrams as obtained (probably in 1935-36) from Mary Best of Statesville, Iredell county. 1 I wrote my love a letter. It was wrote in rosy red lines ; He wrote me another. It was all twisted in twines. 2 He said, 'You can keep your love-letters And I'll keep mine. For I love another girl And I'm going to leave you behind.' c 'Birds in the Cage.' From the John Burch Blaylock Collection. I I wonder where my Lulu is. Can anyone tell? She's up on the mountain ; I hope she's doing well. 332 NORTH CAROLINA FOLKLORE Chorus: Birds in the cage, love, Birds in the cage. Birds in the cage, love, Birds in the cage. 2 I wrote her a letter, It was only one line. All I wanted was Lulu To be mine. 3 Go build me a house, love. Upon the mountain so high, So I can see Lulu As she passes by. 4 Go dig my grave, love, Both deep and wide, And bury Lulu Close by my side. 5 Way years ago, love. You promised to marry me ; But now you say, love, That never can be. 283 In the Pines, Where the Sun Never Shines Two songs of a similar temper and containing a few other ele- ments in common, but not really the same song, are held together by the use of a very effective refrain or chorus. This refrain is found also elsewhere in songs that correspond to neither of the two here given. In Kentucky it appears in a song called 'Black Girl' (SharpK 11 278) and as a stanza in a version of 'The Maid Freed from the Gallows' (BKH 113). Gordon (FSA 83-4) has a text that combines elements that appear in both of our two texts; he describes it as a banjo picker's song. Our texts are composites, as American folk songs so often are. The longer of the two con- tains elements from 'The Lonesome Road,' 'Darling Little Pink.' and 'The Turtle Dove.' C is merely a fragment. 'There's More Than One.' Contributed by Miss Pearl Webb of Pineda, Avery county, some time in 1921-22. The mani:script is confused; the line and stanza division is the editor's, and he confesses that it is un- certain, as in places the text is obviously defective. I 'Little darling, little darling, don't tell me no lie. Where did you stay last night?' FOLK LYRIC 333 'I stayed in the pines where the sun never shines. 1 shivered when the culd wind hlow[edJ.' Chorus: To the pines, to the pines, where the sun ne\er shines. Oh. 1 shivered when the cold wind ])h)wed. 2 Look down, look d(jwn this lonesome road; Hang down your head and cr}-. The hest of friends must part some time. Then why not you and 1 ? 3 You've slighted me once, you've slighted me twice. You'll never slight me any more. You've caused me to weep, you've caused me to mourn, You've caused me to leave my home. 4 The long steel rail and short cross ties Going to carry me away from home. 5 My love she stands on yonder shore And waves her hand at me, my love. And waves her hand at me. 6 Come back, come back, my own true love, I'll stay with you till I die. 7 The prettiest girl I ever saw Was sitting with her head bowed down ; Her hair was as curly as the waves at the sea. Her eyes a Spanish brown. 8 The longest train I ever saw- Was on the Georgia line. The engine passed at five o'clock. The cab never passed till nine. 9 The longest day I ever saw Was the day I left my home. The day I left my daddy's house Was the day I left my home. 10 Free transportation brought me here. Take money to carry me away. 11 Oh. don't you see that little dove Flying from vine to vine? Tt makes me mourn for my own true love Just like you mourn for yours. 334 NORTH CAROLINA FOLKLORE B 'Mobiline.' Obtained irum Mamie Mansfield of the Fowler School Dis- trict, Durham county, in July 1922. Was a Mobiline some make ol automobile ? 1 The prettiest girl 1 ever saw Was riding a Mobiline. Her head was crushed in the driving wheel, Her body was lost but found. CJionts: Now darling, now darling, don't tell me no lies ; Where did you stay last night ? I stayed in the pines, where the sun never shines. And shivered when the cold wind blowed. 2 If I had listened to what dad said 1 wouldn't been here tonight, 1 wouldn't been here in this rowdy crowd A-having this rowdy time. 3 Now don't you hear those mourning doves belying from pine to pine, Mourning for their own true love Just like I mourn for mine? c 'The Lonesome Pine.' A record made in 1922 by Miss Hattie McNeill of Ferguson, Wilkes county, from which the following fragmentary lines have been transferred. For the longest train I ever saw Was on my Georgy line. O darling. O darling, don't tell me no lie. 284 Bonnie Blue Eyes "A purely North Carolina product," Dr. Brown noted on his version of this song. Its appearance outside the state lends some support to this judgment; Davis (FSV 99) reports it from Carroll and Dickenson counties, Virginia, and the Archive of American Folk Song has a recording of it from Blount county. Tennessee, all of which places are on or close to the North Carolina border. Gordon (F'SA 81) has a nine-stanza version which he describes as a banjo picker's song but does not say where lie found it. Randolph COFS iv 209-10) has a four-stanza version from Mis- FOLK L V R I C 335 souri. Of our texts the tirst two were ])ul)lislK'(l by Louise Kaiul Bascoin in the Journal of American I'olk-Lorc in 1909. She noted tlien that the sonj; was "said to have l)een written July 5, 1907," hut further invcstis^ation convinced her tliat it was "ten years old at least" at the time she wrote. The versions vary widely. Dr. Brown remarks that it is a "sort of communal composition, 'i'here are four or live different versions or fragments." 'Bonnie Blue Kyes.' Puhiislied l)y Louise Raiul Bascom in JAFL xxii 243-4. She does not state where in tlie inciuntains she found tliis version. 1 I'm gom otit West next fall. I'm goin' otit West next fall, I'm goin' out W^est whar times is the best, I'm goin' ottt West next fall. 2 Don't cry. little Bonnie, don't cry, Don't cry. little Bonnie, don't cry, For if you cry you'll spile your eye. Don't cry. little Bonnie, don't cry. 3 When you tole me you loved me, you lied, When you tole me you loved me, you lied. When you tole me you loved me you lied, my dear. When you tole me you loved me, you lied. 4 I asked your Mommer for you, 1 asked your Popper for you, I asked your Popper an' Mommer both for you ; They both said 'No-oh-no.' 5 I'm forty-one miles from home, I'm forty-one miles from home, I'm forty-one miles from home, Bonnie Blue Eyes, I'm forty-one miles from home. 6 I hyar the train comm'. I do. I hyar the train comin', I do. I hyar the train comin' to carry me through To see my little Bonnie Blue l\ves. 7 I'm goin" to see Bonnie Blue Eyes. I'm goin' to see Bonnie Blue Eyes. The only girl I ever loved Was my Bonnie Blue Eyes. 8 But now she's married an' gone, But now she's married an' gone. But now she's married. I've waited too long To get my P)onnie Blue Eyes. X.C.F., Vol. TTT. (24) 336 NORTH CAROLINA FOLKLORE B 'Bonnie Blue Eyes.' This version also Miss Bascoin published in JAFL XXII 242-3. 1 Don't cry, little Bonnie, don't cry, Don't cry, little Bonnie, don't cry. Don't cry, little Bonnie, don't cry. Don't cry. little Bonnie, don't cry. 2 I hyar the train coniin', I do, I hyar the train coniin', I do. I hyar the train comin' to carry me through, I hyar the train comin', 1 do-o-o. 3 Don't cry, little Bonnie, don't cry. Don't cry, little Bonnie, don't cry, Ef ye cry, little Bonnie, you'll spile your eye. Don't cry, little Bonnie, don't cry-i-i. 5 I asked your Popper for you, I asked your Mommer for you, I asked your Popper an' Mommer for you. They both said 'No-o-o.' 5 She tole me she loved me, she did. She tole me she loved me, she did. She tole me she loved me, she never did lie, Good-by, little Bonnie, good-by-i-i. 6 Fm forty-one miles from home, I'm forty-one miles from home, Pm forty-one miles from home. Good-bye, little Bonnie Blue Eyes. 7 And now she's married an' gone. An' now she's married an' gone. Pve waited around for her too long, An' now she's married an' gone. c 'Bonnie Blue Eyes.' A third, much abl)r(.-viatcd, text from Miss Bas- com's papers; from Highlands, Macon county. W'itli tlic tune. 1 Good-bye, little Bonnie, good-bye, Good-bye, little Bonnie, good-bye, You've told me more lies than the stars in the skies. You ain't my Bonnie Blue Eyes. 2 You tole me you loved me, you always did lie. Good-bve, little lionnie. good-bye. I' () L K I. V K I c 337 3 The Danville train's in town. 1 know hv the way little P)()nnie does' nnui' That the train is dne in town. 4 I'm goin' to the West some day, I'm goin' to the West, but not to stay, I'm comin' back some day. D 'Bonnie Blue Eyes.' Manuscript in Dr. Brown's hand, with the nota- tion : "These two stanzas are selected from at least a dozen and a half. . . . Collected near Highlands, N. C." With the tunc. 1 Good-bye, little Bonnie, good-bye, Good-bye, little Bonnie, good-bye ; You've told me more lies than the stars in the skies, You ain't my Bonnie Blue Eyes. 2 And now I'm far from home, And now I'm far from home ; But I love little Bonnie in spite of her lies. My own, my l->onnie Blue Eyes. There are also in the Collection two anonymous sheets with the music for this song. 285 The Midnight Dew This composite folk lyric has already been published by Louise Rand Bascom, Highlands, Macon county, in 1909 (JAFL xxii 244-5). It seems desirable, however, to repeat it here; the more so because the text which she contributed to the present collection differs slightly from that printed in JAFL. The song seems not to have been reported elsewhere. 'Midnight Dew.' Contributed by Louise Rand Bascom, Highlands, Macon county. Printed in JAFL xxii (1909) 244-5. With the tune, as sung by Airs. N. T. Byers of Silverstone, Watauga county. 1 In the midnight dew, love, I often think of you. When I'm rambling in the midnight dew, love, I often think of you. 2 You can hyar the whistle blow. You can tell the train I'm on, You can hyar the whistle blow A hundred miles from home. ^ Miswritten for "goes" ? 338 NORTH CAROLINA F 0 L K I, O R !•. 3 I'm a fool about you. An' you're the only darlin' too, Lord, but I'm a fool About you, hoo-hoo. 4 If the train runs right I'll go home tomorrer night. You can hyar the wliistle blow A hundred miles from home. 5 If the train runs a wreck I'm sure to break my neck ; I'll never see my honey Any more, hoo-hoo. 6 My old shoes is worn An' my ole close is torn. An' I can't go to meetin' This way. hoo-hoo. 7 Oh, Lordy me. For ther's trouble I do see, Fur nobody cyars Fur me. hoo-hoo. 8 Oh. it's Lordy me An' it's oh, Lordy my. An' I want to go to Heaven ^\'hen I die. hoo-hoo. 9 I'll pawn you my watch An" my wagon an' my team. An' if that don't pay my darlin's bill I'll pawn my gold-diamont ring, hoo-hoo. 10 You've caused me to weep An' you've caused me to mourn An' you've caused me to leave Mv home, hoo-hoo. 11 An' wear this ring I give to you. An' wear it on your right ban'. An' when I'm dead an' forgotten. Don't give it to no other man.^ ^ This final stanza appears in the JAFL print as the second of two stanzas given under the title 'Charming Betsy,' and Miss Rascom com- ments : "Why the maiden is admonished to wear the love token on her right hand is a matter for conjecture, unless tlie fond lover is willing to leave her for another. As a matter of fact, the mountain women K () I. K 1. V k 1 c 339 286 Via' Around, My Blue-Eyed (Iiri, Here are asseniblcd a number of songs of rather widely different character but held toj^ether by a common plirase (sometimes with "blue-eyed miss" or "pretty little miss" instead of "blue-eyed girl") in the chorus stanza. They are not always easily to be kept apart from songs with the "pretty little pink" phrase. Where these latter are definitely play-party or dance songs they are considered under the caption 'Coffee Grows on White Oak Trees.' The songs brought together here are not described by the contributors as play-party songs — though some of them may have been so used. A song using the phrase reported by Sharp from North Carolina, "Betty Anne' (SharpK ii ;^/), is not considered by him a play-party song. There is in our collection a record of the song as sung by Miss Hattie McNeill of Ferguson, Wilkes county, in 1922. 'That Blue-Eyed Girl.' Sung by Rynic-r, a banju-pickcr, in "The Beats" near the mouth of Newfound Creek in Buncombe county. This is reminiscent of the English milkmaid song 'Where Are You Going, My Pretty Maid?" 1 How old are you, my pretty little miss? How old are you, my honey ? She looked at me with a smiling look : 'I'll be sixteen next Sunday.' C horns: It's fly around, my bl'te-eyed girl, It's fly around, my daisy ; It's fly around, my pretty little miss — You've done run me crazy. 2 Will you marry me, my pretty little miss? Will you marry me, my honey? She looked at me with a smiling look : 'I'll marry you some Sunday.' 3 It's every day and Sunday too, It seems so dark and hazy, I'm thinking about my blue-eyed girl — She's done run me crazy. practically never wear rings." In place of our final stanza the JAl'I. print closes with one about the "lonesome road" : You've caused me to walk That long lonesome road Which has never been Travelled afore, hoo-hoo. 340 X () R T H CAROLINA FOLKLORE 4 It's every day and Sunday too I liang my head and cry ; I'm thinking about my blue-eyed girl — Oh, surely 1 will die ! 5 If I had no horse at all, I'd be found a-cra\vlin' Up and down the rocky branch Looking for my darlin'. B No title. Collected from James York, Olin, Iredell county, in August 1939. The final stanza is from 'Bonnie Blue Eyes' ; stanza 3 seems to belong to some convict's song. The first stanza may be assumed to be a chorus. 1 Fly around, my blue-eyed girl, Fly around, my daisy ; Fly around, my blue-eyed girl. You almost run me crazy. 2 Hard to love when you can't be loved. It's hard to change your mind. You've broke my heart, you've killed me dead. You left me far behind. 3 They bound my hands with iron bands, They bound my feet with chains ; And before I leave my sweet daisy I'd wear the old shackles again. 4 Don't cry. my bonnie bltte eyes, Don't cry. my bonnie, don't cry ; For if you cry you'll spoil your eyes ; Don't cry. my bonnie blue eyes. 'Fly Around, My Pretty Little Miss.' Contrilnitod in 1939 by Otis Kuykendall of Asheville. The penultimate stanza appears in various songs of the mountain folk. I The stormy clotids are rising. It sure looks like rain. Hitch uj) Mike and Charlie, boys. And drive little Liza Jane. Chants: Fly around, my i)retty littk" miss, l'"ly around, my dai.sy. l"ly around, my pretty little miss, \'()U almost run me crazv. !• () L K LYRIC 341 2 Went up on the mountain top. Gave my horn a blow. Thought 1 heard somebody say, 'Yonder comes my beau.' 3 You may ride the grey horse .And I will ride the roan ; ^'ou may court the other girl. But leave mine alone. D 'The Blue-Eyed Girl.' Reported by I. G. Greer from the singing of Mrs. N. J. Herring of Tomaliawk, Sampson county. Highly composite. For what is here marked "chorus" see 'Shady Grove' ; the needle and thread stanza belongs to a play-party song, 'Wish I Had a Needle and Thread"; and the joke about the yellow girl's kinky hair is one of the floating items of Negro (or pseudo-Negro) song. 1 Fly around, my blue-eyed miss, Fly around, my daisy ; Fly around, my blue-eyed miss, You're about to run me crazy. Chorus: Shady grove, my little love. Shady grove, I say ; Shady grove, my little love, Going far away. 2 Massy had a yellow girl. Brought her from the South ; Her hair way^ kinked upon her head She couldn't shut her mouth. 3 I wish I had a needle and thread As fine as I could sew ; I'd sew my sweetheart to my side And down the river I'd go. 4 Wish I had a banjo string Made of golden twine ; Evry tune I could pick on it 'I wish that gal was mine.' 5 \\ ish I was a mocking-l)ird In yonders mountain high ; I'd take wings and fly To mv true love's side.- ^ Should this be "was" ? - This stanza is marked "Cho. 5." meaning perha])s tliat it takes the place, at the end of the song, of the lines marked "chorus" above. 342 NORTH CAROLINA FOLKLORE 287 Darling Little Pink Stanzas addressed to "pretty little pink" occur frequently in play- party songs, especially in 'Coffee Grows on White Oak Trees,' under which title they are dealt with in the present volume. Another movable phrase, "Fly around, my pretty little miss," not, apparently, associated with play-party songs, is considered under "Fly Around, My Blue-Eyed Girl.' Tlie song here presented 1 have not found elsewhere — though its temper is common enough in love songs of the folk. 'My Darling Little Pink.' From the collection of Louise Rand Bas- com, Highlands, Macon county, 1914. 1 My darling little pink, won't you tell nie what you think? You're a long time a-makin' up your min'. You've tole me more lies than the stars in the skies, An' your heart is no more of mine. 2 If your heart was mine, my dear little pet, You would lean it across my breast. 3 I've been to the east and I've been to the west An' I've been most everywhere. An' the only girl I ever loved W'as the one with the bright yellow hair. 4 Lord, I've seen more trouble than any pore boy Than^ the sun has ever shined on. Hand me down a bottle of that old morphine An' I'll try for to ease my pain. 5 If it hadn't been for my babe and my blue-eyed girl I would have slept in my lonesome grave. The longest train that I ever seen was leavin' the micer's- mine. The engine was a-pullin' on a nine mile grade An' the cabins- had never left the town. 288 Billy My Darling A fragment of folk lyric. It has no connection with 'Billy Boy,' but the last two lines of A suggest the second stanza of 'Down in the Valley' A (p. 330). A 'Billy." Kcpnrti-d l>y .Mrs. .Sutton in 1922, l)ut slie does not say whore she heard it. With tlic tunc ' Probably niiswritten for "That." " iMir "iniccr's" read "luica," and for "cabins" read "caboose." r () L K 1. V R 1 I' 343 Billy. Ill}' darling', Hilly, my dear, W hen you think 1 don't love you it's a foolish idea^ Up in a tree-top high as the sky, 1 can see Billy, Billy pass by. B 'Hilly.' An earlier reporting by Mrs. Sutton of the same song, lacking the last two lines. 289 Seeing Nelly Home Few songs are more widely known in American colleges, or in- deed among American singing folk generally, than 'Aunt Dinah's Quilting Party' (credited in the Sears Supplement to "J. Fletcher, words by F. Kyle"). Our collection has a text of this obtained by L. \V. Anderson from Maxine Tillett, pupil in the school at Nag's Head ; it does not differ from the form found in college songbooks and is therefore not presented here. But there is also a quite ditTerent text — perhaps the original, perhaps an elaboration, of the familiar song — which it seems worth while to give. 'When I Saw Sweet Nellie Home.' From Miss Duo K. Smith, Houston ville, Iredell county. No date given. 1 In the sky the bright stars glittered. On the grass the moonlight fell. Hushed the sound of daylight's Inistle, Closed the pink-eyed pimpernell. As down the moss-covered wood-path, \\ here the cattle loved to roam. From Aunt Dinah's quilting partv I was seeing Nellie home. Chorus: W hen I saw sweet Nellie home, When I saw sweet Nellie home ; How I bless the August evening When I saw sweet Nellie home ! 2 Pretty ringlets softly fluttered O'er a brow as white as snow% And her cheek — the crimson sttnset Scarcely had a warmer glow. 'Mid her parted lips' vermilion \\'hite teeth flashed like the ocean foam ; All I marked with pulses throbbing As I saw sweet Nellie home. 344 NORTH CAROLINA FOLKLORE 3 When autumn tinged the greenwood, Turning all the leaves to gold, In the lawns by alders shaded I my love to Nellie told. As we stood together, gazing On the star-bespangled dome. How I blessed the autumn evening When I saw sweet Xellie home ! 4 White hairs mingle with my tresses. Furrows steal upon ni}- brow. But a love-smile cheers and blesses Life's declining moments now. Matron in a snowy kerchief. Closer to my bosom come ; Tell me, dost thou still remember When I saw sweet Nellie home? 290 Troubled in Mind Two songs are here brought together because they have in com- mon the phrase and the thought wliich I have chosen for title. Otherwise they are quite unlike. Both are composites — as folk lyrics so often are — of divers elements. Stanza 2 of A is from 'The Cuckoo' ; stanzas 3, 4, and 6 belong to "The Wagoner's Lad.' Stanza 3 of B is a stock piece, separately treated in the present volume; stanza 4 is another, likely to turn up anywhere but espe- cially in Negro jingles about animals. For the "I'll eat when Lm hungry, I'll drink when I'm dry" stanza, which goes far back in English balladry, see 'Cornbread When I'm Hungry,' below, and 'Cindy,' No. 404, in this volume. A No title. Collected from James York, Olin, Iredell county, in 1939. 1 I'm troubled. I'm troubled, Lm troubled in mind. And if trouble don't kill me I'll live a long time. 2 The lark is a pretty bird .\nd she sings as she flies And she brings tLs glad tidings That summer is nigh. 3 ( )h. Polly, ])retty Folly, W 0 L K LYRIC 347 2 Make mv down a pallet And lie down on the floor, Lie down on the floor. Lie down on the floor, Make me down a pallet And lie down on the floor. B 'Olc Massa in de Parlor." Prom Miss Clara Hearne of Pittsboro, Cliat- ham county, in 1923. 1 Ole massa in de parlor, Ole missus in de hall, Nigger in de dinin' room Farin' de bes' of all. 2 It's beefsteak when I'm hungry. An' whiskey when Lm dry. It's greenback when I'm busted, An' heaven when I die. 292 Lonesome Road Whether or not this image of the lonely road conies from the spirituals — Negroes are especially fond of it — it seems to belong to the folk song of the South. It is recorded from the singing of Negroes in Virginia (TNFS -t,), North Carolina (ANFS 300-1), South Carolina (OSC 404), Georgia (JAFL x 116), and without specific location by Oduni in JAFL xxiv 272 and NWS 46; and as sung apparently bv whites in Virginia (SCSM 326, O.SC 146-7), Kentucky (FSKH 28-9, SFLQ in 115). and Florida (SFLQ viii 188). In many of these instances it is just an element in a song; the texts vary widely. For the spirit displayed in stanzas 2 and 3 of A and 4 of B compare 'A False-Hearted Lover' in Volume II of this collection and BSM 476, 492. A 'Lonesome Road.' Contributed by Miss Gertrude Allen (afterwards Mrs. R. C. Vaught) from Taylorsville, Alexander county. No date given. 1 Look up, look down that lonesome road \\ here you and I have been, my love. Where you and I have been. 2 You've slighted me once, you've slighted me twice, You'll never slight me any more, my love. You'll never slight me any more. 3 There's more than one, there's more than two. There's more pretty girls than you, my love. There's more pretty girls than you. 348 NORTH CAROLINA FOLKLORE 4 I loved you once, 1 loved you twice, 1 loved you more than cats love mice, Yes, more than cats love mice. 5 If you loved me like I loved you No knife could cut our love in two. Could cut our love in two. B 'Look Up, Look Down That Lonesome Road.' From Miss Jane Christen- bury. a student at Trinity College. Not dated, Init proliably in 1923. With the music. 1 Look u)), look down that lonesome road. Hang down your head and cry, my love. Hang down your head and cry. 2 You slighted me once, you slighted me twice ; You'll never slight me any more, my love, You'll never slight me any more. 3 You slighted me for that other girl ; So now you may take her and go, my love, So now you may take her and go. 4 There's more than one, there's more than two. There's more pretty hoys than you, my love, There's more pretty hoys than you. 5 To the pines, to the pines, where the sim never shines And it shivers when the cold wind hlows, my love. And it shivers when the cold wind hlows. ^ 6 The hlackest crow that ever was seen \\ as flying from pine to pine, my love, Was flying from pine to pine. 7 The longest train that ever had run Was going down old Georgia line, my love, Was going down old Georgia line.- 293 You Lovers All, to You I Call 'I'his I have not found elscwliere, hut it lias a definite folk (|uality. '^'()U Lovers .Ml, to You I Call.' Contril)uted by L. W. .Anderson of Nag's Head as "sung to me by Mrs. J. A. Best, wlio said she learned it from her father, whose father, Francis Asbury Meekins (1818-81), also knew it." ' This stanza has crept in from another song, 'hi the P'nes, in the Pines. Where the Sun Never Shines.' " The last two stanzas are bits of the floating lyric of the folk, likely to appear in almost any love song. K 0 1, K I. V K I c 349 1 You lovers all, to you 1 call. A story T will tell ; J low 1, a swain, courted in vain .\ maid none could excel. 2 I fell in love so hard to move, To you I will express. But to my grief found no relief. For she was pitiless. 3 My love was tall, her waist was small. She was in all complete. Her hands was clean as ever was seen More nicer was her feet. 4 Her lily breast, I do protest. Was colored like the snow. Oh. she is neat, speaks mild and sweet Cood-natured. that's also. 294 W'liEx First I Seen This Lovely Queen Although I have not found it elsewhere, this lively song bears its own authentication as folk song. The interior rhyme in the first and third lines of each stanza suggests an origin in eighteenth- century stall print, which was much given to that form of verse. 'When First I Seen This Lovely Queen.' Reported by L. W. Anderson of Nag's Head as "sung to me by Mrs. J. A. Best, who said she learned it from her father, whose father, Francis Asbury Meekins (1818-81), also knew it." 1 When first I seen this lovely queen ( )n her I fixed my eyes. And thought in time, while in my prime. To gain her I would try. 2 But all in vain; could not obtain This virgin's love at all. She'd not comply; and the reason why? My portion was too small. 3 If she proves coy and won't comi)ly. No grief it is to me. My suit ni move, and hunt a love Perhaps as good as she. 350 NORTH CAROLINA FOLKLORE Sweet Birds This love song seems, from the number of copies in our collection, to be something of a favorite in North Carolina. It has been previously reported from the state (BMFSB 58-9), Davis reports it from Virginia (FSV 103), and Shearin's syllabus shows that it is or has been known in Kentucky. Its authorship has not been dis- covered. The curious use of "ferns" for "birds" in texts C and G is supported if not explained by the Beech Mountain text, which makes the same substitution. Though all of our texts clearly de- rive from a common original, no two of them are just alike: some- times even new rhymes have been devised. A 'Sweet Birds.' Contributed by Wagner .\. Reese in 1921 or 1922; locale not noted. With the music. 1 The birds are returning their sweet notes of spring O'er meadows and brooklets so near 'Way down by the dell where they joyttilly sing A message of hope and good cheer, As I sit in the dream of my slumber so deep For my darling far over the sea. Jtist ask the sweet birds as they drop off to sleep. Oh, say. does he truly love me? Chorus: Sweet birds, sweet birds. Oh. say that my lover is true. Sweet birds, sweet birds. And then I'll be as happy as you. 2 Oh, tell me. sweet birds, is he thinking of me And the promise he made long ago ? I would gladly give all this world if he'd come l)ack to me. Oh, why do the years roll so slow ? I'm weary and heart-sick of w^aiting so long For my darling far over the sea. Just go to him singing your beautiful song And tell him to come back to me. 3 He said when we parted he loved no one but me. He called me his darling, his ])ride ; He said when he came from over the sea YitW make me his own cherished bride. l>ut I tear he has found iii some tar distaul land Some face that is fairer than mine. I would give all this world for one clasp of his hand And know that his heart is still mine. r () I. K 1. V K 1 c 351 J{ 'Swcft Bird.' I-'roin tlic niaiuiscript soiighook of Jiiaiiita Tillitt, Wan- chese, Roanoke Lslaiul, ohtainoci in March 1923. 'I'hc order of the staiiza>i is changed liere, and there are many minor \ariations. 1 Tell nie. sweet bird, is he thiiikiiiL; ot me And the promise he made loiii^- ai;u? If he wotild return, how happy I'd be! Oh. why does the years creep so slow ? I'm tired and heart-sick of waiting so long For my lover who's far o'er the sea. Go to him and sing him yotir heatitiftil song And tell him to come back to me. Chants: O bird, sweet l^ird, Tell me my lover is true ! O bird, sweet bird, I'll [be] as happy as you. 2 He told me when parting he loved only me. He called me his joy and his pride; Said when he returned from over the sea He'd make me his own happy bride. I fear he has found in some far distant land A face that is fairer to view. I'd give the whole world for a grasp of his hand .\nd to know that my lover is true. 3 \\'hen the birds are a-tuning their sweet notes of spring And the brooks and the meadows I see, Now in the deep they joyously sing And the silver brooks sparkles so clear, I'll sit myself down in a shadow so deep For my lover who's far o'er the sea, I'll ask all the birds as they go off to sleep Do they think that he truly loves me? c 'Sweet Fern.'^ Obtained from Mrs. Minnie Church of Heaton, Avery county, in 1930. One of the "fern" texts, and differing also in other details from A and l'>. After the chorus following stanza 2 the manu- script directs : "Yodel." I Spring time is coming, sweet lonesome birds. Yotir echo in the woodland 1 hear ; Down in the meadow so lonesome you sing While the moonlight is shining so clear. But I know he's away in a far distant land. ^ Spelled "firn" througliout in the manuscript. X.C.F., \u\. Ill, (25) 352 NORTH CAROLINA F O L K L 0 R E A land that is over the sea. (io fly to him singing your sweet Httle song And tell him to come back to me. Clionts: Sweet fern, sweet fern. Oh. tell me is my darling still true? Sweet fern, sweet fern. I'll be just as happy as you ! 2 Oh, tell me. sweet fern, is he thinking of me? In a promise he made long ago He said he'd return from over the sea. Oh, why does the years roll so slow? I know he's away in a far distant land, A land that is over the sea. Go, fly to him singing your sweet little song And tell him to come back to me. 3 Upon my finger he placed a gold ring The day he was leaving his home. I promised I'd be his own dear little girl And love him wherever he'd go. But I know he's away in a far distant land, A land that is over the sea. Go, fly to him singing your sweet little song And tell him to come back to me. D 'Sweet Birds.' From the manuscript soiigbuok of Miss Lura Wagoner of Vox, Alleghany county, where it is dated October 30, 191 1. A some- what reduced version, but it introduces no new elements. 'Sweet Birds.' An anonymous version, but no doubt authentic. Its last stanza somewhat expands the latter part of stanza 2 of A : Oh, why do the days glide by so slowly, Oh, why do the days seem so long? If he would only come back to me. Oh, then how happy I would be ! I am weary, heart-sick of waiting so long For my darling far over the sea. Just fly to him singing some beautiful song .And tell him to come back to me. F 'Sweet Birds.' /\ fragmentary transcript of one stanza and the chorus from a record ascribed to 1. G. Greer of iioone, Watauga county. FOLK I, V K I C 353 'Sweet Finn.' The chorus only, with "firn" for "bird," reported by Airs. \'aught, aijparently from Oakhoro. Stanly county. 296 Going B.ack West "fore Long A Neg^ro work song (NWS 124-5) l)egins 'Tin goin' out West," and our A text of 'Bonnie Blue Eyes' begins "I'm going out west next fall," but this fragment seems to belong to neither. No title. From Lucille Cheek of Cliatham county, proliably in 1923. Ciuing back West 'fore long, Going back West 'fore long, I got a little wife, she is the joy <>f my life, And I'm going back West 'fore long. 297 You Caused Me to Lose Mv Mind The second of these two stanzas is a commonplace of folk love lyric and is found in many of the songs in this section. See also BSM 484-5. The first stanza also is one of the floating elements of folk song; see 'The Midnight Dew^' above. A song called 'Daisy' from North Carolina (JAFL vi 134) and a text of 'Shady Grove' from Tennessee (JAFL xxviii 183) have it, though with "nearly drives me crazy" instead of "you caused me to lose my mind." 'You Caused Me to Lose My Mind.' Contri!)uted by Effie Tucker; no date or place indicated. 1 Oh. Mary girl, oh. Mary girl, What makes you treat me so? Yoti caused me to weep, you caused mc to mourn, You caused me to lose my mind. 2 (Jh, do you see that turkle dove A-flying from pine to pine? She mourns for her own true love ; Why not 1 mourn for mine? 298 I Wish Th.\t Girl Was Mine Shearin in his Syllabus, p. 38, lists as known in Kentucky a song that may be the same as this. Otherwise it seems to have escaped the collector's net. Is it a play-party song? 'I Wish That Girl Was Mine.' From the manuscripts of G. S. Robin- son of Asheville, obtained in 1939. 354 NORTH CAROLINA FOLKLORE 1 When I was a little boy. Just eighteen inches high, How I'd hug and kiss those girls To see their mammas cry ! Chorus: (_)h. 1 wish that girl was mine. Oh, 1 wish that girl was mine ! The only tune that I can play Is T wish that girl was mine.' 2 I'll have my banjo painted red. And e\ery And the only tune 1 can play Is T wish that girl was mine.' 3 ( )h, you better quit that stealin' Kisses on the sly. For the devil he's a-waitin' For to get you when you die. 4 Well, I'm gonna die some of these days, \\ hen it comes my time ; And the last words I expect to say, T wish that "irl was mine.' 299 Cripple Creek The discovery of precious metals at Cripple Creek. Colorado,^ made a strong impression on the imagination of people in the East. This song is or has been known in Virginia (FSV 247-8), Ken- tucky (Shearin 39, SharpK 11 359), Tennessee (JAFL xxviii 180-1), South Carolina (JAFL xxviii 181), Wisconsin (JAFL iii 48), Nebraska (BTFLS vi 40-1), and doubtless elsewhere. Ford, Traditional Music of America 94, reports it as a square dance song in the Middle West. A No title. Contributed by Miss Gertrude Alien (afterwards Mrs. R. C. Vaught) from Taylorsville, Alexander county. Not dated. 1 Going up Cripple Creek, (joing up town, (joing up Cripple Creek To see Sally Brown. ^ Perrow, in a note to his text from Tennessee mountain whites (JAFL XXVIII 180), says that Cripple Creek is "a well known mining district in Virginia" (in Wythe county, in the western neck of the state). But the Nebraska text says expressly "I come from Cripple Creek, Colorado." FOLK L V K 1 C 355 2 L'p the rixtT And across the creek. Never get a letter But twice a week. 3 Going up Cripple Creek, Going on the run. Going up Cripple Creek To have a little fun. B 'Cripple Creek.' From Mrs. Arthur Moore of Lenoir, Caldwell county. in iy22. One stanza only — the last stanza of A. With the tune. 300 My Martha Ann Better known as 'My Mary Ann' (Heart Songs 246; JAFL .\xxi 175-6, from the Province of Quebec), this is one of the many detritus lyrics current in ore popnli. The text from Quebec and that in Heart Songs are essentially the same as ours except for the name. Less closely related are texts from West Virginia (FSS 433-4) and Tennessee (F'SSH 207). 'My Martha Ann.' Contributed by the Misses Holeman of Durham in 1922, with the notation: "Found in old desk purchased in Person county." The first of these three stanzas is really the chorus. 1 Oh. fare ye well, my own Martha Ann. Fare ye well for a while : This ship is ready and the wind is fair And I am hound to sea. Martha Ann. 2 Oh. don't you see a turtle dove Sitting on yonder pile.^ Lamenting the loss of his own true love As I do for my Martha Ann ? 3 A lobster in a lobster pot. A blue-fish on a hook. May sufifer some, but you know not What I do feel for my Martha .\im. 301 High-Topped Shoks Two songs in the collection are held together only by the (|uery about the high-topped shoes, but it furnishes the title for l)oth. The A text begins with the shoe-and-glove dialogue from "The Lass of ^ Other texts of this stanza — see for instance 'The Turtle Dove' in the present collection — show that "pile" .should be "pine." 356 X O R T H CAROLINA FOLKLORE Roch Royal,' proceeds to a bitter denunciation of a false lover, and closes with the stanza about the hig-h-topped shoes. The B text starts with the his:h-topped shoes and passes on to a veritable med- ley that includes reminiscences of 'The Lonesome Road,' 'The In- constant Lover,' and other songs. There is also in the Collection a record of this song as sung by Bonnie and Lola Wiseman at Hin- son's Creek, Avery county, in 1939. 'Those High Topped Shoes." As sung by Herman Houck of Jefferson. Ashe county. There is no indication of the date. A recording was made. 1 'Who's going to shoe those little feet. Or glove those little hands? And who's going to kiss those rosy cheeks Way in some foreign land ?' 2 'Papa will shoe those little feet And glove those little hands' ; 'And I will kiss those rosy cheeks \\ ay in some foreign land.' 3 'Sometimes I wish I'd never been born Or had died when I was yotmg. And never had seen that smiling face Or heard that lying tongtie.' 4 'Oh, where did you get those high topped shoes. That dress that fits so fine ?' T got those shoes from a railroad^ man And my dress from a driver in the mines.' B 'High Topped Shoes.' Obtained from Rosa Efird of Stanly county. Not dated. 1 rj)h, where did you get your high topped shoes And the dress you wear so fine, ni}- love, And the dress you wear so fine ? 2 I got my shoes from a railroad man. My dress from a driver in mind. And my dress from a dri\er in mind. 3 The short cross ties and the long steel rails Was the cause of me leaving my home, my love. Was the cause of me leaving my home. 4 The longest train that I ever saw Was around John Raleigh's grave, mv love. Was around John Raleigh's grave. ' An alternative — or an explanation — of this word is given in the manuscript : "gaml)ling." K () I. K 1. V U 1 c 357 5 'l"he engine passed at halt past nine. The cars were passing- at twelve, my l(>\e. The cars were passinji; at twelve. 6 Look nj). look down that lonesome road; llang down yonr head and cry. my love, I lani^- down your head and cry. 7 There's more than one. there's more than two, There's more pretty j;irls than you, my love, There's more pretty girls than you. 8 You turned me down for the other fellow ; So take him now and go. my love. So take him now and go. 9 You fooled me once, you fooled me twice. But you cannot fool me again, my love, But you cannot fool me again. 302 Who's Gonna Love You, Honfa? Tills fragment of folk lyric 1 have not found elsewhere. 'Who's Gonna Love You, Honey?" Reported in 1922 by Miss Doris Overton (later Mrs. Kenneth M. Brim) from Greenville. Pitt county. Who's gonna love you. honey, when I'm away? Who's gonna stay and say sweet things every day? Who's gonna look into your eyes divine? Who's gonna kiss those lips that I call mine? Who's gonna do those things Lve done for you? Who's gonna love you when Lm gone? 303 Oh, Where Is My Sweetheart? Although this has not been found elsewhere, it seems pretty clearly to be a folk lyric of the same general temper as 'Adieu to Cold Weather' in the Missouri collection (BSM 491--.) • There are three texts in the North Carolina Collection. A 'Oh, Where Is My Sweetheart?' From the inanuscri])! songbook of Miss Lura Wagoner of Vox, Alleghany county. I ( )h, where is my sweetheart? Can anyone tell? Uh, where is my sweetheart? Can anyone tell? Oh, where is my sweetheart? Can anyone tell? Can anvone, anvone tell ? 358 NORTH CAROLINA FOLKLORE 2 He is flirting with another, I know very well. He is flirting with another, I know very well. He is flirting with another, I know very well, 1 know. I know \ery well. 3 Just tell him keep on his flirting. I'm sure I don't care, Just tell him keep on his flirting, I'm sure I don't care, Just tell him keep on his flirting, I'm sure I don't care, I'm sure. I'm sure I don't care. 4 He told me he loved me ; he told me a lie. He told me he loved me ; he told me a lie. He told me he loved me ; he told me a lie, He told me. he told me a lie. 5 Doggone him, I hate him ; I wish he would leave. Doggone him, I hate him ; I wish he would leave. Doggone him, I hate him ; I wish he would leave, I wish. I wish he would leave. 6 I've found me another I love just as well. I've found me another I love just as well, I've found me another I love just as well, I love, I love just as well. 7 God hless him. 1 love him, I wish he was mine. God bless him, I love him, I wish he was mine. God bless him, I love him, I wish he was mine, I wish, I wish he was mine. B 'Oil. Where Is My Sweetheart?' Contributed by Ella Smith; it is not clear whether from Johnston, or Pitt, or Yadkin county. Four stanzas. The first two correspond to the first two of A. except that in stanza 2 "I know very well" becomes "I know^ him too well." Stanza 3 cor- responds to stanza 5 of A except that "I wish he would leave" becomes "I wish he were dead." And it closes: Ciod l:)less him, I love him; I'll take it all back. ( lod bless him, I love him ; I'll take it all back, I'll take it, I'll take it all back. c 'Oh. Where Is My Sweetheart?' Contributed by M. Masten of Winston-Salem in 1914. This has so many minor variations from A that it is given entire, except for the repetition of the lines. The first line of each stanza is sung three times, as in A. 1 ( )h. where is m\- true love? Can anyone tell? Can any. anyone tell ? 2 lie's courting another. I kncjw it too well, 1 li Mick's ("reek, McDowel county. One stanza only. F () I. K 1. V K 1 C 367 Some conic drunk and sonic come boozy, Some come a-huggin' that black-eyed Susy ; Some come drunk and some come boozy, Dog my buttons if I don't kjve Susy! 312 A Housekkei'er's Tragedy Although the theme of this song, the drab life of the overworked housewife, is familiar, especially in that favorite song of the South- ern mountains, "How hard is the fortune of all womankind," this particular development of the theme has not been found elsewhere. The nearest to it that I have found is "A woman's work is never done,' reported from Berkshire in Sharp's Folk-Songs of England IV 30-3 ; but this is less bitter and does not end in the woman's death. It is not improbable that our North Carolina song is orig- inally new s])aper verse by some local poet. A 'A Housekeeper's Tragedy.' Sung t)y OI)adiali Johnson of Crossnore, Avery county, July 14, 1940. 1 One day as I wandered I heard a complaining And saw a poor woman, the picture of gloom. She glared at the mud on her doorstep — 'twas raining — And this was her wail as she wielded her ])room : Chorus: 'Oh, life is toil and love is a trouble And beauty will fade and riches will flee ; And pleasures they dwindle and prices they double. And nothing is what I would wish it to be. 2 'There's too much of worrinient goes to a bonnet. There's too much of ironing goes to a shirt. There's nothing that pays for the time you waste on it, There's nothing that lasts us but trouble and dirt. 3 'In March it is mud. it is slush in December, The midsummer breezes are loaded with dust, In fall the leaves litter, in muggy September The wallpaper rots and the candlesticks rust. 4 'There's worms in the cherries and slugs in the roses And ants in the sugar and mice in the pies. The rubbish of spiders no mortal supposes. And ravaging roaches and damaging flies. 5 'It's sweeping at six and it's dusting at seven, It's vittles at eight and it's dishes at nine, X.C.F., Vol. III. (26) 368 NORTH CAROLINA FOLKLORE It's potting and panning from ten to eleven ; We scarce break our fast ere we plan how to dine. 6 'W ith grease, grime, and cobwebs from corner to center Forever at war and forever alert. No rest for a day, lest the enemy enter, I spend my whole life in a struggle with dirt. 7 'Last night in my dreams I was stationed forever On a far little isle in the midst of the sea. My one cliance for escape was a ceaseless endeavor To sweej) off the waves as they swept over me. 8 'Alas, 'twas no dream ! For again I behold it ; I yield, I am helpless my fate to avert !' She rolled down her sleeves and her apron she folded. Then laid down and died and was buried in dirt. B 'Oh, Life is a Toil !' Secured by Julian P. Boyd of Alliance, Pamlico county, from Graham Wayne, one of his pupils in the school there. Only the first two stanzas and the chorus. The second stanza runs : There's too much washing that goes to a garment. There's too much ironing that goes to a shirt. There's nothing to pay for the time you waste on it. There's nothing that lasts but trouble and dirt. 313 Kissing Song A sequence or number sons^'. Randolpli ( OFS iii 89-91 ) reports it from Missouri and mentions a recording^ of it in tlie Arcliive of American Folk Song. 'Kissing Song.' Contributed by Professor J. T. C. Wright of the Appalachian Training School at Boone in 1922. Each stanza is made up of repetitions in the manner illustrated here in the first stanza. With the tune. 1 I gave her kisses one, kisses one, I gave her kisses one, kisses one. I gave her kisses one And she said 'twas well begun ; So we kept kissing on. kissing on. 2 I gave her kisses two. And she said that wduld not do. 3 I gave her kisses three. And she .said it did agree. FOLK L V K I C 369 4 I ,na\e her kisses lour, And slie said she wanted more. 5 1 i;a\ e her kisses live. And she said slu- was yet ahve. 6 I gave her kisses six. And she said that they (hd mix. 7 1 ga\e her kisses seven. And she said she was in heaven. 8 1 gave her kisses eight. And she said it was not late. 9 I gave her kisses nine. And she said she woukl he mine. 10 I gave her kisses ten. And she said. 'I*)egin again." Another sheet in the collection, i)robably from the same contriiiutor, has the first stanza only, with the sexes reversed : She gave me kisses one. kisses one, She gave me kisses one, kisses one, She gave me kisses one — the gun — And we kept kissing on, kissing on. 314 My Mammy Don't Love Me Of this song, incomplete in our collection, Perrow (JAFL xxviii 187) reports a four-line fragment from Mississippi. The first four lines in our text are from Thomas Smith of Zionville, Watauga county, prohably in 1915; the rest, with the music, is from Miss Pearle Webb of Pineola, Avery county, in 1921 or thereabouts. Smith notes that it has been "used by banjo pickers here for 12 or 15 years." 1 Mv mammy don't love me, she won't hnv me no shoes, W on't give me no corn-licker, won't tell me no news. 1 love-a nohody. nohody loves me. Always to drink licker, always to he free. 2 Come here, honey, t("ll me what I've done. Come here, honev, tell me what I've done. I've killed nohody, I've done no hanging crime, I've killed nohody. I've done no hanging crime. 3 If you mistreat me you'll mistreat another man's wife, If von mistreat me you'll mistreat another man's wife. (incomplete) 370 NORTH CAROLINA F 0 L K L 0 R K I Wondered and I Wondered This quip was noted by John A. Lomax and pubHshed by him in the Sorth Carolina Booklet vol. xi, No. i, pp. 27-9. I have not found it elsewhere. 1 wondered and I wondered All the days of my life, Where yoti're goin', Mr. Mooney, To get yourself a wife, Where you're goin", where you're goin' To get yourself a wife. 316 My Mammy Told Me Tliis homely warning may be a part of some longer song, but in our collection it always consists of four lines, with but slight vari- ations. I have found it only in North Carolina. All of our texts are from singing. 'My Mammy Told Me.' From Miss Fronde Kennedy, Durham ; not dated, but secured some time in the period 1920-22. My mammy told me long years ago, 'My son, don't marry no girl you know. She'll spend all your money and she'll wear out your clothes. And what will become of you the Lord only knows.' B 'My Mammy Told Me.' From the Misses Holeman, Durham, in 1922. My mammy told me long years ago, 'Son, don't you marry no girl you know. Spen' all your money, sell all your clothes ; So don't you marry no girl you know.' 'My Mammy Told Me.' Reported l\v Mrs. Sutton from Lenoir, Cald- well county, in 1927. She does not name licr informant. Aly mammy told me long time ago, 'Son, don't you marry no gal you know. Spend all yo' uKjney, sell all yo' clothes ; Then what'U come o' you God almighty knows.' FOLK 1. V K I C 371 On, Honey. W'iikrk You Been So Long? Another fragment of the Hoating lyric of the folk. Gordon (FSA 79-80) gives a ten-stanza text of it as a hanjo picker's song;, appar- ently from the Soutliern mountains, calling it a well-known song; but I have not found it reported elsewhere as folk song. 'Song.' Contributed in 1923 Ijy Lucille Ciieck of Chatham county. 1 'Oh, honey, where yoti been so long ? ( )h, honey, where yoti been so long ?' '1 been round the bend and I come back again.' 'Oh, honey, where yon been so long?' 2 'Oh, honey, where you been so long? Oh, honey, where you been so long?' 'And it's when I return with a ten dollar bill It's "Oh, honey, where yoti been so hjng?" ' 318 Away Out On the Mountain I have found no trace of this song elsewhere, but it bears its own evidence of being folk song. In spirit and in rhythm it is like "The Big Rock Candy Mountain,' but it bears no verbal resemblance to that favorite of the hoboes. Is it a relic of the days of Davy Crockett? Two words in it, "bile" in stanza 4 and "spontain" in stanza 5, are (luite beyond my ken. 'Away Out On the Mountain.' From the John Burch Blaylock Col- lection, made in Caswell and adjoining counties in the years 1927-32. 1 I ])acke(l my grip for a farewell trip ; 1 kissed Stisan Jane goodbye at the fountain. 'I'm going.' says I. 'to the land of the sky, -Vwav otit on the mountain. 2 "Where the wild seed grows and the buffalo lows And the sqtiirrels are so many you can't count 'em ; Then I'll make love to some turtle dove, Away out on the mountain. 3 'When the north wind blows and we are gonna ha\e snow And the rain and hail comes bouncin', I'll wrap myself in a grizzly bear's coat. Away out on the mountain. 4 'Where the snakes are bile and the beavers are wild And the beavers paddle on walking canes ; Then I'll wrap my booze in a buffalo hide, Away out on the mountain. 372 NORTH CAROLINA FOLKLORE 5 'I'm going where the whippoorwill sings me to sleep at night And the eagle roosts on the rocks of spontain ; I'll feast on the meat and the honey so sweet Awav out on the mountain.' 319 The Garden Gate Tolnian (JAFL xxix 177) gives a fragment of this found in Indiana and notes that it is printed in English County Songs, p. J2. Kittredge adds tliat it is by W. Upton and occurs in numerous song- books and stall prints. I have not found it reported by any Ameri- can collector except Tolman (and perliaps Shearin, whose Syllabus, p. 29, lists a similar title I. Our text, like Tolman's. is a fragment. 'Just Down to the Gate.' From the singing of Miss Pearle Webb of Pineola, Avery county, in 1922. Just down to the gate, dear mamma, Just down to the garden gate. The moon shines hright and such a nice night. I'll just go down to the gate. 320 Susy Gal This sounds as thougli it might be a play-party song, but it is not so labeled. I liavc not found it elsewliere. 'Susy Gal.' Contrilnited by Beulah Walton of Durham in July 1923. Susy licked the ladle An' 'er dolly rocked the cradle. (ioodhye, Susie gal, I'm gone again. I fell into the gtitter And my heart began to flutter. Goodbye. Susie gal. I'm jjone asfain. 321 Joseph us and PjOhunkus This song, familiar to collegians a generation or two ago and I)erbaps to their successors of the present day, is represented by three texts in our collection. Its origin I have not discovered. Spaeth gives it in Read 'lim and ll'ccp 91-4: Davis (FSV 145) reports it from X'irginia; Pcrrow (JAFL xxvi 125-6) reports'it F 0 I. K I, V R I c 373 as suns by Negroes in Mississippi with a stanza from 'Uncle Ned' pretixecl to three stanzas of the sons proper. Similarly one of our texts hesins with the opening stanza of Albert Gorton Green's humorous poem 'Old Grimes is Dead." So does one from Missouri (OFS 111 177-8) and one from Indiana (lll'd.P) 111 5). A 'Old (h-inics Is Dead.' Ccnitrihutcd in lo-',^ liy Zilpali lM-isl)ic of Mc- Ddwcll (.-miiity. With the tune. 1 ( )](1 Grimes is dead, that good old man; We ne'er shall see him more. He tised to wear a long-tailed coat All buttoned down liefore. 2 And that old man he had two sons. And these two sons were brothers. Tobias was the name of one, Josephtis was the other's. 3 And these two boys had a suit of clothes. 'Twas made one Easter Sunday. Tobias wore it all the week, Josephus all day Sunday. 4 And these two boys had an old grey mare, And that grey mare was blind. Tobias rode her on in front, Josephus on behind. 5 And that old mare she threw them olT And mashed them into jelly. Tobias fell upon her back, Josephus on her — back too. B No title. Secured by Julian P. Boyd at Alliance. Pamlico county, in 1927 from Duval Scott, one of the pupils in the school there. 1 There were two boys in our town, The one was t'other's brother ; Tobias was the name of one, Ka junky was the other. 2 Now these two boys a-courting went Whenever they thought right ; Tobias in the daytime went. Kajunky went at night. 3 Now these two boys both had a suit, All made on Easter Monday ; 374 NORTH CAROLINA FOLKLORE Tobias wore it all the week, Kajunky wore it Sunday. 4 Now these two boys both had a horse ; .And that old horse was blind. Tobias in the seat he set, Kajunky rode behind. 5 Now these two boys both had a buggy. And it didn't have any cushion ; Tobias in the seat he set, Kajunky went a-pushin'. c The tliird text is witliout indication of source or date and is therefore not presented — though it is much fuller, running to nine stanzas and describing the experiences of the two brothers (the second is called Tychunker ) in drinking, courtship, and mountain climbing, ending : Now these two boys are both dead and buried (It is so sad to tell) ; Tobias to the heavens went, Tvchunker went down to hell. 322 Leather Breeches The "leather breeches" appear in the words sung to a Kentucky fiddler's dance tune (DD 134) and in a square-dance song in the Middle West (Ford's Traditional Music of America 48). 'Leather Breeches.' From Miss Pearle Webb, Pineola, Avery county, in 1922. With the tune. 1 I went down town .\nd I wore my leather breeches. 1 couldn't see the people For looking at the peaches. 2 I went down town And I got a pound of butter ; 1 come home drunk And I throwcd it in the gutter. 323 Old Aunt Katy The refrain suggests that this is a play-party song, but I have not found it recorded elsewhere. There are two copies in our col- lection, one from Miss .\m\ Henderson of Worrv, Rin-ke county, FOLK LYRIC 375 the other from Miss Carrie Stroupe of Lenoir. Caldwell county; but the texts are identical. 1 ( )1(1 .\unl Kat}' was a good old sotil, Patched my breeches right full of holes. Refrain: Up the ridge and down the ridge And rtni old Katy home. 2 Old Aimt Katy was a good old soul, Crossed the bridge and paid her toll. 3 ( )ld Aunt Katy dressed mighty fine, Got a red dress just like mine. 324 Kindling Wood A stanza about kindling wood is reported as part of a play- party song in Michigan (JAFL xxxiii 127), but it bears little resemblance to the North Carolina song. On one of our texts, Ware's. Dr. White notes that it was popular as a college glee-club song c' 1905-15. It has not been found in other collections of folk song. A 'My Name Is Dinah.' Contributed by Louise Lucas of White Oak, Bladen county, in 1922. My name is Dinah From South Carolina, And I'm selling kindling wood to get along. Refrain : Kindling wood, kindling wood, I'm selling kindling wood to get along. If you don't believe me come down to see me. For I'm selling kindling wood to get along. B 'My Name Is Dinah from South Carolina.' Reported in 1922 from Albemarle. Stanly county, by R. D. Ware, student at Trinity College. My name is Dinah, From South Carolina, And I'm selling kindling wood to get along. And won't you buy some. Oh won't you buy some, For . 276 NORTH CAROLINA FOLKLORE C No title. Reported by Gertrude Allen (Mrs. \'auglit ) from Taylors- ville, Alexander county. Her name is Ina And she's from South Ca'lina And she's splitting kindling wood to get along, To get along, to get along, And she's splitting kindling wood to get along. 325 Mother, May I Go Out to Swim? This jingle is probably known all over the country and for that very reason has not been recorded by folklorists; at any rate, I have found it reported only from Ontario (JAFL xxxi 55. 115). 'Mother, May I Go Out to Swim?' Reported by Louise Watkins from Wayne county. ^Manuscript not dated. 'Mother, may I go out to swim?' 'Yes, my darling daughter. Hang your clothes on a hickory limh, And don't go near the water.' 326 River's Up and Still A-Rising A medley of inconsequent couplets which I have not found else- where. 'River's Up and Still A-Rising.' Contributed by Ella Smith of Yadkin county. There is also in the Collection a recording of it from Mary Barbour of Raeford, Holt county, but the editor has not seen her text. 1 River's up and still a-rising; Just got hack from a negro hai)tizing. Chorus: Farewell, mourners, farewell, mdiu'iiers. (joodhyc, i'se gwine to leave }'(»u hc'hind. 2 1 never seen the like since I've heen horn ; Big cow jumped in the little cow's horn. 3 Had an old shirt, had no collar, Looked like a hlack man sitting in de parlor. 4 Had an old shirt, had no sU'cve, Looked like a whi])] rwill tr\ing U) sneeze. ::; 1 lad an old hal. had no hriuL I ,ook(.'(l like a blue jav sitting' on a limb. K 0 L K I. ^• K I c 377 3-V Tjtti.k I)R()WN Hands Concci'Tiiiii;- this soiii;' the contrihutor says that she can find no trace of it heyond the family tracHtion from which slie secured it. Neither can the editor. But whatever its origin it lias clearly been traditional soni;- in the Maury family. Miss Barnwell writes: "It was sunt^ by Lucinda Maury to her s^randchildren — whether it was a well known song of the day or a hand-me-down folk son<^ of that part of the country 1 don't know. This, however, 1 do know: that it was handed down from j^eneration to generation in our family, and lias been ]ireserved for us because ai)])arently each .t;eneration l(i\ed it." 'Little Brown Hands.' Contributed in 1937 by Miss Mildred (J. Barn- well of Gastonia, Gaston county, from family tradition. 1 They dri\e the cows home from the pasttire Down through the long shady lane Where the ((tiail whistles lottd in the wheattield All covered with ripening grain. They search in the tall, waving grasses Where the scarlet-lipped strawberry grows ; They find the earliest snowdrops x\nd first crimson bud of the rose. 2 They know where apples are reddest And sweeter than Italy's wine. They know where the fruit hangs the fullest On the long-thorny blackberry vine. They toss in the tall rocking treetops Where oriole hemlock nests swing. And at night-time are hushed in slumber By the song that a fond mother sings : 3 ■( )h they wdio are brave are the strongest, The humble and poor become great. And from little brown-handed children Shall gi-ow mighty rulers of state. The pen of the author and statesman. The noble and wise of the land. The chisel, the sword, and the pallet Are held in the little brown hand.' IX SATIRICAL SONGS CLASSIC folkloristic studies of life in primitive communities indicate that satirical songs constitute an important aspect of folk singing. Gummere and Kittredge cite instances of communal improvisations by Faeroes fishermen in ridicule of some hapless fellow who had made himself obnoxious or unfavorably con- spicuous. They tell us also about mocking verse treatments of incidents and characters in cigarette factories in the days before girls with nimble fingers were supplanted by tlie marvelous machines that visitors see today in the Chesterfield, the Lucky Strike, and the Camel factories of North Carolina. In the closely cultivated areas of literary history the casual student of Robert Burns and his milieu cannot fail to note a widespread and deeply rooted tradition of satirical song among the Scottish peasantry of the eighteenth century, as evidenced by Burns's references to such rhyming "neeburs" as Davie and J. Lapraik, his casual mention of the old custom of "sang about," and the profusion of satirical songs of local and topical nature that Burns himself turned out, many of them reworkings of pieces floating about the countryside. The four songs of the North Carolina Regulators, placed among the North Carolina native ballads because they are primarily nar- rative and historical, undoubtedly stem out of a tradition of eighteenth-century English popular verse wliich was contempora- neous with Burns's background and which left its mark on New England colonial and Revolutionary literature in such pieces as 'Revolutionary Tea,' 'The Battle of the Kegs,' and "Yankee Doodle.' Both the conservative and the reproductive functions of any social tradition re(|uire settled ways of life, especially those employing verbal media. Constant moving about was a disturbing feature of frontier life. This not only banged up the furniture but also shat- tered skills, as anyone brought up in the South or the West real- izes while looking at tlie furnishings of period rooms in museums like that of the Concord Antiquarian Society, unconsciously com- paring them with the "anti(|ues" of a newer region. And thus it was with folk songs of all kinds, but especially with those that sprang out of an intimate and self-conscious communal lite. New songs were slow to arise because people need to live together and observe one another a relatively long time before comlitions are ripe for social satire. SATIRICAL S 0 N C. S 379 Other causes doubtless helped to break the tradition of satirical song. One may have been the slow disintegration of the general body of folklore in its broad sense of inherited knowledge, whether from books or from oral sources, and of folk ways, that must function in the creation of the most elementary satire. Still another was the decided masculine preference for the anecdote or tall tale, wliicii took a spontaneous prose form that made verse seem precious. While women un(|ucstionabIy played the more important role in re- membering the old songs and ballads, the men as un(|uestionably made up most of the anecdotes and tall tales, and it seems probable that men have been the most successful folk-tale tellers. Of the many other possible causes of decline in satirical song, perhaps the most important was the substitution of professional for homemade entertainment. The minstrel and vaudeville songs, often based on genuine folk originals, tended by their greater cleverness and catchiness to crowd out the traditional pieces and abate the custom of making up new pieces. Nowadays the process is being repeated through the new media of the phonograph and the radio. Though the situation is fluid and rapidly changing, it is nevertheless not hopeless for true folk poetry. Songs introduced by the newfangled publicity media sometimes go wild and flourish in the no man's land of popular tradition. Up-to-date means of rapid communi- cation simply accelerate the process by which a song of individual authorship in the old days gradually became the possession of a group, next a neighborhood, and finally a region or even a nation, somewhere along the line becoming a genuine folk song. The Collection has a group of satirical songs, but it is a rela- tively small group, and the social features that the songs depict have lost some of their early sharpness and color. The scarcity of these songs is perhaps more apparent than real. Exigencies of folk-song classification and arrangement have required the editors to place in other sections of this book songs that are similar in spirit but different in genre. Besides the ballad-like songs of the Regulators, there are several satirical pieces among the native North Carolina ballads, a few among the war songs, and scattered examples among the courting, drinking, and homiletic songs, the bird, beast, and fish jingles, and the secular Negro songs. The following pieces have seemed to the editors to be more purely satirical than anything else. Apropos of the first group, regional and local satires, some read- ers will recall William Byrd's caricatures of North Carolinians and North Carolina manners in The Secret History of the Dk'iding Line. Others will remember the gusty humors of Skitt's (H. E. Taliaferro's) Fisher's River (North Carolina) Scenes and Char- acters. A few will be reminded of the naivete of Shepherd M. Bugger's The Balsam Groves of Grandfather Mountain. Such 380 NORTH CAROLINA FOLKLORE readers will unanimously regret that the song examples of the species are so few, so hrief, and on the whole so vague. After remarking that the "Carolina crew" milked the cow in the gourd and "set it in the corner and kivered it with a board" (as, doubtless, did the Virginia crew), the Carolina Thalia takes a fling to hear banjo music in Cumberland Gap and flies away to dance to the fiddle of 'The Arkansas Traveler' and listen to the life and hard times of San ford Barnes. Without specific local auspices. Thalia settles down to more sus- tained efforts in poking fun at the various trades and callings, in such pieces as 'Hard Times,' 'The Dodgers,' and 'Calomel.' In 'Twenty (Forty, Sixty) Years Ago' she describes social changes in a manner that seems to have given the song an especial attraction for North Carolinians. "If You Want to Go A-Courtin" takes the conditional situation of its title as a starting point for extensive satirical observations, including the handling of milk and proper manners at Old Noah's house. "Johnson Boys' and 'When Young JNIen Go Courting' stick more closely to the situation. The bucolic muse may deny responsibility for 'The Wood Haulers,' but it seems to the editors to belong more to her than to any of her sisters. In ascribing to her such pieces as 'Preacher in the Pulpit,' 'Wait on de Lord,' 'Walk in the Parlor.' and 'Jonah and the Whale,' the editors are much surer of their ground. They are regretful, too, that the vast and fertile field which such songs barely scratch was not brought under the sharp plough of a native tradition such as lies behind 'Holy Fair' and 'Holy Willie's Prayer,' and that it is to the prose writers like the Reverend Lorenzo Dow rather than to the songs of rustic bards that we must go for pictures of frontier religious manners and the New W'orld analogues of the battles be- tween the Auld Licht and the New Licht. 328 The Carolina Crew This is a fragment of the song of regional satire best repre- sented in our collection by 'If \'ou Want to Go A-Courtin'.' p. 393. Reported heretofore from X'irginia ( SharpK 11 g ) and North Carolina (SharpK 11 6-8 J. A variant stanza, with allusion to "the Tuckahoe crew." is quoted in Margaret Prcscott Monta- gue's Up Eel River (New York, 1928), p. 6. The author stated in a letter to A. P. Hudson that the stanza "is an adaptation of an old song I used to hear in the mountains of West Virginia. . . . The last line I imagine is applied to any locality that the singer holds in especial contempt. "'I'uckaliot.'' ]iai)])ens to be a hollow in my neighborhood at White .Sulpjiur .Springs which is especially looked down upon by its neighbors." (See A. P. Hudson. "The Singing South," Scit.'anec Rc^'iira', July 1936. p. 20. ) S A T 1 K 1 C A L S O N c; S 38I 'Tlic Carolina Crew." Ropditctl by tlic Misses Ilolciiian of Durham in 1 had a little cow and 1 milked her in the gourd, I set it in the corner and kivered it with a hoard. That is the way we used ter do \\ hen 1 lived 'lone with the Carolina C rew. 329 Cumberland Gap This is known in Kentucky (BKH 176-8, JAFL xi.ix 241-2), and Miss Scarborough (SCSM 65) describes it as a tiddler's piece in North Carolina. It is included in Kand()l])h OFS in 264 and listed by Davis FSV 247. 'Cumberland Gap.' From tlie manuscripts of G. S. Robinson of Aslie- ville, in August 1939. 1 Lay down, hoys, and take a little nap ; Forty-four miles to the Cumberland CJap. 2 Lay down, hoys, and take a little nap ; Snow knee-deep in Cumberland [(JapJ. 3 Cuml)erland Gap's no gap at all. Lve been shot with a cannon ball. 4 Cumberland Gap's a devil of a place, Couldn't tind water to wash my face. 5 Pretty little girl, if you don't care ril leave my demijohn a-setting right here. 6 If it ain't here when I get back I'm going to raise trouble in Cumberland (Jap. 7 Me and my wife and my wife's pap Walked all the way from Cumberland Gap. 330 Arkansas Traveler (I) Not to be confused with the 'Bill Stafford' or 'San ford Barnes' song, which sometimes goes by the same name. Both are satires upon the state; but this appears to have originated (|uite definitely in i)rint. See Cox's headnote, FSS 503. Only a fragment of it has C(jme into the North Carolina Collection. 'Arkansas Traveller.' Reported by Thomas Smitii of Zionville, Watauga county, as a dance song, fiddle and l)anjo, with the remark that while not as old as some others it "has l)eeii popular for several years. Joe 382 NORTH CAROLINA FOLKLORE Thompson, one of our great fiddlers, has played this tune for many years." 'Hello, stranger!' "Hello yourself. If you want to go to h jist go by yourself." 331 Arkansas Traveler (H) This has no connection with the humorous dialogue known as "The Arkansas Traveler'; instead, it is a piece of local satire akin to "If You Want to Go A-Courtin" and 'Johnson Boys.' It is also known as "Sanford Barnes' and as "Bill Stafford.' For its occur- rence elsewhere see BSM 424, and add to the references there given Indiana (BSI 267) and Virginia (FSV 142, listed). Our two texts, though evidently forms of one piece, sliow the variations to be expected in a song that passes by oral tradition. A 'Arkansaw Traveler.' Reported by I. G. Greer of Boone, Watauga county, some time in 1915-16. 1 My name is Santford Barnes. I came from Little Rock town. I've traveled this wide world over, I've traveled this wide world round ; I've had many ups and downs, Through life better days I've saw, P>ut I never knew what misery was Till I came to Arkansaw. 2 'Twas in the year of eighty-two. The merry month of June, I landed at Hot Springs One sultry afternoon. There came a walking skeleton And gave to me his paw. Invited me to his hotel ; 'Twas the best in Arkansaw. 3 I followed my conductor Into his dwelling place. It was starvation and poverty Pictured on his face. His bread it was corn dodgers. His beef I could not chaw. He charged me hfty cents a meal In the state of Arkansaw. S A T 1 R I f A I. SON G S 3^3 4 I Started back next morning To catch the early train. He said. 'Young man, you'd better work for me. I have some land to drain ; I'll give you fifty cents a day, Your washing and old chaw ; You'll feel (|uite like a different man When YOU leave old Arkansaw.' 5 I worked for tlie gentleman three weeks, less Hare was his name; Six feet seven inches in stocking length And slim as any crane ; His hair hung down like ringlets Beside his slackened jaw ; He was the photograph of all the gents That was raised in Arkansaw. 6 His bread it was corn dodgers As hard as any rock ; It made my teeth begin to loosen, My knees begin to knock. Got so thin on sage and sassafras tea 1 could hide Ixdiind a straw — I'm sure I was quite like a different man When I left old Arkansaw. 7 I started back to Texas A quarter after five. Nothing was left but skin and bone, Half dead and half alive. I got me a bottle of whiskey ^ly misery for to thaw. Got drunk as old Abraham Lincoln When I left old Arkansaw. 8 Farewell, farewell. Jess Hare, And likewise darling wife. I know she never will forget me In the last days of her life. She put her little hand in mine And tried to bite my jaw .And said. 'Mr. Barnes, remember me When you leave old Arkansaw.' 9 l-'arewell. farewell, swamp angels Who can't break in the chills ; Farewell to sage and sassafras tea X.C.F.. Vol. III. (27) 384 NORTH CAROLINA FOLKLORE And corn dodger jnlls. If ever I see that land again I'll give to you my paw, It will be through a telescope From here to Arkansaw. B 'A Traveler in Arkansas.' From the manuscript of G. S. Robinson of Asheville. Copy taken in August 1939. 1 My name is Elmer Page, boys, I came from Mil ford Cen- ter, Ohio town. For a long, long time I've roved this wide world around. Of all the ups and downs of life, great many of them I've saw, But I never knew what misery was until I went to Arkansaw. 2 It was in the year of 1889, in the merry month of June, I landed in Helena one sultry afternoon. Up came a walking skeleton with a lean and lantern jaw, Invited me to his hotel, the best in Arkansaw. 3 I followed my conductor unto his very place. While misery was depicted upon his peaked face. Flis bread was corn dodger, his meat I couldn't chaw. And fifteen cents he charged me in the state of Arkansaw. 4 He was to wake me in the morning to take an early train. Says he. 'Young man, you better stay ; I have some land to drain. I'll give you twenty cents a rod. your washing, board, and all. And you will be a different man when you leave Arkansaw.' 5 Three long months I worked for this big swaiup angel, with the ague and the chills. They dosed me with sage and sassafras and corn dodger pills. As I lay upon my bed. was built of hay and straw ; In faith I was a different man when I left old .Arkansaw. 6 The day I left that cussed place — I dread the memorv still— I nearly shook mv boots oft with a blasted ague and chill.' T straightaway went into a saloon my misery to thaw. And 1 got drunk as blazes when I left Arkansaw. S A T I R I C A I. S () \ r. S 385 Farewell to those swanip angels, the ague and the chills, Likewise to sage and sassafras and corn dodger pills. If ever I see that land again, 1 give to you luy paw, It will be through a telescope from here to Arkansaw. 332 Hard Times Moralizinj;- or satiric ballads upiin the vices and foibles of the time were not infrequent in the heyday of printed balladry, the seventeenth and eighteenth centuries, and are not extinct yet. .See B.SM 433, and compare the pieces of regional satire, 'If N'ou Want to Go A-Courtin',' 'Johnson Boys,' 'Arkansas Traveler.' A 'Hard Times.' From the manuscript songbook of Miss Liira Was.;nncr of Vox, Alleghany county, lent to Ur. Brown in 1936. 1 Come listen a while, 1 will sing yuu a song Concerning hard times, and it shall not be long. Since everybody is trying to buy And cheat each other and think it's right ; And it's hard times. 2 From brother to brother, from sister to cousin. They all have learned to cheat each other; Since cheating has come so much in fashion I fear it will spread quite over this nation ; And it's hard times. 3 The blacksmith labors by the sweat of his brow, And so does the farmer by following his plow ; They're both a man on their own conceit And will cheat each other in measure and weight ; And it's hard times. 4 Here is the shoemaker ; he's worse than them all. He bristles his end to follow his awl. He'll sew a stitch an inch at a clip And swear to the buyer the shoe will never r\\). And it's hard times. 5 Here is the old doctor ; and, so they tell me. He says he will cure y(ju for a very small fee. He says he will cure you for half you i)ossess, And when he don't kill you he takes the rest. And it's hard times. 6 Here is the old preacher ; he rides in his stage. He'll take out his Bible and read you a page, 386 NORTH CAROLINA FOLKLORE He'll preach a sermon for you to go by, And if you set him to trading he'll tell you a lie. And it's hard times. 7 Young ladies will rise at the dawn of the day, They'll rufifle and shuffle, they'll try to look gay, They'll comb up their hair so nice and so neat To make the young men think they look sweet ; And it's hard times. 8 Young men will rise, to the church they will go, They'll ruffle, they'll shuffle, they'll make a fine show ; They'll stop at the tavern and there drink wine ; And all such boys the gallows will find. And it's hard times. 9 Here is the old nuTchant. I must have him in. He's bound to extortion and thinks it's no sin. He'll tip up his stillyards and make them weigh down, And swear it's good weight if it likes^ ten pound. And it's hard times. 10 Here is the old miller I'd like to have forgot. He's always sitting a-pecking his rock. He's always pleading his toll dish small ; Sometimes he takes half and sometimes he takes all. And it's hard times. 1 1 Here is the young men ; they're worse than all. They tell you they love you to try their own soul. They tell you they love you when they're sitting by And when they get away they'll swear it's a lie. And it's hard times. 12 And now I will make you an end of my song. It was very well worded and not very long. And if everybody don't come at this call. If the Lord don't take them the devil gets all. And it's hard times. B 'Hard Times.' From Miss Jewell Rohhins (later Mrs. C. P. Perdue), Pekiii, Montgomery county, some time between 1921 and 1924. With the tune. Basically the same text as A hut reduced by omissions from twelve stanzas to five and witli numerous minor alterations. I Come all ye young ])c()])le, 1 sing you a song Which is not very long, ^ This (for "lacks") is allowed to stand as lieing prol)ahly what the singer really says. SATIRICAL S 0 N r. S 387 How everybody is trying- to trade And cheating- each otlier. 1 cannot tell why, h>oni father to mother and sister and hrcjther And cousin and kin folks are cheating each other. And it's hard. hard. hard, liard times. 2 There is the old blacksmith I'd like to've forgot; I believe in my soul he's the worst of the lot. He'll shoe your horses and sharpen }'our plows And at the end of the year he'll dri\e off vour cows. And it's hard. Iiard times. 3 There is the old shoemaker I'd like to've forgot; I believe in my soul he's the worst of the lot. He'll go stitching along an inch at a clip And he'll swear by Joe it never will ri]). And it's hard, hard times. 4 There is the old preacher I'd like to've forgot; I believe in my soul he's the worst of the lot. He'll go to church twelve times in the year. And if you die and go to the devil he really don't care. And it's hard, hard times. 5 There is the young lady I'd like to've forgot; I believe in my soul she's the worst of the lot. She'll slick up her hair and to church she will go, And what is it for but to catch her a beau ? And it's hard, hard times. c 'Hard Times.' Reported by Vernon Sechrist of Thomasville, Davidson county, in 1928, "as remembered by Mrs. Augusta Fonts at the age of "J"] years." The first stanza only. D 'Hard Times." From Miss Pearle Webb of Pineola, Avery county. The tune, and a fragmentary stanza not found in A or B : I really do believe it's for the sake of old They starve the women and the children out of bed. And it's hard times, hard times. 333 The Dodgers A satire upon callins^s. like 'Hard Times,' but not so well known; in fact, I have found it reported elsewhere only from Arkansas (OSC 289), thougli very likely it circulated as a stall ballad at some time. B. A. Botkin prints a version of it in A Treasury of 388 NORTH CAROLINA FOLKLORE American Folklore (New York, 1944), pp. 875-6. See Randolph OFS III 218. Rhythmically it seems to liave been suggested by the old Scotch song 'We're A' Noddin'.' 'The Dodgers.' From the manuscript notebook of Mrs. Harold Glass- cock of Raleigh, lent to Dr. White in 1943. The songs in this book -Mrs. Glasscock learned from her parents. 1 Oh. the doctor he's a dodger. Yes. he's a curing dodger. Oh. the doctor he's a dodger. Yes, he's a dodger too. He'll tell you he can cure you And dose you on rum and honey ; If you die the next day He's a-dodging for your money. Chorus: And we're all a-dodging. A-dodge dodge dodge dodging^ And we're all a-dodging Our way through the world. 2 Oil, the lawyer he's a dodger. Yes, he's a talking dodger. Oh, the lawyer he's a dodger. Yes, he's a dodger too ; He'll tell you to sue your neighhor And look on him with scorn ; But look out. farmer. He's a-dodging for your corn. 3 Oh. the merchant he's a dodger, Yes, he's a selling dodger. Oh. the merchant he's a dodger. Yes. he's a dodger too. He'll bow and scrape and flatter And show you all his colors. But look out. ladies. He's dodging for your dollars. 4 Oh. the preacher he's a dodger. Yes. he's a jireaching dodger. Oh, the preacher he's a dodger. Yes. he's a dodger too. He'll ]jreach to you the scriptures And tell you of your crimes ; But look out. sinners. He's a-dodging for your dimes. ^ So the line in the manuscript ; l)ut tlie rhythm suggests tliat there should be one less repetition of tlio "dodge" syllaldc. SATIRICAL SONGS 389 5 Oh, the ladies they are dodgers, Yes. they are co(|uetting dodgers, ( )h, the ladies they are dodgers, Yes. they are dodgers too. They tell you they can sew And cook and nurse ; But look out, gentlemen, Thev are dodging for your purse. 6 Oh, the lover he's a dodger. Yes, he's a courting dodger. Oh, the lover he's a dodger. Yes, he's a dodger too. He'll kiss you and caress you And wish you were his bride ; And when a prettier one comes along Then he'll let you slide. 334 CaLOiMEL For other occurrences of this gibe at the old-fasliioned doctor's reliance on calomel, one of them reaching back to the beginning of the nineteenth century, see BSM 441 and add Indiana (BSl 308-10). Jordan and Kessler's Songs of Yesterday has it as sung by the Hutchinsons. 'Calomel.' From the manuscript notebook of Mrs. Harold Glasscock of Raleigh, lent to Dr. White in 1943. These songs she k-arned from her parents. 1 Let Tom or Dick or Harry get sick. Send for the doctor and be quick. The doctor comes with a free good will And brings with him his calomel. 2 He takes the patient by the hand And compliments him as his friend ; He sits a while his pulse to feel, And then takes out his calomel. 3 He turns unto the patient's wife: 'Have you clean paper and a knife? I think your husl)and woidd do well To take a dose of calomel." 4 He then deals out those fatal grains In hopes that these will ease his pains ; "And every three hours at the sound of the bell Give him a dose of calomel.' 390 NORTH CAROLINA FOLKLORE 5 He leaves has patient in her care And takes his leave with a graceful air. In hopes bad humor to expel She freely gives the calomel. 6 The man grows worse, grows worse indeed. 'Send for counsel, ride with speed.' The counsel comes with a free good will And doubles the dose of calomel. 7 The man in death begins to groan. The fatal work for him is done. His soul is rushed to heaven or hell, The sacrifice to calomel. 8 The neighbors all come in to see. The fatal effects of mercury. (Be not offended, though, and tell It is the effects of calomel.) or (\\'hat is it eft'ects the smell? It is the stench of calomel.) 9 Come, all ye doctors : my first choice, Listen to counsel, take advice ; Be not offended though I tell I'm not so fond of your calomel.^ 335 Twenty (Forty, Sixty) Years Ago Perhaps newspaper verse, perhaps a music-hall piece, this seems to have had an especial appeal for North Carolinians. Henry re- ports two stanzas of it (FSSH 23-4) as sung by Mrs. Ewart Wil- son (who also contributed songs to the Brown Collection) in the Cane River country, and there are four texts of it, coming from three western counties, in our collection. Nowhere else do I find it recorded as traditional song. It has no connection witli William Willing's song of the same title (Heart Songs 280-1, Ford's Tradi- tional Music of America 318-19). The versions using "forty" or "sixty" instead of "twenty" have lost the homely touch about the new-fangled stove. ^ Here the manuscript notes : "Mama didn't know this verse. Papa's verse as he used to sing it : Since calomel lias been your boast, How many patients have you lost? How many thousands have you killed Or poisoned with your calomel?" SATIRICAL SONGS 39I 'Twenty Years Ago.' Contributed in 1921 liy Miss Jewell Robhins (afterwards Mrs. C. P. Perdue) of Pekin, Montgomery county. 1 How woiulrotis are the changes since twenty years ago, When girls wore homespun (h"esses and hoys wore pants of tow. When shoes were made of cowhides and socks of home- spun wool. And children did a lialf day's work hefore they went to school. Chorus: Just twenty years ago go go, just twenty years ago, The men and the hoys, the girls and the toys. The work and the l)lay, both night and day. And the world and its way are all turned round Since twenty years ago. 2 Ah. well do I remember the Wilson patent stove That father bought and paid for with cloth the girls had wove. And how the neighbors wondered when we got the thing to go ; They said 'twould burst and kill us all. some twenty years ago. 3 The girls took music lessons upon the spinning wheel And practiced late and early with spindles, swift, and reel. The boys would ride the horse to mill a dozen miles or so And hurry off before 'twas day. some twenty years ago. 4 Yes. everything has altered. 1 cannot tell the cause. For men are always tampering with Nature's wondrous laws. And what on earth are we coming to ? Does anybody know ? For peo])le lived not half so fast twenty years ago. B 'Some Twenty Years Ago, or, The First Old Cooking Stove.' Sung and written down by Frank Proffitt of Sugar Grove. Watauga county. in August 1937. He could not remember all "of the words. 1 Well do I remember that first old cooking stove. That father bought and ])aid for in cloth the girls had wove. And how the jieople wondered when they got that thing ^° S° ■ . , Thev saifl it'd bust and kill us all some twentv vcars ago. 392 NORTH CAROLINA FOLKLORE Some twenty years ago, some twenty years ago. When the girls and the hoys, the men and the toys They work and they play in the night and the day And' the world and its ways is all turned round Since twenty years ago. 2 The people rode to meeting on sleds instead of sleighs And wagons run as easy as huggies do nowdays. And oxens answered well for teams, luit now they air too slow ; The people did not drive so fast some twenty years ago. 3 And men wore woolen overcoats and boys pants of tow And women linsey dresses, some twenty years ago. . . . c 'Forty Years Ago.' Contributed by IMacie Morgan of Stanly county. A considerably reduced form, which has lost the patent stove. I How wondrous are the changes since forty years ago ! When girls wore woolen dresses and boys wore pants of tow; When shoes were made of cowhide and socks from home- spun wool. And the children did a half day's work before they went to school. Chorus: Just forty years ago, just forty years ago. The men and the boys, the girls and the toys, The work and the play, the night and the day. The world and its ways are all turned round Since forty years ago. D 'Sixty Years Ago.' Another text from Stanly county, this one from Ruth Morgan. Like the preceding it lacks the patent stove, but it has one more stanza. 1 How wondrous are the changes since sixty years ago! When girls wore dresses of linsey and boys wore pants of tow ; Their shoes were n)a(le of cowslible in his hand. Preacher in the pulpit, Bible in his hand. Preacher in the pulpit, Bible in his hand ; Devil in the meal-sack, shaking out bran. Oh, Lordy, come this a-way. Oh, Lordy, come this a-vvay, Oh, Lordy, come this a-way. Never let the . . . you a-way. 343 Preacher's in de Pulpit The first stanza is of the pattern parodied in songs reported by White ANFS 308, 367. The chorus corresponds to 'Fm Going to Land on the Shore,' Jackson WNS 205. 'Preacher's in de Pulpit.' From Julian P. Boyd, as collected from Ruby Casey, a pupil in the school at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro fragment." I Preacher's in de pulpit, Preachin' mighty bold. Preachin' fur de money T(j save de sinner's soul. Chorus: Fm gwine de land on de sho', I'm gwine de land on de sho', I'm gwine de land on de she', And rest forevermo'. 404 NORTH CAROLINA FOLKLORE 2 When I gits in 1 k-bcn, Want you to be there too; When I say, 'Thank God,' 1 want vou to sav so too. 344 Wait on de Lord This is marked: "Nesro fragment?" Dr. White notes: "Stanzas _' and 3 are adapted into Negro song from wliite spirituals. Stanza ,^ is a variation of I'm Mttliodist Ixini and Methodist bred, And wlicn I die I'm a Methodist dead, which enters tlie University of North Carohna coHege song [chorus of 'Hark the Sound of Tar Heel Voices'] by substituting 'Tar Heel' for 'Methodist.'" Cf. 'Baptist. Baptist Is' My Name,' in the present collection. 'Wait on de Lord.' From Julian P. Boyd, Alliance, Pamlico county ; undated, but c. 1927-28. 1 I wonder where is Spencer gone, That used to preach up town. The church is all in mourning. And Spencer can't be found. Chorus: I'm waitin' on de Lord. Wait on de Lord, wait, wait. Wait on de Lord. 2 Some .says John de Baptist is nothing but a Jew. The Holy l>ible tells us He was a preacher too. 3 A P)a])tist, I>aptist is my name, And a Baptist will 1 die. ni l)e a Uaptist in the l>aptist C"hiu-ch .And eat all the baptist pie. 345 I Ni:\i:r Will Ti'kx Hack Aw AIokf. 'i'hc song evidently belongs to the class which White, in ANFS 130- 1, calls "upstart crows," i.e., pieces mildly ridiculing religious fervor or burles(|uing well-known songs of spiritual experience. Refrain and chorus and "1 went down in the meadow for to pray" are taken from serious spirituals. Cf. 'No More! No More!' in this collection. S A T I 1< 1 (.■ A I. S O N C; S 405 '1 Never Will 'rurn l?ack Any More' Vroiu MSS of G. S. R()l)ins(in, Ashevillc, August 4, 1939. 1 W'lu'ii 1 was a hoy I had a liltU- nnile That 1 always rode to Sunday School. Lord. I never will turn hack any more. 2 I rode that mule to church one day. And that old mule "ot in an awful way. Lord. I never will turn hack any more. Chorus: Any more, my Lord, any more, my Lord, Lord, I'll never turn hack any more. 3 I went down in the meadow for to pray, I met old Satan on the way. Lord, ril never turn hack any more. 4 1 turned around to run my hest, And run my head in a hornet's nest. Lord, ril never turn back any more. 346 Jonah and the Whale There is some evidence that songs about Jonah and the wliale have been sung as serious spirituals. White (ANFS 98-9) in- cludes some versions as religious songs and cites W. E. Barton's inclusion of it in Old Plantation Hymns (New York, 1899). But most of White's versions and those in other printed collections indicate that it has been sung chiefly as a "coon" or college glee- club number. Such would seem to be the tone and usage of the following versions. A 'Jonah and the Whale.' With mnsic. From R. A. Swaringen, Trinity College stndent (A.B. 1925?, Duke University summer school 1929, 1031, 1933). Kannapolis, Cabarrus county. Typescript, with two AISS in Dr. Brown's hand. ( )h. for three long days and three long nights Jonah lay in the helly of the whale. Spewed him up in a sandy place. The sun was a-shinin' right down in Jonah's face. Well, a gourd vine growed up and around. Along come a little worm and cut him down. Now. wasn't that a cross on Jonah's little crown? Chorus: Living hunihle. humhle, hunihle, Living humble all your days. 406 NORTH CAROLINA FOLKLORE B 'Jonah and the Whale.' With music. From Misses Hallie and Jean Holeman, Durham, 1922. Phonograph recording, Durham, N. C, 1922. 1 [Not recalled.] Chorus: Humble, humble, humble my soul, An' de bell done rung. 2 Dey throwed Brer Jonah right over de board, An' a big fish swallowed Brer Jonah whole. 3 Brer Jonah he prayed to de Lord fer Ian', An' he heave Brer Jonah right on dry san'. 4 Brer Jonah he prayed to de Lord fer shade. An' de gourd vine growed right over his haid. 'Jonah and the Whale." From Julian P. Boyd, as collected from Alinnie Lee. a pupil in Alliance, Pamlico county ; undated, hut c. 1927-28. Dr. White notes : "Mixes Jonah with the traditional gospel train and gospel ship." This corresponds in part to 'Jonah and the Whale' in Randolph OFS in 368-9. Randolph notes that three stanzas and the chorus of his song appeared in Haiiiliii's Wizard Oil Soiujbook. 1897. 1 Old Jonah like a fool Got as stubborn as a mule ! But the whale made him (|uiokly disajjpcar. Jonah took out his razor And cut the whale in two ; He floated to the shore on his ear. Chorus: Hide away, hide away. For there ain't no use To try to hide away ! Put your l)aggage on the deck. And don't forget yoiu- check. For you stay in the boat. There aint' no use tryin' to hide away ! 2 ( )h, let me tell you boys. You had better look out, F"or the opposition l)oat am a-runnin' too; For the boiler am a-liablc To bust at any time .And cook you Niggers up in a stew ! S A T 1 K 1 f A I, S 0 N C S 4^7 D 'Jonah and the Whale' From Miss Fanccttc (no other information). 1 The whale he, yes. he did, The whale he. no, he di(hi't. The whale he swalltnved Jonah, The whale he swallowed Jonah, The whale he swallowed Jonah down. 2 He spit him np, yes, he did. He spit him up, no, he didn't. He spit him up on some sandy. He spit him up on some sandy. He spit him up on some sandy land. 3 The gourd vine, yes, he did. The gourd vine, no, he didn't. The gourd vine growed around Jonah's, The gourd vine growed around Jonah's, The gourd vine growed around Jonah's head. 4 The greedy worm, yes, he did. The greedy worm, no, he didn't. The greedy worm come along and cut it, The greed}' worm come along and cut it. The greedy worm come along and cut it down. 'Jonah.' From Mrs. J. W. Barbee, Durham; undated. The repetitions shown in stanza i are continued throughout. 1 A whale did, oh, yes, he did, A whale did, I know he did, A whale did swallow Brother Jonias down. A whale did, oh, yes, he did, A whale did. 1 know he did, A whale did swallow Brother Jonias, A whale did swallow Brother Jonias down. 2 He throwed him up, oh, yes, he did. He throwed him up on some sand}' land. 3 A gourd vine, oh, yes, it was, A gourd vine growed round Jonias' head. 4 A greedy worm, oh, yes, it was, A greedy worm came along and cut it down. F No title. From an anonymous contributor, without indication of date and address. This is one form familiar in college glee-chib and other humorous adaptations. 408 X (t R T II t" A R 0 L 1 N A K O L K L 0 R K A whale did. a whale did. A whale did swallow J. j. Jonah. A whale did swallow J. J. Jonah. A whale did swallnw hmah down. 347 Jesus Lover of My Soul White, wlio puhlislied tlie text ( witliout music i in ANFS 133. noted that it is a parody of a familiar liymn. 'Jesus Lover of My Soul." From K. W. l.itaker, Trinity College stu- dent, December 5, 1919, witli music and note : "Heard in Cabarrus county." Jestis, lover of my sonl. Set me on top of telegram pole. When the pole begins to break Take me down for Jesus' sake. 34S P)OB Tngersoll and the Devil Though we think tlie song is of minstrel or vaudeville origin, we have not found it elsewhere. It is in different meter from 'Shinbone Alley.' No. 422. No title. Contril)uted. witliout record of date and address, by William C. Cumming. with the fdllowing note : "In my efforts to discover folk- lore I was given a song that was said to be used at Negro camp meet- ings (in Pirunswick Co.) a good many years ago. There are some things about it that are indeed characteristic of Negro songs, but the utter inconsistency of the meter shows that it has lost much in trans- mission. It is said to be sung to the tune of 'Shin Bone Alley,' what- ever that may be, and is as follows." Some dese days gwine hit 'ini. Ingersoll sing anndder song \\ hen de dehbill git "im. Debbil watch fo' sich as him. Ketch 'im in de cnllar. Choke 'im black an" hit "ini blini. Butt "im till he holler. Debbil stand kimbo straight. Laugh at Ing'soll jirancin', Stan' 'im in a red hot ])late. I *at while I'.ob'.s adancin'. SATIRICAL S 0 N C S 4OC) 349 Lord, I Nfa'kr W'li.i. C'o.mk IJack IIi'-.rk No Mo' From Miss Jewell Robljiiis, Pckin, .Montgimicry county (later Mrs. C. B. Perdue). July 1922, with music. The first stanza is found in a spiritual in this collection. 1 .Some <)' (k'se (l;i\'s ;il)<)iit twtJvc- o'clock, Dis old worl's a gwi' reel and rock. Lawd. I neber will come back bere no more. Chorus: No nio', my Lawd ; No mo", my Lawd; I nebber come back bere no mo'. 2 \\ av down yonder about Arkansas De niggers ain't a-arguin' a tiling but wa'. CYPRESS KNEES X SONGS OF PRISONERS AND TRAMPS '~r*HE SONGS in the following- small section have affinities with -*- many pieces in several preceding sections. They are super- ficially related to the outlaw and murder ballads. They differ from those, however, in subject-matter, aim, emphasis, and point of view. Whereas in the ballads the substance is action and the chief object is to tell a story, in the songs about to be presented the material is mainly feeling and mood, and the purpose is to indulge in self- pity, to convey a state of mind, or to arouse sympathy. By the latter criteria several pieces placed among the ballads, e.g., "Tom Dula's Lament' and 'Shackleford's Farewell Song,' would properly belong here; but they have been left with the true ballads about the same persons. The following songs also resemble many of the constituents of the "Folk Lyric" section. They are separated from those because they show a degree of homogeneous specialization in their subjects. They are the lonely, sometimes maudlin, cry of men who have been alienated from normal society by crime, in- dolence, or misfortune. Of the prisoners' songs, the first printed below has been popular for a long time over a wide area. One of the editors of this col- lection learned the tune and a few stanzas, forty years ago, from a stout and jolly young white man who sang it in a rich bass voice while he chopped cotton in a Mississippi creek-bottom field. The same singer rendered it again one night, to guitar accompaniment, in a moonlit farmyard during one of the intermissions of a country breakdown. 'Twenty-One Years' has at least one stanza notable in folk song for its expression of utter loneliness and alienation. Though lamenting "hard times," "Durham Jail" is satirical rather than self -pitying. Not knowing well the gypsy, whom European folk have senti- mentalized about, the American i)eople have romanticized the tramp or hobo. Half a dozen of the following pieces illustrate this tend- ency. 'May 1 Sleej) in \'()ur Barn Tonight. Mister?' is a widely popular sob story accounting for the speaker's vagrancy. Though a ballad in narrative content, its self-conscious and calculated pathos may justify our placing it here, if not for a reason similar to that which left 'Tom Dula's Lament' among the ballads. Much the same S () N V. S () I' !• R 1 S () N K K S A N I) T K A M I' S 4I I admission iiii.yht he mack' al)()Ut "I'ale of a Traini).' The others, though, are rather lyrical tlian narrative. All these pieces are more concerned about arousing sympathy with or for a human derelict than about telling a story for its own sake. And. poor as most of them are, they may be more interesting than are editorial reasons for placing thcni where they are. The Prisoner's Song Miss Scarborough (SCSM 346) thinks this is a descendant of the English 'Here's Adieu to All Judges and Juries,' which is re- ported from Sussex in JFSS i 135. In this country, especially in the Southern mountains, it has got mixed with a sentimental song by J. A. Wade, 'Meet Me in the Moonlight,' which has nothing to do with prisoners. In its characteristic Appalachian form it has three motives: the jail, the moonlight, and a ship. Nova Scotia texts (BSSNS 303, SENS 309) know nothing of the ship or the moonlight. But texts from Virginia (SCSM 347-9), Kentucky (ASb 216-7), North Carolina (SCSM 349-51), and— as it hap- pens—Iowa (MAFLS XXIX 49) have all three. Another from Kentucky ( FSSH 327) has the prison cell but no moon or ship; one from West Virginia (FSmWV 71-2) has the ship and the moonlight; one from Tennessee (JAFL XLV 82-3) and a Negro song (NWS 83-4, not treated) have the ship only; another from North Carolina (BMFSB 54-5) has the prison cell only, no ship and no moonlight; and one from Mississippi (JAFL xxx'ix 153-4), not a prisoner's song at all, yet has the ship stanza. 'Meet Me in the Moonlight' appears also in our collection sometimes without anv connection with 'The Prisoner's Song.' 'Meet Me in the Moonlight." Reported by Miss Amy Henderson of Worry, Burke county, in 1914. 1 Off to the jail house tomorrow Not far to leave my little darling alone. With them cold iron hars around me And my pillow is made of stone. Chorus: Meet me tonight, darling, meet me Out in the moonlight alone. For I have a secret to tell you AFust he told in the moonlight alone. 2 Oh, I heard that your jjarents don't like me. They have driven me away from their door ; If I had those days to go over I would never come back anv more. 412- N 0 R T H C A R O L I N A K O I. K I. () R E 3 If 1 liad a ship oil the ocean All lined with bright silver and gold, Before mv darling should suffer Mv ship should he anchored and sold. 4 I am dving for some one to love me And some one to call me their own, For some one to be with me always ; 1 am tired of living alone. Dr. Brown notes on tlie manuscript tliat lie heard the cliorus as : A\"on't vou meet me. won't you meet me by the moon- light. Won't you meet me by the moonlight tonight? I have a sweet story to tell you. Won't you meet me by the moonlight tonight?' and one stanza as : 'I have three ships out on the ocean All lined with silver and gold I would have them and sold.' B 'Meet Me hy the Moonliglit.' Reported by W. Amos Abrams from Boone, Watauga county. 1 I am going to a new jail tomorrow. Leaving the one that I love. Leaving my friends and relations; And oh ! how lonely my home. Chorus: Meet me by the moonlight, love, meet me, Meet me by the moonlight alone. For I have a sad story to tell you To be told bv tlie moonlight alone. 2 My parents how cruel they treat me. They drove me away from their door. If I live to be a hundred years older, I'll never go back anv more. 3 ( )li ! if 1 had the wings of an angel I'd fl\- o'er land and o'er sea, I'd f\y in the arms of my darling, And oh ! how happy I'd be. S 0 \ (', S () 1" r K I S () N 1". K S A N 1) T K A M I' S 4T3 4 ( )h ! I wisli I had sonic one to low nic. Some one to call me her own. Some one to always he with me ; I am tired of living- alone. 5 ( )h ! now 1 have some one to love me. Some one to call me her own, Some one to always he with me; ( )h ! don't it heat livin^^ alone? 6 1 have a little ship on the ocean All lined with silver and gold. I know that my darling does own it; 1 know it. for I have heen told. C 'The Prisoner's Song.' From the Jnlm Uurch Blaylock Collection. This has all three of tlie characteristic elements — the jail, tlie ninoniiglit, and the siiip. 1 ( )h, I wish I had someone to love me. Someone to call me their own ; Oh, I wish I had someone to live with, For I'm tired of living alone. 2 Oh, meet me tonight in the moonlight. Meet me out in the moonlight alone ; For I have a sad story to tell you. It's a story that's never heen told. 3 I'll he carried to the new jail tomorrow, Leaving my poor darling alone. With those cold prison hars all around me And my head on a pillow of stone. 4 I wish I had wings like an angel ; I'rom these dark prison walls I would fly, I would fly to the arms of my darling And there I'd be willing to die. 5 1 have a fine ship on the ocean, All lined with silver and gold ; And before my poor darling should sulifer J\ly fine ship would be anchored and sold. D 'Meet Me in the Moonlight.' From A. E. Elliott of Farmer, Randolph county. With the tune. Four stanzas and chorus, of which stanzas I, 2, 4, and chorus correspond with slight vcrhal variations to stanzas I, 2, 3. and chorus of A. Stanza 3 runs: 414 NORTH CAROLINA FOLKLORE If I had the wings of an angel I would fly far, far away, I would fly to the arms of my darling And there I'd he willing to stay. 'Meet Me by tlie Mooiiliglit.' From the manuscripts of Oliadiali John- son of Crossnore, Avery county. In this there is no mention or thought of a prison, yet it is clearly a form of the same song as the four texts preceding. 1 I am going to leave you tomorrow, To sail on the ocean so blue. To leave all my friends and relations ; I have come now to bid you adieu. 2 Then meet me by the moonlight, love, meet me ; I want to see yoti alone. To tell of the heart that is breaking To leave my love and my home. 3 I hate to leave you, my darling ; But my parents to me are unkind. To prove false words that are spoken Has never once entered my mind. 4 I have a fine ship on the ocean All lined with silver and gold. And before my lover shall perish I'll have that ship anchored and sold. 5 1 have c(Mne by the moonlight to see you. To tell of my future time. I am going to seek for a fortune. Will return and claim you for mine. 6 Your return to me is uncertain. But to you I will ever be true. God grant you may have a safe voyage And our days apart may be few ! 7 1 know that heaven will bless us And the angels will guide you aright. To help yoti rettirn to }-our loved one, TlKJUgh her heart is breaking tonight. 8 Years i)assed and she prcned to him faithful, To another she never was wed. And her life it seemed blighted forever \\ hen she heard that her true love was dead. SONGS () I" I' K 1 S () N I". R S A X I) T K A M P S 4I5 F 'Meet Me Tonight.' Contributed by Zilpah Frisbie of Marion, McDowell county, in 1923. Only two stanzas reported, the first of Wade's song and the ship stanza, hut she notes tliat "tliere are several more verses." 'I Have a Ship on tlie Ocean.' Obtained from .Miss Jewell Kobbins (later Mrs. C P. Perdue) of Pekin, Montgomery county, in \t)2i. The jail and the moonlight have vanished from this version, yet it is clearly a form of the same song. 1 I have a secret to tcil yoti. sweet love, Abotit the ship on the sea ; And if you think you can hear it, sweet love, I'll tell it to yoti in a dream. Chorus: Darling, the shi]) is on the ocean. As ever near to me ; Darling, this world would lose its motion If I proved false to thee. 2 I have a ship on the ocean, sweet love. All lined with silver and gold. Before I'd see you sufifer, sweet love, I'd anchor my ship to be sold. 3 Some say love is ])leasure. sweet love ; What pleasure do I see When the one I love so dearly, sweet love. Has turned her back on me? H *I Had a Little Ship.' Obtained from Miss Jennie Belvin of Durham in 1922. Perhaps not the same song; nothing is left here but the ship. 1 I had a little ship on the ocean All lined with silver and gold. .\nd freely would I give it To call little .Sallie my own. 2 Little Sallie. little Sallie mv darling. Little Sallie, little Sallie my own. And freely would I give it To call little Sallie my own. I 'Meet Me in the Moonliglit.' Obtained by C. G. Knox in 1923 or thereabouts from Miss Gertrude Smith of Morganton, Burke county. Here there is little left of the prisoner motive. The first tliree stanzas correspond i to the chorus of A, 2 to stanza 3 of C, 3 to stanza 2 of A, and the fourth stanza runs : N.C.F., Vol. TTT. (29) 4l6 NORTH CAROLINA FOLKLORE When the cold, cold clay is around me Won't yon come and shed one hitter tear And say to the friends standing round me. 'There's a heart I have loved long ago' ? J 'Sweet Lulur.' From John AI. Greer of Boone, Watauga county, in 191 5. Here we have the prisoner and tlie sliip. hut no mounliglit. 1 He hound my feet in cold iron. All tangled my feet in chains But hefore I'll go hack on sweet Lulur I'll have them tangled again. Chorus: O Lulur, O Lulur my darling, O Lulur. O Lulur my dear. If it hadn't heen for sweet Lulur, Sweet Lulur that brought me here ! 2 I had three ships on the ocean All lined with silver and gold. And hefore I'll go back on sweet Lulur I'll have them hoisted and sold. K 'Sweet Lulur.' From Thomas Smith, Watauga county, in 1915, with the notation : "The above verses are all I recall of a song which I heard sung when a child probably thirty or more years ago by a Miss Louise Wilson at my grandmother's house." When I was in Danville, a-walking down the street. I spied a policeman who bound my hands and feet ; He bound my feet in cold iron, all tangled my feet in chains. But before I'll go back on sweet Lulur I'll have them tangled again. Oh Lulur, oh Lulur, my darling, oh Lulur, oh Lulur, my dear. If P hadn't a-been for sweet Lulur, it was Lulur that brought me here. 351 Seven Long Years Quite distinct from 'The Prisoner's Song:,' thoiic:li it has a similar theme. It has been reported (with considerable variations in text) from Nova Scotia (BSSNS 303, SENS 309), Kentucky (FSSH ^ One expects "it." S O N t; S () I' 1- IM S () X K K S A N 1) T K A MPS 417 Z^"/^, and Oiiio (ASh 218-19, where Satulburg says lie got part of his text from Denison, Ohio, and part of it from a soldier in the Spanish-American War). Miss Geneva Anderson's "A Collection of Ballads and Songs from East Tennessee" (unpublished Univer- sity of North Carolina thesis, 1932), p. 230, contains a song of four stanzas and chorus, in a different order and with minor dif- ferences in the chorus. The thiril stanza of our text is an echo from 'Little Sparrow.' 'Seven Long Years." Contril)utc(l by P. D. Midgett of Wanchcse, Roanoke Island, in 1920. 1 1 have a father and a mother That dwell in a cottage by the sea. I have a brother and a sister. I wonder if they ever think of me. Chorus: Sad. sad and lonely. Sitting in a cell all alone. Thinking of the days that have gone by me And the time when I done wrong. 2 Seven, seven long years in state prison, Se\en. seven long years to remain, For knocking a man down the alley And swdping his gold watch and chain. 3 If I had the wings of a sparrow Across this wide world I would fly, I'd fly to the arms of my darling. There I would lay me down and die. 352 Twenty-One Years Is a Mighty Long Time Henry (SSSA 69) prints a version of this song from Tennessee, taken down in 1932. Alton C. Morris, in FSF 67-9, gives a better and longer version, noting that it "is a popular barn-dance number used by fiddling bands on radio programs" and "is sung extensively by the rural folk of Florida." He includes, also, 'Answer to Twenty- One Years,' attesting to its popularity. The first stanza of Morris's 'Twenty-One Years' reads : 'The judge says, "Stand up. boys, and dry your tears; You're sentenced to Nasliville for twenty-one years." So kiss me goodbye, llabe. and say you'll l)e mine. For twenty-one years. Hatie, is a mighty long time.' This may indicate the appro.ximate form Miss Walker's first stanza, below, would have if it were complete. ( io these references add Randolph OFS 11 156-9.) 4l8 NORTH CAROLINA FOLKLORE 'Twenty-One Years Is a Mighty Long Time.' From a MS book of songs lent to Dr. Brown c. 1936 by Miss Edith Walker, Boone. 1 The judge said, 'Stand up, boy, and dry your tears; You're sentenced to Nashville for twenty-one years.' Babe, is a mighty long time. 2 Hear the train blow, Babe, she'll be here on time To carry me to Nashville to serve out my time. So hold up your head. Babe, and kiss me goodbye. Best friends must part. Babe; so must you and I. 3 Oh, look down the railroad, as far as you can see. And keep on waving your farewell to me. The steam from the whistle, the smoke from the stack — I'm going away. Babe, but I will be back. 4 Go beg the governor, on your sweet soul ; If you can't get a pardon, try to get a parole. For if I had the governor where the governor's got me, Before Tuesdav morning that governor would be free. 5 Six months have passed. Babe. I wish I was dead — This dirty old jail house, no clothes for a bed. It's raining, it's hailing, the moon gives no light. Tell me why. Babe, you never do write. 6 I've counted the days. Babe, I've counted the nights, I've counted the moments. I've counted the lights. I've counted the footsteps. I've counted the stars, I've counted a thousand of the prison bars. 353 Write My Mother I'll Be Home No title. Contributed by H. A. Cherry, Lilcsvillc. Anson county : a stu- dent in Trinity College 1922-24. 1 There is somewhere the sun is shining. There is somewhere a little rain. There is somewhere the sun is shining. There is somewhere a little rain. 2 Some ol' day. some rainy day. Write my mother I'll be home, some ol' day. Ain't got no friends to take me in. Write my mother I'll be home some ol' day. 3 Say, the white folks got me on the ball an' chain, Pick and shovel, working in de rain, SON C. S O !-• P R 1 S 0 N K k S A X 1) T K A M P S 4I9 For I ain't got no friends to take me in. Write my mother I'll be home some ol' day. Some ol' day, some rainy da}-, Write my mother I'll be home — I'm on m\' way. I ain't got no friends to take me in. Write my mother I'll be home some ol' day. If I had died when I was young, Would not had this rick to run. For I'm in the rain, wearing ball 'n' chain. Write my mother I'll be home some ol' day. Oh, Stella, can 1 be your fellow ? Oh, Stella, can I be your man? She said, 'No, for I've got a beau.' I'm in de rain wearin' ball 'n' chain. Write mv mother I'll be home some ol' day. 354 Durham Jail 'Durham Jail.' By D. W. Fletcher. One of the group of songs pre- pared by Dr. Brown for printing, about 1916-18. His note says: "As collected from E. L. Husketh, who learned it from convicts in 1890." 1 Your breakfast comes round, it's cold corn bread ; It's hard as a rock and heavy as lead. One cup of cold water, and mush on your bread : You're bound to starve out in Durham's old jail. Chorus: Hard times in jail, yes, it is hard times In Durham's old jail, hard times in jail. 2 It has often been thought, but a shame to be told. That an Irishman drinks buttermilk seven davs old. O, yes. there's lice in jail as long as a rail ; There's lice in jail under your sliirt tail. 3 There's a city police, a set I despise ; They'll come to your house with a mouth full of lies. They hum and they haw, your pockets they pick. Get drunk on your money, and doing so will . 4 There was old Judge McCoy I like to forgot. Another grand rascal we have in our lot. He'll hum and he'll haw and talk about bail — No bail for a negro, but slap him in jail. 420 X O R T II CAROLINA FOLKLORE 5 The judge and llie jury is a hnrrihle crew. They'll look cm ihe i)ri.soner like looking- him through. They'll giye him a long sentence in Raleigh to dwell. For hfty-fiye cents the\"ll shoye him in hell. 355 Moonshiner's Dream From the John Burch Blaylock Collection. 1 Last night as I lay sleeping I dreamed one pleasant dream ; I dreamed I was on some mountain. On some still house stream. 2 Making hlockade whiskey And selling at retail ; But I woke up sad. heart-hroken, In the Fulton county jail. 3 I see the jailer coming With a darn big bunch of keys, One loaf of poor cornbread, And a darn big bowd of peas. 4 I dreamed my love came stealing, Had money to go my bail ; But I woke up sad, heart-broken. In the Fulton county jail. 5 News came. 'All yoti blockade stillers That's selling at retail, The very first place you find yourself Is in the Fulton county jail.' 356 May I Sleep in Your Barn Tonight. Mister? This has been reported as folk song from Tennessee (ETWVMB 117-18). Texas (PFLST vi 124-5), and Virginia ( FSV y^, listed). Its author has not been discovered. There are in our collection two other tramp songs, 'The Tramp Sdm,^' and "Tale of a Tramj),' that carry hints of a like story. A 'May I Sk'cp in Your Barn Tonight, Kind Mister?' Contril)ute(i by Kdiia Whitley — without, unfortunately, any indication of time or place. 1 May I sleep in your barn tonij^hl. mister? 'Tis so cold King out on the ijrdund. SONGS OF 1' R I S () X I". U S A N 1) T K A M I> S 42I And the cold, chilly rain are falling, And 1 have no place to lie down. 2 "^'ou ask me how lon^ I've been traveling And a-leading this sort of a life. I'll tell }()u my sad story, If it cuts my poor heart like a knife. 3 It was three years ago last summer — And I'll never forget that sad day — When there came a young man from the city, So tall and so handsome and gay. 4 He was a well dressed gentleman And he looked like a man who had wealth. And said he had come to the county^ To board a while for his health. 5 So my wife said she'd like to be earning Something to add to (jur home. And so I then consented that stranger Might stay there and board. 6 One evening as I was coming from the city, A-whistling away with joy. Expecting some kind, loving message From my wife and my darling little boy, 7 I saw something looked like a letter ; And I picked it up into my hand. And the words that was written within it Was enough to drive any man mad. 8 It took me all in the grave- And it showed me a newly made grave, !_ So the manuscript ; doubtless miswritten for "country." - Essential parts of the story have been lost here. The Texas version makes it clear (stanzas 9-1 1) : And the words that were wrote there upon it Seemed to burn through my brain and drive mc wild. For they told me the stranger and Nellie Had run off and had taken my child. Then I stopped at a farm house last summer. There they told mc my baby had died. It was there for the first time in my life, sir, I knelt on my knees and I cried. Then they tocjk me dcjwn to the churcliyard ; There they showed me a newly made mound, And they told me that Nellie, my darling. Lay asleep in that cold, solid ground. 422 NORTH CAROLINA FOLKLORE And it said that my wife and my baby \\'ere sleeping in their silent grave. 9 Just as sure as there's a God up in heaven, \\'hich I've always been taught to believe, I hoi)e he'll give that scandaP What he'd ought to receive. B 'Can I Sleep in Your Barn Tonight, Mister?' Contributed by Otis Kuykendall of Asheville, in August 1939- An abbreviated form of the song, remade, one judges, by memory. 1 Can 1 sleep in your barn tonight, mister? It is cold lying out on the ground, And the cold north wind is whistling, And I have no place to lie down. 2 ( )h, I have no tobacco or matches. And I'm sure I'll do you no harm. I will tell you my story, kind mister. For it runs through my heart like a storm. 3 It was three years ago last summer. I shall never forget that sad day, When a stranger came out from the city And said that he wanted to stay. 4 ( )ne night 1 came home from my workshop; I was whistling and singing with joy ; I expected a kind-hearted welcome From my sweet loving wife and my boy. 5 But what should I find l)ut a letter ! It was placed in a room on a stand ; And the moment my eyes fell upon it I picked it right uji in my hand. 6 Now this note said my wife and the stranger, They had left and taken my son. (Jh! I wonder if (lod up in heaven Only knows what the stranger has d(jne ! c 'May I Sleep in Your Barn Tonight, Mister?' From the John Burch Blaylock Collection. Like B, this has lost the latter part of the story; but its variations from F. show wliat liappens to a song that travels by word of mouth. ' The Tennessee text has "rascal." Perhaps "scandal" is a mishear- ing of "scoundrel." S O N Ci S 0 !•• I> R I S (> N K R S A \ 1) T R A MPS 423 May 1 sleep in your barn tonight, mister? l''or it's cold lying out on the ground. And the cold north wind is whistling. And I have no place to lie down. I have no bags nor matches, And I'm sure I'll do you no harm. I will tell you my story, kind mister, Though it lies in my heart like a bone. It was three years ago last summer — 1 shall never forget that sad day — W hen a stranger came out from the city And said he wanted to stop for his health. Now this stranger was fair, tall, and handsome. And he looked like a man who had wealth. He said he wanted to stop in the country. Yet he wanted to stop for his health. Now my wife thought his board and his lodgings Would help to keep up our little home. So we took in this tall handsome stranger \\ ho later broke up our little home. Last night as I came from my workshop. W histling and singing for joy And expecting a kind, hearty welcome As received from a wife and a boy, \\'hat should I spy but a letter Lying in the room on a stand. And the moment my eye lay upon it I picked it right up in my hand. The note said the tall, handsome stranger Had gone and taken my doll ; And as sure as there is a God up in heaven She with this stranger had gone. 357 The Tramp Song There are various songs romanticizing the tramp, two of them. 'May I Sleep in Your Barn Tonight, Mister.' and 'Tale of a Tramp,' in our collection. This, however, the editor has not found elsewhere. 'The Tramp Song.' Obtained by Jesse T. Carpenter from the manu- script songbook of Mrs. Mary Martin Copley, RFD 8, Durham. 424 NORTH CAROLINA FOLKLORE 1 \\'hen passing down the street how many men you meet Who has nowhere on earth to lay their head ! Oh, grasp him by the hand, and remember he's a man ; For God knows wliat you may be before you die. Chorus: So if you meet a tramp who bears misfortune's stamp, If he's worthy of your aid, why, freely give Him a hearty grip, wish him good luck if you trust, And remember that a poor tramp has to live. 2 I once saw a tramp whom the people called a scamp And upon him set their dogs lest he should steal ; And as he turned away I saw him kneel [and pray]. And I know that God above heard his appeal. 3 How little do we know, as they tramped through rain and snow,' That once he was as happy as a king Till fortune's crude- dart came and pierced his manly heart And took away his liome and everything. 4 How many men there are who rides in bolts and bar The door. . .^ Because they've lots of gold their hearts turn icy cold ; They ought to be condemned for it. I'm sure. 5 I once heard a tramp relate the true story of his fate And how he was an outcast shunned by all. He led a happy life, had a loving child and wife; But alas, like Eve, the woman had to fall. 6 How she proved botli weak and frail — it's no iLse to tell the tale. How she turned his manly heart to sad despair. He never since has smiled on that handsome wife and child. But sadly now he roams from ])lace to i)lace. ^ The manuscript has "shine," Imt the rhyme calls for "snow." "So the manuscript seems to read, hut tiie word sliould prohahly he "cruel." ^ This stanza is defective in the manuscript. Prohalily the original says that the rich man holts and hars his door ; hut the editor will not undertake to reconstruct it. Nor has he done anything ahout the curious syntax in stanzas i, 3, and 4. s o n c. s o !• p r 1 s o n !•: r s a x i) t r a m p s 425 Talk of a Tramp This title appears in the list of records jmhlislied hy the Archive of American Folk Song as secured in X'irginia. Dean (Flying Cloud 71 ) has a piece of similar character, 'The Tramp's Lament,' liut it is not the same. Furtlier it has not heen tracnl. 'Tale of a Trani]).' Reported i)y L. W. Anderson as "sung by Mrs. I. A. White, Kittv Hawk, N. C, according to her daughter, Eva Mae White." 1 Let nie sit down a iiionient ; A stone's got in my shoe. Don't yoti commence your cussin' ; I ain't done nothing to yott. 2 Yes, I'm a tramp — what of it ? Folks say we ain't no good. Tramps have got to live, I reckon. Though folks don't think we should. 3 Once I was young and handsome. Had plenty of cash and clothes. That was hefore I got to topplin'^ And got gin in my nose. 4 Way down in the Lehigh valley Me and ni}' jjeople grew ; I was a hlacksmith captain ; Yes. and a good one, too. 5 Me and my wife, and Nellie — Nellie was just sixteen. And she was the pootiest cretur The valley had ever seen. 6 Beaux ! \Miy, she had a dozen, Had 'em from near and fur. But they were mostly farmers ; None of them suited her. 7 But there was a city chap. Handsome, young, and tall — Oh, curse him ! I wish I had him To strangle against yonder wall. 8 He was no man for Nellie. She didn't know no ill. Mother, she tried to stop it. But you know^ young girl's will. ^ So the manuscript. Perhaps merely miswrittcn fur "tipplin'." 426 NORTH CAROLINA FOLKLORE 9 Well, it's the same old story, Common enough, you'll say. But he was a soft-tongued devil And got her to run away. 10 More than a month, or later, We heard from the poor young thing. He had run away and left her Without any wedding ring. 1 1 Back to her h(jme we hrought her, Back to her mother's side. Filled with a ragin' fever She fell at my feet and died. 12 Frantic with shame and sorrow Her mother l^egan to sink And died in less than a fortnight. That's when 1 took to drink. 13 Come, give a glass now. colonel, And I'll be on my way. And I'll tramp till I catch that scoundrel If it takes till judgment day. 359 The Wild and Reckless Hobo Probably a music-hall piece originally, this has achieved some- thing like a folk-song status. It is reported, with wide variations in the text, from V'irginia ( ETWVMB 3-4) and from Tennessee (SSSA 107-8, again ultimately from Virginia), and the Archive of American Folk Song has a record of it from Kentucky. 'The Wild and Reckless Hobo.' Contributed by Otis S. Kuykendall of Asheville, in 1939. I There was a wild and reckless hobo Who left his happy home. He went out on a western trip To find himself a home. His pocketbook was empty And his heart was filled with pain; Ten thousand miles away from home, llumming a railroad train. Clionis: "Kind miss, kind miss, won't you give me A little bite to eat, Won't you give me a little cold corn bread SON V. S () I' I' K 1 S O N E R S A N I) I R A M I' S 427 And a little piece of meat?' Slic took him in the kitchen. She treated liim nice and kind ; She put him in the notion Of l)ummini;- all the time. 2 He got off the train at a small hotel ; lUnnming around in town lie thought he heard a doul)le-hea(ler hlow And thought it was western hound. He i)ulled his hat down over his eyes And he stepped up to the track; He caught himself a sleeping car And never did look back. 3 He got off the train in Danville, Got stuck on a Danville girl. You bet your life she was out of sight ; She wore those Danville curls. She wore her hat on the back of her head. Like high-toned people do ; And when a freight train came hiking along He bade that gal adieu. 360 The Dying Hobo This has been reported from Maine (SBML 102-3). West Vir- ginia (FSS 252), Mississippi (FSM 251-2), Texas ( PFLST 11 40-1), New Mexico (FB 106-7), and CaHfornia (CFLQ 11 42-3); it is known also in Michigan (BSSM 478, listed but no text given), and Sandburg (ASb 186-9) has a somewhat similar song that he says he got in the Calumet mining region. .Spaeth has it in Weep Some More, My Lady. \'ery likely it is much more widely known than this list indicates. A 'The Dying Hobo.' Obtained by H. E. Sheetz, Jr., from C. F. Thomas of Rockingham, Richmond county. With the air. 1 It was in a Western watering town, On a cold Novemlier day. Beside a north-bound boxcar A dying hobo lay. 2 Beside him stood his pal With a low and drooping head To listen to the last words That dying hobo said. 428 NORTH CAROLINA FOLKLORE 3 Tm goins^ to a l)ettei- land. Where evervtliing is grand ; Where hanclouts grow on bushes And vou don't have to turn a hand. 4 'You don't have to work a bit, Not even change your socks. Where the good old beer with the foam on top Comes trickling down those rocks. 5 'Now tell my girl in Frisco No more shall I roam. I've caught a north-bound boxcar And I'm jroing awav back home.' 'The Eastern Hobo.' Reported by Julian P. Boyd of .Alliance, Pamlico county, as secured from Jeanette Tingle, one of his pupils there. Essen- tially the same as A except that it lacks the fourth stanza. 'The Dying Hobo.' From the John Burch Blaylock Collection. This is a fuller version than A. In fact it is almost identical with Spaeth's text in 'Weep Some More, My Lady.' After stanza 4 of A it runs: 3 'Tell all the bovs in 1^'risco that my face they'll no longer view ; Tell them I've caught a fast freight, and I'm going straight on through. Tell them not to weep for me. no tears in their eves must lurk. For I'm going to a better land where they hate the word called work. 4 'Hark ! 1 hear her whistling ; 1 must catch her on the fly ; One more scoop of beer I'd like, once more before I die.' The hobo sto])ped ; his head fell back ; he'd sung his last refrain. His partner took his liat and shoes and caught the east- bound train. 361 \\.\iTi.\(; FOR A Trai.n One of many n()ncrii)t lioix) songs. .Stout reports it as known in Iowa (MAFLS .\.\i.\ 11.^). and the Archive of .Knierican Folk Song has a recordinj; of it made in Kentucky. 'Waiting for a Tniin.' I'lom the Jnhn lUuch Blaylock Collection. S O N (. S OK I> R I S () N K R S AND TRAMPS 429 1 All around the water tank, Waitins]^ for a train. A thousand miles away from home. A-sleepint^ in the rain. I walked up to a hrakeman To give him a line of talk. He said, 'If you've got money I'll see that you don't walk.' 'I ha\en't got a nickel. Not a j)enny can I show.' 'Get off ! Get off, you railroad hum !' He slammed the l)oxcar door. 2 He put me oft' in Texas. A state I dearly love — Wide open spaces all around me. The moon and stars ahove. Nobody seems to want me Or lend me a helping hand. I'm on my way from Frisco, I'm going back to Dixie Land. For my pocketbook is empty, J\Iy heart is full of pain, A thousand miles away from home, Just waiting for a train. 362 Banjo Tramp A vaudeville song, presumably, but I have not found it in print. 'Banjo Tramp.' From (and perhaps by) O. L. Coffey, ShuU's Mills, Watauga county, in 1936. "Chorus after every verse but the last," he notes. I Come all you people that are here tonight And listen to what I say ; I'll sing you a song ; it's not very long. And not much out of the way. I've traveled this country over, I've never had a stamp ; But because I'm thin they call me slim. I'm a regular banjo tramp. Chorus: Walking on the railroad, Looking like a beat. Sleeping out under a water tank 430 N 0 R T II C A K 0 L I N A K 0 L K L O R E Without anything to eat. Some folks say that I'm aU rijjjhi. While others say I'm a scamp: But hecause I'ui thin they call me slim. I'm a regular hanjo tramp. 2 I went to Spokane city One cold and snowy night. I went around, took in the town, You het that 1 got tight. 1 packed my grip next morning To hit another trail. But I got drunk, stole an old man's trunk. And they fired me into jail. 3 They took me up next morning. Judge Miller he was judge. I gave him a terrihle game of stufif. But he would not hudge. He says, 'Young man, I'm sorry for you. You look so thin and pale.' But he sent me down to fatten me up In a miserable dirty jail. 4 Oh, I'm going to settle down And settle down for life, I'm going to marry — But what will I do with a wife? I'll quit my funny business And try to act more sane ; But I fear, in a year or two, I'll be hitting the ties again. 363 Hand Me Down My Walking Cane The first stanza of this composite prisoner's song; occurs twice, in quite different contexts, in Uncle Remus's repertory: in 'The End of Mr. Bear' and in 'Negro Love-Song.' And the fourth stanza has been twice reported as Negro song: as part of 'Kelly's Love' (JAFL xxiv 286) and in a construction gang chant (NWS 92). Title and first line are listed by Davis in FSV 153. 'Hand Mr Down My Walking Cane.' From the John Burcli Blaylock Collectiiiii. 'I'liu fiftli line is the refrain, and is repeated after each stanza. I Hand me down my walking cane. Hand me down my walking cane, SON G S O I- PRISONERS AND TRAMPS 43I Hand me down my walking cant'. I'm going away on the morning train. All mv sins are taken away, taken away. 2 Hand me down my bottle of corn, Hand me down my bottle of corn, Hand me down my bottle of corn, I'll get drunk as sure as you're born, 3 I got drunk and got in jail, I got drunk and got in jail, 1 got drunk and got in jail, 1 had no one to go my bail. 4 If I'd listened to what mama said. If I'd listened to what mama said. If I'd listened to what mama said. IW be sleeping on a feather bed. 5 The meat was tough and the meat was fat. The meat was tough and the meat was fat, The meat was tough and the meat was fat. Oh. my Lord, I couldn't eat that. 6 Yonder comes a man across the field. Yonder comes a man across the lield, Yonder comes a man across the field, Kicking up dust like an automobile. 7 If I die in Tennessee, If I die in Tennessee, If I die in Tennessee, Ship me back by C.O.D. B 'Hand Me Down My Walkin' Cane.' Contributed by Otis Kuykendall, Asheville, in 1939. Stanzas i, 3, 5, and 4 of A, with slight variations in the wording ; the refrain line is : 'Cause all my friends are taken away, taken away' ; the third line of each stanza inserts "Oli" at the beginning ; and the third stanza (stanza 5 of A) has "lieans" instead of "meat" at the beginning of the line. 364 I Lay Around the Old Jail House (John C. Britton) This is from a typescript in the Louise Rand Basconi collection. It bears the notation: "It is apparent that this must he a combina- tion of at least two or more songs," and Dr. Brown confirms this with the note: "There are two songs in this, I think." But inconse- quence is a frequent mark of prisoner songs as well as of love songs. And the fact that it is set down as a single item in the N.C.F., Vol. Ill, (30) 432 NORTH CAROLINA FOLKLORE typescript implies tliat it is the record of a single performance. iVIiss Bascom has not indicated when or where she secured it. Dr. White notes that the last three stanzas are "evidently a steamboat song of the Mississippi"; but the pronouns "he" and "his" suggest that Britton may have been the leader of a military company mov- ing north in the Civil War. No title. From the song collection of ]\liss Louise Rand Bascom, Highlands, Macon county. No date given. 1 1 lay arotm' the ole gaol hottse — I've got no honey-babe now. Some one kissed me ; say, my bal)e, No one won't go my bond. 2 I cursed and I blamed the lawyers, I cursed, I blamed the judge ; 1 cursed, I blamed the jury. l)al)y. But they convicted me. C7/or//.s-.- It's hush, oh, hush. oh. ])al)e, please hush; 1 hate to hear you cry. The l)est of friends has to part sometimes An' why not you and I ? 3 They sent me to them ole coal mines, My feet all bound and chained. If these col' rocks don't kill me, baby, I'll see your face again. 4 It's gettin' so cold in Charlotte town 'J"he birds can't hardly sing. All the girls air a-leavin' this town And won't come back till s])ring. 5 It's whar 1 was last Saturday night, A-drinkin' of sweet wine, A-studyin' about this pretty little miss I left so far beliind. 6 John C. P.ritlon left Alanthus^ Willi one hundred and ten good men; And when he landed in Cairo, baby, I lis numhiT was down to ten. 7 It's a-yonder comes that ole big b(.)at, .\nd it's vondcr C(»mes the Lcc, ' Someone lias noted on tlie maniiscri])t that 'Ahmtluis" means "Mem- phis" and has suggested tli.it "he" and "liis," just below, should be "she" and "her." S () N C, S () I" PRISON K K S A N 1) T R A M P S 433 And it's yonder conu's that olc bis; l)<>al ; She's been the death of three. It's hush, (ih, hu>h. oh. 1)al)e, please hu.sh, 1 hate to hear you cry. The best of friends has to part sometimes And win- not vou and 1 ? 365 The Foc.c.v Mountain Top This, like many another folk song, is a compound of divers simples. The Archive of American Folk Song has a record of it made in California. A song reported from Kentucky ( SharpK 11 no), Tennessee (SFLQ 11 75-6, really from Kentucky), and North Carolina (SharpK 11 no) has only the title phrase in common with the present song. Stanza 5 of our text seems to be from some song of advice about courting; compare 'Courting Song.' p 27. And stanza 2 recalls 'I Lay around the Old Jail House.' No. 364. 'Foggy Mountain Top. Obtained from Mrs. .Minnie Church of Heaton, Avery county, in 1930. 1 If I was on some foggy mountain top rd sail away to the west, Fd sail around this old wide world To the girl I love the best. 2 If I had "a' listened to what mama said I wouldn't 'a' been here today A-lying around this old jail house A- weeping my life away. 3 Oh. wdien you see that girl of mine There is something you must tell her ; Tell her to not to fool no time away To court some other fellow. 4 She has caused me to weep, she has caused me to mimrn, She has caused me to leave my home. Oh, the lonesome pines and the good old times ! I am on mv way back home. 5 Oh. when you go a-courting, 1 tell you wdiat to do : Pull off that long-tail roustabout, Put on your navy blue. XI MARTIAL, POLITICAL, AND PATRIOTIC SONGS BETWEEN THE SONGS of the following group and an im- portant portion of a preceding group there is a close parallel. Among the native American ballads we have included a consider- able number of pieces primarily devoted to telling stories about the deeds of men in battle and about the actions and incidents of war. These touch some of the obscure skirmishes as well as a few of the high points of the principal wars of American history since the Regulator troubles of 1765-71. Following the same pattern but on a smaller scale, there is a group of songs expressing or sug- gesting the emotional impact of armed conflict and all its accom- panying economic and social shocks. From these we learn a little about how people felt, what resolves they made, how they regarded their causes, how they sought to encourage one another, how they viewed their enemies, how they endured or dodged hardships and perils, how they longed for peace, and how they faced death and defeat. Thus through contemplating these "old, unhappy, faroff things, and battles long ago," borne on the light wings of simple song, we may for a moment share the feel of epochs that, viewed across the chasm of two recent catastrophic wars, have come to seem more legendary than historical. Only three songs of the group belong to the period of the Ameri- can Revolution. .Said to be of North Carolina origin. 'The Rolling Neuse' tells how a young man, "When Greene's horn blew a long, loud blast," felt those conflicting emotions of love for country and love for his Nancy that young men have felt since wars began. 'The Jolly Soldier' is an old song refurbished "for the honor of George Washington." Only historical context justifies placing in this setting 'Flora MacDonald's Lament.' It is a love song pure and simple that connects, on the one hand, with the old Jacobite sentiment of the Highland Scots and, on the other, with the story of a heroic woman who sojourned briefly in North Carolina, en- couraged her menfolk to participate in an abortive Tory rising, and is said to have left l)ehin(l her silver ])late, the graves of two chil- dren, and a legend. Of about two dozen Civil War songs the majority are related to issues and events. 'Then W^e'll Have a New Convention' jest- M A K T I A 1. A X 1) r A T U 1 (1 T I C S 0 N C S 435 ingly proposes inarrvinj^ Kaly and killing; tlit' turkcv lu'ii as pre- liminaries to establishing "the riglits of men" throngli secession, and 'Colonel Harry He Was Scared' indicates the trepidation with which one well-to-do conservative viewed such a prospect. 'Root Hog or Die' reduces to understandable terms Lincoln's motives in reinforcing Fort Sumter. "Harness up yo' bosses." cry the Yank- ees; "We'll fight for Uncle Sam." The .Secesh rejjlied with an invitation to ride in "the Southern wagon." J-Iarly confusion about colors but no uncertainly about loyalties is expressed in 'Red, White, and Blue (or Red).' "Early One Morning in the Month of July' tells how the crops were laid by and the boys marched away — on the first of many missions like that described in 'The Soldier's Fare- well,' "to Pensacola/To tarry for a while." In the North Carolina variants of the song about him, John Brown's body suffers a sea- change. 'The Bonny Blue Flag' takes on new stanzas as new states are added to the roll of secession. Some of the songs suggest the stresses and strains of war. In 'The Homespun Dress' speaks the clear, resolute voice of the loyal women of the Confederacy. The feminine note is pathetically clear and sweet in 'Pretty Peggy' as the song gives us a glimpse first of a girl "tripping down the stairs/A-parting her yellow hair." then of her mourning for her Captain "buried in the Louisiana country, O." The fighting spirit of 'Never Mind Your Knapsack' is con- tradicted by 'The Bushwhacker's Song' and 'Deserter's Song.' The last-named has a forthright mountain accent and two interesting topographical allusions. In 'Come, Rain' and 'Sorghum Molasses,' the seasoned old campaigner turned forager sings in the dryly, whimsically humorous nostalgia of one who remembers the fleshpots of peace. The last-named is an authentic concoction of cornbread, sorghum molasses, and goobers, mixed and consumed in the remem- bered smile of a blue-eyed Georgia girl. The ancient Gl-vs.-otificer grudge is succinctly uttered in 'The Privates Eat the Middlin'.' In the sentiment of 'When This Cruel War Is Over' North and South were united long before the close of the struggle. Both regions, perhaps, could feel the simple pathos of 'Brother Green.' Still-divergent points of view, however, find inveterate expression in two blunt and vigorous songs, 'The Good Old Rebel' and its Union counterpart, 'The Veteran's Song.' It is the ironv of his- tory, if not the token of reconciliation, that 'The Veteran's Song' was remembered in a state which still boasts of having sent to the Southern armies the highest per capita of manpower contributed by any of the Confederate States. Perhaps all the war songs of all the ages, of this country and of all countries, find laconic summary in '.Soldier's Epitaph,' from the World War of 1914-18. Faint echoes of ancient wars of the parties and old battles of 436 X O R T H C A R O L I N A l" () I. K L O R E the ballot boxes persist in two canipaisn son,y:s. The "ballad deaf- ened" contest of 1840. between General William Henry Harrison (Old Tippecanoe) and President Martin \'an Buren. is spiritedly recalled by 'Tippecanoe.' Only reference to newspapers or detailed political histories of the 1870s would connect 'Does Your Mother Know You're Out' with Horace Greeley's candidacy for the presi- dency in 1872. From a final sheaf of songs in this group we learn tliat just as a man may love his country passionately in war so may lie love it (luietly in peace. In 'Uncle Sam's Farm" patriotism is so ex- pansive that it includes an invitation, "Come every nation, come every way," which seems to date it among the years when the land still seemed big enough for all comers. 'The Sweet Sunny South' and 'Blue Ridge Mountain Blues' are both nostalgic pictures of lands to which dreams and fond wishes return. 'The North Carolina Hills,' in similar key, localizes the vision. It is from an informant with a good repertory of folk songs, and has not appeared in other collections; it may be an original song. 'The Hills of Dan' has the honor of concluding the songs of this group. 366 Tin-: Rolling Neuse From S. M. Davis, White Hall (on Neuse River); undated; with the following note : "This is a song composed by a Revolutionary Soldier living on Neuse River at White Hall, about four miles from where 1 was born. He was in the American Army at the time lie comixised it. There is more of this, but I do not know it." 1 When Greene's horn blew a long, loud blast. At early clay's bright dawning. In slumber my heart was pulsing fast. I was dreaming of the morning When Nancy sliould be my youthful jjride When she would be my darling. 2 I thought upon the rolling Neuse, I thought upon my Nancy. I thought ujion my future bride That took my youthful fancy. The horn called nie from dreamland sweet. It called nu' t rom u]v .\ancy. 3 (jod'.-, bles.sing.s fm- her I intreat. The girl of my youthful fancy. My heart pleads for the rolling Neuse With boat and girl floating on it. JMir eyes ,so bright with ( iod's own truth And lips singing a war sonnet. MAR T 1 A L A N 1) V A T K I () T 1 C S C) N G S 43/ Tiiic JoLi.v Si>i.I)Ii:k In WSSU 181-2, George I'ullen Jackson says: "Among: tlie songs wliich attached themselves, in retrospect, to George Waslungton and his period is 'The Jolly Soldier,'" and he quotes the song from John G. McMurry's" The Social Harp (Philadelphia, 1859). The "first stanza of The Social Harp and the North Carolina texts has a close analogue in a hroadside, No. 16. hy W. & T. Fordyce, New- castle and Hull (undated). See headnote to "The Rambling Sol- dier.' There are two traditional versions of the song in our collection. A No local title. Text, with music, collected by Thomas Smith, Zionville, Watauga county, from Mrs. Peggy Perry. In a letter to Dr. Brown, dated .March 15, 1915, Mr. Smith stated that he had recently heard an old lady sing songs learned from her grandfather, a soldier of the Revo- lution. In a footnote to the text he wrote : "The above Mrs. Perry says was sung by her grandfather, Clem Dorsett, who fought for our country. One of his brothers fought for the British." The text in Jackson (cited above) makes clear the original of the garbled first line of stanza 2 in ^Nlrs. Perry's song ; it should read "Aboard a man-of-war and a merchantman." 1 I once was a seaman stout and bold, Ofttimes I plowed the ocean, I plowed it over and over again For the honor and promotion. 2 Aboard a man-of-war marchin' men. Many be the battles that I've been in. It was all for the honor of George Washington, And I'll still be a jolly good old soldier. B No local title. From Miss Nanfcy] Maxwell, Hazel wood, Haywood county; contributed in 1919-20. Same as Mrs. Perry's version. 368 Flora MacDonald's Lament When in 1774 Flora MacDonald (1722-90) emigrated with her family to the Cape Fear country of North Carolina, she was already famous in song and story for having delivered Prince Charles Ed- ward Stuart from the hands of his enemies, after the batde of Culloden in 1746, and for having been visited by Dr. Samuel John- son and James Boswell in T773. Concerning her two years' sojourn in North Carolina many legends have accumulated, and a few relics have survived. Most of these are connected with the Tory rising of the Highland Scots, settled in the region around Cross Creek (now Fayetteville), in 1775 and 1776. Her husband and sons were 438 NORTH CAROLINA FOLKLORE members of the Loyalist Scots force gathered there to join an ex- pected British landing at the mouth of the Cape Fear River, in January 1776. "A picturesque Carolina legend relates how Flora, mounted on her white pony, rode part of the way with the Highland army, and under an old oak tree that is still pointed out she is said to have taken her farewell." (See Edith E. MacQueen. "A Highland Tragedy, the Story of Flora MacDonald in America," The Scots Magazine, n.s. xvii [July and August, 1932]. 257-66, 351-9.) After the disastrous defeat of the Scots at the Widow Moore's Creek, the IMacDonalds and all the other leaders were either prisoners or fugitives. Flora, her husband, a son. and her son-in-law were imprisoned for a while at Halifax, N. C. Mean- while, her home and plantation in Richmond county were being pillaged, and they were confiscated in 1777. When she was per- mitted to depart, in 1779, according to local tradition she left behind her the graves of two children and most of her silverware, sold to defray expenses of her return to Scotland. ^ Some of the silverware is now owned by North Carolinians, but the greatest monument to Flora MacDonald is the woman's college named in her honor, at Red Springs, N. C. (See J. P. MacLean, Flora MacDonald in America [Lumberton, N. C, 1909]). Her memory is venerated by thousands of the descendants of the Scotch Highlanders still living in the Cape Fear country and still retaining the characteristic traits of their race. (See Jonathan Daniels. Tar Heels [New York, 1941], pp. 63-77.) Historical accounts of Flora MacDonald's first exploit, wliich made her "the heroine of the Forty-five," partly confirm the some- what amorous nature of the 'Lament.' Winifred Duke, in Prince Charles Edzuard and the Forty-fife (London, 1938, pp. 284-5), tells of how on the morning that the Prince left Kingsburgh House, Flora and her stepmother obtained and divided a lock of the Prince's hair, and how, after he had gone, the two "went to his bedroom and folded away the sheets between which he had slept, declaring that they were never to be washed or used again. She and Flora divided these, each retaining her portion to serve as a winding- sheet." Mrs. A. T. Wilson, in Memoirs of the Jacobites of 1715 and 1^4^ (London, 1846, 3 vols., HI, 356-7), declares that "Her emotions on separating from Charles have been expressed in a poem entitled 'The Lament of Flora Macdonald,' beginning thus" (quot- ing the first stanza of Hogg's poem). Yet, profound as her passion of loyalty may have been, she would hardly have thought of him as her "royal swain." That is hardly the sentiment of Hogg's poem, which equals the North Carolina traditional song in admiration and sorrow for "my hero, the gallant and young." At any rate, the portrait of Flora, from life, by Allan Kamsay, reproduced in Mrs. Wilson's book and in others, supports the 'Lament's" assertion that Flora's beauty is surprising," whether or not it is "Like bright Venus in the morn," and shows her young and romantic looking. ' In "i'lora Macdonald in llist buried in the Louisiana country." and C identifies him a> "("antain Wade." M A R T I A L A N I) i' A T R I 0 T 1 C SO N G S 457 "Pretty JV-ggy-' I'Voiii Thonias Smith, Zionville, Watauga county, May 8, 1915, with tliis note: "As sung by Bennett Smith, who learned it as early as i860. Civil War song." Two MSS, one in Dr. lirown's hand and one in the hand of Thomas Smith. It is also noted that the song is accompanied by music from Mrs. Perry. 1 Won't you marry me, Pretty Peggy O, Won't you marry me. Pretty Peggy O, Won't you marry me ? Such a soldier Pll l)e. Just as grand as any in the country, (), Just as grand as any in the country, O. 2 She came tripping down the stairs. Pretty Peggy O, She came trip[)ing down the stairs. Pretty Peggy (J, She came tripping down the stairs A-partin' of her yellow hair. Just as grand as any in the country, O, Just as grand as any in the country, O. 3 His name was Captain Wade, Pretty Peggy O, His name was Captain Wade, Pretty Peggy O, His name was Captain Wade, And he died for a maid. And was buried in the Louisiana Country, O, And was buried in the Louisiana Country, O. 382 Never Mind Your Knapsack 'Southern Spy's Song — Spy in Lee's Army.' From Miss Jewell Rob- bins, Pekin, Montgomery county (later Mrs. C. P. Perdue), July 1922. Dr. Brown notes : "Miss Robbins' father learned it in Lee's army. Sung just before close of war." 1 Never mind your knapsack, Never mind your gun. Fighting of the rebels Ain't nothin' but fun. Chants: And it's ofif to Richmond So early in the morning, Ofif to Richmond, I heard a Yankee say. 2 We've got the navy, We've got the men. We're bound to go to Richmond To storm the rebel den. 3 They anchored out a battery Upon the waters free. ^-8 N- () R T H CAROLINA FOLKLORE 'Twas the queerest looking thing You ever did see. 383 Bushwhacker's Song "There was a husliwhacker's strongliold in Montgomery County I writes Dr. Brown] wliere the deserters during the Civil War found refuge, especially pacifists, and organized a band whose leaders were the Owenses, who built a fort, called Owens' Fort. The hunt- ers (those too old for service) from southern Montgomery County went up to arrest the deserters and hung two women by their thumbs to make diem tell where the fort was. They found the fort and had a battle, and part were killed, part escaped, and others were captured. One who escaped crawled into a tree to hide and stayed so long that maggots ate into his wound and they had to amputate his leg. The captain sang this song. Miss Robbins' grandfather was one of the hunters. William Fraser Merton." 'Owen's Fort.' From Miss Jewell Robbins, Pekin, Montgomery county (later .Mrs. C. P. Perdue), July 1922; with music. 1 1 am a bushwhacker. The thicket's my heme. The thicket's my home. The thicket's my home. I am a bushwhacker. The thicket's my home. .And them that don't like it Can let me alone. 2 I'll tune up my fiddle And rosin my bow, And rosin my bow, And rosin my bow. I'll tune up my fiddle And rosin my bow. And I shall find welcome Wherever I go. 3 Mv kinfolks don't like me And that I well know, .■\nd that I well know. And that I well know. My kinfolks don't like me .'\nd that I well know. And I don't find welcome To knock at their door. m a r t 1 a l a \ u patriotic songs 459 Deskktkr's Sung 'Deserter's Son^' suggests the story of sonic North Carohna mountain man from tlie neighborhood of Grandfather Mountain who had dodged the conscription officers^ and was thinking of the fates of his less fortunate fellow-citizens who had not but were languish- ing in "Castle Thunder." A clipping from the Richmond Timcs-Dispatcli of June 22, 1943, kindly supplied by Miss Mary M. Watt, editor of the Questions and Answers column of that newspaper, identifies "Castle Thunder" (1. 3) as follows: "Castle Thunder was tlie cliicf provost prison in the South and was used for civilian, rather than military, prisoners of the Confederacy. Its commander. Captain C. W. Alexander, was a disabled soldier with vigor and determination, .\ccording to Richmond. I'lrgiiiia, in Old Prints, by Alexander W'eddell, 'Castle Thunder, on the north side of Cary Street, between Eigliteenth and Nineteenth Streets, and its twin fortress. Castle Lightning, almost opposite on the south side of Cary, were both built prior to the War Between the States as factories for "the manufacture of tobacco. At the outbreak of hostilities they were taken over by govern- rnental authorities and used principally for the incarceration of 'unde- sirables' of our own people, but a certain number of Federal prisoners were also kept there. . . . Neither of the "castles' here referred to is now standing, their places being filled by modern plants in which, as in their predecessors, tobacco is prepared for the market.' The United States Tobacco Company now has the property on which Castle Thunder formerly stood." Mr. Ben Ames Williams, in his novel of the Civil War, House Divided (Boston, 1947 J, refers to Castle Thunder several times, e.g., p. 6-2. There is a song of the same pattern as Mr. Smith's in White ANFS 289 (from Alabama). No title. From Thomas Smith, Zionville ; undated ; with this explana- tion : "A deserter's lament sung during the Civil War by many persons in Watauga county." I'd nither be on the Grandfather Mountain A-taking the snow and rain Than to be in Castle Thunder A-\vearin' the ball and chain. ^ "Draft-dodgers and deserters were found in ail the Snuthern states during the Civil War, but especially in those sections where sentiment was divided between the two causes. When in 1864 the Confederate Congress drafted boys from eighteen down to seventeen, hundreds of these new draughts from counties east of the Blue Ridge were avoiding the Confederate service by scouting their way to the Yankee lines in Tennessee." — Shepherd M. Dugger, The War Trails of the Blue Ridyc (Banner Elk, N. C, 1922), pp. iio-ii. 460 north carolina folklore Come. Rain, Come From a manuscript notebook lent in December 1943 to Dr. White by Mrs. Harold Glasscock. Raleigh, N. C. "Most or all of her songs Mrs. Glasscock learned from her parents, and she can now sing all but one of those copied from her notebook." Cf. Hudson FSM 257. 1 I'm alone in my shanty And rations are scanty, For grits are now the order of the day. The young moon is peeping While o'er the hills are creeping Some hungry Rebs about to make a raid. Chorus: Come, rain, come, rain, come. Come, flow to the top of my boots. Oh, come and I'll thank 'ee To keep back the Yankees Until our ranks are filled up by recruits. 2 The watchdog is growling While down the lane is prowling Some Rebs about to steal a hen away. The watchdog is snarling For fear Annie darling, His beautiful young friend, they'll steal away. 3 You may talk about your Annie, But give me some hammie. Some biscuit nicely buttered over, too, -A cup of smoking Java, 'Twill make your mouth saliva. I wish I had some in me now ; don't yoit? 386 Sorghum Molasses This blend of Cracker. Tar Heel, and Piedmont we have not found in other published collections. 'Sorghum Molasses.' Contributed by G. S. Robinson. Asheville. A phonograph recording was made on August 4, 1939. I A soldier was a-setting by the road one day As he was a-looking very gay. By his side he had some meal He'd just stolen from an old tar-heel. Bye and bye. S O R G H U M B () I L I X G MARTIAL AND PATRIOTIC SONGS 461 Cliorits: I'm a-goin^^ to marn- before I die. Bye and bye, bye and bye, Marry the girl with the bright bkie eye. The Georgia girls there's none surpasses ; They are swetter than sorghum molasses. P>ye and bye. 2 He made a hre to bake iiis bread. And when it was done he laughed and said, *A11 the world there's none surpasses Good cornbread and sorghum molasses.' Bye and bye. 3 In a canteen by his side That he was trying hard to hide From the eyes of those who were passing, He had a quart of sorghum molasses. Bye and bye. 4 As I went up Atlanta street A tar-heel girl I chanced to meet. Says to me, 'Are you a traveller?' 'Yes. by ginger, I'm a goober grabbler.' Bye and bye. 5 There's Alabama, thus you see, Tennessee, or what you please, South Carolina, tar and resin, Good old Georgia, goobers and sorghum. Bye and bye. 387 Jeff Davis Rode a White H()r.se Cf. Scarborough SCSM 74, in wliich the lines are transposed. Miss Scarborough's text is from Asheville. No title. The text bears only the notation "Mr. Fairley, Duke Univer- sity student" and Mr. Fairley's note : "This was a very popular verse after the war. It was sung, it was recited, and was put in every form possible." Jeff Davis rode a white horse, Lincoln rode a mule ; Jeff' Davis was a gentleman, Lincoln was a fool. N.C.F.. Vol. III. i.U) 462 NORTH CAROLINA FOLKLORE 388 Old Abe Is Sick From Vernon Sechriest, Thomasville, Davidson county, March 9, 1928, with comment: "As remembered by Mrs. Augusta Fonts, Thomasville, N. C. at the age of j-] years." 1 Old Abe is sick, old Abe is sick. Old Abe is sick in bed. He's a lying dog, a dying dog. With meanness in his head. 2 He wants our cotton, he wants our cotton. He wants our cotton, too. He shall have it, he will have it — Some tar and feathers, too. 3 Down with old Abe, down with old Al)e, And all his Yankee crew. Up! up! with Jefif, hurrah for Jeff, A Southern man so true. 389 The Privates Eat the AIiddlin' 'Verse from "Git erlong home, Cindy, Cindy." ' Contributed by V. C. Royster, Wake county, 1914 ( ?), with the note: "Before the Civil War — Personal recollections refreshed by talking with other old people. Sung during the war." The privates eat the middlin. The officers eat the ham. They put me in the guardhouse. Rut I don't care a D — n. [Or] Way down in Rockingham. 390 When This Cruel War Is Over Esther Park i'^llins^er, in The Soiithcni War I'octry of the Ck'il War (Philadelpliia, iyi8), p. 189, quoting the title and the first two lines of this song, describes it as: "Ballad. Words by Charles C. Sawyer, Richmond, Va. Music by Henry Tucker. George Dunn and Co." She indicates that it is in the collection of nuisic in Ridgway Branch of Library Company of Philadelphia. 'When I'his Cruel War Is Over' was printed as a broadside by De Marsan and by Auner of Philadelphia. It is in Frank Converse's Old Cremona Songster (New ^'()rk, iW),^), p. 5. Belden BSM 381 re- marks tliat the song "scenic to have e.\])resst'(l a feeling about the M A U r 1 A I. A N I) r A T K 1 () l' 1 I' SO N C S 463 \v;ir cdiiniKiii to both Ninth and South," gives notes on parodies of it. and jn-int?, a Missouri text. It appears in an excellent musical setting? in Olin Downes and Elie Siej^nieister : ./ 'I'rcasury of American Song (New York, 1^40) , pp. 164-5. A 'W'licn This Cruel War Is Over.' Coiilrilmtid by Austin I,. ICIlintt. Farmer, Randolph county ; without date. I iX-arcst love, do yoti reniemhcr, wlieii we last did meet. How you told me that }-oii loved me. kneeling at my feet ? Oh, how proud you stood before me. in your suit of j^ray. When yoti vowed for me and couiitrv ne'er to jn'o astray. Chorus: Weeping sad and lonely, sighs and tears, in \ain. ^\ hen this cruel war is over praying to meet again. _' When the summer breeze is sighing mourn fullv along. ( )r when the autumn leaves are falling, sadly breathe the song. Oft in dreams I see you lying on the battle plain. Lonely, woitnded, even dying, calling, but in \ain. 3 If, amid the din of battle, nobly you should fall. Far away from those who love you, none to hear you call. Who would whisper words of comfort, who would soothe your words of {)ain ? Ah, the many cruel fancies ever in my brain. 4 liut our country calls you. loved one. Angels guide yotir way ; \\ bile our Southern sons are fighting, we can only pray. When you strike for God and Freedom, let all nations see How you loved your Southern banner, emblem of the free. B 'Song Composed During the Civil War.' From a notebook lent in December 1943 to Dr. White by Mrs. Harold Glasscock, Raleigh, N. C. "Most or all of her songs Mrs. Glasscock learned from her parents, and slie can now sing all but one of those copied from her notebook." Three stanzas and chorus, corresponding to stanzas i, 2, 4, and chorus of A (stanza i. 1. 4 reading "As you vowed to me and country never to betray" ; stanza 3. 1. 3, "Nobly strike for God and Liberty . . ." ; chorus :) Weeping sad and lonely, hopes and fears how vain. Yet ])raying when this cruel war is over that we'll meet again ) . 'When This Cruel War Is Over.' From an anonymous contributor ; un- dated. Four stanzas and chorus, differing in a few verbal details frorn 464 NORTH CAROLINA FOLKLORE A and the corresponding parts of B (stanza i, 1. i reading "Dearest one . . ." ; stanza i, 1. 2 reading "how you loved me"; stanza i, 1. 4, "When you vowed from me and country ne'er to go astray"; stanza 3. 1. 3, "All! the many cruel fancies ever in my brain"). 1) 'If Amid the Din of Battle.' From Miss Jewell Rohbins, Pekin. Mont- gomery county (later Mrs. C. P. Perdue). A phonograph recording was made in 1921. One stanza, composed of lines corresponding to the first halves of A 3 and 4 : If amid the din of battle nobly you should fall, Far awav from those who love you, and none to hear vou call, But your country calls you. loved one. Angels guide your way. While our Southern boys are fighting, we will also pray. E 'When This Cruel War Is Over.' From the John Burcli Blaylock Collection. With a few verbal changes, close to A. The Good Old Rebel Louise Pound, in Poetic Origins and the Ballad (New York, 1921), pp. 228-9, called attention to the fact that 'The Good Old Rebel,' which has become a folk song, "is one of the best poems of Innes Randolph (1837-87), who was for a time connected with the Baltimore American." It appears in its original form in Poems by Innes Randolph (Baltimore, 1898), pp. 30-1. Harold Randolph, W'ho edited the Poems, says that Innes Randolph served "in the Confederate Army throughout the whole of the great struggle," and that the poem "was written . . . while Reconstruction held sway in the South." The original has been printed in The Oxford Book of Light Verse, pp. 436-7. For other printed appearances, see the citations in Cox FSS 281, and for a later traditional version of it, Hudson FSM 259. See also Randolph OFS 11 291-5. A 'The Unreconstructed Rebel.' From W. S. Fitzgerald, Durham, Decem- ber 19, 1938, with tlie following note (which is in error about the authorship) : "The following stanzas were composed many years ago by an old Confederate veteran, a Georgia cracker, and were sung by him with banjo accompaniment to a group at a Confederate reunion, probably the one held at Nashville. Tennessee. The song represents the extreme but semi-humorous attitude of the old soldier who at the close of the War between the States refused to renew his citiztnsliii) by taking the oath of allegiance to the government of the United States. So far as the reporter knows, the words have never appeared in print." In this text, stanzas i, 2, 3, and 4 correspond to Randolph's i, 4, 5, and 6, and there arc no stanzas corresponding to Randolph's 2 and 3. M A R T 1 A 1. A N I) P A T R 1 0 T 1 C SONGS 465 1 ( )h, I'm a o(H)cl ole Rebel. An' that's jes what 1 am. An' fer this 'Land of h'reedom' I do not care a damn. I'm glad I fit against it, 1 only wisht we'd won, An' 1 don't want no ])ardon Fer anything 1 done. 2 I followed ( )le IMarse Robert Fer fo' years nigh abont. Got wounded in three places An' starved at P'int Lookout. I cotch the rheumatism A-campin' in the snow. But I killed a chance of Yankees, An' Fd lak to kill some mo'. 3 Three hundred thousand Yankees Lie stifif in Southern dust ; We killed three hundred thousand Refo' they conquered us. They died of Southern fever, An' Southern shell and shot ; I wisht it was three million Instid of what we got. 4 I can't take up my muskey An' fight 'em any mo', But I ain't a-goin' to love 'em, Now that is sartain sho. An' I don't want no pardon. For Reb I was an" am ; I won't be reconstructed, An' I do not care a damn. B No title. From Lois Johnson, Davidson county ; undated. One stanza. Now Fm a good old rebel. And that's just what I am ; For this fair Land of Freedom I do not care a damn. I only fit against it, I only wish we'd won, .\nd I don't ax no ])ar(lon h'or nothing 'tall I done. 466 NORTH CAROLINA FOLKLORE No title. From an anonyniuus contributor ; undated. Same as B, except in 1. 5, "fight" for "fit." D 'Ole Marse Robert.' From .Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P. Perdue). A ])honograph recording was made in July K.J22. This corresi>onds to stanzas i, 4, 2, and 6 of Randolph's text. 1 I am a good old rebel. Now that's just what 1 am. For this fair land of freedom I do not give a danL I'm glad I fought against it, I only wish we'd won. -And I don't want any pardon For anything I've done. 2 Fve followed old Marse Robert For four years all about, Got wounded in three places, And starved at Point Lookout. I caught the rheumatism While camping in the snow, P)tit I killed a chance of Yankees — ( )h, I'd like to kill some more. 3 I hate this Constitution, This great Republic too, I hate the Freedman's Bureau, Its uniform of blue; I hate the nasty eagle With all her brags and fuss. And the lying, thieving Yankees, 1 hate them worse and worse. 4 1 won't take up my musket To hght them any mcjre. And Fm not going to love them. Now that is certain shore ; And I ne\ er will deny W hat 1 was and am, .And I won't be reconstructed, Ancl I don't care a dam. martial and t a t k 1 u t 1 c songs 467 The Vktkrax's Song Contrilnitcd l)v lulian P. Boyd, who obtained it from a pupil in the school at Alliance, Pamlico county, c. 1927-28. The copy of the song iiears the notation: "By John Ross Dicks, a Yankee Soldier. Brought from tlie Civil War by John L. Lee, Union Soldier." 1 Come, gather rotind the caniptire. And till the hreak of day I'll sing a song, my comrades, To pass the time away. I've been in many a battle — You may see it in my scars — And this old arm has failed not Through all this weary war. 2 I was wounded at Bull Run When the Rebels' bloody host Came down in all their pride And the stream in haste we cross'd. 'Twas the first time I smelled powder, But I knew not how to yield, And at Fair Oaks I contested Another bloody field. 3 This scar upon my cheek I got When a bloody charge we made Upon the traitors — I was one Of Fighting Joe's Brigade. I was left for dead upon the field, But when the former ran With Averill at Culpeper, I crossed the Rapidan. 4 When the cry was 'On to Richmond!' I was in McClellan's track ; 1 put my face into the front And couldn't show my back. On Antietam's bloody field. All hacked and gashed. I fell. But not before some score of foes Found I could smite as well ! 5 I got at Fredericksl)urgh A graj^eshot in my knee. But fought on for the Union Till I -saw the traitors flee ! I grasped one Rebel by the throat, 468 NORTH CAROLINA FOLKLORE Who tried to seize our flag, And choked the cheer that to his Hps Arose for General Bragg. 6 Three fingers of my left hand A sharpshooter destroyed, As I was out on picket, But my bullet him annoyed. I got his body in exchange. And my revenge was full. For I've a few more fingers Which can still a trigger pull ! 7 But what care I for wounds or death ? With all a patriot's might. As a good and faithful soldier For the Union still I'll fight ! And will not sheathe my sword Until from Florida to Maine The Stars and Stripes shall proudly float O'er all our land again. 393 Brother Green Of this farewell song of a Union soldier mortally wounded in battle, there are, in our collection, two closely similar texts, with music common to both, and a phonograph recording. Belden BSM 2;/";, printing one stanza of the song from Missouri, notes that an Illinois contributor of a text in JISHS xxxi 303-10 reported the song to have been "'composed by Rev. L. J. Simpson, late chaplain in tbe Army ... on the death of a brother who was killed at Fort Donaldson, February, 1862." Belden also gives ref- erences to other texts from Virginia, West Virginia, Kentucky, Tennessee, and North Carolina. Fuson BKH 193-4 contains a text of twelve stanzas, lacking one corresponding to 4, below, but con- taining two additional stanzas and showing throughout many verbal variations. For a text witb music, see Wyman and Brockway LT 18-21. See also Randolph OFS 11 253-6. A 'Brother Green.' With music and the following note : "Collected for Prof. I. G. Greer, of Boone, N. C, by Miss Ella Harden, of Stoney Fork, N. C. Copied from original manuscript, written and composed by Joseph Green." The typescript bears the notation "copied 3/4/15." I () cnuK- to nie my brother green for 1 am shot and bleeding Now I must die no more to see mv wife and m\- dear children M A R T I A I. AND PATRIOTIC SO N G S 469 2 Sonic Southern foe have laid me low- on this cold ground to suffer dear brother Stay and lay me away and rii^dit my wife a letter 3 tell her I am prepared to die and hope to meet in heaven since I've believed in Jesus Christ my Sins are all forgiven 4 1 hope she prayed and prayed for me and now my pra}-ers are answered So I must be prepared to die Still hope to meet in heaven 5 my poor little bal)es 1 love them well o if could but oust more see them to bid them all a long fare well Still hope to meet in heaven 6 but here I am in tennessee and bur in Illinois soon I must die and be buried no more to hear their voices 7 dear mary you must teach them well and train them all for heaven that may love and sur\e the lord and they will be respected 8 dear father you have suffered long and prayed for my salvation and I must die and leev you all Still hope to meet in heaven 9 Sister Nancey you must not greave for the loss of a dear brother for he are gon on to heaven to live to see your blessed mother 10 two brothers yet I can not forget a fighting for the union for which dear wife I have lost my life to put down this rebellion 11 tell my wife she must not greave but kiss the little children for they will call their paw in vain when he are gone to heaven 1-0 NORTH CAROLINA FOLKLORE 12 they is men here from old Tennessee anci from old Illinois now 1 must die no more to see no more to here thiere voises 13 dear brother green I am diing now o that 1 die so easy o shorley death has lost its sting because I lov my Jesus Joseph Green his song ballet Sep the I 1877 B 'Brother Green.' A typescript. This is anonymous, but is on stationery of .Appalachian Training School, I. G. Greer, Boone, N. C. The song ends: "Joseph Green his song ballet, Sep the i 1877." This typescript appears to be a regularization, with a lacuna at stanza 6, 1. 2 (which reads "and hur in tennessee" in A 6) and a query "they?" for "that" in A 7, 1. 3. It was probably made to accompany the music. C •() Brother Green, Come to Ale.' In 1939 a recording of the song was made from the singing of Manley Greene, aged eighty-si.x, Zionville, Watauga county. 394 He Never Came Back This is a traditional variant of a song- published as a broadside bv Auner of Philadeli)hia, with notation: "Words and music by \Villiam Jerome, c. 1891, by Rossiter, Chicago." For another, see Randolph OFS iii 124-6. 'He Never Came Back.' From O. L. Cofifey, ShuH's Mills, N. C, August 1939. There is a recording of the song by G. S. Robinson, West Asheville, 1939. I A soldier kissed his wife good-bye, He was going to the war ; The tears did trinkle down his cheeks, ( )f the one he did adore, "lie patient, love, till 1 return. My own sweetheart,' ho cried ; lUn at the liattle of Hull Run, 1 li' like a soldier died. Chorus: He ne\(.r came back, oh, he never came back; Mis dear face .she'll never see more; I'.ut how liappy she'll be When bis diar tacc she'll see, When wo niei't on that beautiful shore. M A R l- 1 A 1. A X I) I' A T K 1 O T 1 C SONGS 47I 2 I wt'ul inid a iL'^lauraut. As huiiyry as a hear. And like a raving maniac, I i,n-al)l)e(l a bill of fare. The waiter said, A\'hat will you have?' 'Bring me a steak,' 1 say. He took my order and bowed his head. .\\u\ slowK- walked awav. (Iionis: lie never came back, oh, he never came back. I waited an hour or more. But his face 1 will break. If he don't bring me that steak, \\ hen we meet on that beautiful shore. 3 I went to see the Barnum Show, I took my mother-in-law ; She laughed at everything she saw. Until she broke her jaw. The big l)alloon outside the tent, It proved to be my friend; I shoved her in and cut the rope. And up she did ascend. Chorus: She never came back, oh, she never came back, High up in the air she did soar; Oh I'm so happy tonight. She is away out of sight ; Till we meet on that beautiful shore. 395 Goodbye, My Blue Bell From Newman I. White, Durham, January 13, 1945, with this note: "Furnislied from memory of about 1900-1913, to accompany record 9-\'III as hummed l)y Miss Jewell Rohhins. It is a Spanish-American War song, and I am not sure whether what 1 recall is stanza one or chorus— the latter, I think." Miss Jewell Robbins. of Pekin, Mont- gomery county (later Mrs. C. P. Perdue), made a recording of tlie song at Pekin c. 1921-22. Goodbye, my Blue Bell, Farewell to you. One last fond look into your eyes so blue. 'Mid campfires gleaming. Through shot and shell, I will be dreaming ( )f mv sweet Blue r.ell. 472 north carolina folklore Soldier's Epitaph Xo title. From Lucille Cheek, Chatham county, contributed while she was a student in the 1923 Trinity College Summer School. Cf. White ANFS 293. Born in North Carolina, Raised in Tennessee, Worked like hell in Georgia, Died in Gerniinee. 397 Tippecanoe At the close of the presidential campaign of 1840, between Gen- eral William Henry Harrison (Old Tippecanoe ) and President Mar- tin Van Buren, the defeated Democrats complained, "We have been sung down, lied down, drunk down." In no other American presi- dential campaign have political ballads and songs played so impor- tant a part. The Whigs got out several songbooks, among them The Log Cabin Songster. The "ballad deafened" contest was re- newed in the campaign of 1844. Cf. Meade Minnigerode, Presiden- tial \'ears, I/87-1860 (New York, 1928), pp. 177-254. 'Tippecanoe' appeared in Tippecanoe Song-Book : A Collection of Log Cabin and Patriotic Melodies (Philadelphia, 1840), pp. 18-19. with direction that it was to be sung to the tune of "Old Rosin the Bow,' with line 5 reading "near" for "by" in the Waddell version, and the fourth stanza lacking. (Location and collation by Mr. Richard B. Vowles. the Graduate School. Yale University, New- Haven. Conn.) 'Tiijpecanoe.' Contributed by Julian P. Boyd, Philadelphia, Pennsylvania, April 19, 1928, as copied from "Waddell Manuscript, North Carolina Hist(jrical Commission Archives," without identification or description of the "Waddell Manuscript." A description of the source, with a copy of the song, has been kindly supplied to the editors by Mr. D. L. Cor- l)itt. Head of the Division of Publications, North Carolina State Depart- ment of Archives and History, Raleigh. X. C, in a letter dated Novem- ber 29, 1946, as follows : "This campaign song is a manuscript written on a sheet 8x10. There is no (late and no author indicated. Tiie page is yellow with age, but otherwise in fair condition. I am sending you, herewitii, a typescript of the song. "This song is in the collection entitled 'Waddell Papers,' which are described in the Guide to Manuscript C(dlccti()ns, item No. 748. In check- ing through the Biennial Reports 1 find that part of the 'Waddell Papers' were i)reseuted by Mr. Guion W. Waddell, Mooresfield, N. C. This is listed in the report covering the jteriod December i, 191 6, to November 30. 1918. In the ne.xt lUcnnial Report. 1918-1920. Mr. O. C. Erwin, of .Morganton, presented a collection of pai)ers relating to the Moore and Waddell families, wliich from casual investigation indicate they were placed witii the Waddell papers. In the Collection of papers I find no M A R T 1 A I. A N I) 1" A T K 1 0 T I C SON 0 S 4/3 reference to this song in any correspondence or otherwise. It is difficult for me to say that Mr. WaddcU owned this copy, or that Mr. Erwin owned it. About the most I can say witli certainty is that tlie song is in manuscript, and is in this department." Mr. Boyd's and Mr. C'orbitt's copies of 'Tippecanoe' differ only in a few mechanical particulars. Mr. forhitt's is followed here. 'ri])l)t'caii(ic'. 1 A humpcr around now, my hearties, I'll sing you a song that is new ; I'll please to the luittons all parties, And sing of Old Tipl^ccanoc. 2 When first by the Thames, gentle waters, My sword for my coitntry 1 drew, I fotight for America's daughters. Long side of Old Tippecanoe. 3 Ere this too when danger assailed tis. And Indians their dread missiles threw, His counsil & courage availed us ; We conquered at Tippecanoe. 4 And when all the troubles were ended, I flew to the girls that I knew. They promptly declared that they intended To kiss me for Tippecanoe. 5 And now that the good of the nation Required that something we do. W'e'U hurl little Van jroni his station And elevate Tippecanoe. 6 Again and again fill your glasses. Bid Martin Van Buren adieu. We'll please ourselves and the lasses. And vote for Old Tippecanoe. 398 Does Your Mother Know You're Out? This is an echo of the canipaijjn of Horace Greeley for the presidency on the Independent Republican and Democratic ticket in 1872, adapted obviously from a vaudeville song of the time. It is interesting to find it preserved in memory in North Carolina down into the twentieth century. 'Does Your Mother Know You're Out?' From the manuscript notebook of Mrs. Harold Glasscock of Raleigh, lent to Dr. White in 1943. The songs in this l)ook Mrs. Glasssock learned from her parents. 474 ^' " R T H CAROLINA FOLKLORE 1 Does your mother know you're out ? Does your mother know you're out ? How arc you, Horace Greeley? Does your mother know you're out ? 2 -Mother, is the battle over? What are the men about? How are you, Horace Greeley? Does vour mother know you're out ? 399 Uncle Sam's Farm This is in Jordan and Kessler's Songs of Yesterday and Ford's Traditional Music of America, and the California Check-List re- ports a broadside of it printed by Andrews of New York. It does not appear in other regional collections of folk song. From its emphasis on the melting-pot idea one infers that it dates from the period following the Civil War. 'Uncle Sam's Farm.' From the manuscript book of songs belonging to Miss Lura Wagoner of Vox, lent to Dr. Brown in 1916. The Jordan and Kessler text shows that in stanza 2 "past" in the first hne should be "as fast" and that the first half of the third line should read "From the great Atlantic ocean," that in the third line of stanza 3 "that" should be inserted before "course," that the second line of stanza 4 should be "Of the grand results that pour along this mighty age of steam," and the fourth line "And we send our news by lightning on the telegraphic wire." 1 Uf all the might}' nations in the east or in the west. Oh, this glorious yankee nation is the greatest and the best. W^e have room for all creation, and our l)anncr is un- furled ; Here's a general invitation to the people of the world. Chorus: Then come along, come along, make no delav. Come from every nation, come from every wav. Our lands they are l)road enough, don't he ahirnied. For Uncle Sam's rich enough to give us all a faruL 2 St. Lawrence marks the northern line, fast our waters flow. And the Rio (irande our soutliern l)ounds way down to Mexico. From across the great Atlantic, where the sun begins to dawn, Leap across the Rocky Mountains far away to Oregon, M A R T I A I. A X I) I' A T K 1 O T 1 C SO N C. S 4/3 3 While the south shall raise the cotton, and the west the corn and pork. New luio-land manufacturers shall do up the hner work; l'\)r the\leep and flowing water falls course aloui^ our hills Are just the ihinu for washin- sheep and dru ui- cotton mills. 4 ( )ur fathers gives us liherty, but little did they dream ( )f the grand result that favors along that mighty stream; l-or our mountains, lakes, and rivers are all a blaze ot And we send our news by the lightnmg telegrai)hic wu'e. 5 Yes, we are bound to beat the nations, for our motto is 'Go ahead.' And we will tell the foreign pauper that our jjcople are well fed. . b'or the nations must remember that Sam is not a too , For the people do the voting and the children go to school. 400 The Sweet Sunny South This is reported as folk song from Virginia (SharpK ii 262, 263) and West Virginia (SharpK 11 263). and a song of the same title but of a considerably diiYerent content from Michigan (BbSM 242-3). In Heart Songs (pp. 20-1) it is ascribed to "Raymond. Professor White notes on the manuscript of the Nordi Caroina ver- sion that it was -one of my mother's favorite songs m my cjiildhood ( 1802-1000) in Statesville. N. C. I can still sing it. The Massa in our text suggests that it is a pseudo-Negro piece: but the word is spelled "iMassie" in Sharp's Virginia text, and there is nothing else in any of the versions to support the suggestion. In the Michigan version and in Sharp's second Virginia text it is a song of Southern patriotism in the Civil War. 'The Sweet Sunny South.' Reported by Mrs. Alice Cooke of Boone, Watauga county, in 1921 or 1922. With the tune. I Take me home to the place where I first saw the light. To the sweet sunnv South take me home. Where the mocking-bird sung me to rest every mght ; Ah, why was I tempted to roam ? I think with regret of the dear home 1 left. Of the warm hearts that sheltered me then, ( )f the wife and the dear ones of whom I'm bereft. And 1 wish for the old place again. 476 NORTH CAROLINA FOLKLORE Cliorus: Take me home to the place where my Httle ones sleep ; Poor Massa lies buried close by. O'er the grave of the loved ones 1 long to weep And among them to rest when I die. 2 Take me home to the place where the orange trees grow. To my cot in the evergreen shade, Where the flowers on the river's green margin may blow Their sweets on the banks where we played. The path to our cottage, they say, has grown green And the place is quite lonely around. And I know that the smiles and the forms I have seen Now lie under the ground. 3 Take me home, let me see what is left that I knew. Can it be that the old house is gone? The dear friends of my childhood, indeed, must be few, And I must lament all alone. But yet I'll return to the place of my birth, \\'here my children have played at the door. Where they pulled the white blossoms that garnished the earth, Which will echo their footsteps no more. 401 Blue Ridge Mountain Blues From the title and the refrain it is apparent that this is of com- paratively recent origin. The editor has not found it in other col- lections. The disordering of the rhyme arrangement in the final stanza suggests that it has been misremembered. 'The Blue Ridge Mountain Blues.' Contributed by Otis Kuykendall of Asheville in August 1939. 1 \\ hen I was young and in my prime I left my home in Caroline. All I do is sit and pine For those folks 1 left liehind. Chorus: I got the Blue Ridge Mountain blues, And I'll stand right here and say b'very day I'm counting till I climb that mountain To the I>lue Ridge far away. 2 I know the day when I'll return There'll be a shindig in the barn. M A R T I A L A X 1) P A TRIO T I C SON f. S 4/7 And folks for miles around will swarm ; There'll he some fiddlers to the storm. I see a window with a light, I see two heads of snowy white ; And 1 can almost hear them sigh. 'Where is niv wandering hoy toni^lit ?' I'm going to do right hy Ma, I'm going to do right hy Pa, I'm going to hang around that cahin door, Never going to wander any more. I can hear my hound dog Ijay. I'm going to hunt for the 'possum. Where the corn tops hlossom To my Blue Ridge far away. 402 The North Carolina Hills This has not been found elsewhere, and there is l)ut one text in our collection: but as a piece of local patriotism it should perliaps be given place liere. 'The North Carolina Hills.' Contributed (and perhaps composed) by O. L. Coffey of Shull's Mills, Watauga county, in 1939. 1 Oh. the North Carolina hills. How majestic and how grand. With their summits hathed in glory Like our Prince Immanuel's land ; Is it any wonder, then. That my heart with rapture thrills As I stand once more with loved ones On those North Carolina hills? ' Chorus: Oh. the hills, the heautiful hills. How I love those North Carolina hills ! If o'er sea or land I roam Still I think of happy home And the friends among the North Carolina hills. 2 Oh, the North Carolina hills. Where my childhood hours were passed ; Where I often wandered lonely And the future tried to cast. Many are our visions hright N.C.F.. Vol. Ill, (33) NM) R T H CAROLINA FOLKLORE Which the future ne'er fulfills ; But how sunny were my day-dreams On those North Carolina hills ! Oh. the North Carolina hills, llow unchanged they seem to stand; With their summits pointing skyward To the great Almighty's land ! Many changes I can see. Which my heart with sadness fills. But no change can he noticed On those North Carolina iiills. Oh, the North Carolina hills, 1 must bid you now adieu. In my home beyond the mountains I will ever dream of you ; In the evening time of life. If my Father only wills. I shall still behold the visions Of the North Carolina hills. 403 The Hills of Dan In the Greensboro Daily Nezvs of Sunday, November 2. 1947, E. P. Holmes quotes a garbled five-stanza text of 'The Hills of Dan' from a scrapbook owned by "Old Granny Parks" of Oakland Farm, near Sanford, N. C. According to Mr. Holmes's informant, Granny Parks's "attic library . . . hasn't been touched as I know of since the Civil War." 'The Hills of Dan.' From the John Bnrch Blaylock Collection. 1 The world is not one garden spot Or pleasure ground for man ; Few are the spots that intervene. Such as the Hills of Dan. 2 Though fairer i)rospects greet mine eves In nature's i)artial plan. Yet I am bound hv stronger ties To love the Mills of Dan. 3 The breezes that around them ])lav. And the bright stream they fan. Are loved as scenes of childhood's day Ann'd the Hills of Dan. M A U T 1 A I. A \ 1) r A T R I () T I C SONGS 479 4 Here. too. the friends of early days Their fated courses ran ; And now they tind a resting place Amid the 1 lills of Oan. 5 Ye saw the twilight of my dawn When first my life hegan; And ye shall see that light withdrawn. My native Hills of Dan. 6 Whatever fortune may ensue In life's short changeful span. Oft niem'ry shall turn hack to view I\Iy native Hills of Dan. 7 The love that warms this youthful l)reast Shall glow within the man ; And when I slumber, may I rest Amid the Hills of Dan. XII BLACKFACE MINSTREL AND NEGRO SECULAR SONGS THE GREAT MAJORITY of the contributors to the Frank C. Brown Collection are white people. The number of direct com- munications from Negroes is small. Most of the songs designated as from Negroes have passed through a medium of transmission at one remove or more from actual singing. Many songs, it is true, were taken down directly from Negro informants; but many, also, were obtained from wliite people who had learned them from other white people who regarded them as Negro songs. In this process there was doubtless a good deal of unconscious "editing." In many instances there has been no certain indication whetlier a piece that sounds like a Negro song was certainly of Negro origin or tradi- tion. Dialect is no sure criterion, for the speech of illiterate South- ern whites is often indistinguishable from that of illiterate Southern Negroes; and educated or half-educated Southerners when they re- port the songs or sayings of a Negro informant usually try to do so in a language that they imagine to be that of the Negro. More- over, though there are, between the races, some differences in taste for certain types of songs — the whites liking the older ballads better, the Negroes showing a preference for the spirituals — yet folk song in the South is shared on fairly equal terms between the two races. For these reasons, if for no other, the editors of this book have never thought of the Jim Crow law as applying to their labors. Thus, we have already included in previous sections — notably among the American ballads, the lullaby and nursery songs, the bird, beast, and fish jingles, and the work songs — numerous songs from, by, and about Negroes. In the last section, "Religious Songs," perhaps half of the pieces have the same provenience. Without thought of racial differentiation, we have so placed them, on tlie principles of formal, thematic, and functional classification, as the songs of the people of North Carolina. The reason for the following separate section grows out of the nature of the contents. It is a historic fact that "Negro song" has a definitive significance. Apart from the classes of songs mentioned above, there is a large body of songs popularly supposed to be about Negroes as Negroes or to interpret Negro life as such. They are H LACK F A f K M 1 N S T K K L , N K C K 0 S () N V. S 48 1 rej^arded as rertt'Ctiui;- specific racial traits, tastes, hal)its, pre- occupations, prejudices, and attitudes, tliat are traditionally attrib- uted to Negroes, whether they are genuinely Negro or only aspects of the white man's notit)ns about Negroes. Certainly the first cluster of the songs below are the white man's interpretation of the Negro. These are the old blackface minstrel favorites. Most of them are directly traceable to the minstrel show, which first discovered the Negro as a subject for popular art in the 184OS and continued to be a universal purveyor of entertainment all over the United States and even to the cities of the British Isles, until the movie drove it out of business about the time of World War I. The earliest burnt-cork hits often developed out of a kernel of genuine folk song, as, for instance, the Jim Crow songs. But the new song genre soon became stylized. Two of Stephen C. Foster's compositions, 'Oh, Susannah' and 'Nelly Ely,' have firmly established themselves in North Carolina folk tradition, and so have two others in nmch the same mode, though by different authors, 'Dearest Mae' and 'Kitty Wells.' 'Cindy,' 'Nancy Till,' 'Ella Rhee,' 'Miss Julie Ann Glover,' and 'Massa Had a Yaller Gal' are further examples of songs about or to girls. These dusky darlings with the pretty names and the sad or comic airs and words, sung around the cottage organ or by the parlor fireside or on the moonlit "front gallery," are a part of the sentimental heritage of most "Southern-raised" people. There is a corresponding group of songs about the "old" men — 'Jim Crack Corn.' 'Old Zip Coon,' and 'Uncle Ned.' 'Clare de Kitchen,' 'Run Nigger Run,' and 'Some Folks Say That a Nigger Won't Steal' also come down from the old minstrel repertories. 'Ain't Got to Cry No More,' 'The Happy Coon.' 'The Traveling Coon,' and 'The Voodoo Man' smack of later provenience. The rest of the songs in this section are of mixed origins and treat a variety of themes. Many sound like genuine Negro utter- ances; some show the minstrel or vaudeville touch. All of them. perhaps, belong to the class designated by Professor White as social songs. There are snatches about a variety of comestibles supposed to be specially favored by Negroes, though many white men would put in their claim for these delicacies and would certainly join in lyrical praise of them — cabbage, chicken, cornbread and molasses, hambone, short'nin' bread, and watermelons. The "mixed disturb- ance and delight" of woman is the burden of 'Eliza Jane' (two songs), 'Po' 'Liza Jane,' 'Everybody's Gal Is My Gal,' 'I'd Rather Be Dead,' and a dozen more. 'Shady Grove' and some versions of 'Raise a Ruckus Tonight' are keyed to a holiday mood. Brushes with the law or plans likely to involve collisions with it occasion such 482 \ O K T H C A R O L I N A FOLKLORE pieces as ■Staiuliii' on de Street Doin' No Harm, "Shoot Your Dice and Have Your Fun,' and a puzzling version of 'Raise a Ruckus 'J'onight.' Race feeling is clearly implied or directly expressed in more than a dozen pieces. 'Guinea Negro Song' and 'Jigger Rigger Bumbo' tersely but vigorously protest the injustices of slavery. A much larger number, like 'White Folks Go to College' and its variants, the white gal — yaller gal — black gal complex, 'Old Bee Make the Honey Comb,' and 'You Shall Be Free,' the last named beginning with — .A nigger and a wiiite man playing seven up ; The nigger won the money and he's 'fraid to pick it up — briefly but pungently illustrate racial discrimination. Special types are exemplified by 'Negro Yodel Song,' 'Old Aunt Dinah,' a "shout" or "hollow," and 'California Blues.' One of the blues snatches is epigrammatic : Oil ! when a man gets the blues, He boards a train and rides. Oh ! when a woman get the blues, She ducks her head and cries. 404 Cindy A rather miscellaneous lot of songs or song fragments have attached themselves to the 'Cindy' refrain of an old (ante-bellum) minstrel song. The 'Cindv' refrain is reported from Kentucky (BKH 172), North Carolina ( FSSH 434-5, JAFL xlv 168-9), Mrs. Steely 160-61 (1935), and the Midwest (Ford 58, as a square- dance tune), and among the Negroes from South Carolina (JAFL XLiv 428-9) and Alabama (ANFS 161, really from Tennessee). The second stanza of our A belongs to 'The Journeyman'; the sec- ond stanza of D to the 'I Wouldn't Marry' songs; for the first stanza of B see 'Cornbread When Fm Hungry'; the second stanza of B is likely to appear in almost any of the composite folk lyrics ; the first stanza of F is a favorite among Negro singers ; and for the coon and possum stanzas of G see Ford's Traditional Music of America yy (a square-dance song) and TNFS 170, 172, 173. 'Sindy : a Jig.' Reported by Thomas Smith of Zionville, Watauga county, in 1915 or thereabouts with the notation that it has been "a popular fiddle and banjo tune in our county for a great many years." I Oh, whc-re'd ye git yer licker. Oh, whcre'd ye git yer dram ? I got it of a nigger Way down in Kockin'hani. I? I. A C K 1" A C I-: M INST R K L , N E c; K 0 S O N (.; S 483 Chorus: (iit alons^ lionie. oh Sindy, Sindy, Git along liome. oh Sindy, Sindy. Git along home, oh Sindy, Sindy, (lit along down home. 2 She tuck me in the parlor, She fanned me with a fan ; She said I was the sweetest thing In the shape of mortal man. 3 Sindy in the spring time, Sindy in the fall, Sindy at the hall room A-dancin' at the hall. 4 Sindy went to meetin' ; So happy she did feel. She got so much religion She split her stockin' heel. B 'Beefsteak When I'm Hungry.' Collected by Julian P. Boyd in 1927 from Duval Scott, one of his pupils in the school at Alliance. I'amlico county. 1 Beefsteak when I'm hungry; Gravy when I'm dry ; Pretty little girl to love me, And heaven when I die. Chorus: Git along home. Cindy, Cindy, Git along home, Cindy ; Git along home, Cindy, Cindy, I ain't gwine there no mo'. 2 I went to see Miss Cindy, I hadn't heen there hefo' ; She fed me in the chicken coop. And I ain't gwine there no mo'. 3 I went to see Miss Cindy ; She met me at de do'. Shoes and stockin 's in her hand And her hare feet on de flo'. 4 I went U) see Miss Cindy, She met me on the route ; Put me in the cofifee pot And poured me out the spout. 484 N " K T H C .\ R 0 L I X A 1" 0 L K L 0 R E C 'Cindy.' From .Miss Jewell Robbins, Pckin, Montgomery county, in 1922. Cindy in the spring o' the year, Cindy in the tall : If 1 couldn't be Cindy all the year L wouldn't be Cindy at all. D 'Cindy.' From Miss Jewell Robbins, Pckin, Montgomery county, in July 1922. 1 1 went to .see Miss Cindy. She 'as standin' in de door. Shoes and stockings in her hand And feet all over de floor. Chorus: Oh, git along home. Cindy, Cindy. Git along home, Cindy. Cindy, Oh, git along home. Cindy, Cindy, I'll marrv you some time. 2 I wouldn't marry a Johnson gal ; I'll tell you the reason why : The neck so long and stringy I'm afraid they'd never die. E 'Get Along, Sindy.' Contributed as an "old slave song"' by S. M. Davis of White Hall, Wayne county. I went down to Julia's house To see Liza Jane. She fed me in an old hog trough And 1 ain't gwine there again. Chorus: Oh. gel along, Sindy, Sindy, Sindy, get along, Sindy, Sindy, Sindy, get along, Sindy, Sindy, Sindv. I'll spend my money drinking. F No title. Frtnn Mrs. Nilla T-ancaster, Wayne county, in or about 1923. Rather far removed frdui the otlier Cindy songs. 1 Old massa married a yaller gal, lie fotch her from de South. Her hair was twisted on her head so tight She could not shut her mouth. BLACKFACK MINSTREL, NEGRO SONGS 485 Chorus: Oh. my love Cindia, Oh, my love Cindia, Oh, my love Cindia, Oh. Cindia, fare you well. 2 I went to see my Cindia, Carried her a pair of shoes. Ast her if she would marry me ; She said she couldn't refuse. 3 I went to see my Cindia. Sat down by her side. I ast her if she'd be my bride ; She hung her head and cried. 405 Dearest Mae One of the early minstrel songs in the Stephen C. Foster mode, tills song appears in The Ethiopian Glee Book; a Collection of Popular Xegro Melodies. Arranged for Quartet Clubs (Boston, c. 1850), p. 2/, and in Christy's Negro Songster (New York, 1855), pp' 246-7, "Words and Music by A. F. Winnemore." It is also included in Minstrel Songs, Old and Nezv. a Collection of World- Wide. Famous Minstrel and Plantation Songs . . . (New York, 1882), pp. 143-4, where it is designated "Written by Francis Lynch, Composed by L. V. H. Crosby." The North Carolina texts show a number of differences suggestive of oral transmission. From K. P. Lewis, Durham, as sung by Dr. Kemp B. Battle at Chapel Hill, in November 1910; text undated. Note by Dr. Brown: "Printed in The Scepter, an old collection of songs. From the K. P. Lewis collection." I Come, listen to me, darkies, and a story I'll relate; It happened in the valley of the old Carolina State. Way down in the meadow, where I used to mow the hay. I alwavs worked the harder when I thought of dearest Mae. Chorus: ( )h. dearest Mae, you're as lovely as the day ; Your eyes so bright, they shine at night \\ hen the moon has gone away. 486 X t) R T II CAROLINA FOLKLORE 2 Ule niassa gave me holiday, 1 wish he'd give me more ; I tlianked him very kindly, and 1 pushed my boat from shore. Way down the river 1 floated, with my heart so light and free, To the cottage of my lovely girl I longed so much to see. 3 W ay down !)}■ the river where the trees do hang so low. The coons among the branches play, and the mink he hides below. There is the spot where Mae she looked so sweet. Her eyes did sparkle like the stars, her lips as red as beet. 4 Iknieath the shade of an old oak tree we sat for many hours. As happy as the humming bird that flits among the flowers. And dearest Mae, when I left her. she wept when both we parted ; I gave her one long farewell kiss, and up the river started. 5 Ole massa he was taken sick and poor ole man he died. And I was sold way down below close by the ri\-er side ; And dearest Mae. when she heard the news, she sickened like a flower. And now lies dead beneath the tree, where the owl hoots every hour. Hoo-oo-00 (to tunc of regular chorus) Under title 'Plantation Songs.' From Aliss Virginia C. Hall, a Trinity College student ; without local address or date ; with note : "This memory is of a gray-whiskered old gentleman bouncing a little boy on his knee and singing to him 'plantation songs' whicli he liad learned as a child from negroes on his father's plantation." Dr. White adds : "probably refers to her grandfather." The text corresponds to A. 2 and chorus. C I-'rom an informant identified only as I!urns ; te.xt without date or ad- dress. A combination of stanza i and chorus of 'Dearest Mae' with 'Massa Bought a Yaller Gal,' stanza i of tlie latter running: Ole Massa bought a cullud gal. He bought her from de South. Her hair it curl so berry tight She couldn't shut her mouth. He tuck her to de tailor shop To sew her mouth up small ; De gal she took in one long breath And swallowed up tailor and all. n I. A C K V A t" K M I X S T R K L , N E C. R O SON G S 48/ I) From Otis S. Kiiykcndall, Ashevillc (with plioiuif-raph recording), August 4, 1939. W'itli some verbal (iiffereiues, tlie same as A, i, 2, 3, and chorus. 406 Massa Had a \'ai,i.i;r (Iai, An earlv form of this sons^ is " "The (ial from the Sotith,' stmt;- ])y Dan Brvant," in Complete Bryant's Songs and Programme for One Year '(New York, 1859). H, 9-10. White, in ANFS 152-3, 450, traces 'Massa Had a Yaller Gal' to other minstrel songhooks of the 1850S, giving references and printing a numher of texts, mostly from Alahama. See also Scarborough TNFS 66-8, with versions from Louisiana, South Carolina, and Kentucky (the last with music ). A 'Massa Bought a Yaller Gal.' From C. L. Walker, address unknown; not dated. Massa bought a yellow gal, Bought her from the south. Her neck so long and skinny She couldn't close her mouth. He sent her to the blacksmith shop To have her mouth made small. She fell in love with the blacksmith And swallowed the shop and all. 'Marster Had a Yaller Gal.' From an anonoymous contributor ; not dated. Dr. White notes : "The incomplete first stanza is probal)ly in- trusive. Most of the rest is from the antebellum minstrels." Cf. 'The Derby Ram,' Vol. H, No. 176, p. 436, and 'Lynchliurg Town,' No. 415, below. 1 His name was Peter Brown. Every tooth within his head Was a mile and a cpiarter round. 2 Marster had a yaller gal, He brought her from the South ; Her hair was wrapped so very tight She couldn't shut her mouth. 3 I went to see her the other night ; She met me at the door. Shoes and stockings in her hand, Feet all over the floor. NORTH CAROLINA FOLKLORE I went down to New Orleans, I did not go to stay ; I fell in love with a pretty little gal And she in love with me. I wish I was in Tennessee A-sittin' in my chair. One arm round a whiskey keg, 'Tother round my dear. If I had a scolding wife I'd beat her shore's you're born; I'd take her down to New Orleans And trade her off for corn. 'She's My Yaller Gal,' with music. From J. D. Johnson, Jr., Trinity College student (from Garland, Sampson county), December 5, igig^ — "Sung to banjo by an old Negro in Eastern North Carolina." White prints the same song, with minor differences and without music, in ANFS 324. She's my yaller gal. 1 brought her from the South. Took her down to the blacksmith shop. To have her mouth made small. And bless you soul she opened her mouth And swallowed that shop and all. 407 Nelly Blv From an inf(jrmant designated only as Burns; without date or address. From the song of that name by Stephen C. Foster, published in 1849. \'erl)al differences in the stanza and the chorus indicate oral transmission. Nelly Bly, Nelly Ely. I'ring the broom along, .And sweep the kitchen clean, my dear, We'll have a dance and song. Oh, Nellie, sweet Nellie Listen, love, to me, I'll play for you, I'll sing for you, etc. 408 ( )ll, St'SAXNA ! I-'oster's wliinisical 'Oh, Susanna I' had a .n^reat vosjue and is still remcnihered ; it is to be found in various collections of popular songs — Wier's Book of One Tliousand Songs, Chappie's Heart r. I. A C K K A C E MINSTREL, NEGRO S (1 N G S 489 Soiiys, etc. — and has been reported as folk song from Pennsylvania (NPiM 79), Tennessee (BTFLS v 47-8), and North Carolina (SSSA 198). See also ANFS 178-9. There is some variation in the texts, but less than in Emmett's "Old Dan Tucker,' probably because it was not, as Emmett's song was, adopted as a play-party song. Many of the reports of it in our collection arc but frag- mentary memories. A 'Oh! Susannah.' Obtained by K. P. Lewis in 1910 from Dr. Kemp P. Battle of Chapel Hill. This follows Foster's original text pretty closely except for the added third line in the chorus. 1 1 come from Alabama with my banjo on my knee. I'm gwine to Louisana my true love for to see. It rained so hard the day I left, the weather it was dry. The snn so hot I froze to death; Susannah, don't you cry. Clionts: Oh ! Susannah. d(jn't you cry for me, I come from Alabama with my banjo on my knee And I'm gwine to Louisana my true love for to see. 2 I had a dream the other night, when everything was still, I (h-eamt I saw Susannah a-coming down the hill ; A buckwheat cake was in her mouth, a star^ was in her eye ; Says I, 'I'm coming from the South, Susannah, don't you cry.' 3 I jumped aboard a telegraph and traveled down the river. The electric flew and magnified and killed five himdred nigger. The biler bust, the train ran off; I really thought I'd die. I shut my eyes to hold my breath ; Susannah, don't you cry. 4 I'll travel down to New Orleans, and then I'll look around. And if I find Susannah. I'll fall upon de ground. But if I do not find her. this darkey'll surely die. And when I'm dead and bur-i-ed. Susannah, don't you cry. B 'Oh ! Susanna.' From Miss Amy Henderson, Worry, Burke county, in 1914. This uses Foster's text exactly. ^ Foster's text has "tear" for "star" and in the next stanza "fluid" for "flew and." 490 NORTH CAROLINA FOLKLORE 'Susannah, Don't You Cry.' From Lois Johnson, Davidson county, along with other songs and the notation : "I learned practically all these songs from my mother, who was reared in Cumberland county." Consists of stanza 2 with "mill" for "hill," the chorus without the third line of A, and the latter half of stanza i. D No title. From Maysie Rea, Craven county. Not dated. A fragment : the first three lines of stanza 2 and the chorus, which latter shows a slight variation : Oh, Susiana. don't you cry for me, I'm going to Louisiana for to see my fairy fay. 'Suzanna.' From Katherine Barnard Jones. Raleigh. Not dated. Here Foster's song has become mixed with another and quite different piece. 1 I saw Suzanna coming, Turning round and round, Broadaxe on her shoulder. Going to boot the mountains down. Chants: Run, logan. rini. boys, Run, logan, run. Run, logan, run, boys. Bound to have some fun. 2 Hot-cake was in her hand, Tear was in her eye. I saw Suzanna coming. Poor Suzanna about to cry. 3 I am going down to Alabam ; Don't you cry for me. I aiu going down to Alabam With the banjo on my knee. F No title, l-'rom William C. Cumming, Brunswick county; a fragment, with the notation : "Still another song, and one that used to mystify us a good deal, was in i)art as follows:" Oh. Susiaima, don't you cry for me. For I've gone to Calif orny with my banjo on my knee. A buckwheat cake was in her eye, A tear was in her nioiuli No title. From .Minnie Bryan Grimes, Duplin county. Merely the two lines of the chorus. B L A C K F A C K M I X S T R K I. , \ K C K () SON C. S 49I II N(i title. From V. C. Royster, Wake county. Only the last two lines of the first stanza. 'Oh Susanna!" From tlie John Ihirch Bhiyhick Collection, made in Cas- well and adjoining counties in the years 1927-32. Te.xt as in .\ except that it lacks the last line of the chorus as there given. 409 Nancy Till Sear's Index lists this simply as a "Negro song-." It is known in Kentucky (Shearin 23). and the Archive of American Folk Song has a recording of it made in Washington. Probahlv it is nmch more widely known than this short account implies. Our two texts are identical. A 'Xancy Till." Reported by Kemp P. Lewis in 1915 or thereabouts as set down in 1910 from the singing of Dr. Kemp P. P>attle of Chapel Hill. 1 Down in the cane])rake close by the mill There lives a pretty girl and her name is Nancy Till. She knew that I loved her. she knew it very long. I'm going to serenade her. and this shall he tiie song : Chorus: Come. love, come, the boat lies low. She lies high, dry, on the Ohio. Come. love, come, won't you go along with me? I'll row the boat while the boat rows me. 2 Open the window, love, oh, do. And listen to the music I am playing for you. The whisperings of love, so soft and low. Harmonize my voice with the old banjo. 3 Softly the casement began for to rise. The stars are a-shining above in the skies, The moon is declining beyond yonder hill. Reflecting its rays on you, my Nancy Till. 4 Farewell, love. I now mtist away, I've a long way to travel before the break of day. But the next time I come, be ready for to go A-sailing on the banks of the Ohio. 'Nancy Till.' Contributed by C. K. Tillett of Wanchese, Roanoke Island, in 1923. The text is as in A. 492 NORTH CAROLINA FOLKLORE C The tullowing fragment, contributed by V. C. Royster from Wake county, with a note that it goes back before the Civil War, is perhaps a memory of the same song : Come, my love, and go with me, J '11 take you down to Tennessee; There we'll live a happy life, Every da}' as man and wife. 410 Miss Julie Axx Glover This jingle seems to be merely a variant of the more familiar 'Julie Ann Johnson,' of wliich the Archive of American Folk Song has records from Kentucky, Georgia, Arkansas, and Louisiana. With the name 'Grover' it has been reported from Maine (FSONE 224-5) 'ind with the name 'Glover' from Iowa (JAFL liv 167-8). Our text conies from Georgia, but is reported by a North Carolinian. 'Miss Julie Ann Glover.' Reported by Mrs. C. C. Murphy of Ivanhoe, Sampson county, as sung on Flint River, Georgia. With the tune. As I was a-gwine to the mill one day I met Miss Julie Anne a-gwine dat way. She 'spressed her wish that she might ride. An' I sot Miss Julie for to ride by my side. Oh! set up thar. Miss Julie Ann Glover! Bend yo' eyes an' I can but lub yer ! Oh! set up thar. Miss Julie Ann Glover! Bend yo' eyes an' I can but lub yer ! 411 Kitty W'ells This song of Negro plantation life, the work of Thomas Sloan in the sixties of the last century, has been so loved and sung in divers parts of the country that it nmst be reckoned folk song, at least according to John Meier's definition of folk song. It has been reported as a traditional song in Pennsylvania (NPM 135-6), Vir- ginia (SSSA 185-6), West Virginia (FSS 395), Kentucky (in Shearin's Syllabus) . Tennessee (JAFL xlvi 47), North Carolina (JAFL XLiv 79, FSSH 414-15), Indiana (BSI 351-2), Illinois (TSSI 223-5), Michigan (SMLJ 216, BSSM 48c>^in the latter case listed only), Iowa (MAFLS xxix 80-3), and Nebraska (ABS 202) ; the Archive of American Folk Song lists records of it from California and (i)resumably) North Carolina (made by B. L. Luns- ford) ; and it is doubtless known and sung as traditional song in other parts of the country. Our collection has copies of it as follows : BLACKFACE MINSTREL. N E C R O S 0 N C S 493 A From I-. W. Anderson, Nag's Head. B From Mrs. Mary Martin Copley ol near Durluun. C From George D. Harmon, Union Mills, Rntherford county. D From Otis Kuykendall, Asheville. E From Miss Duo K. Smith, Houstonville, Iredell county. F As sung on Rabbit Ham, Buncombe county; singer's name not given. G From 1. G. Greer, Boone, Watauga county. H From Miss Bonnie Ethel Dickson of Watauga county, west of Boone. I From Julian P. Boyd, Alliance, Pamlico county. J From Mrs. Sutton; sung by a girl "at the foot of Mt. .Mitciieil on the Yancey county side." K From Mrs. Minnie Church, Heaton, Avery county. L From O. L. Coffey, Shull's Mills, Watauga county. M From W. Amos Abrams, Boone, Watauga county. These texts do not vary greatly : enougli to show that they have for the most part heen set down from memory, hut not enough to justify printing all of tliem here. One will he sufficient. 'Kitty Wells.' From L. W. Anderson of Nag's Head, collected from Ellen Scarborough, a pupil in the school there. 1 You ask what makes this darky sad, Why he like others am not gay. What makes the tear flow down his cheek From early morn till close of day? My story, darkies, you shall hear. For in my memory fresh it dwells ; 'Twill cause you all to drop a tear On the grave of my sweet Kitty Wells. Chorus: When the birds were singing in the morning And the myrtles and the ivy were in bloom, When the sun o'er the hills was dawning, 'Twas then we laid her in the tomb. 2 Oh. I remember well the day When we together roamed the dells ; I kissed her cheek and named the day When I should marry Kitty Wells. But death came in my cabin door^ And stole from me my joy and pride ; And when I found she was no more I laid my banjo down and cried. 3 The springtime has no charms for me. The flowers that bloom around the dells ; There's a form I long to see, The form of my sweet Kitty Wells. * The manuscript, probably by a mere slip of the pen, has "dear." N.C.F.. Vol. III. (.U) 494 NORTH CAROLINA FOLKLORE 4 I've sometimes wished that 1 was dead And laid beside her in the tomb, For sorrow now bows down my head In silence to the midnight gloom ; I'm longing for the day to come When I sliall clasp her to my heart, While in heavenly fields we roam And never, never more to part. 412 Ella Rhee This is no doubt from the nigger-minstrel stage, though I have not been able to trace its history. It is in Dean's Flying Cloud, p. 96, is listed in Miss Pound's syllabus, and there are records of it from Missouri and California in the Archive of American Folk Song. 'Ella Rhee.' Secured by Julian P. Boyd in 1927 from Graham Wayne, a pupil in the school at Alliance, Pamlico county. 1 Sweet Ella Rhee. so dear to me, Is lost forevermore. Our home was down in Tennessee Before this cruel war. Chorus: Then carry me back to Tennessee, Back where I long to be. Among the fields of yellow corn. To my darling Ella Rhee. 2 Oh. why did I from day to day Keep wishing to be free And from my massa run away And leave my Ella Rhee ? 3 They said that I would soon he free And happy all the day ; But if I thought they'd take me hack I'd never atrain nni awav. 413 Clare de Kitchen S. Foster Damon reprints {Scries of Old American Songs No. 16) T. D. Rice's form of this favorite of the minstrel stage of a hundred years ago, from the Harris collection at Brown University. Miss Scarborough also gives it (TNFS iio-ii). Damon says that r. I. A C K I- A C E M I X S T R K L , N K (1 K 0 SO N C S 495 it "is trt'ciuently found in the songsters after 1836"; one form of it was printed in Baltimore as early as 1832. It is essentially a medley of nonsense verses, and as such takes on various elements in tradition (from which, prohably, it was originally taken up by the minstrel stage). The refrain has been reported from South Carolina (TNFS no), Florida (ibid.), and Illinois (JAFL xxxii 492). The stanza about the old horse is reported from Virginia (TNFS 163-4), Tennessee (JAFL xxvi 123), and Indiana (SSSA 237), and without definite location by Ford {Traditional Music of America 407-8) ; one about the terrapin and the toad (possum and toad in our text) from Virginia (TNFS 164, 106) and from Ten- nessee (JAFL XXVI 123). A 'Old Jim Crow.' Contributed by Mrs. Emma W. Smith of Salisbury, Rowan county, in 1922. With the tune. The title given is not justified I)y the text; it is to be explained by the fact that her "Uncle John" is "old Jim Crow" in the Rice version. 1 I saw Uncle John come riding by. Says I, 'Uncle John, your horse will die.' 'If he does. I'll tan his skin. If he don't. I'll ride him agin.' Chorus: Clear the kitchen, old folks, young folks. Clear the kitchen, old Virginia never tire. 2 As I went up the new-cut road I spied a possum and a toad. Every time the toad did jump The possum dodged behind the stump. 3 The gals are so proud they won't eat mush. And when I go to court them they .say '(Jh hush.' I wish I was back in old Kentuck. For since I hove her here^ I had no luck. B 'Clear the Kitchen.' Reported in 1914 by Miss Amy Henderson of Worry. Burke county, as "a fragment of an old song.'' Dr. White notes upon the manuscript that these stanzas "belong to the old minstrel repertory." Cf. "Clar de Kitchen.' The Popular Xatioiial Soiii/ster. and Lucy Xcal and Dan Tucker's Delif/ht. . . . Philadelphia : Published by John B. Perry, 1845, pp. 153-4. One stanza of 'Clare de Kitchen' in The Virginia Warbler (Richmond, 1845), p. 92, is similar to stanza 2 in B text. I In old Kaintuck in the afternoon We swep the floor with a brand new broom, And after tliat we'd form a ring ^ The meaning of this phrase is not clear. 4g6 NORTH CAROLINA FOLKLORE And this is the song that we would sing : Clear the kitchen, old folks, young folks. Clear the kitchen ; Old \'irginny never tire. 2 A hull frog dressed in soldier's clothes Went to the field to shoot some crows. The crows smelt the powder and all flew away ; The hull frog mighty mad that day. Clear the kitchen, old folks, young folks, Clear the kitchen ; Old Virginny never tire. 414 Jim Crack Corn This is one of the best-known of tlie nigger-niinstrel songs of the last century, and has become more or less a traditional song. See Mrs. Steely 165 (1935). Miss Scarborough (TNFS 201-3) reports a text from Virginia almost identical with our A text. In this form it is also known as 'The Blue-Tail Fly.' But the tune and the chorus, very singable, have attracted fragments of other songs so that sometimes — as in texts C. D, E below — only the chorus of the original song is left. Alfred Williams in FSU^T 178 gives a text which he says was "popular about the Thames Valley." 'Jim Crack Corn.' Contributed by K. P. Lewis of Durham in 191 5. It lacks the opening stanza of the version mentioned in the headnote above, and adds an alien stanza — but one quite famihar in other connections — at the end. 1 Den arter dinner massa sleep. He hid dis nigger vigil keep ; And when he gwine to shut his eye He tell me watch the hlue-tailed fly. Chorus: Jim crack corn, 1 don't care, Jim crack corn, I don't care, Jim crack corn, I don't care, Old massa's gone away.^ 2 \\ hen he rides in the artcrnoon I follow him with a hickory hroom. The pony being very shy When bitten by the hlue-tailed fly. ' In tlic manuscript tlie chorus is indicated only by the first three words ; doubtless as being to(j well known to need writing out in full. li L A C K F A C !•: M 1 N S T R K I, , N E c; K 0 SONGS 497 One day lie ride an inn' the farm, The flies so nnnierons they did swarm. One chanced to bite him on the thij^h: "The dickens take that hhie-tailed fly!" Tlie pony he reared and he jnmped and he ])itch, And he flung old master in the ditch. The jury came and wondered why. The verdict was : "The blue-tailed fly.' They l)uried him under a 'simmon tree, His epitaph is there to see: 'Here lies I, all forced to die By the bite of a blue-tailed fly.' Ole massar's dead and gone to rest. They say all things is for the best. I never shal forget till the day I die Ole massa and the blue-tailed fly. De hornet gets in eyes and nose, De skeeter bites you through de clothes, De gallinipper flies up high ; But wusser yet, the blue-tailed fly. 'Jim Crack Corn.' From Miss Amy Henderson of Worry, Burke comity. The same as A except that it has the proper initial stanza : \\ hen I was young I tised to wait On massa and hand him de plate, Pass down de bottle when he get dry, And brush awav de blue-tail flv. 'I Wish I Had a Great Big House.' Contributed by Miss Monta Adams, Durham, in 1922. Here there is nothing but the chorus left of the original song. The "chicken pie" stanza appears in various con- nections. For the second stanza see the 'I Wouldn't Marry' songs, No. 17. I I wish I had a great big house Sixteen stories high And every story in that house Was filled with chicken pie. Clionis: Jim crack corn, I don't care. Jim crack corn, I don't care, Mv master's yone awav. 498 NORTH CAROLINA FOLKLORE 2 I wouldn't marry an old maid ; I'll tell you the reason why : Her neck's so long and skinny I'm scared she'd never die. D 'Jim Crack Corn.' Contributed by Lida Page, Durham county. Here again only the chorus is left of the original song; the other two stanzas occur fre(|uc'ntly in Negri) song. See No. 194, above. 1 Possum up a 'simmon tree Looking cunningly at me. ricked up a l)rick and hit him on the chin ; Said he, '( )ld fellow, don't you do that again.' C/ionts ( as in C) : 2 Folks that live on hshing creek Grow from ten to eleven feet. Go to bed, it is no use ; Their feet stick out for the chickens' roost. E 'Jim Crack Corn." Reported by Mrs. Nilla Lancaster of Wayne county. Only the familiar chorus and a single stanza : I went to the hen house on my knees Just to hear the gobbler sneeze. It was only a rooster sayin' his prayers, Singiu' a hymn to the hens upstairs. 415 Lynchburg Town White in ANFS 178 gives an account of the relation of this song to the ante-bellum minstrel books and notes some of the re- portings of it by later collectors. To the references there given may be added Kentucky (Shearin 20, OSC 60-2) and North Caro- lina (JAFL XXII 249). The core of the various texts is the refrain "going down town" to sell — to chaw — his tobacco down. The name of the town may vary; and so may the matter of the stanzas that make up the different versions. Like 'Old Joe Clark,' which equally admits a diversity of matter in its various versions, it has been used as a play-party song; see the McLendon finding list, SFLQ VIII 215. For other occurrences of the first stanzas of A and B, see Nos. 161-64, above. .\ 'Get on D(j\vn to Ivichniond Town.' ()i)tained in 11J27 Ijy Julian P. lioyd from Minnie Lee, one of his pupils in the school at Alliance, Pamlico county. As various in content as some of the versions of 'Old Joe Clark.' H L A C K F A C K M I N S l' R K L . N K C R 0 S O N CJ S 499 Dr. W'liito iu)tes on tlio manuscript that most of the stanzas and their histories can be traced tln-on.uli the index of lirst linos in ANFS. 1 A raccoon has a bushy laih A possum tail am hare; Rabbit he come skippin' 'long, He had none to spare. Chorus: (Jet on down town, Get on down town. Get on down to Richmond town And carry my 'baccy down ! 2 My old mistress had a cow, I 'member say^ she was bo'n, It takes a jay bird a thousand years To fly from ho'n to ho'n ! 3 I wouldn't marry a po' gal, I'll tell you the reason why : Her neck's so long and stringy I'm afraid she'd never die ! 4 God almighty made this world, And then he made a whale ; And then he made a fat raccoon With a ring around his tail. 5 Raccoon is a cunning thing ; He travel in de dark. He never thinks to climb a tree Till he hears old Growler bark. 6 My old mistress had a mule. His name was Gilbert Brown. Every tooth in Gilbert's head Would cover an acre of ground. 'Get Along Down Town.' Contributed, apparently in 1921 or 1922, by the Reverend L. D. Hayman of Elizabeth City, Pasquotank county. With the tune. I Possum up the 'simmon tree. Raccoon on the ground. Raccoon said to possum : 'Hand some 'simmons down!' ' So in the typescript. Should it be "day" ? 500 NORTH CAROLINA FOLKLORE Chorus: Get 'long down town, Get 'long down town, Get "long down Newburg town, Take my terbacker down. 2 Raccoon is a migbty man. Totes a busby tail. Steals all tbe farmer's corn " And sbucks it on the rail. 3 Raccoon totes a busby tail, Possum he goes bare ; Rabbit he come hopping by, Ain't got none to spare. c 'Lynchburg Town.' Contributed by Miss Amy Henderson of Worry, Burke county, in 1914. The version is defective at the end. 1 I'm gwine down to town, I'm gwine down to town. I'm gwine down to Lynchbtn'g town To take my bacca down. 2 Bacca sellin" high. Dollar and a half a pound, A great big knife to cut it up And a little gal to tote it round. 3 Somebody stole my good coon dog. I wish they'd bring him back ; Run the big niggers over the fence, The little ones through the crack. 4 Marster had an old gray mule D 'Down to Lynchburg Town.' From J. H. Burrus of Weaverville, Bun- combe county, in 1922, with tlie notation: "Used for any old dance, such as Virginia break-down, the singing being accompanied by the music on an instrument, usually a banjo." 1 rf 1 had a scolding wife I'd whip her, sure as she's born ; I'd take her down to Lynchl)tu-g town And trade her off for corn. Clioriis : ( )li, I'm going down to town. ( )b. I'm going down to town, BLACKFACE MINSTREL, NEGRO SONGS 50I Oh, I'm going clown to Lynchburg town To carry my tobacco down. I went on down to town, 1 didn't aim to stay ; I laid my head in a pretty girl's lap And I could not get away. 'Lynchburg Town.' From the Reverend A. J. Burrus, Cliffside, Ruther- ford county. With the music. The chorus as in D and a single stanza much the same as the first in D : If I had a sporting [v. I. scolding] wife I'd whip her, sure's she's born. I'd whip her down to Lynchburg town And bid her ofi, of course. T'se Gwine Down to Town.' From W. B. Leake, student at Trinity College. Merely the chorus, as in D. 'Git Along Down Town." From Lucille Cheek of Chatham county. Merely the chorus, as in D. 'Going Down to Town.' Published by Louise Rand Bascom in JAFL XXII 249 with the remark that "it is similar in character to the 'Arkan- saw Traveler,' and the fourth verse [of each stanza] is always the invention of the singer. It runs on endlessly, and begins thus: — " I'm goin' down to town, I'm goin' down to town, I'm goin' down to town, To chaw my terbacco down. Git along down town, Git along down town, Git along down town, To bile that cabbage down. No title. Reported by Mrs. Nilla Lancaster, Wayne county. Only the chorus, three lines, slightly different from tlie preceding forms at the end : Carry mv bacco down to town, Down to town, down to town. Trade it ofi. for wine. 502 NORTH CAROLINA FOLKLORE 416 Mv Long Tail Blue S. Foster Damon, in Series of Old Ajiicriccvi Songs, says that 'My Long Tail Blue' was the first song of the Negro dandy and that George Washington Dixon, who sang it as early as 1827, claimed authorship of it. Damon prints a copy of the early sheet music. One of the earliest blackface minstrel favorites, the song appears in Christy's Negro Songster (New York, 1855), pp. 149-50 (pagination of the book irregular), with chorus. The following version corresponds roughly to stanzas i. 2, and 4 in Christy's. It has changed locale and dropped political allusions to Andrew- Jackson. "My Long Tail Blue.' From Miss Zilpah Rebecca Frisbie, Marion, McDowell county, c. 1923. 1 I's come to town to see 3'ou all. And ax ye howdy do, And sing a song not very long Abotit my long tail blue. 2 Some darkies has but one coat. But you see I's got two. I wears my jacket all the week. And Sunday my long tail blue. 3 As I went up Tutton Street, I hollered atter Sue. A watchman came and took me up, And tore my long tail blue. 4 I took it to a tailor's shop To see what he cotild do ; He took a needle and some thread An' mended my long tail blue. 5 Jim Crow was courting a yaller gal, De darkies called her Sue, You bet I backed that nigger out. And swung my long tail blue. 6 If you want to win a lady's heart, I'll tell you what to do — Go down to a tiptop tailor's sliop. And bu\' you a long tail blue. 417 Mv ( )l1': .MisTi's I'romiskd Mk White. .'\XI-\S 132. shows that this song, of minstrel origin in the 1850S, "had contemporary existence [of the first stanza] in practically every section of the South." JAFL xxx 220 contains a ]? I. A C K F A C F. M I N S T R F. L , N E C. R O S O N G S 503 rini;-,L:anic soiii;- from Georiiia which hr.^ins w itli a story — cor- respoiuliiii;- to "My Ole Mistiis I'roiniscil Mr,' foUowcd hy a refrain. The second stanza continues : Now she's dead and gone to licll. I hope that tlie devil will burn her well. Scarhorout;li (TXh'.S 1^)4-5) contains a song the second stanza of which corresjionds to the followins^-. (See also TNFS 194.) "My Ule Mistus Promised Ale.' From Miss Clara Hcarnc, Pittsboro, Chatham county, c. 1923. 1 My ole mistus promised me When she died she'd set me free. Refrain : Good mornin'. John. Ans.: Howdy. Good mornin'. John. Ans.: Howdy. 2 She Hved so long her head got l)ald. She got outer de notion er dyin' at ah. 3 My ole mistus killed a duck, Didn' give me nuffin' hut de hone to suck. 4 Alv ole mistus killed a goose, Didn' give me nuffin' but de greasy juice. 5 I'm on my way to the promised land, A great big biscuit in each hand. 418 Old Zip Coon The autliorslnp of 'Zip Coon,' "one of minstrelsy's earliest and most characteristic and popular songs," was a matter of dispute among George Nichols. Bob Farrell, and George W. Dixon. "It resembled a rough jig dance, called Natcliy under the Hill, and was said to have originated among the boatmen, gamblers, river pirates, and courtesans who congregated freciuently for a real 'hoe- down' at a rendezvous near Natchy." Farrell sang it at the Bowery Theater in New York in 1834.. (Carl Wittke. Tambo and Bones, a History of the American Minstrel Stage [Durham. N. C.. 1930], pp. 16. 33.) There is a fairly early version of it in Cliristy's Negro Songster (New^ York, 1855), pp. 177-80, which reads "sandy hol- lar"' for "sandy hook." See also J. Foster Damon, Series of Old American Songs (Providence, R. I., 1936), for the earliest printing and for further details about the origin of 'Zip Coon.' Professor Damon suggests that "some lost spiritual is the probable source" of the tune, and states that the tune was used later for 'Turkey in the 504 NORTH CAROLINA FOLKLORE Straw.' See also The Popular Xational Songster, etc. (Philadel- phia, 1845), pp. 177-80. A 'Old Zip Coon.' From Miss Amy Henderson, Worry, Burke county, c. 1915. 1 I went down to Sandy Hook t'other afternoon. I went down to Sandy Hook t'other afternoon, I went down to Sandy Hook t'other afternoon. And the first man I met there was old Zip Coon. Chorus: Old Zip Coon is a very learned scholar, Old Zip Coon is a very learned scholar, Old Zip Coon is a very learned scholar. He plays upon de banjo Cooney in de holler. 2 Old Sukey Blue-skin fell in love with me. She 'vite me to her house to take a cup o' tea. What do you think Old Suke had for supper? Chicken foot, sparrow-grass, apple sass and butter. 3 Did you ever see the wild goose sail upon the ocean ? The wild goose motion is a very pretty motion. And when the wild goose winks he beckons to de swallow ; Den de wild goose holler goggle, goggle, goller. 4 Oh ! my old Mistis she is mad with me Because I wouldn't go with her and live in Tennessee. Marster build a barn there and put in all de fodder. This thing and that thing and one thing another. The John Burch Blaylock Collection has a version practically identical with A. 419 Camptown Races Stephen Foster's 'Camptown Races' was enormously popular in his own time, and is still widely known and sung, almost a hundred years later, though it is not often included in collections of folk song. Our collection has but a single stanza of it. No title. Reported by S. O. H. Dickson of Winston-Salem in 1913 as having been a "favorite song of little darkies 'i)efo' de Wah.' " I gone down town wid ma pockets full o' tin, Dudab! Dudah ! I come back home wid my bat cave in, KLACKFACE MINSTREL, NEGRO SONGS 505 Dudah! Dudah day! Uudah ! Dudah day ! I boun' ter run all night, I boun' ter wuk all day. I bet ma money on de bob-tail horse — Dudah! Dudah dav ! 420 Uncle Ned The original 'Uncle Ned' was composed by Stephen C. Foster, copyrijfht 1848. As a song, or more often as a rhyme, it is known by most Southern people. It was early parodied (see B, below), aiid the parody, too, has achieved some traditional diffusion. See Randolph OFS ii 335-6. A 'Uncle Ned.' From K. P. Lewis, Durham, c. 191 5, as set down in November 1910 from Dr. Kemp P. Battle. Chapel Hill. 1 There was an old darkey, and his name was Uncle Ned, And he lived a long time ago. And he had no wool on the top of his head. In the place where the wool ought to grow. Chorus: Lay down the shovel and the hoe. Hang up the fiddle and the bow. There's no more work for poor old Uncle Ned, For he's gone where the good darkies go. 2 His fingers were as long as the cane in the brake, And he had no eyes for to see. And he had no teeth for to eat the corn cake. So he had to let the corn cake be. 3 \\'hen Uncle Ned died. Missus took it very hard. And the tears ran down like the rain, And the darkies all said when they saw the old man dead, They would never see his like again. B From the same informants, with note: "First verse of above [parodied] as smig by Hon. R. H. Battle of Raleigh." S. Andrews, New York, one of the early penny song publishers, printed this parody. The Battle version of it shows a number of variations. There was an ancient colored individual, and his cog- nomen was Uncle Edward, And he lived in the time long since past. 506 NORTH CAROLINA FOLKLORE And he had no capillary substance on the summit of his ])ericranium. In the place where the capillary sul)stance is accustomed to vegetate. Lay the agricultural implements prone upon the floor, Let the musical instruments be suspended on the wall, For there's no more arduous labor to be performed by ancient Uncle Edward. For he's gone to the place designated by kind Provi- dence for good kind colored individuals. c 'Uncle Ned.' From Miss Lucille Cheek, Chatham county; no date. This, like the Battle A version, shows numerous changes of the original printed text of 1848. 1 There was an old darkey, and his name was Uncle Ned ; He died long ago, long ago. He had no hair on the top of his head The place where the hair ought to grow. Chorus: Then lay down your sho\el and your hoe, Hang up your fiddle and your bow ; For there's no more work for poor Uncle Ned, He's gone where the good darkies go. 2 One cold frosty morning when Uncle Ned died The tears streamed down like rain, For we knew when we put that darkey in his grave We'd never see his like again. 421 Way Down on tiik Old Phedee Songs about the Peedee appeared early in blackface minstrelsy. Christy's Nigga Songster (New A'ork, n.d., pp. 164-5) has one with a chorus ending : Way down in tlie countoree. Four or five miles from de ole Pec Dee. (hunbo Chaff's The lltJiiopiau C,lcc Book (Boston, l(S4(;, p. 154) includes another of which the following is a sample: In .Souf C arolina I was horn. I Inisk de wood an choj) de corn, De roastin ear to de house I l)ring, De nigger cotch mo an 1 sing: Chorus : Ring de hoop ! blow de horn ! H I. A f K F A C I". M I N S T K K I. , N K C k O S () N C S 507 Cotch dc nigger a steal in corn, Way down in die low groun fiel, 3-4 mile from Pompey's heel. There is another sonj^', of more recent provenience, traditional, and closer to the A text below, in Lydia Parrish's Sla7'c Songs of the Georgia Sea Islands (New \'ork, 1942, pp. 122-3). A From Mr. K. P. Lewis, Durham, c. 1915, as set down from tiie recitation or singing of Dr. Kenij) P. Battle, Chapel Hill, in Xoveniher lyio. Way down on de ok- Pcedee. Way down on de ole IV-edee, I'll take my boat And way I will float Way down on the old Peedee. B 'Old Darkey Joe.' Contributed by Miss Jewell Robbins of Pekin, Mont- gomery county (afterwards Mrs. C. P. Perdue), in 1922. With the air. The name appended is probably that of the person who wrote out the song for Aliss Robbins. 1 Away down sotith, on the old Peedee, Away down in the cotton and the corn, There lived old Joe ; and he lived so long That nobody knows when he was born. Chorus: No use now to weep for darkey Joe, Sleeping by the tall green corn, It doesn't matter now for old darkey Joe ; Nobody knows when he was born. 2 The wind blows soft on the old Peedee, Away down in the cotton and the corn. Sighing now for old darkey Joe ; But nobody knows when he was born. 3 There's an old gray stone on the old Peedee, Away down in the cotton and the corn. Tell us all when old Joe died ; But nobody knows when he was born. W\ A. Leach 422 Shinbone Alley The oldest text of this sons? that S. Foster Damon could find was published as sung- by Daddy Rice in 1833 (Scries of Old American Songs No. 18, from a print in the Harris collection at 508 NORTH CAROLINA FOLKLORE Brown University) ; but he says it was already current in more than one form before that, being "rooted deep in the Negro past." It had great popularity and prompted Morris's Long Time Ago ('Near the Lake where Drooped the Willow'). Our stanza is not in the text printed by Damon. A variant of it is reported by Odum and Johnson (NWS 176) as part of a Negro work song. No title. Contributed by V. C. Royster of Wake county as from "an old man who lived in Cumberland county before the [Civil?] War. Prob- ably sung in Wake also." Old IVliss Tuck and my aunt Sallie Both lived down in shin bone alley. No sign on the gate, no number on the door ; Folks around here are gittin' mighty poor. 423 Some Folks Say that a Nigger W'on't Steal For the song based on this line, its distribution and its history, see ANFS 370-2, and add South Carolina (JAFL xliv 425) and the Midwest (Ford's Traditional Music of America i7i)- It seems to be equally familiar to whites and blacks. It is associated, in our North Carolina texts, with various refrains : with "you shall be free" in E and F, with "run, nigger, run" in G and H, and with "way down yonder in the cornfield" in I (so too in Ford's text). The texts are mostly of one stanza, never, apparently, in North Carolina, of more than two and a refrain. Although they are much alike, they vary in details, and most of them are therefore given here in full. Cf. 'Whar Did You Cum From?' The Popular Na- tional Songster, etc. (Philadelphia, 1845), PP- 187-8. No title. From Mildred Peterson, Bladen county, in 1923 or thereabouts. In this and the three following no refrain is indicated. 1 Some people say a negro won't steal. I caught two in my corn field : One had a shovel, the other had a hoe. If that ain't stealing I don't know. 2 Some say that a negro won't steal. But I caught three in my cornfield. I ran them down a ])ine thicket. Stuck my head in a yellowjacket's nest. B 'Some Say dat a Nigger Won't Steal.' Reported by David T. House, Jr., of Durham, in 1919. The first stanza of A with only slight verbal differences. IJ I. A C K F A C K M 1 N S T R K I. . N E (; K O SON C S 509 c 'Song.' Contributed by Miss Minnie Bryan Farrior of Duplin county. No date given. Some folks say a iiigj^er won't steal, But I caught three in niy corntiekl ; One had a bushel and one had a peck, And one had some hung around his neck. D No title, l-'roni Miss Kate S. Russell, Roxboro, Person county. Not dated. Some folks say that a nigger won't steal. 1 catight forty in my corn field ; One had a bushel and one had a peck One had a roasten-ear tied around his neck. E 'Some Folks Say that a Negro Won't Steal." From Lucille Massey, Durham. This has the "you shall be free" refrain. The same as A except for the refrain, which runs : Oh, moana, you shall be free, Oh, moana, you shall be free When the good Lord sets you free. F 'Oh, Mourner.' Reported by Clara Hearne of Pittsboro, Chatham county, in 1923. This is the longest of the North Carolina texts. Some folks say a nigger won't steal, But I caught seven in my cornfield. One had a bushel and the other had a peck. One had a roas'n' ear strung around his neck. Refrain: Oh, moana. you shall be free \\^hen the good Lord sets you free. Some folks say a nigger won't steal. But I caught two in my corn field. One had a shovel, an' one had a hoe ; If that ain't stealing I don't know. Soitie folks say a nigger won't rouse. But I caught two in my smoke-house ; One had a middling and one had a ham G No title. From Flossie Marshbanks, Mars Hill, Madison county. It is the same as A except that between the first two and the last two lines a refrain is inserted : N.C.F., Vnl. TTI. (3S) 510 NORTH CAROLINA FOLKLORE Run, nigger, run. the pattyroll'll ketch you. Run. nigger, run. it's ahiiost clay. Run. nigger, run. the pattyroll'll ketch you. Run. it's almost day. H No title. From Antoinette Beasley, Monroe, Union county. This con- sists of the first half of A (with "six" for "two") and a shortened form of tlie "run, nigger, run" refrain. I 'Oh, Mourner.' From Miss Doris Overton, Durham, in 1922. It is a curious conglomerate. 1 Some folks say that a nigger won't' steal. Way down, wav down, way down yonder in the corn- field. But I caught one in my cornfield. Way down, wav down, wav down vonder in the corn- field. One had a shovel and the other had a hoe. Way down, wav down, wa\- down yonder in the corn- field. 2 If that ain't stealin'. I don't know. Way down, wav down, way down vonder in the corn- field. Oh, mourner, you' shall be free. Way down, wax down, wav down, yonder in the corn- field. When the good Lord sets you free. Way down, wav down, wav down vonder in the corn- field. 424 The Happy Coon Dr. White notes on tlie manuscript: "Looks to me very much like a product of the later minstrels (ca. 1900-10) which may pass into folk-possession as the 1840 minstrel songs often did." He prints a version from Florida, ANFS 222. 'The Happy Coon.' Obtained by Julian P. Boyd in 1927 from Jeannette Tingle, one of his pupils in the school at Alliance, Pamlico county. I I've seen in my time some mighty funny things. But the funniest of all I know Is a colored individual, just as sho' as you is ho'n. And he's black as any crow. ' The manuscript has "would" in the first line and "who" in tlie ninth; clearly errors for "won't" and "you," respectively. 15 L A C K F A C K M I N S T K K I. , X E C K O SO X (; S 5 1 I 2 You may talk till ^-ou're tired, hut you'll never i;et a word From this very queer old coon. He's knock-kneed, double-jointed, pigeon-toed. And he's happy when he whistles his tune. 3 He whistles in the daw in the morn, in the ni^ht ; And he whistles like the devil goin' to l)ed. He whistles like a locomotive engine in his sleep; And he whistled when his wife was dead. 4 (Jne day a nigger hit him in the moiuh with a hrick. His mouth swelled up like a big balloon. Still, he went around the very next day, And he whistled his merrv tune. 425 The Preacher and the Bear This is reported from Virginia as a Negro folk tale with verses at the end (JAFL xxxii 360-1). It is, or was, known in Kentucky (Shearin 31) and in the Ozarks (Ford 300-2). White, reporting it as Negro song from Alabama ( ANFS 210), says it is originally a minstrel song. Davis FSV 336 lists it. A 'Preaclier Went Out Hunting.' Obtained in 1923 from Airs. W. L. Pridgen of Durliam. 1 A preacher went out huntin' One nice bright Sunday morn. It was against religion. But he took his gun along. 2 He killed some nice fat quail And a great big molly har', And on the way home he met A great hie grizzlv b'ar. 3 '() Lord, if you can't help me. Por the Lord's sake don't help that bear!' Parson went up the 'simmon tree. Bear went out a limb ; Preacher said, Tf he stays there I don't give a dim'.'^ ^ So the manuscript gives the last word. Apparently the reporter understands it as a twisting of "dime"' to rhyme with "limb" ; but one suspects that it is rather a bowdlerizing of "damn." 512 NORTH CAROLINA FOLKLORE 'The Preacher and the Bear." Obtained, probably in 1923-24. from Miss Tina Fussell of Snow Hill, Greene county. \\'ith the music. 1 A preacher went out huntiii' ; 'Twas on one Sunday morn. He knew it was against religion, But lie took his gun along. 2 He killed himself some very line quail And one little measly hare ; And on his way — he was goin' home — He met a great big grizzly bear. 3 The bear stood out in the middle of the road, An' oh. dat coon, you see, Dat coon got so excited He climbed a 'simmon tree. 426 I \\'as Born About Tex Thousand Years Ago This bragging song probably originated as a vaudeville produc- tion. As a humorous performance it is known — or has been — in Virginia (AMS loi), Tennessee (JAFL xxvi 160). and Michigan (BSSM 448-9), and Sandburg (ASb 330-1 ) gives it without saying where he found it. Whether as known by Negroes (ANFS 146, Alabama from Florida) it is consciously humorous or not is not clear; but a text from Maryland (JAFL xxvi 190) obviously de- rived from our humorous song is quite clearly religious in temper. It deals onlv with events in the life of Christ. See also 'The Highly Educated Man' (ABFS 346-50). A 'I Was Born About Ten Thousand Years Ago.' Reported by H. F. Shaw from the "eastern part of North Carolina." without date. 1 I was born abotit ten thousand years ago And there is nothing in this world that I don't know. I was behind the Inishes, beating, when that apple Eve was eating. I can prove that I was the man what ate the core. 2 I was there when Cain slew Abel in the glade. I know that the game was ])oker that they played ; But right here coities the rub : some say it was a club, Btit I'll bet it was a diamond or a spade. 3 I was there when Noah built his famous ark And I crawled in one evening after dark. BLACKFACE M I \ S T R K I. . X K C K 0 SON C S 513 I twisted the lion's tail, and made Jonah swallow the whale, And I swam the Atlantic on a l(jg. 4 Queen Victoria she fell in love with me. \\'e were secretly married in Milwaukee; But I got tired and shook her and jcMued Cieneral Hooker Fighting- skeeters down in sunny Tennessee. B "I Was Born Ten Tliousand Years Ago.' From Miss Eura Manguin of Durham, in 1922. With the tune. Only the first five lines. 1 was horn ten thousand years ago. There isn't anything that I don't know. I saw Peter, Paul, and Moses playing ring-around-the- roses And I'll lick the man who says it isn't so! I taught Solomon his little A B C's c 'I Was Born About a Thousand Years Ago.' Reported by Miss Aura Holton of Durham about the year 1924. But the text seems not to have been preserved. The two fragments here following show a confusion of our brag- ging song with another song quite different not only in temper but in verse structure, 'Goodbye, Susan jane.' 'I Went to See My Susan.' Contributed by C. L. Walker, place and time not noted. In the manuscript the third stanza is marked "chorus" and the fifth stanza "chorus to first verse" ; which probably means that stanza 3 is the chorus of the biblical burlesque and stanza 5, or the first half of it, is the chorus of 'Susan Jane.' 1 I went to see my Susan ; She met me at the door And told me that I need not come To see her any more. 2 She fell in love with Rufus Ahram Jackson Pane. I looked her in the eye and said, 'Goodhye, Susan Jane.' 3 I was horn ahout ten thousand years ago. Ain't nothing I don't know. Standing on Mount Zion I saw Sampson slav the lion ; And I can lick any man that says it ain't so. 4 Saw Noah when he Iniilt dat famous ark. Crept in one night right after dark. 514 NORTH CAROLINA F 0 L K L 0 K K I twistt'd a lion tail and saw Jonah swallowed the whale And rid through the land of Canaan on the ark. 5 Oh. Susan, stop your fooling And give your heart to me. Oh, give me back nn- own true love And I will let you be. I useter love you dearly, And I will never love again. 1 looked her in the eye and said 'Goodbye, Susan Jane.' E 'Saw Noah When He Built dat Famous Ark.' From D. C. Crawford, w^ithout notation of time or place. Made of the same elements as D, and no less confused. It appears in the Collection in two sheets. On one of them the Noah stanza is followed by stanza 5 of D labeled "chorus" ; on the other the first two stanzas of D are followed by the "I was born" stanza labeled "chorus." Apparently the two songs are actually combined in some way by singers, but our manuscripts do not enable one to make out how. 427 Have a Little Banjo Beating From J. B. Midgett, Wanchese. Roanoke Island, identified by Dr. White as "probably the uncle of P. D. Midgett, Jr., a Trinity student wdio wrote F.C.B. from Wanchese in 1920 that his father knew about 500 songs." Phonograph recording ("as sung by Mr. or Mrs. C. K. Tillett, Wanchese, 12-29-22"). Resembles 'Have a" Little Dance,' in Christy's Negro Sonysfcr (New York, 1855), p. 18. 1 Stay a little longer and don't keep a noise \\ hile old Massa and Missus is sleeping. We'll go in the barnyard and awake up the boys And have a little banjo beating. Chants: Ho. ho, ho, a long time ago, Ho, ho. ho, a long time ago. 2 The hardest work I ever done Was grubbing around the pine ; The easiest work I ever did Was hugging that girl of mine. 3 I've been to the east, Lve been to the west, I've been to South Carolina, Lve been so far beyond the sun I heard jioor negro hollow. li L A C K F A C E MINSTREL, N E c; R 0 SONGS 5 1 5 4 The telegraph is mighty swift, But a negro's heel is swifter. I'll go down in New Orleans And marry Pop Miller's sister. 5 1 took Susanna hy the hand And led her across the field. Her ankle stuck fast in the middle of the ditch And she couldn't get out for her heel. 428 The Traveling Coon A From Percy F. Dilling, Trinity College student, Decemljer 5, 1919, with music by E. C Lovell and note : "Sung by travelling minstrel at King's Mountain, Cleveland County, N. C." As in White ANFS 349 (without music). 1 Once there was a travelling coon Who was born in Tennessee. He made his living stealing chickens And everything else he could see. Chorus: Well, he travelled and was known for miles around, And he didn't get enough, he didn't get enough, Till the police shot him down. 2 Well, the police got in an automobile ; They got right after that coon. No matter how fast that freigh train past. That coon was sho' to get on board. 3 That coon got on the Titanic steamship And sailed across the ocean blue. When he saw that iceberg a-comin'. Right overboard he flew. 4 The people standin' aroun' Said that nigger was sure a fool. But when that Titanic ship went down. He was shootin' craps in Liverpool. 5 They sent for his mother down in Cjeorgia ; She was all carried 'way with tears. When she opened tip the coffin for to see her boy. He hafl done a disaj^peared. B No title. From an informant identified only as Woodard ; no date. Cor- responds to chorus and stanzas 3 and 4 of .\. 5l6 NORTH CAROLINA FOLKLORE 429 The Voodoo Man White, who printed this text in ANFS 206-7 (without music), described it as "apparently of comparatively recent vaudeville origin" and stated that he had a copy of it from Auburn, Alabama. No title. From James E. Lj^on. High Point. Guilford county, c. 1919, with music. Chorus: I've been hoodooed I've been hoodooed, Hoodooed by a nigger voodoo ; I've been hoodooed, hoodooed, Hooddooed by a big black coon. 1 Oh! coon for me had a great infatuation; He wanted me to marry but he had no situation. As soon as I refused. That coon he got wild. Says he. Tm bound for to hoodoo this child.' He went out and got a rabbit's foot And burned it with a frog Down in the hollow of an old burnt log Right by the road where I had to pass along. Ever since that time my head's been wrong. My bones began to ache And my teeth began to chatter ; Went to the doctor and he couldn't tell the matter. Says he, 'You are a gone coon, gone up the spout.' He looked at my head and my hair fell out. Nobody knows how funny I feel — Even the husk fell ofif mv heel. Chorus: 2 That same black coon had an awful disposition; He could do more tricks than Herman the magician. My daddy went out for to kill this black moke.^ That coon only laughed for he throught- it was a joke. He had all the other coons afraid to look him in the eve. He had a lot of niggers that he taught to fly. All the police for this coon had to search. He robbed a nigger right at church. He would grab up a chicken and it wouldn't even holler. He would throw down his gopher, and 'most everything would follow. * Apparently an error for "smoke." '■' Apparently an error for "thought." BLACKFACE MINSTREL, N E C. R O SONGS 51/ It may seem strange but it ain't no lie. I hope in my heart that coon will die. For I can't sleep, walk. talk, nor cat ; Guess I'm dead — my heart don't heat. Chorus: (Repeat the first five lines) 430 Ain't Goxxa Rain No More This is perhaps a chant of Negro origin. See White's note on the version in ANFS 281-2, which is our A text. It is rather widely known: among Southern Negroes (JAFL xxiv 277, 374), as a dance song in Texas (TNFS 107-8) and Nebraska (ASb 141), and Finger heard it sung in Patagonia (FB 163. by an American Negro). The fragments of meaning that have attached themselves to the key refrain vary, as will be seen from our Nortli Carolina texts. See ]\Irs. Steely 217-18 (i935)- A 'It Ain't er Gwine ter Rain.' Reported by H. H. Hanchey of Durham in 1919 as heard some four years before that. Said to be a "song sung bv slaves when they went back to work after a rainy day." Previously printed, ANFS 208. The contributor notes that "it was said to be a sign of' dry weather to see a rabbit sitting in the fence corner." 1 It ain't er gwine ter rain, it ain't er gwine ter rain, It ain't er gwine ter rain no mo' ; It rained last night an' de night befo'.^ 2 Rabbit settin' in de jamb ob de fence. It ain't er gwine ter rain no mo'. He's settin' thar for de like- ob sense, It ain't er gwine ter rain no mo'. B "Tain't Gon' Rain an' 'Tain't Gon' Snow.' Contributed in 1922 or there- abouts by Jennie Belvin, Durham. 1 'Tain't gon' rain and 'tain't gon' .snow, 'Tain't gon' rain no mo'. 'Tain't gon' rain and 'tain't gon' snow, 'Tain't gon' rain no mo". 2 Rabbit settin' behind the pine, 'Tain't gon' rain no mo'. One eye out an' the other'n blind. Ain't gon' rain no mo'. ' One expects a repetition of the refrain line after line 3. but the manuscript does not give it. - For "lack," of course. 5l8 NORTH CAROLINA FOLKLORE 3 What does the blackbird say to the crow ? 'Tain't gon' to rain no mo'. It ain't gon' to rain no mo'. 'Tain't gon' to rain no mo'. "Tain't A-Going to Rain No More.' Reported in 1923 by Clara Hearnc of Pittsboro, Chatbam county. 1 'T ain't goin' rain, 't ain't goin' snow, 'T ain't goin' rain no more. 2 Rabbit sittin' behind the pine. One eye out and the other blind. 'T ain't gwine rain no more. 3 Red bug hauling, seed tick a-mauling ; 'T ain't gwine rain no more. 4 How do you know, an' who said so? 'T ain't gwine rain no more. D "T ain't Goin' to Rain No More.' Obtained from Carl G. Knox, Dur- bam, some time in tbe period 1922-24. Witb tbe tune. Here a human figure takes tbe place of tbe rabbit. 1 Old Aunt Dinah behind the pine — 'T ain't goin' a rain no more — One eye out and the other one blind — 'T ain't goin' a rain no more. 2 Big boy, little boy, picking up sticks — 'T ain't goin' a rain no more — Big boy, little boy, picking up sticks — 'T ain't goin' a rain no more. 3 Little boy, big boy, picking up sticks — 'T is goin' a rain some more — Little boy, big boy, picking up sticks — 'T is goin' a rain some more. E 'Ain't Gonna Rain No Mo'.' From Miss Mamie Mansfield of Durbam, June 1922. Tbis attaches entirely new matter to the refrain. It sounds as if it might be a play-party song. Compare ANFS 268. I got a husband, a sweetheart too. Ain't gwine a rain no mo'. Hu.sband don't love me, sweetheart do. Ain't gwine a rain no mo'. B I. A C K F A C K M 1 X S T K K I- , N K C K O SO N C S 5I9 Ain't Oct to Ckv No Mork This appears in the Collection in the hand of Dr. Brown, undated Pre- suniahlv it is a product of the school of l)lack-face sentnnenta nnn- strelsv'wliich Dr. Brown heard somewhere. We have not lound it ni other' collections. p:vidently made on the suggestion of 'Am t (jonna Rain No More.' 1 Ain"l gut to crv no more. Ain't got to cry no more; Blackberries growin' round mah cabin door; Ain't got to cry no more. 2 I ain't got to cry no more, Ain't got to cry no more ; Pickaninnies rollin' on mab calmi door,^ T ain't got to cry no more. 3 Ain't got to cry no more, Ain't got to cry no more ; Possum gittin' fat bebin' my cabin door ; Ain't srot to cry no more. 432 Boil Them Cabbage Down See White ANFS 303 and Scarborough TNFS 124 and 168. See also Mrs. Steely 221-4 (1934)- From Julian P. Boyd, from an anonymous pupil of the school at Alli- ance. Pamlico county; undated, but c. 1927-28. Boil them cabbage down. Turn them round and round. Look out, nigger, don't give me any sass, And boil them cabbage down. Turn them round and round. Look out. nigger, don't you give mc any sass, And boil them cabbage down. 433 Broder Eton Got de Coon See White ANFS 223. and Steelv 216 (i935>- Dr. White adds: "l' think the first two stanzas at least are of old minstrel origin. From Julian P. Boyd, from Catherine Bennett, a pupil of the school at Alliance, Pamlico county: undated, hut c. 1927-28. ^ This seems to be a mistake for "floor." 520 NORTH CAROLINA FOLKLORE 1 De Lord made de wide world. And den he made a whale. And den he made a big raccoon, Wid a ring around his tail. Ciiorus: Broder Eton got de coon ! (ione on, gone on, gone on, Broder Eton got de coon. Gone on, left me l)arkin' up a tree! 2 De Lord made a nigger. He made 'im in de night. He made 'im in a hurry. And forgot to make 'ini white. 3 \\'hen I come to die, 1 want to be ready. Lay me down, straighten my feet, So I c'n git to heben By de middle of de week. 4 If I had a needle. As fine as I could sew, I'd tack my sweetheart to my side. And down de road we'd go. 434 Chicken See Perrow JAFL xxvi 130 (from Mississippi). Dr. White notes: "I remember this from childhood as a minstrel coon song in Western North Carolina in early 1900's." From Julian P. Boyd, from an anonymous pupil of the school at Alli- ance, Pamlico county ; undated, but c. 1927-28. Chicken, oh, you chicken, went up in a balloon, Chicken, oh, you chicken, roost behind the moon. Chicken, oh, you chicken, flop your wings and fly. Tell it all to the bad boy, chicken don't rocjst so high. Chicken, oh, chicken. You rascum, they know just what I mean When they see me coming. All round this old plantation There can't be a chicken seen. Chorus: ()h, you rascal, flo]) your wings and fly. Tell (?) it all to tlu' bad boy : Chicken don't roost so high. BLACKFACE MINSTREL, N E c; R O SONGS 521 435 The Dummy Line A Nesro hobo and railroad song about "a small train running on a short track." Terrow JAFL xxvi 171 gives two variants, one from Alabama, one from Mississippi, collected 1908-09. Both make Atlanta the point of departure. See also Scarborough TNFS 244-5 (one text from North Carolina) and Satis N. Coleman and Adolph Bregnan, Songs of American Folks (New York, 1942), pp. 76-7. A From Miss Eura Mangum, Diirliani ; dated 1922. Some folks says a dummy won't rtin. But listen, let me tell you what a dummy's done done — Left New York at half-past one. Rolled into 'p-risco at the settin' of the sun. Chorus: On the Dummy Line, on the Dummy Line. Ridin' and a shinin' on the Dummy Line. Ridin' and a shinin' and pay your fine. Ridin' and a shinin' on the Dummy Dummy Line. "As sung on Turkey Creek, in Buncombe Co., N. C." ; informant's name not given— possibly Bascom Lamar Lunsford. An interesting version. The chorus works' in the name of a river and a county in eastern North Carolina. The second stanza is perhaps traceable ultimately to 'From Whar Did You Come From?' (c. 1840). popularized by Joel W. Sweeny, "father of the modern banjo." See S. F. Damon. Scries of Old A men- can Songs (Providence, R. T, 1936). 1 Some folks say a dummy can't run. Sugar Bahe ; Some folks say a dummy can't run. Sugar Rahe. Git on the dummy, didn't have no money : They hit me on the head with a two-hy-four. Not'a-goin' to ride on the dummy no more, Sugar Bahe. [Chonts?] Way down yonder in Pasquotank. Sugar Bahe; Way down yonder in Pasquotank. Sugar Bahe. Way down yonder in Pasquotank. The' hullfrogs jump from hank to hank. Sugar Bahe. 2 Some folks sav that niggers don't steal. Sugar Bahe ; Some folks say that niggers don't steal. Sugar Bahe. Some folks say that niggers don't steal. But I caught seven in my cornfield, Sugar liahe. 522 NORTH CAROLINA FOLKLORE Eliza Jane ( I) See W'liite ANFS 172-4 for a history of the song, several vari- ants, and references to other coUections containing it. 'Li'l Liza Jane.' From Miss Tina Fussell, Snow Hill, Greene county, c. 1920-21. 1 I got a gal and you got none, Li'l Liza Jane. I got a gal and you got none, Li'l Liza Jane. Chonis: Oh, Eliza, li'l Liza Jane, Oh, Eliza, li'l Liza Jane. 2 House and lot in Baltimore, Li'l Liza Jane, Lots of chilluns round de floor, Li'l Liza Jane. 437 Eliza Jane (II) 'Liza Jane.' From Miss Mildred Peterson, Bladen county, in 1923. 1 When I go a ridin', I take the railroad train ; But when I go a-courtin', I take sweet 'Liza Jane. 2 When I go a-fishing, I take my hook and line ; But when I go a-courtin', I take my gal o' mine. 3 You climb up the oak tree, I'll climb up the gum, 1 never see a pretty gal But what I love her some. 4 I wish 1 had a needle and thread. As hne as i could sew, I'd sew my true love to my side, .\nd down the road we'd go. 5 You go ride the (jld gray horse, I'll go ride the roan ; ^'(»u hug and kiss you gal, I'll hug and kiss my own. I! I. A C K F A C E M 1 N S T K E I. , X E C K O S <) N C S 523 l^\-KRVH()i)v's (1ai. Is My (Iai, From Julian P. Boyd, who obtained it from jiamutte Tin^lf, a pupil in the school at Alliance, Pamlico county. 1 l{vcrvl)()dy's gal is my gal. •My partner's gal is my gal loo. If you ain't mighty keerful. I'll take 'er right away from voti. 2 If you got a good gal. You better pin 'er to your side, 'Cause if she flags my train, I'm gonna let 'er ride. 3 Everyl)()dy's gal is my gal. Aiy i)artner's gal is my gal too. 439 Go 'Way from My Window This fragment of Negro song resembles the ancient serenade. (Cf. 'The Drowsy Sleeper.') See Lomax ABFS 198. From Miss Clara Hearne, Pittsboro, Chatham county; undated. Go 'way from my window, Stop hangin' on my do'. Got another Brownie, Don't love you no mo'. 440 Here Lies de Body uv Po' Little Ben From an anonymous contributor, without address or date. It is related to 'Oh, Dat Watermilion,' No. 454, and to 'Watermelon Hanging on the Vine,' No. 468. 1 Here lies de body uv po' little Ben. We ain't gwyne to see 'im in I dunno when. 'Twus hard to part, but it could 'a' been wuss, 'Case Ben mou'ter been a no-'count cuss. 2 Ham bone am sweet, beats all de meat. Possum am very, very fine. l>ut give me. o, give me de bestes' thing of all, 'Tis de watermillion hanging on de vine. 524 NORTH CAROLINA FOLKLORE 441 I'm CioiNc; Down the Road Feeling Bad B. A. Botkin, editor of A Treasury of American Folklore, in- cludes in that volume (p. 876) a version of this song, the words of which, he notes, were written by Woody Guthrie. There are sliglit verbal differences between the two versions, and the original does not include stanza six given below. Davis FSV 279 lists the title. From the John liurcli Blaylock Collection. 1 I'm going down the road feeling bad. I'm going down the road feeling l)ad, I'm going down the road feeling bad, And I ain't gonna be treated this-a way. 2 I'm down in the jail on my knees, I'm down in the jail on my knees, I'm down in the jail on my knees, And I ain't gonna be treated this-a way. 3 Oh, it's nothing but cornbread and peas, Oh, it's nothing but cornbread and peas, Oh, it's nothing but cornbread and peas. And I ain't gonna be treated this-a way. 4 I'm going where the climate suits my clothes, I'm going where the climate suits my clothes, I'm going where the climate suits my clothes. And I ain't gonna be treated this-a way. 5 These five dollar shoes hurt my feet. Oh, these five dollar shoes hurt my feet, Oh, these five dollar shoes hurt my feet, And I ain't gonna be treated this-a way. 6 I'm leaving if I never come back. Oh, I'm leaving if I never come back. Oh, I'm leaving if I never come back. And I ain't gonna be treated this-a way. 442 I Could'n Li\'k P)Edout dk I-'lowers Of minstrel origin, this song was often rejjrinted on penny sheets and in songsters of the mid-nineteenth century. From the mother of Mrs. C. C". Thomas, whose address was not given; undated ; descril)ed as "plantation song." I I ccnild'n live bedout de flowers, Ur dat sweet mapnolia tree. 15 L A C K F A C K M 1 N S T K K 1. , N K C K O SON G S 525 1 could'n sleep where de inockiii' bird Cuuld'n sing he song to nie. 2 I'd soon be nothin' but skin and bones, Ef de docfish^ were my meat ; I'd pine an' die on Boston beans, 'Caze possum is what we eat. 3 Brer Rabbit wink at de possum. De possum drin at me ; I shy a rock at the critter. He cluni de hicknut tree. 443 I'd Rather Be Dead From James E. Lyon, Jr., Trinity College student, December 5, 1919 (with music). As in VVIiite ANFS 340 (without music), with in- formant's note: "Heard in High Point, N. C, 1916." 1 I rather be dead an' laid in de' dirt Than to see my gal with her feelin's hiu't. 2 I rather be dead an' laid in de sand Than to see my gal with another man. 3 I rather be dead an' laid in de ground Than to see my gal in anoder weddin' gown. 444 If You Want to Go to Heaven This seems to be Negro hunior ; it is known among the Negroes of Alabama (ANFS 135, 144). Mississippi (JAFL xxvi 158), and Texas (TNFS 225). Our text is not strictly from North Carolina, but the distance is not significant. No title. Contributed by Cousor, Bishopville, South Carolina. If you want to go to heaven I'll tell you iiow to do: Grease yourself with chicken soup. And if the devil get[s] after you with the red-hot pan. Just slide over into the Promised Land. 445 I Had a Banjo Made of Gold 'Zigon Made a Wheel.' From Mrs.. Charles M. Carson, Charlotte; un- dated ; with note : "to the tune of 'Gocxlby, My Lover.' " Dr. White says that the refrain is from a minstrel song. ' Thus in copy supplied to the editors. X.r.F., Vol. Ill, (.?6) 526 NORTH CAROLINA FOLKLORE I had a banjo made of gold, And all the strings were twine, And all the tune that I could play was I wish that gal was mine. And all the tune that I could play was I wish that gal was mine. 446 If You ]\Ieet a Woman in the Morning From Miss Jewell Rohbins, Pekin, ^Montgomery county (later Mrs. C. P. Perdue), 1921 ; with recording, probably at a later date. Cf. 'Asheville Junction.' 1 If you meet a woman in the morning. Bow yo' head, buddy, bow yo' head. 2 When you hear that turkle-dove a-hollerin'. Sign it's gwi' rain, buddy, sign it's gwi' rain. 3 When you hear that whip-poor-will a-hollerin'. Time to plant corn, buddy, time to plant corn. 4 When you hear dat scrooch-owl a-hollerin'. It's gwi' turn cold, l)uddy, it's gwi' turn cold. 447 If You Don't Believe I'm Sinking A From Howell J. Hatcher, Trinity College student, December 5, 1919, with music, and note : "sung by Negro farm laborer." Cf. White ANFS 279, 328. If you don't believe I'm sinking just look what a hole I'm iiL If you dou'i believe I love you just look what a fool I've bin. You made me love you and now yoiu- man have come, I'll see you later when I've got my guiL From Thomas Litaker, Trinity College student, December 5, 1919, with music, and note: "VVork song lieard in Cabarrus County, N. C." O Lord if you 7)y the third stanza of which begins : Tucker in de wood pile — can't count 'lebben. Put in a fedder bed — him gwine to hebben. 'Nigger in the Woodpile.' From Mrs. C. C. Thomas, who learned it from her mother, Mrs. Woodward. Location and date not noted. Nigger in the woodpile, couldn't count to seven. Put him in a feather bed and he'll think he's got to heaven. 510 Share 'Em This fragment, fairly unintelligible as it stands, the editor has not found elsewhere. Does "share" mean "share" or does it mean "shear"? 'Share 'Em.' Reported by Mrs. C. C. Murphy of Ivanhoe, Sampson county, as sung by her father, J. N. Corbett, who learned it after the Civil War near Bainbridge, Georgia. Oh, I din' ka' how you share 'em So you share 'em eben ; Share yo' sheep and blankets — Share 'em, share 'em, share 'em ! If you want er see dem pretty gals Look on Mon'lyn's Baniel — 511 The Preacher Song This, as Dr. White has noted on the manuscript, is "a composite of three separate songs, and probably others." The first stanza of A is almost identical with stanza 3 of a Texas version of 'Pore Mounah' ( TNFS 194) ; Brother Ephram and his coon are the sub- ject of Negro song in Virginia (TNFS loi), North Carolina 566 NORTH CAROLINA FOLKLORE (ANFS 223), South Carolina (JAFL xliv 429), and Mississippi (JAFL XXVI 158) ; the hog-shooting is reported from South Caro- lina (JAFL XLIV 433), Alabama (ANFS 140, 192, 231), Missis- sippi (JAFL XXVIII 136), and Texas (TNFS 176) ; "some folks say that a nigger won't steal" is likely to appear in any of the haphazard composites of Negro song, though I have found it applied elsewhere to the preacher only in Georgia (TNFS yj-)- Cf. No. 433- 'The Preacher Song.' From the manuscript book of songs of Miss Lura Wagoner of Vox, Alleghany county, lent to Dr. Brown in 1936. The songs seem to have been entered in the book about 1911-13. 1 The sorriest sight I ever seen Is a heavy loaded wagon and a sorry team. I popped my whip and the leaders sprung, And the aft horse fell on the wagon tongue. Chorus: 'Where are you going. Moses?' 'None of your business.' 'Come here, Moses.' 'Ain't going to do it. Brother Ephram got the coon And gone on, gone on, gone on, Brother Ephram got the coon And gone on and left me Looking up a tree.' 2 Some folks say that a preacher won't steal, But I caught a preacher in my watermelon field. Preaching and a-praying all the time And a-stealing the watermelons off'n the vine. 3 Alabama negro laying behind a log, Finger on the trigger, eye on the hog. Down went the trigger, bang went the gun ; Oh Lord A'mighty, how the hog did run ! 512 Johnson's Mule Quite another matter than 'The Kicking Mule,' below. What seem to be forms of this song are reported from Alabama (ANFS 288), Michigan (BSSM 447), and Nebraska (ABS 213-14). 'Johnson's Mule.' Reported hy .Mrs. Sutton with tlie remark: "I tliink this must be a music-liall ditty, but it is very effective when sung to the banjo." (Jld Johnson had an old gray mule, And he driv him to a cart. H I. A (.■ K V A C K M I N S T R K I. . N K C K () S d X C, S 56" 111' l()\f(l that imilf. and tlir nuilc \i>\v<\ him W ith all his mulish heart. When the rooster crowed ole" Johnson knowed That dawn was ijoin' fur to hreak. He comI)ed that mule with a waj^on wheel And he ruhbed him down with a rake, And you could hear him sing Hee haw — hee haw — hee haw And vou could hear him sing. 513 The Kicking Mule This miglit be considered a form of the 'Liza Jane' song, which varies rather widely in content, taking up or dropping stanzas with the individual singer; or of the 'Whoa, mule' song, which suffers similar variations. Its origin, in either form, is not known, but it is sung very widely, especially in the South. Many of the texts recorded are from the singing of Negroes. Our version com- bines the two elements ; so do texts reported from Tennessee (FSSH 431-2), North Carolina (FSSH 430-1, 433, JAFL xlv 165), Mississippi (JAFL xxviii 180), from the Midwest (Ford 295-6, 440-1), and from the singing of southern Negroes (JAFL XXIV 265, 371-3). Sometimes the 'Whoa, mule" motive appears without the 'Liza Jane'; so in North Carolina (FSSH 433), Ala- bama (ANFS 227, 229), Mississippi (JAFL xxvi 126), Texas (TNFS 186), and Indiana (BSI 335-8). Once at least the 'Liza Jane' element appears without the 'Whoa, mule' : in Tennessee (FSSH 432-3). The sleigh-ride of our text appears also in Ten- nessee (FSSH 431-2), in Mississippi (JAFL xxviii 180), in a text reported by Odum (JAFL xxiv 371-2) from Southern Negroes, and in the Ozark region (Ford 440-1). The name Simon Slick as that of the owner (sometimes as that of the mule itself) seems to occur only (except for the two texts from Indiana, BSI 335-8) in Negro texts: from Alabama (ANFS 157, 227, 228) and in others not definitely located (Talley 47-8, JAFL xxiv 373). This hst sufficiently shows the shifting and composite character of the song. 'The Kicking Mule.' From the manuscripts of G. S. Rohinsnn of .A.shc- ville, secured in August 1939. I Once there was a man, his name was Simon Slick. He had a mule with dreamy eyes — and how that nude could kick ! He'd shut one eye and switch his tail and greet you with a smile. He'd gently raise you from the ground and kick you half a mile. 568 NORTH CAROLINA FOLKLORE Chorus: \\ hoa, mule. I tell you. Whoa, mule, I say ! Keep your seat. Miss Liza Jane, And hold on to the sleigh. 2 I hitched that mule one morning to take my girl a ride. He kicked both hind feet over the shalves^ and kicked her in the sides ; He kicked the feathers from a goose, he broke the ele- phant's back, He stopped the Texas railway train, and he kicked it off the track. 3 Oh, hear the sleigh-bells ringing ! The snow is falling fast. Find a mule that's roomy, just give him all the road. And don't get scared at nothing what you hear or see ; Liza, I'll stay with this mule and you must stay with me. 4 Just see them snowflakes flying ! Look out, let them sail. Watch them ears of his'n and see him wag his tail. Going to the preacher's. Liza, you keep cool; Hain't got time to kiss you now, I'm busy with this mule. 5 Little bee came flying around, came flying around the wall ; This little mule gave him one good kick, little bee didn't feel so well. Took him down to the blacksmith's shop, hitched him by himself ; He kicked both hind feet down his . . .- and kicked him- self to death. 514 The Billy Goat Spaeth (Read 'Em and JVccp 158) gives this without author or (late, but as he includes it in his chapter on "The Vogue of Harrigan and Hart" it belongs in the period 1870-90. An elaborated version of six stanzas has been recorded from the Midwest (Ford 374-5), and a four-line fragment from Alabama Negroes (ANFS 231 ). 'A Billy Goat Was Feeling Fine.' Reported in 1913 by W. B. Covington as "heard at Gary. Wake Guunty, four years ago." ^ This seems to be an attempt t(j reproduce the local pronunciation of "shafts." ^ There is no lacuna indicated in tbe manuscript, but tlic missing word can easily be supplied. K I, A C K F A C K MINSTREL, NEGRO SONGS 569 1 A billy i,n)at was feeling fine, Ate six red shirts from ofi the line. Sal took a stick and broke Bill's back And tied him to the railroad track. 2 l^ong came a freight just six hours late. It was too bad, made poor Bill mad. Bill gave a shriek of roar^ and i>ain. Coughed up the shirts and flagged the train. ' Probably iniscopicd for "fear." XIII RELIGIOUS SONGS THE RELIGIOUS songs gathered by Professor Brown and his aides are, alone, sufficient in number, variety, and interest to make a sizable book. For Negro songs he had access to most of those collected by Professor White from North Carolina for Pro- fessor White's American Negro Folk-Songs. For those current among the whites the Collection has drawn from the Adams manu- script book of songs contributed by Professor W. Amos Abrams and from several other manuscript collections of mixed songs. Besides these there were scores of individual contributions, ultimately from singers of both races. The racial provenience of the songs, then, is fairly representative of the population of North Carolina. In many instances, the collector's note indicates whether a given song was recovered from white or Negro singers. But differences of racial provenience do not make much differ- ence in the character of the texts, however great the differences in music may be. The whole body of songs in this part of the Col- lection suggests the original unity of religious experience and wor- ship among the two races. The probable priority of most of the so-called "spirituals" in the worship of the whites, demonstrated by Professor White and confirmed by Professor George Pullen Jack- son and other scholars whose books are cited in this collection, indicates that the spirituals are the common property of the two races. The notion of a fundamental dift'erence is due to ignorance or forgetfulness of the fact that changes in fashions of worship by singing have taken place more rapidly among the whites than among the blacks. Many songs in this collection suggest, and a visit at camp-meetings, revivals, or back-country church services would show, that what seems strange about the singing of an unsophisti- cated (not a city) Negro congregation today is largely due to the fact that Negroes are simply continuing, in their own way. an old song tradition once observed without distinction by whites and blacks and later abandoned by most whites. This strangeness is also partly due to an undeniable difference of racial psychology and musical habits which early gave Negro singing and religious behavior a peculiar flavor — and which have given to some of the Negro spirituals their uniciue glory. Yet the texts common to both races exhibit few important differences due to race — often not even K K I. 1 C I () U S S O N C S 5/1 in dialect — tliough the soii,t,'s recovered from white people arc more likely to retain verbal features of the old hymns. An interesting group of texts would seem, from known proveni- ence and from comparison with other printed recordiniL^s, to have been better preserved anions tlu' whites tlian anHini^- llie blacks. Most of these arc pieces of some length and some pretense to liter- ary style, often printed in such older hymnals as the Zioii Songster, Harmony, or Sacred Harp and taught in the old-fashioned singing- schools described by Professor Jackson in U^liitc Spirituals in the Southern L ' plands. Such books, once common among the whites, were rarely owned by Negroes. Thus, though the songs became traditional, the learning of them had support by print. Among this group are two old ballads based on scriptural story — 'Daniel in the Lion's Den' and "'rhe Little Family,' both redolent of ancient piety and (|uaint expression. Similarly, 'Babe of Bethle- hem,' 'Jesus. Born in Bethlehem,' and 'In the Valley' recall the old English carols; two of them have been printed in old hymnals and have been generally known among mountain whites. 'Hicks' Fare- well,' 'The Cumberland Traveler,' and 'The Lone (or White) Pil- grim' describe the hardships and perils suffered by pioneer preachers and testify to the faith that sustained servants of the Word. The funeral song is well exemplified by such pieces as 'Departed Loved Ones,' 'Dark Was the Night,' 'Drooping Souls,' and 'Lily White Robe,' most of which had printings in one or another of the Har- mony hymnals. Accompanying the last-named text is Mrs. Sutton's description of an occasion on which it was sung. 'As I Went Down in the Valley to Pray' is a foot-washing song, with the same col- lector's vivid little picture of the ceremony and the singing — a scene that transports the reader into a setting of primitive faith and cus- tom. 'Old Satan's Mad,' a brisk banjo spiritual, sounds as if it might certainly be a Negro song, but it was actually sung by a wild mountaineer with a keener eye for the location of moonshine stills than for romantic scenery. "1 Am Bound for the Promised Land' ("On Jordan's Stormy Banks'), 'Old Ship of Zion,' 'The Lonesome Dove,' and 'Way Over in the Promised Land' are other traditional survivals of old spirituals printed in The Sacred Harp and other old square-note hynmals. Of songs recovered from Negro singers, several ordinarily re- garded as "Negro spirituals" (whatever their original history may be ) are classics of their kind. The noblest in the Frank C. Brown Collection are 'Go Down Moses' and 'He Never Said a Mumbling Word,' the latter recovered from a Negro congregation about the time of the First World W^ar by a North Carolina jurist and writer who wrote a few words testifying to the strange power of the singers' treatment of it. In this "classic" tradition, too, are such pieces as 'Jacob's Ladder,' "Pharaoh's Army," "Noah's Ark,' and 'All God's Chillun Got Shoes.' 5/2 NORTH CAROLINA FOLKLORE Aniong^ the many other reHgious types described by Professor White in his American Negro Folk-Songs and by other collectors in this field, several may be illustrated from the Frank C. Brown Col- lection. One group, containing such pieces as 'Oh, I Used to Drink Beer,' 'I Don't Sing Like I Used to Sing,' "The Gospel Pool,' and 'I Picked My Banjo Too' belong to the "experience" phase of a religious revival, in which converts and penitents testify to changes in their moral conduct and spiritual outlook. A second group draw their imagery from analogies to travel by railway, such as 'The Gospel Train,' 'The Little Black Train,' and T Do Wonder Is My Mother on That Train.' Preoccupation with the terrors of the Last Day, transition to the Other World, and the joys of Heaven provide themes for numerous songs. 'Rock of Ages' raises the question, to those who have "heard a mighty rumblin'," "What you goin' to do when the world's on fiyer ?" 'Ain't Goin' to Worry My Lord No More' announces, "I's gwine to heaven on eagles' wings," and another song begins with "We'll sail away to Heaven like a feather in the wind." "Heaven," it is asserted in still another, "is a beautiful place," and 'Down by de Ribberside' specifies three ex- emptions from worldly worries there : "Ain' goin' study 'bout war no more. . . . Ain' goin' study 'bout peace no more. . . . Ain' goin' study 'bout nothin' no more." 'One of Tonight' seems to be a robust specimen of the "shout song," an early and very primitive type well illustrated by Lydia Parrish's Sla7'c Songs of the Georgia Sea Islands. The informant's note and the text of 'Good Lord, Rocky My Soul' give a snapshot of an old Negro plowman, doubt- less in a voice as monotonous as his plodding up and down the furrows of a North Carolina field, singing an old spiritual all day long. Thus many of the religious songs serve the human needs of lonely hours as well as the raptures of communal worship. The literary interest attaching to most of the religious songs, whether from Negroes or from whites, is of course slight. Their themes, their structure, and their development are usually rudi- mentary. Most of them are the detritus of older hymns, or are repetitions, with slight variations (for example, the father-mother- brother-sister type of progressive iteration), of some scriptural passage, homiletic phrase, or revival catchword. Two of the sort in the Frank C. Brown Collection, however, are noteworthy. Both of them are of Negro origin. 'Ananias' is a funeral song alleged to have been made by comnmnal composition for the occasion. 'John Jasper' piquantly characterizes one of the most remarkable personalities produced in the South during the last century. A third song, 'Cherokee Hymn.' is, incongruously enough, about the sole reminder, in all our collection of ballads and songs, of the great but unhappy race that once inhabited a large part of North Carolina. R 1-. 1. 1 (i 1 O US S 0 N C! s 573 515 TiiK Cumbi-:rland Traveller ■The I'unibeiiand Traveller' is here included as a liistorical curiosity. From the Adams MS hook owned by Professor W. Amos Al)rams, formerly of Boone, N. C (now of Raleigh). The book dates from 1824-25 and lias nt'ver been out of western North Carolina. Stanzas 2-7 are largely intlecipherable. but deal first with the writer's present state and departure from home, followed i^y three stanzas on his journey to and reception in Cumberland. Stanza 8, a little more legible, adjures the wife to teach the children virtue and "good holy word," and is dated 1830 in the margin in a different hand. The signature at the end of the pt)em is in a ditferent hand. I Dear wife I hope this you will f. . . In health of body and of mind xAnd my dear babes whom I adore I live in hopes to see once more. 9 Protect and guide me O my God That rules the nation with the Rod Guide them against that savage land And smile with peace on Cumberland. 10 Good lord of murcy stay thy hand Keep me from falling into they savage h. . . Let the earth drink no more the blood of m. . . WHiilst I return from Cumberland. 1 1 ( ) if you want for to noe the time These Hues was Rought in 89 April was the second day These Hnes was rote and sent away. finis Moses Adams. Jr. 516 The Great Round-Up Reported from Mississippi (JAFL xxxix 170-1, FSM 227) and from Texas (CS 44-8, FB 101-3). Not the same as the piece by the same title in the first edition of Cowboy Songs nor as the 'Cowboy's Meditation' in the 1938 edition, but is substantially the same as "The Cowboy's Dream' in the first edition. Perhaps long nights under the stars were favorable to the sort of religious senti- mentality expressed here. 'The Great Round-Up.' From the John Burch Blaylock Collection. I Last night as I lay on the prairie Looking up at the stars in the sky, How I wondered if ever a cowboy \\'as carried to that sweet bye and bye. X.C.F., Vol. TIT, f39) 574 NORTH CAROLINA FOLKLORE Chorus: Oh, they say there will be a great round-up When the cowboys, like cattle, shall stand To be roped by the riders of judgment — Oh. 1 hope they will know every brand. 2 The way to that bright, happy region. It is narrow and dim, so they say. But the road that leads down to perdition, It is broadest and blazed all the way. 3 I wonder if there will be many Wlio will be at the oreat final sale ? 4 I hope there will be some stray cowboy Who'll be claimed by someone that is nigh. And be roped by the rider of judgment. And be carried to that sweet bye and bye. 517 Some of These Days A Negro spiritual. See J. W. Work's A)iicricaii Negro Songs 166, White's ANFS 120-1 and 89; a form of it is reported from the singing- of South Carolina Negroes (JAFL xliv 424) ; a song similar in content but not the same is known in Kentucky (BKH 208). Cf. Sixty-Tzi'o Southland Spirituals (Winona Lake, Ind., 1946), No. 48. Our two texts differ not a little but arc certainly forms of one song. A 'Some of These Days.' Collected by Julian P. Boyd of Alliance, Pam- lico county, in 1927 from Jeannette Tingle, one of his pupils there. 1 I'm a-gonna walk on de streets of glory, I'm a-gonna walk on de streets of glory, Hallelujah, I'm a-gonna walk on de streets of glory, I'm a-gonna walk on de streets of glory, some of these days! 2 I'm a-gonna see my a-sainted mother, I'm a-gonna see my a-sainted mother, Hallelujah, I'm a-gonna see my a-sainted mother, I'm a-gonna see my a-sainted mother, some of these days! 3 I'm a-gonna sing and shout for glory, I'm a-gonna sing and shout for glory. Hallelujah, I'm a-gonna sing and shout for glory, I'm a-gonna sing and shout for glory, some of these days ! R K I. 1 C 1 <) r S S O N G s 575 4 I'm ;i-!L;i>nua .sec in_\- l)k'ss(.'(l S;i\itii", I'm a-gi»nna sec my blessed Savior. I'm a-ij:()nna see my blessed Savior, (hallelujah) I'm a-i^onna see my blessed Savior, some of these days! B "Some uf These Days.' Tliis text also comes b-oin Mr. IJoyd at .\lli- ance, with tlie music, "done by one of my seniors." ICach stanza con- sists of a line three times repeated and the refrain line. Only the first is so printed here. 1 I'm soing to cross the river Jordan, I'm i^oing' to cross the river Jordan. I'm going- to cross the river Jordan, Some of these days, some of these days! 2 I'm going to see my blessed Jesus 3 I'm going to shake his kjvely hand 4 I'm going to see my dear ole mudder 5 I'm goin" to tell her how I suffered 6 I'm goin' to try on my golden slippers 7 I'm goin' to shout the houses over 8 Oh. I'll .shout and never get tired 518 Long White Robe This seems to be a Negro spiritual mixed in the last stanza with a more mundane element. "Cotton-eyed Joe" figures in various songs, mo.stlv sung by Negroes; see ANFS 359, TNFS 69-70. JAFL xxvii'i 190, AMS 67, BTFLS v 25— this last a play-party song. 'Long White Robe.' Contrilnited l)y A. J. and J. H. Ikn-rus of W'eaver- ville, Buncombe county, in 1922. CJlorHS: Can't you hand down that long white robe? Can't you hand down that l<)ng white robe? Can't you hand down that hmg white robe? Can't you hand down that long white robe? I Old Satan thought he had me fast, Can't you hand down that long white robe? But I broke his old chain and I come at last. Can't you hand down that long white robe? 5/6 NORTH CAROLINA FOLKLORE 2 If ever I reach that mountain top, Can't you hand down that long white robe? I pray to ni}- Lord I may never stop, Can't you hand down that long white robe? 3 Oh. I'd 'a' been married twenty-seven years ago, Can't you hand down that long white robe? If it had not 'a' been for cotton-eyed Joe. Can't you hand down that long white robe? There's a Little Hand \\'riting on the \\'all This sounds as though it might be a fragment from a spiritual ; but I have not found it in that or any other context. 'There's a Little Hand Writing on the Wall." Reported hv George D. Harmon of Union Mills, Rutherford county, from "Uncle Frank." There's a little hand writing on the wall. There's a little hand writing on the wall. All I say and all I do, That hand writing on the wall. 520 Ananias There are two slightly different variants of this song in our collection. a 'Funeral Song of Uncle Ananias.' From Airs. Jacques Busbee, Raleigh; MS and typed versions dated November 1907 and January 1915. re- spectively, with one or two trivial variations. The tune is given as 'The Old Time Religion.' but, adds Dr. White, "does not fit the tune I know." There is a picture of Uncle Ananias, and the letter giving the story of the song follows : 108 Park Avenue January 22, 191 5 Mv DEAR Mr. Brown: I have been waiting to find an accommodating musician before answering your letter. As soon as one is found, I'll mail you the air of the Funeral Song. The air is very sim- ple and plaintive. I wish I could sing it for you. About the origin : I have done much illustrating for magazines and have rather specialized on our old-time darkey — Uncle .Ananias was one of my most delightful models. Several years ago he died. His wife. Aunt Mitty Ann, urged me to attend the funeral. Needless to say, 1 went. They were Baptists, but as -Xunt Mitty had heard that the Methodist preacher preached the "prettiest funeral R E I, I C I 0 U S S 0 N c. s 57" in tdwn, witli ninri' ri'lij^imi in it," she had lu-r luishaml's funeral cunducUd I'runi the MethcxHst Chunli. I wisli 1 could tell you all this — my right hand won't C(Mivey my knowledge of that wonderful orgy. The sermon was astounding. This song was made up then and there hy the preacher, and was lined out to the congregation, who moaned and sang it with every possihle Methodist quaver (I'm one myself). There were many more verses. 1 wrote down all that I could rememher, at the time. I have some very good pictures of tiie old man They're yours if you want them. Yours very cordially, Juliana R. Busbee (Mrs. Jacques Busbee) 1 Ananias wuz er-la}in' in his bed, Ananias wuz er-layin' in his bed, Ananias wiiz cr-layin" in his bed, An' er knockin' came at de do'. 2 Ananias he say. 'Who dat?' Ananias he say, 'Who dat ?' Ananias he say. 'Who dat?' An' de Lord he say, 'Hit's me.' 3 De Lord say, 'Whar yo' 'hgion?' De Lord say, 'W'har yo' 'Ugion?' De Lord say, 'Whar yo' 'Hgion?' Ananias say: 'Search me. 4 'Look in de bureau, Look bin' de washstand, Pull down de bed-clothes, An' see what you kin fin'.' 5 De Lord say, 'Lay down yo' rheumatism,' De Lord say, 'Lay down yo' rheumatism,' De Lord say, 'Lay down all yo' ailments, An' come along wid me.' 6 Ananias he say. 'Yes. Lord,' Ananias he say, 'Yes, Lord,' Ananias he say, 'Yes, Lord, ril go along wid you.' B 'Ananias.' It is not entirely clear whether the following is a real variant or a careless copy of 'Funeral Song of Uncle .Ananias.' At any rate, when Mrs. L. D. Latta, Wilmington, N. C, in Novcmher 1927, requested a copy Dr. Brown sent iier a typescript ; and this typescript corresiKinds to an anonymous copy in the Collection which may have been sent by an informant different from Mrs. Busbee, who sent 'Funeral 5/8 NORTH CAROLINA FOLKLORE Song.' On tile other hand, huth the 1927 typescript copy and tlie un- dated anonymous copy may have come from Mrs. Busbee's 1907 MS ver- sion and the typescript version made in 191 5. Whatever the facts may be, the following version shows differences not only in the representation of the dialect but also in wording. 1 Ananias was a-layin' in his bed, Ananias was a-layin' in his bed, Ananias was a-layin' in his bed, When a knockin' hit come at de do'. 2 Ananias he say, 'Who dat?" Ananias he say, 'Who dat?' Ananias he say, 'Who dat ?' And de Lord he say, 'Hit's me.* 3 De Lord he say, ' Whar yo' "ligion ?' De Lord he say, 'W'har yo' 'ligion ?' De Lord he say, 'W'har yo' 'ligion?' And Ananias he say: 'S'arch me. 4 'Look 'hind the wardrobe. Take down the bed clo's, S'arch in the washstan'. And see what you kin find.' 5 And de Lord he say, 'Lay down yo' rhetunatiz,' And de Lord he say, 'Lay down yo' rheumatiz,' And de Lord he say, 'Lay down yo' rheumatiz. And come an' go 'long wid me.' 6 Ananias he say, 'Yes, Lord,' Ananias he say, 'Yes, Lord,' Ananias he say, 'Yes, Lord, I sho will go 'long wid you.' 521 The Gospel Pool This song, from the same informant, appears in White ANFS 111-12, with the following note: "This song parallels the custom I have seen practised in white revival meetings of the telling of re- ligious 'experiences' by recent converts, to encourage waverers. Lines 4, 5, and 8 are probably based on the pool of Bethesda, John V, 3, 4 (the moving of the water) and numerous other Biblical passages less directly applicable. Cf. Zioi Songster, second edition, 1827, p. 141, 'The Gospel Pool.' " The note also points out tlie occurrence of 1. 8 or its cciuivalent in other spirituals. A No title. From MS of W. A. Ellison, Jr., Durham, N. C. December 1919, with note by contributor : "Heard from an old Negro man." R K I. I C 1 () U S S 0 N G S 579 'brother, how did yon ivv\ dat day When yo' los' yo' gniU and hurden?' 'I felt like de Lord (iod done freed my soul An' de holy water moved on, brethren, de holy water moved on.' 1 run all about, brethren, I run all al)out. 1 felt brand new. brethren, 1 felt brand new. My hands lonked new. brethren, dvy looked new; And de green trees bowed, lirethren, De green trees bowed.' B No title. From MS of R. B. Edwards, December 4, 1919. White ANFS III notes this as "Reported from Durham, N. C," and points out dif- ferences between it and A, but does not print it. 'Brother, how did you feel that day, \\'hen you lost your guilt and burden?' 'I felt like the Lord God freed my soul. And the healing waters move. I run all about, brethern, I run all about. I felt brand new. brethern, I felt brand new. i\Iy hands looked new, brethern, my hand looked new.' 'How did you feel that day, When you lost your guilt and burden?' 'I felt brand new that day, brethern, I felt brand new. Well, the green trees bowed that day, Brethern, the green trees bowed.' 522 A Charge to Keep Under the title 'Carolina,' Jackson DESO 158 reprints a hymn of four stanzas, of which the first corresponds to the following, and says that the hymn appears in Southern and Western Pocket Harmonist, compiled by William Walker, of .Spartanburg, S. C, and printed in Philadelphia in 1846. "The text is by Charles Wes- ley." Under the title 'Kentucky,' the hymn appears in Songs of Zion. A Manual of the Best and Most Popular Hymns and Tunes, for Social and Private Dci-otion (New York, 1851 ), p. no. Contrit)uted by Geora^e D. Harmon, Union Mills, Rutherford county, as from "Uncle Frank"; without date (Mr. Harmon attended the Trinity College Summer School in 1921 and 1922). ' This line does not appear in the White ANFS version, Init does appear in the Ellison MS. 580 NORTH CAROLINA FOLKLORE A Charge to keep I have, A God to glo-ri-fy, A never ly-ing^ soul to save And fit it for the sky. 523 Creation In ANFS 83-5, Wliite, who prints several versions, states that this appears in several printed collections of Negro songs (which he cites), that it is often sung by whites as a picnic song, and that the refrain is apparently based on Ezekiel 2i7- Cf. Sandburg ASb 470-1. A No title. With music. From an anonymous MS, without date and address. The Lord He thought he'd make a man, A little bit of dirt, a little bit of sand. These old bones gwine-a rise again. Chorus: I know it, indeed, I know it, These old bones gwine-a rise again. 'Dese Bones Gwine to Rise Again.' Text given in June 1948 to A. P. Hudson by Miss Marjorie Craig. Brevard, Transylvania county, with note: "Version by Gene Carter, Mrs. Lucille Reid's cook in Went- worth, N. C. Recorded by Miss Nancy Withers." Wentworth is in Rockingham county. 1 De Lord thought he'd make him a garden so fair, Dese bones a-gwine to rise again. Thought he'd put him a man in there. Dese bones a-gwine to rise again. 2 Took a little sand, took a little clay. Dese bones, etc. Out of these Uncle Adam he made. Dese bones, etc. 3 Thought he'd make him a woman to squeeze. Dese bones, etc. Snatched out a rib and he made Miss Eve. Dese bones, etc. ' .A scribal error for "dy-ing." R E L I c; 1 O L' S SONGS 581 4 In that garden was an ai)ple tree. Dese bones, etc. De Lord tole 'em to let 'em apples be. Dese bones, etc. 5 Up come Satan with a skip and a jump. Dese bones, etc. At Miss Eve one eye he wnnk. Dese bones, etc. 6 Eve took a look, then she took a pull. Dese bones, etc. Den she filled her apron full. Dese bones, etc. 7 De Lord called out in a mighty voice. Dese bones, etc. Shook dem heavens from joist to joist. Dese bones, etc. 8 Turned 'em out and give "em a plow. Dese bones, etc. That's the reason we're ploughing right now. Dese bones, etc. 524 Daniel in the Lion's Den In a miscellaneous untitled collection of American broadsides in the Houghton Library of Harvard University there is a broadside of 'Daniel in the Lion's Den.' undated and without indication of printer or publisher. It is in sixteen stanzas and begins, "Among the Judith captives, one Daniel there was found." 'Daniel in the Lion's Den' appears (without music or indication of authorship) in Peter D. Myers's The Zion Songster: A Collec- tion of Hymns and Spiritual Songs, Generally Sung at Camp and Prayer Meetings, and in Rez'ii'als of Religion (New York, 1829, 1834, 1844), pp. 304-6 (1844 ed.). The same ballad also appears, with a "Second Part" relating the fate of Daniel's enemies, in The Camp-Meeting Chorister: or, A Collection of Hymns and Spiritual Songs, for the Pious of All Denominations to Be Sung at Camp Meetings, etc. (Philadelphia. 1852). pp. 173-6. SharpK II 2/^ prints one stanza with music. The Library of Congress Check-List lists two songs with this title, both from South Caro- lina. Davis FSV 311-12 lists two texts by title. Between the Zion Songster and the Blades texts (eleven stanzas in each) there are verbal differences in every stanza, twenty-six in all; e.g.: stanza i, Zion "nations" for Blades "captives," and "Thev say him" for "He was": stanza 6, "Now when Darius" for "When King Darius," "soul" for "heart," "The Prince then" for 582 NORTH CAROLINA FOLKLORE "His Nobles all." These indicate copying from memory. There are similar differences from The Camp-Mccting Chorister text. 'Daniel in the Lion's Den.' From Camden Charles Blades. Elizabeth City, Pasquotank county, ^larch 25, 1916; with the note: "The words to this were sent to my Grandfather by his sister in a letter she wrote sometime between 1845- 1854. It is not known where she got them from. This was found in his scrapbook." 1 Among the Jewish captives one Daniel there was foimcl. Whose unexampled piety astonished all around. He was so very pious and faithful to his Lord, Three times a day he howed to supplicate his God. 2 Amongst the King's high princes this Daniel was the first — The King preferred the spirit this Daniel did possess. His unexampled piety sustained a jealousy; The princes sought his ruin, obtained a firm decree : 3 'Should any man or woman a supplication bring For thirty days ensuing, save to thee, O King — Or any Lord or Master or any other man — They should without distinction fall in the lion's den.' 4 But soon as Daniel heard it, straight to his home he went : To beg his God's protection, it was his whole intent. His windows being open, before his God he bowed. The princes were assembled and saw him worship God. 5 They came to King Darius and spoke of his decree. Saying, 'This Hebrew Daniel doth nothing care for thee — Before his God he boweth three times in every day. With all his windows open — and we have heard him pray.' 6 W^ien King Darius heard it, his lieart did so relent ; He set his heart on Daniel his sentence to prevent. His Nobles all assembled and to the King they said, 'Remember you great honor, likewise the law you made.' 7 Then King Darius ordered that Daniel should be l)rought And cast into the lion's den because the Lord he sought. The King then said to Daniel, 'The God whom you adore Will save you from the lions and bless vou evermore.' 8 The King went to liis palace and fasted all the night. He neither ate nor drank, nor in music took delight. So early the next morning he stole along the way And came unto the lion's den where this l)ol(l I lei)rew lav. 9 And with a voice of mourning the King he cried aloud, Saying, 'O Daniel, Daniel — the servant of the Lord — R K L I (■ I O U S S 0 N t; S 583 Is iKil llu' (i()(l suiricic'iit l(ir to (K'li\c'r llicc — '\\\c ( i()(l in \\h(ini tlimi iruslcst, and saxes continually?' 10 "My liod has sent His angel and shut the liun's jaws, So that they have not hurt nie — my enemies He saw.' Straightway the King commanded to take him out the den — Because in (iod he trusted no harm was found in him. 11 See how this faithful Daniel feared not the face of clay. '1\\as not the King's commandment could make him cease to pray, lie knew that (lod was ahle to save his soul from death. I le trusted in Jehovah — he [)rayed at every ])reath. 525 Departed Loved Ones Marie Campbell, in "Funeral Ballads of the Kentucky Moun- lains," SFLQ iii 112, prints a text of this hymn, obtained in 1933 from the singing of an eighty-one-year-old woman, who "said she could not remember when her family had not 'knowed that air ballet pine-blank like I done sung hit.' " 'Departed Loved Ones.' From MS book of songs lent to Dr. Brown in August 1936 by Miss Lura Wagoner, Vox, Alleghany county. Several of the songs were dated, some 1911, some 1913. 1 Is it wrong to wish to meet them \\ ln) were dear to us in life? Shall we check the rising sadness Since they're free from toil and strife? 2 I've a mother up in heaven, And oh. tell me if you will. Will my mother know her children \\ hen to glory they will go ? 3 Does she watch me from those wind(jws While I'm on this distant shore? Will she know when I am going? \\ ill she meet me at the door? 4 I've a father, too, in glory, And oh. tell me if you know. Will my father know his children \\'hen we n.ieet on Canaan's shore? 5 In that land are saintly children Who are happy now and free. Shall we ever reach those mansions, All those darling: ones to see? 5^4 NORTH CAROLINA FOLKLORE 526 Dark Was the Night The original hymn, of which there are three traditional versions in our collection, has been ascribed to Thomas Haweis. The first three stanzas appear in A Collection of Hymns for Public, Social, Olid Domestic ITorsliip (Nashville, Tenn., 1859), P- 88; the whole, in Basil Manly and B. Manly's The Baptist Psalmody (Charleston, S. C, 1850 J, p. 124. White ANFS 105-6 prints songs containing the first stanza, with other references. Cf. Jackson WNS 199 (No. Ixxiv). A Negro version of this song, from Alabama, appears in Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 31. A No title. Contributed by Julian P. Boyd, from Mary Price, a student in the school at Alliance, Pamlico county; c. 1927-28. The copy of the song bears this note by Dr. Brown : "Many of the white people along the coast write and speak as do the Negroes : notice 'de' for 'the' ; hence one cannot conclude that the songs are of Negro origin just because of the idioms." But see text B. 1 Dark was the night and cold was the ground On which de Lord was laid ; De sweat like drops of blood run down ; In agony he prayed. 2 'Father, remove this bitter cup. If 'tis thy sacred will. If not, content I'll drink it up. Thy pleasure I'll fulfill.' 3 Go to the garden, sinner, see Those precious drops that flow. The heavy load he bore for thee. For thee he laid so low. 4 Then learn of him the cross to bear. Thy Father's will obey. And when temptations press too near, Awake to watch and pray. B 'Dark Is the Niglit.' Provenience the same as that of the A text, except that it was olitained from Rosebud West. It is described as "Negro fragment." Dark is the night, And cold is the day On which niy Lord was laid. He sweat drops of blood, Rut never told a soul. KE 1, ItilOUS SONUS 503 b'athcr w ill remove This bead of blood from you If you will bear bis call. Oh, God will remove ibis bead of blood, Oh, God will remove ibis bead of blood, If you will hear his call. Oh. go to God and be saved From this bead of blood. ( )b. ves, God will remove this bead of blood! c No title. From Miss Jennie Ik'lvin, Dnrliam ; nndated, Init i)n>l)al)ly 1920-21. Plmnograph recording, undated. 1 The sweat like drops of blood run down; in agony he prayed, In agony he prayed. 2 I heard my blessed Savior say, 'Come unto me and rest. Come unto me and rest.' 3 He bid me come to Him and rest. My head upon his breast. My head upon his breast. 527 Don't You Grieve after Me Though related in xA. and B versions to 'Jacob's Ladder' (q.v.), this seems to be a different song. Cf. W. A. Fisher. Sez'eiity Negro Spirituals (Boston. 1926). pp. 198-9; J. Rosamond Johnson, Rolling Along in Song (New York, 1937), pp. /O-i. 'Climbin" Up Jacob's Ladder.' From typescript copy of a MS copy contributed by Miss Mary Morrow. Greensboro, Guilford county. Jan- uary 29, 1928. (The MS copy was returned.) A plionograph rccord- ingof the song was made at Greensboro in 1928. 1 Old Si.ster Susan, don't ycju grieve after me. ( )ld Si.ster Su.san, don't you grieve after me. (Jld Sister Susan, don't you grieve after me, 'Case I don't want you to grieve after me. 2 When Fm daid and buried, don't you grieve after me. When Fm daid and Iniried. don't you grieve after me. When Fm daid and buried, don't you grieve after me, 'Case I don't want you to grieve after me. 586 NORTH CAROLINA FOLKLORE 3 Climbin' up Jacob's ladder — don't you grieve after me ; Climbin' up Jacob's ladder — don't you grieve after me ; Climbin' up Jacol)'s ladder — don't you grieve after me ; 'Case I don't want you to grieve after me. 4 Old Brotber Epbraim. don't you grieve after me. Old I brother Epbraim, don't you grieve after me, Old Br(jtber Epbraim, don't you grieve after me, 'Case I don't want you to grieve after me. B 'Jacob's Ladder.' Contributed by Julian P. Boyd, c. 1927-28, as col- lected from Catberine Bennett, a student in the school at Alliance, Pamlico county. Climbin' up Jacob's ladder — don't you grieve after me ; Climbin' up Jacob's ladder — don't you grieve after me. I don't want you to have to grieve after me ! c Contributed by William C. Cumming, Brunswick county (?); undated. "Another of Uncle Billie's songs, but one we didn't like nearly as well." The first line and refrain are repeated in stanzas 2 and 3 as in stanza i. 1 Jobn on the island, don't you grieve after me, John on the island, don't you grieve after me, John on the island, don't you grieve after me, For I don't want you to grieve after me. 2 Long neck bottle, don't you grieve after me, etc. 3 When I get married, don't you grieve after me, etc. 528 Drooping Souls, No Longer Grieve From the Adams MS book (western North Carolina, 1824-25), owned by Professor W. Amos Abrams. The MS spellings, lines, and stanzas have been followed verbatim et literatim. Jackson SFSEA 98-9 and DESO 95 give versions of this hymn and say it appeared in several of the early American hymnbooks, among them The Knoxville Harmony (1838). which prints the first line "Mourning souls," and in The Southern and Western Poeket Harmony (compiled at Spartanburg, S. C, and printed in Phila- delphia, 1846). In the latter, the first line begins "Drooping souls." It appears, too, in The Camp-Meeting Chorister . . . (Philadelphia, 1852), pp. 69-70. The Adams text indicates coi)ying from mem- ory; e.g., "balsam" in stanza 2, reads "lotion" in the printed texts. See Annabel Morris Buchanan's Folk Hymns of America (New- York, 1938), p. 58, for a text recovered from oral tradition in Tennessee. For a North Carolina text taken from oral tradition, see Chappell FSRA 167. R i: 1. I c 1 () u s SONGS 587 1 Drooping souls no longer grive Heaven is propitions If on Christ you can believe You shall find him ])rt'ci()us Jes\is he is passing hy Calls the mourners to him It was for mourners lu- did die Now look up and view him 2 l^'rom his hand his feet his side I'dowes the healing balsam Be [ ?] the consolating tide Boundless as the ocean Se the loveing current move For the sick and dieing I am Resolv'd to gain his love ( )r to perish trying 3 lioundless mercy, rich &: free Weary souls to gladen Jesus calls Come unto me \\'eary heavy-laden Though your sins like mountains high Arise and reach to heaven Soon as you on him relye All shall be forgiven 4 Now me thinkes 1 hear one say I will go & prove him If [ ?] he takes my sins away Shurely I shall love him Yes I se the Savior smile Smileing [ ?J moves my burden O rich "[ ? sick?j I am for I am ville Yet it seals [ ?] my pardon 5 Boundless mercy how it flowes Now I hope I feel it It has never yet ben told Still I want to tell it Jesus he has heal'd my wounds 0 the wounders story 1 was lost but now 1 am found Glory Glory ( ilory 6 (dorv to my Saviours name Saints T noe you lo\'e liim Sinners you may do the same 588 NORTH CAROLINA FOLKLORE Only come & prove him Wilkes County C W C W C W Hasten to a saviours blood Feel it and declare it 0 that I could sing so loud That all the world could hear it 7 If no greater joys was known In this [? these?] uper regions 1 would try to travel on By this pure religion Heaven here & heaven there Glory here & younder Brightest seraphs shout amen And all the angels wonder finis M. L. Adams 529 The Gospel Train Tlie iron road and horse made a great impression on the minds of Americans — especially, it would seem, of American Negroes — in the nineteenth century. The imagery of the "Gospel Train' takes a variety of forms. See White's note on it in ANFS 64. Our song has already been reported from North Carolina (FSRA 145-6), and others like it but not the same from Kentucky (JAFL XLi 560), South Carolina (TNFS 254), Alabama (ANFS' 64), the lower South (JAFL xl 299), and the Bahamas (JAFL xli 460). No title. Manuscript in tlie hand of Dr. Brown, undated. 1 Select de proper train, Select de proper train, Select de proper train When de bridegroom comes. 2 Git on boa'd de train. Git on boa'd de train, Git on boa'd de train W'hen de bridegroom comes. 3 Gwine to trabbel wid mah Sabuh, Gwine to trabbel wid mah Sabuh, ( jwine to trabbel wid mah Sabuh When de bridegroom comes. Gwine to trabbel home to glory, Gwine to trabbel home to glory, K E L I H I O l' S SONGS 589 (Iwiiie to tral)l)cl home to glory W lien de l)ri(lei>rt)oni comes. *lt Ain't No Harm to Trust in Jesus.' Reported from Durham. Decem- ber 5, lyiy. MS of Austin L. Elliott. White, who prints this as a version of "That (iospel Train Is Coming," ANFS 64-5, cites numerous collections containing the song and says of the following version, "Every line is found in printed versions of other songs, but the combination is original." For a good musical setting, see VV. A. Fisher, Sci'cnty Negro Spirittuils (Boston, 1926), pp. 52-5; and Rodeheaver, Sixt\'-T7>.v South- cm Spirit mils (Winona Lake, Ind., 1946), No. 42. 1 ( )h, (Icjii't you hear that whistle IjIo'h', L)h, don't you hear that whistle hlo'n'. Oh, don't you hear that whistle hlo'n' ? (let on hoard, get on board. 2 Uh, it ain't no harm to trust in Jesus, Oh, it ain't no harm to trust in Jesus, Oh, it ain't no harm to trust in Jesus ; Get on board, get on board. 3 Jesus is the conductor, Jesus is the conductor, Jesus is the conductor ; Get on board, get on board. 4 Oh ! have you got your ticket ready, Oh ! have you got your ticket ready, Oh ! have you got your ticket ready ? Get on board, get on board. c No title. From Misses Hallie and Jean Holeman, Durham, 1922. Chorus only. O, git on de board, de board, little childun, O, git on de board, de board, little childun, O, git on de board, de board, little childun, Dere's room fer many a mo'. 530 Hicks' Farewell William Walker, who compiled The Southern Harmony, and Musical Companion (printed at Philadelphia, 1847), says (p. 19) in a footnote to this son^ that it "was composed by the Rev. B. Hicks, (a Baptist minister of South Carolina,) and sent to his wife while he was confined in Tennessee by a fever of which he after- wards recovered." A version entitled 'The Dying Father's Fare- x.r.F.. V(,i. in, (40) 590 NORTH CAROLINA F 0 L K L 0 R K weir is included among songs published by Emma AI. Backus in JAFL XIV 288-9, "taken . . . from the lips of elderly reciters, who have given them as current and popular in Central North Carolina in the days of their youth, about the first quarter of the nineteenth century." Jackson W'SSU 202 and SFSEA 31 contain other texts and information. Davis FSV 299 lists three \'irginia texts by titles and first lines. No title. From the Adams MS book (western North Carolina, 1824-25), owned by Professor W. Amos Abrams. The MS spellings, lines, and stanzas have been followed verbatim ct literatim. Bracketed words have been supplied by the editor from The Southern Har)U(m\ version where the Adams' reading is defective. 1 The time is swiftly rolling on That [When J I must faint iS: die My body to the dust return And there forgotten lie 2 Let persecution rage around And unto Christ [Anti-Christ] appear My silent dust beneath the groimd Shall no disturbance heare 3 Through cold and heat I oft times went And wandered through distress [in desi)air| To call on siners to repent And seek there saviors face [And seek the Saviour dear] 4 My brother preachers boldly speak And stand on Zions wall Revive the weak [strong], confirm the weak And oft times [after] sinners call 5 ^ly breathren all I bid adieu [My brother preachers, fare you well] Your fellowship I love In time I never se you more [In time no more I shall you see] We soon shall meet above 6 My little babes lies near my heart [My little children near my heart] For nature bind [And nature seems to bind] It greaves me strong for to dejjart And leave them all behind 7 C) lord to them a father be And sheald them from all harm R K K 1 C, 1 0 U S S 0 N C S 591 That they may noc to worship the And dwell upon thy charms 8 My loveiiig wife, my hosom friend the ohject of my heart So sweet the time with you Ive spent My sweet iJv; harmliss dove 9 M\- love yon oft times lood'd |look'd?J for me And oft times se me come But now 1 must depart from you And nevermore return 10 My loveing- wife weep not for me Niether lament nor morn for you will cjuickly come to me for we shall never part finis amen M. L. Ada MS 531 If You Get There Before I Do No title. From MS of R. B. Edwards, Durham, December 4, igig. Printed by White in ANFS iii, with notes and references, in particular pointing out that lines i and 3, with different refrains, are found in several songs, among them 'Swing Low, Sweet Chariot.' If you get there hefore I do, all right, all right. Jesus will make it all right. Just tell them that I am coming too, all right, all right. If you get there before I do, all right. Just scratch a hole and pull me through, all right, all right. 532 I'm Boun' to Cross the Jordan From K. P. Lewis, West Durham, 1915, as set down by Dr. Kemp P. Battle, Chapel Hill, November 1910. Chorus: I'm houn' to cross the Jordan, I'm boun' to cross the Jordan, I'm boun' to cross the Jordan, I'm boun' to cross the lordan, I'm boun' to cross the Jordan, Hallelujah ! I Oh, brothers, wc^n't you join me? Sisters, won't you join me? 592 NORTH CAROLINA FOLKLORE Sinners, won't you join me ? For I'm boun' to cross the Jordan, Hallelujah ! 2 Oh, my brothers over Jordan, ]\Iy sisters over Jordan, ]\Iy neighbors over Jordan, And I'm boun' to cross the Jordan, Hallelujah ! 533 I Am Going to Heaven No title. From Mrs. Mattie Southgate Jones, Durham, July 26, 1922. The alternative reading of line 4 of the chorus appears on the copy of the song. Chorus: I am going to Heaven, I am going to Heaven, I am going to Heaven, I an' the bleeding Lamb [To see the bleeding Lamb]. 1 Come, my loving Father, And don't you want to go ? Come go with me to glory To see the bleeding Lamb. 2 Come, my loving Mother, etc. 3 Come, my loving Brother, etc. 4 Come, my loving Sister, etc. 534 In the Valley The theme and the metrical pattern of this sonj? resemble those of 'Babe of Bethlehem,' No. 554. which has been identified as one of the old Harmony favorites. From Mrs. Leander Wilson, Zionville, Watauga county, witliout date. The peculiarities of MS spelling are retained. According to the Library of Congress Check-List, a song with this title from the same informant was recorded by John A. Lomax on July 16, 1936. I It was in Judies land by God's Femortal [Immortal?! hand That Jesus Christ was bi)rned in the valley. In the valley, in the valley, That JesiLs Christ was horned in the \alley. R E L I C I 0 U S S O N c. s 593 2 The news was spread abroad that he was the son of CJod, And now he makes his start in the valley, In the valley, in the valley. And now he makes his start in the valley. 3 It was bv his mother's hand he was clotlu-d in Suadland [swaddlinj,^?] band. In the man^a-r lade him down in the valley. In the valley, etc. 4 It was in the gloom of night when Mary look her flight Into h^gypt. Slie did light in the \alley, In the valley, in the valk-y. Into Egypt she did light in the valley. 5 Well did the prophets say that the time would will the day When God would call him away from the valley, From the valley, etc. 6 He goes into the town to cast away the gloom, To prepair for us a home from the valley, From the valley, etc. 7 The storm clouds hanging low, I to glory then will go, Iv [I've?] inquired every fo from the valley. From the valley, etc. 8 The Christian people sing hosanna to their king And will make their music ring from the valley. From the valley, etc. 9 When in heven we would be we would have a Jublen I Jubilee? J To all Eaturnety from the valley, From the valley, etc. 535 I've Got a Brother in the Sxovv-White Fieeds The tirst stanza corresponds to a song of four lines in White FS 119, also from Nortli Carolina. Several phrases, White notes, appear in other songs, which he cites. Cf. 'Want to (io to Heaven When I Die' in A. E. Wier, Songs of tin- Sunny South (New York, 1929), p. 99. No title. From Lucille Cheek, Chatham county, wlio was a student at the Duke University Sunuuer Scliool in 1923. 1 I've got a brother in the snow-white fields, Praying all night long. I want to go to Heaven when 1 die. ANFJ 594 NORTH CAROLINA FOLKLORE Oh, my Lawcl ! Oh. my Lawd ! I want to go to Heaven when I die. 2 I want to go to Heaven and I want to go right. Oh. how I long to be there ! I want to go to Heaven all dressed in white, Oh. how I long to be there ! 3 I want to go to Heaven at my own expense, Oh. how I long to be there. (Etc.)^ Jacob's Ladder Genesis 28.12 records that Jacob "dreamed, and behold a ladder set up on the earth, and the top of it reached to heaven: and be- hold the angels of God ascending and descending on it." The passage provided the theme of one or more of the early spirituals, sung by whites and blacks. 'Climb Jacob's Ladder' was one of three songs rejected by Allen (Slaz'c Songs, 1867) because it was found in Methodist hymnbooks. Of the songs on the theme in our collection, one is briefly narrative with a chorus; the others are choral, with several variations of the idea of climbing a ladder. For general reference, see White ANFS 59-60, Allen SS 96, Combs FSMEU 224. SharpK 11 295. The C version below is fairly close to 'We Are Climbing, Climbing Jacob's Ladder' in Emily Hallowell, Calhoun Plantation Songs (Boston. 1901). p. 33. Cf. 'Don't You Grieve after Me.' A 'Jacob's Dream.' From R. S. Russell, Roxboro. Person county ; undated. Jacob drempt he seed a ladder. Climbing up the sky. Angels gwine up and down it, Climb up, children, climb. CJionts: Climb up, ye little children. Climb up, ye older people ; Climb up to the sky. Go up in six and sebens. Now am your chance for heben. Climb up. children, climb. B 'Climb Up Jacob's Ladder.' With music. From Walter J. Miller, a student in Trinity College. December 5. iQKj; learned from bis father, "as sung in the 1830's." Printed, without music, by White in ANFS 60. ^ The "(Etc.)" appears in the informant's MS, implying tliat there is further repetition — perhaps anotlier stanza, after the pattern of i and 2: but no more is given. R K 1. 1 c; 1 (I r s s 0 N (". s 595 Cliinl) up Jacob's ladder, hi^lier and hii;hcr, ■\\av in dc Kiiii^doni. Satan is a liar .and you needn't d'pend upon luni. 'Way in de Kinj^dom. c 'Jacob's Ladder." Gmtriluitod hv Miss (ii-rtrudr Allen, Taylorsvillc, Alexander county (later Mrs. VauRht) ; undated hut pn.hahly c. 1922-23. 1 We are clinil)in,ij^ Jacob's ladder. We are clinibini,^ Jacob's ladder. We are climbing Jacob's ladder. And our work is done. 2 Every little round gets bigber and bigber. Every little round gets bigber and bigber, Every little round gets bigber and bigber ; Lord, I can't stay bere. 3 Going be in Heaven witb Paul and Silas, Going be in Heaven witb Paul and Silas, Going be in Heaven witb Paul and Silas ; Lord, I won't stay bere. D "Negro Fragment." From G. B. Caldwell, Monroe, Union county ; with- out date. With the second and third stanzas cf. stanzas 3 and 4 of the song in White ANFS 120. 1 Pni gonna climb up Jacob's ladder, Pm gonna climb up Jacob's ladder, Yes,"Lawd, some of tbese days. 2 Pm gonna ride in tbat golden cbariot, Pm gonna ride in tbat golden cbariot, Yes, Lawd, some of tbese days. 3 Pm gonna eat at de welcome table, Pm gonna eat at de welcome table, Yes, Lawd, some of tbese days. 537 Jesus Born in Bethlkhem Despite its resemblance in (|uality to the old English carols, this song seems not to be older than the middle of the last century. It is fairly close to SharpK 11 293 (from North Carolina). See lackson' WNS 174-5, who gives two songs with two stanzas cor- responding to 2 and' 3 below; also, Jackson DESO 43; John Jacob Niles, Tcu Chrislnms Carols from the Southern Appolaehian Moun- tains, .Schirmer's American b'olksong Series, set 16 (New York, 596 NORTH CAROLINA FOLKLORE 1935 J, pp. 6-7; Annabel Morris Buchanan, Folk Hymns of America (New York, 1938), p. 40 (from Marion, Va.) ; and Florence H. Botsford, Botsford Collection of Folk-Songs (New York, 1930), I, 28-9 (from Kentucky). 'Song of Jesus.' From E. Myers, Concord, Cabarrus county, with music. 1 Jesus born in Bethlehem, Jestis born in Bethlehem, Jestis born in Bethlehem, And in a manger lay. And in a manger lay. And in a manger lay, Jesus born in Bethlehem And in a manger lay. 2 The Jews crucified him And nailed him on the cross. 3 Joseph begged his body And laid it in the tomb. 4 The tomb it would not hold it ; He burst the bars of death. 5 Alary came weeping About her lovely Lord. 6 'What's the matter, Mary?' 'They've stole my Lord away.' 7 They found Jesus living Alive forever more. 8 He ascended to his Father, Ascended to his Father, Ascended to his Father, To reign with Him on high, To reign with Him on high, To reign with Him on high, Ascended to his Father. To reign with Him on high. 538 John Saw the Holy Number The chorus apparently refers to Jolm 7:4: "And I heard the num- ber of them that were sealed: and there were sealed an hundred and forty and four thousand," and it seems related to "Jolin. John, of tlic Holy Order' in Allen SS 16. The other scriptural allusions are more familiar. Cf. JAFL xxv 241 ; R. N. Dett, Religious Folk- R E I, 1 C. 1 0 U S SO N G s 597 So)i(/s of the Xcfjro (Hampton, X'irjjinia, U)Jj ) . \). 63. The song is included as 'Jolin Saw l)e Holy Nunihah" in i'-va A. Jessyc. My Spirituals (New \'(.rk. lo-'Ji. ])p. 44-5. obtained from Negroes of southern Kansas. No title. Contributed liy Mr^. Mattic SoutiiRate Jones, Durliani, July 26, 1922. Chorus: John saw the Holy Xtnnber, Sitting on the (lolden Altar, |()hn saw the Holy Number, Sitting on the (ioUlen Altar. 1 Fishnian Peter, fish no more, Fish no more, fish no more, Fishman Peter fish no more. Sitting on the Golden Altar. 2 Weeping Mary, weep no more, \\'eep no more, weep no more. Weeping Mary, weep no more. Sitting on the Golden Altar. 539 John Saw de Hundred and Forty-Four Thousand Cf. 'Jolin Saw the Holy Number,' above. From Miss Jewell Robbins, Pekin, Montgomery county (later .Mrs. C. P. Perdue), July 1928. Phonograph recording made at Pekin in 1922. John saw de hundred and forty-four thousand, can't stay away. got a mother, and she's gone on to glory, can't stay away. got a brother, and he's gone on to glory, can't stay away. got a sister, and she's gone on to glory, can't stay away. 5 I got a father, and he's gone. . . . [MS unfinished. \ 540 Johnny Was a P.aptist No title. With music. From E. D. Cavenaugh, Trinity College student (A.R. 1921). For "Sign J on your ticket," see Scarborough TNFS 238-264 on railroad songs. 598 NORTH CAROLINA FOLKLORE 1 Johnny was a Baptist, O yes ! Johnny was a Baptist, O yes ! Johnny was a Baptist, Baptist, Baptist, [ohnny was a Baptist. O yes ! 2 He 1)aptised Jesus, O yes ! He Ijaptised Jesus, O yes ! He I^aptised Jesus, Jesus, Jesus, He baptised Jesus, (J yes ! 3 Crying Lord have mercy, O yes ! Crying Lord have mercy, ( ) yes ! Crying Lord have mercy, mercy, mercy ! Crying Lord have mercy, C) yes ! 4 Sign J on your ticket, O yes ! Sign J on your ticket, O yes ! Sign J on your ticket, ticket, ticket. Sign J on your ticket, O yes ! 541 The Little Black Train In ANFS 65-6, White prints a different version of the song, with Hezekiah (the correct allusion) for Ezekiel, and "The little black train" stanza as chorus. See, also, Scarborough TNFS 260-1. 'The Little Black Train Is a-Coming.' Contributed by -Mrs. Mattie Southgate Jones, Durham, July 26, 1922, with this note: "The charm of this scng is the intoned music without tune. Sung by an old-time Negro who said it was in an old hymn-book of her grandmother's. Her name is Sis Holman. She lives with the family of Jerry Perry, Bahama, R. F. D. No. 2. She sings it to perfection. She also sings a song called 'Moses,' and another one — 'The Lord is going to set this world on fire some of these days.'" At the end of the MS Mrs. Jones wrote "unfinished." 1 God said to Ezekiel. In a message from on high, 'Go and set thy house in order, For thou shall surely die.'^ 2 The little Black Train is a-coming ; Get all your business right ; Set your hoiLse in order ; For thou shall surely die. 'A confusion of Isaiah 38:1: "In those days was Hezekiah sick unto death. And Isaiah the prophet the son of Amoz came unto him, and said unto him, Thus saith the Lord, Set thine house in order: for tliou shalt die, and not live." K K 1. I (; 1 o r s s 0 n c s 599 3 The rich old fool and his graiiarv' Says he has no future to fear. 'I'll build my harns a little larger And live for nian\- a \'ear. 4 'I now have plenty of money, Expect to take my ease ; My harns are overflowing; No one hut self to please.' Till". 1 .OXI". I 'll.CRI .\1 This song is known to many singers, and published in several printed collections, as "The White Pilgrim.' Its authorship lias nut been definitely settled. Flanders ct al. (NGMS) cite The Chris- tian Harp (Newburyport, Massachusetts, 1858), in which it was printed, for the statement that 'The White Pilgrim' was written by the Reverend Jonathan Ellis. Ellis, they say, "was, on September 16, 1789, installed minister of the First Parish of Topsham, Maine; later he was one of the original Board of Overseers of Bowdoin College." Further, "Ellis' sacred ballad . . . was arranged in The Christian Harp, to be sung to [the air of] Lily Dale. It was printed without the music in The Golden Harp" (Oneida, New York, 1857). Against this attribution of authorship is that of the igii editor of The Sacred Harp, who attributes it to B. F. Wdiite, of Georgia, the original compiler of that songbook. White wrote the song "on the lone prairie in Texas," while standing "at the grave of a friend who once lived in Georgia." (See Jackson SFSEA, who prints a text of the song under the title of 'The Lone Pilgrim' and cites the 191 1 Sacred Harp.) Hudson's FSM 209 version, 'The White Pilgrim,' has a headnote relating a romantic legend about the origin of the song which accords with the Sacred Harp account. Finally, the song appears in Tlie Southern Harmony and Musical Companion (Philadelphia, 1847). compiled by William Walker, of Spartanburg. South Carcdina, which antedates 77;^ Golden Harp, in which the Reverend Jonathan hdlis's ballad ap- peared, by ten years. Until it is known whether Ellis's "The White Pilgrim' was certainly composed by him, or, if that fact cannot be verified, whether his text antedates The Sacred Harp and The Southern Harmony texts, credit for audiorship must lie be- tween him and White. A 'The Lone Pilgrim.' Witli music. From Mr.s. Maude Minnisli Sutton: comniunicati(jn undated. "The oldest religious song 1 renieiuher. ... I do not remember much of it." One stanza. 1 came to a place where the lone pilgrim lay. I pensively stood hy the tomb; ' See Luke 7:16-21. 600 X 0 R T H CAROLINA FOLKLORE When in a lone whisper I hyerd something say, 'How sweetly I rest here alone.' From MS and notes in Dr. Brown's hand: "The Lone Pilgrim. 'B. F. White, Arr. by Adger M. Pace." As sung by Mr. Eph Stamey, Alta- niont, N. C, 14 July, 1940. This song has been printed, words and music, in some of the old song-books ; included in Bells of Heaven, James D. V'aughan, publr., Lawrenceburg, Tenn., 1930." This "B. F. White," from The Bells of Heaven, evidently refers to B. F. White, of Georgia, one of the compilers of The Sacred Harp, from which The Bells of Heaven version was taken. 1 J came to the place where the lone pilgrim lay, And pensively stood hy him [sic] tomh ; When in a low whisper I heard something say, 'How sweetly he rests here alone.' 2 The tempest may howl and the loud thunders roll. And gathering storms may arise ; Yet calm are his feelings, at rest is his sottl. The tears are all wiped from his eyes. 3 The cause of his Master propelled him from home ; He bad[e] his companions farewell; He blessed his dear children who for him now mourn — • In far distant regions they dwell. 4 He wandered an exile and stranger from home. No kindred or relation nigh ; He met the contagion and sank to his toml) ; His soul flew to mansions on high. 5 O tell his companions and children most dear To weep not for him now he's gone ; The same hand that led him through scenes most severe Has kindlv assisted him home. 543 Mary Wore Three Links of Chain A stanza close to the first appears in several versions of 'Sis Mary Wore Three Links of Chain,' White ANFS 60-3; another, with more variation, in A. P. Hudson's Specimens of Mississippi Folk-Lorc (Ann Arbor, 1928), p. 90. Cf., also, 'All Mah Sins Been Taken Away' in Satis N. Coleman and Adolph Bregman's Songs of American Folks (New York, 1942), pp. 76-7, and Sand- burg ASb 474-5, who describes it as "one of the sublime creations of the Negro race in America." FISHING IN THE CREEK K K 1. 1 c; I 0 u s s () x c s 6oi A Xo title. C iintril)iiti.(l liy Miss Mamie Manslicld, ['"dwler ScIuhiI Dis- trict, Durliain cduiity, July 2(>. 1922. 1 Mary wDre three links of chain, Mary wore three links of chain. Mar\ wore three links of chain; l'.ver\- link was Jesus's name. .\11 my sins heen taken away, taken away. 2 Don't yon hear those horses' feet, Don't you hear those horses' feet, Don't you hear those horses' feet, I'rancint,^ down the golden street? All m\- sins heen taken away, taken away. 3 Jonah made a wheel, and he made it on the ground, Jtjiiah made a wheel, and he made it cm the ground. Jonah made a wheel, and he made it on the ground ; The wheel turned over, and the earth turned ar mnd. All my sins been taken away, taken away. B 'Mary Wore a Golden Chain.' With music. From Blake 15. Harrison, Durham, December 5. 1919. "Negro fragment.' The same text as in White AXFS 63. 544 Noah's Ark The editors are uncertain whether to entitle this song 'Noah's Ark' or 'Gideon's Band,' the two motifs are so mixed. Cf. White ANFS 90 and 100; A. E. W'ier, Songs of the Sunny South (New York, 1929). p. 161; Rodeheaver. Si.vty-Tzvo Southern Spirituals (Winona Lake, Ind., 1946), No. 41. A 'Gideon's Band.' Contributed by E. T. Fletcher, without date or address, but with this notation: "These two ballads ['Ballad (if the Waterfall' and "(jideon's Band'] are given by E. T. Fletcher; one was learned from the Negroes, the other from a showman." 1 Do you belong to (iideon's luuid. Do you belong to (jideon's Band? Here's my heart and here's my hand. Do you belong to Gideon's Band? 2 God told Noah there was going to come a doud, Gold told Noah there was going to come a flood. Better git a place to git out of the water and mud. 6o2 NORTH CAROLINA FOLKLORE Chorus: Old Noah did build an ark. Old Noah did build an ark. Out of hickory sticks and i)(iplar l)ark. B From an anon^'mous copy, without date or address. 1 God told Noah, told Noah There was going to come a fltiod. Better git a place to git out h> water and mud. Clwnts: Do you belong to Gideon's 1 >and ? Here's my heart and here's my hand. Do you belong to Gideon's Band? 2 Old Noah did build an ark Out of hickory sticks and poplar bark. 545 Pharaoh's Army Like Jacob's dream of the ladder ascending into heaven, tlie drowning of Pharaoh's army is a motif or leitmotif of several old spirituals. In ANFS 58. White notes tliat "Pharaoh's Army' "occurs in variant versions in most of the printed collections, beginning with Higginson (Atlantic, 1867, xix, 685)," cites traditional reports of it from South Carolina. Tennessee, and Mississippi, and prints two versions, one from Alabama, the other from Tennessee. For a Kentucky version, see W. A. Fisher. Sc-j'oity Negro Spirituals (Boston, 1926), pp. 127-9. 'Oh, Mary, Don't You Weep.' From Miss Gertude Allen, Taylorsville, Alexander county (later Mrs. Vaught) ; undated, but c. 1922-23. 1 Mary's son fell in a well. Mary's son fell in a well ; But Pharaoh's army got drowned. O Mary, don't you weep. 2 O Mary, don't you weep, don't you mourn ; Your son's ill Heaven with a harp and horn. But Pharaoh's army got drowned. O Mary, don't you weep. 3 Pharaoh's army got drowned in the sea; Thank to (iod. it was not me. R K 1. 1 (; I () L- S S O N C. S (^>0^ I '.111 I'liaraoli's army i;2 and Perkins JAFL xxxv 233-4. Stanza 3 corresponds in i)art to 'As I Went Down in the Valley to Pray' (q.v.). Other deuK'nts are Biblical and spiritual connnonplaces. Cf. Chappell F'SRA 151 (from North Carolina; , R K I. 1 (i 1 () r s s () N (; s 609 "Negro fragment." Frmn an aiiiniynKius. uiulated i)rinte(l program, enclosed in a letter dated Durliam, X. C. July 2(), igjj, to Dr. llrown from Mrs. .Mattie Southgate Jones, wiio explained that the printed song thereon was one of the songs which a Deacon S. Harris used to print for his colored congregation in Durham. 1 1 have a .soiio- j Jove to sing, 1 have a soiiij^ I love to sing, I have a song I love to sing, (jlory hallelnjah, praise His name, All my sins hecn taken away. Chorus: All my sins been taken away, All my sins been taken away. All my sins been taken away. Glory hallelnjah, praise His name. All my sins been taken away, taken away. 2 I'm going home on the morning train, I'm going home on the morning train, I'm going home on the morning train. Glory hallelujah, praise His name. All ni}' sins been taken away, taken away. 3 I went down in the valley to pray, I went down in the valley to pray, I went down in the valley to pray. My soul got happy and I stayed all day. All my sins been taken away, taken away. 4 Christ went in the temple at twelve years old, Christ went in the temple at twelve years old, Christ went in the temple at twelve years old, They asked him could he cure a sin-sick soul, All my sins been taken away, taken away. 5 1 know the day, remember the time, 1 know the day. remember the time, I know the day, remember the time. When God Almighty changed this heart (if |mine, All my sins been taken away, taken awa\- 1 . 552 Angels Roll Dkm Stones Aw.\y Lines 2 and 4 cjf stanza 2 have their counterjian in hynni 173 in North Carolina Sonnets, or a Selection of Choice Hyiinis for the Old School Baptists: Compiled by the Recommendation of the Keliiikee Association, bv lames Osbourn, \'.D.M., of Baltimore Citv 6lO X n R T II CAROLINA FOLKLORE (Baltimore: Published by James Osbourn, 1844J. (Pagination and numbering very inconsistent and irregular.) "Xegro fragment." From Julian P. Boyd, as collected from Josa Dixon, a pupil in the school at Alliance, Pamlico county. 1 Sister Mary she come weepin', Just abotit de break o' clay, Lookin' for my Lord, And he's not there, say ! 2 He's gone away to (ialilee. Angels rolled dem stones away. It was on one Sunday mornin'. Angels rolled dem stones away. 553 As I Went Down in the Valley to Pray Songs corresponding to parts of the following are to be found in White ANFS 71, 132: Jackson WNS 166-7: L. L. McDowell, Songs of the Old Camp Ground (Ann Arbor, 1937), p. 44; and Perkins lAFL xxv 233-4. Cf. The Good Old Wav,' in Allen SS, p. 84. 'Down in the Valley to Pray.' With music. From Mrs. Maude Minish Sutton; undated, but the following note indicates 1917-18. From the note it is also to be observed that Airs. Sutton's version is not a Negro song. "We went to a foot-washing. It isn't a bit funny ; it's like the cere- mony the King of Spain performs on Christmas Day. The service was held at the Elk Valley church, and we were sure we'd laugh, but we were sobered, and even reverent, when we came away. Nobody could fail to be impressed by the earnestness, the dignity, and the deep sincerity of those old men. The minister read, in the tone he always uses, the story of the Last Supper, and then girding his waist with a towel he went around and washed the feet of five old men. As he did so, the congregation sang the song that follows. There was much emotion. The air was full of it. I felt it and responded to it as I would if I had been at a play. "The old lady who sat next to me might have posed for the peasant woman in Millet's The Angcliis, and yet I should have chosen her for a typical North Carolina woman. She looked understandingly at the service star I wore. 'Your feller?' she inquired. 'My brother, with the 30th,' I answered. 'My boy's in the 30t]i,' she said. I talked with licr after tlie service. "The old preacher did a pretty thorough job. He washed one pair of feet to a verse. I believe if more elders or deacons, or whatever the honorees were, had l)een present more verses would have been forth- coming. "The old lady can't write, and neither can her boy. I must tell Ralph to look him up and tell me something about him to tell her. She 'ain't shore' who his captain is — poor old woman !" K K 1. I (; I 0 u s s o N c; s 6i i I O sisters, le's go down, k-'s go down. k''s go down, < ) sisters, le's go down, down in llie valk-v to i)ray. As 1 went down in the valley to i)ra\-, Studyin' about that good old way, And who should wear the starry crown ; { lood Lord, show nu- tlie way. J ( ) brothers, etc. 3 ( ) mothers, etc. 4 O fathers, etc. 5 O children, etc. 15 No title. From Jennie Belvin, Dvn-ham ; c. 1920-21. Plionograpli re- cording July 1922. As I went down in the valley to pray, Studying about that good old wa}'. Who shall wear the starry crown? Good Lord, show me the way. Chorus: Oh, sinners let's go down, Let's go down, let's go down. Oh. sinners let's go down, Down in the valley to pray. Oh, mourners, let's go down. Let's go down, let's go down, Oh, mourners, let's go down, Down in the valley to pray. No title. From Miss Aura Hohon, Durham; c. 1924. "I know the air — may he able to get words." As 1 went down in the valley to pray, Studyin" 'bout de good ol" way. As I went down in de valley to pray. Oh. Lawd. show me de way. Chonis: Oh, sinner, yo' better go down. Yo' better go down, you better go down, Oh. sinner, you better go down. Down in de valley to pray. 6l2 NORTH CAROLINA FOLKLORE 554 Babe of Bethlehem This is most of the first stanza of 'Babe of Bethlehem,' reprinted in full, with music, by Jackson SFSEA 82-3, from William Walk- er's Southern Harmony (compiled at Spartanburg, S. C, printed at New Haven, Conn., 1835). Dr. Brown's note "(Cut off)" may refer to the last two lines of stanza i, which read As was foretold by prophets old, Isaiah, Jeremiah. The part of the stanza remembered by his informant has two errors : "Come view this sacred ration" for "Come hear this declaration" and "loyal Jews" for "royal Jews." 'Ye Nations All.' From MS in Dr. Brown's hand, on rough paper, evi- dently taken down from a record or from dictation. At the end he has written: "(Cut off)." Ye nations all, on you I call. Come view this sacred ration. And don't refuse this glorious news, And Jestis and salvation. To loyal Jews came first the news Of Christ the great ^Messiah. 555 Baptist, Baptist Is My Name A variant of the first four lines is to be found in 'Hard Trials,' J. B. T. Marsh, The Story of the Jubilee Singers; zvith Their Songs (Boston, 1881), p. 207, which also has a stanza, "Oh, Methodist, Methodist is my name," etc. In 'Jesus Lock' De Lion's Jaw' in Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 19, two lines resemble the first two of 'Baptist, Baptist Is My Name.' 'Roll, Jordan, Roll.' With music. From Mrs. Alice Cooke, Boone, Watauga county; undated, but about 1922, when a phonograph record- ing was made at Boone. Baptist, Baptist is my name. And Baptist till I die : When I am dead it can he said You've laid one Baptist hy. Come along to the meeting in here tonight. Come along to the meeting in here tonight. To the meeting in Roll, Jordan, roll. roll. Jordan, roll; I'm going to Heaven when I die. k 1", I. I C I () II S S () N C S 613 BVK AM) U\K No title. From Julian 1'. Boyd, as collected from Catlioriiie Bennett, a pupil of the school at Alliance, Pamlico comity; undated, l)nt about 1927-28. Dr. P>ro\vn marked it "Negro fragment." Bye and bye. (hjn't yoti grieve after nie. Bye and l)ye. don't you grieve after nic. Tote your witness, don' you grieve after nie. Bye and bye, don't you grieve after me. When I'm gone don' you grieve after me. 557 Cain and Abel With music. From Newman I. White, Durham; undated. "I sang this for F. C. B. in 1923 or 1924. The te.xt is in his hand, marked 'N. I. W., duplicate.' Published in my ANFS, without the music. See ANFS 86 for my note and text." Well, The Good Book says that Cain killed Aliel. Yes, Abel, That he hit him in the liead with the leg of a table. Yes. Good Lord. Didn't Daniel in the lion's den Say unto dem cullud men. Get yer long white gown And pass 'em a-round And be ready when de great day comes. Oh Lord. Lse ready, (Jh Lord, I'se ready, ni be readv when the great dav comes. Oh glory Hallelujah ! 558 Can't Cross Jordan The song i^ related, in i)art, to 'You Got to Cross It for Vohself,' Jackson WNS 183, and it is composed largely of s])iritual com- monplaces. 'Can't Cross Jordan.' From Miss Pearle Webb, Pineola, Avery county, August 1922. Recording, Pineola, N. C, 1922. With stanza 4 compare 'As I Went Down in tiie \'alley to Pray,' No. 553. I Can't cross Jordan and you can't go around. Can't cross Jordan and you can't go around. 6l4 NORTH CAROLINA FOLKLORE Can't cross Jordan and you can't go around, If you've got no Jesus you'll be sure to drown. Chorus: They've taken my Lord away, away, away, They've taken my Lord away, away. Oh. tell me where you've laid him. 2 What kind of shoes does a Christian wear? (trcs) Slippin' and a-slidin' through the air. 3 ni tell you how them hypocrites do, ( trcs) They serve the Lord and the devil too. 4 As I went down in the valley to pray, {tres) I met old Satan upon my way. 5 I've done been down and I've done been tried, (trcs) I've been to the river and I've been baptized. 6 Oh, don't you hear them horses' feet, (tres) A-rambling down the golden street? 7 Ezekiel was a man and free from sin, (tres) Heaven's door was open and Ezekiel walked in. B No title. From Miss Jennie Belvin, Durham, July 1922. Recording, Durham, 1922. Contributor notes: "Negro." One stanza (with no textual indications of repetition) and chorus. Can't cross Jordan, and can't go around ; If you ain't got grace you sholy will drown. Chorus: Uh — they done taken my Lord away — ay, Uh, they done taken my Lord away. Show me where to find Him. 559 Christ Was a W'eary Traveler With music. Words written down by Dr. Brown as sung to him by Will ("Shorty") Love, Negro janitor at Trinity College and Duke Uni- versity, c. 1920-24. Compare tlie last four lines with stanza 2 of 'William Shackleford's Farewell Song,' Vol. II, No. 294, p. 682. I Christ was a weary trav'ler, He went from door to door ; His occupation in life Was a-minist'ring to the poor. My work'U soon be ended. K K 1, I I, 1 () U S S O N C. S 615 My race is alniosl run. Mv work'U soon 1)C ended. ' And dien I'm goinj^ home. _• Christ told his (Hsciples : 'After I'm riz and gone. \'()u'll meet with many erosses, But their ahuse you'll scorn. Ahuse me all you want to, lUit I'm traveling home to God; I'm well ac(|uainted with crosses, And all my ways are hard. 3 "I thank (iod for none hut the pure in heart llefore His face shall stand, W hen dis ol' world shall reel ahout Like a drunken man. I'm strivin' hard and faithful. When de trumpet shell soun' My soul shall shout like Izral shouted \\ hen de jekkel walls fell down. 4 "Xo difference whar 1 travel, It's no matter whar I'll be. There's someone always ready To point de finger of scorn at me ; But to heaven my soul shall onward move Like lightin' aroun* the throne ; My soul shall shout like Izral shouted. 5 A\'hen I get to heaven W ant you to be there too. W'hen I cry out "Amen" Want you to say so too. (kxl bless thuh Roman Catholics An de Presbyterians too And dub gool old shoutin' Methodists And de ])rayin' Baptists too.' 560 CiTV OF Refuge White, in .\NF.S 90, prints a quite different version of this song, with notes. Stanza 3 of his text and the chorus of a song in Scar- borough TNFS 256-7 allude to Paul and Silas in jail. White's version, too, has the refrain "He had to run." From an anonymous contributor ; without date or address. 6l6 NORTH CAROLINA FOLKLORE 1 There is coming" a time and it won't be long, You will attend to your business and let mine alone. The time is coming, is coming very soon, For the graveyard land is all in bloom. You better run. 2 Old Paul he prayed and he did prevail. They caught him in Jerusalem and put him in jail. He stood his trial in the name of the Lord, Because he had a building not made with hands. But he had to run. 3 Go on. I'll forgive you for what . . . 561 Come All You Friends and Neighbors No title. From W. Amos Abrams, Boone, Watauga county ; undated. 1 Come all you friends and neighbors. For you know that you are born to die. Come view my situation. As helpless here I lie. 2 Long time have I been striving. Dear Lord, remember me. And in my weakened condition Never let me seek in vain. 3 There we'll all join together Dear Savior to adore. There sickness and consumption And fevers is no more. 562 Come, Thou Fount of Every Blessing Jackson, who prints several settings of 'Come, Thou Fount' in DESO, says (p. 94) that the poem is by Robert Robinson (1735- 1790) and that it "is found in practically all the shape-note song books." Dr. Brown notes: "The new thing is the chorus." From E. Myers, Route 6, Concord, Cabarrus county, 1924. Dr. White notes : "This, and three other songs . . . were sung by two or three people, apparently at Mr. Myers' house. This one 'sung by negro.'" C horns: We will walk through the streets of the city, AX'here our friends have gone before ; R E L I c; I O U S SONGS 6lJ We will sit on the hanks of the river, Where we meet to i)art no niort-. 1 Cdnie. thou tuunt of every blessing. Time my heart to sing thy grace. Streams of mercy never ceasing Call for songs of loudest praise. 2 Teach me some melodious sonnet, Sung by flaming tongues above ; I'raise the mount. I'm fixed upon it, Mount of thv redeeming love. 563 Dar'll Be No Distinction Dar A desire for the abolition of racial discrimination and climatic variability constitutes the theme of this unusual song. "Negro fragment." From Julian P. Boycl, as collected from Bryan Banks, a pupil of the scliool at Alliance, Pamlico county, 1927. 1 Up in Heben, so dey say, Dar ain't no snow ; All through de winter day De watermillions grow. For by de laws of de just. And de laws of de right, \\ e'U all be white in Heben's delight. Chorus: Dar'll be no distinction dar, Dar'll be no distinction On dat beautiful shore, Dar'll be no distinction dar. 2 For by de laws of de just. And de laws of de right. We'll all be white in Heben's delight, Dar'll be no distinction dar. 564 Didn't It Rain? Variants of this song have been published by H. W. Odum, The Negro and His Songs (Chapel Hill, 1925), pp. IJ9-30, and by White in ANFS 141. A "Negro fragment." With music. From Julian P. Boyd, as collected from Kuby Casey, a pupil of the school at Alliance, Pamlico county ; undated. 6l8 NORTH CAROLINA FOLKLORE It rained forty clays and forty nights Without stoppin' no mo'. Didn't it rain, didn't it rain? I heard de angels when dey moaned. Lord, didn't it rain? As published by White in ANFS 141, without music. "Reported from Durham, N. C, 1919, MS of Thomas Litaker, as from Cabarrus County, N. C. 'Heard sung by negro on father's place.' " C 'Didn't It Rain?' From "Hodgin, Northeastern N. C." ; undated. Didn't it rain ? Children mighty didn't it rain ? Oh, my Lord, didn't it rain? Rained forty days and forty nights vvithotit stopping. "Negro fragment." From Julian P. Boyd, as collected from Ruby Casey, a pupil of the school at Alliance, Pamlico county, c. 1927-28. It rained forty days, And it rained forty nights ; Sinner come a-floatin' by Noah's do'. 'Go way, man, you done and sinned ; De Lord tol' me not to let you in. De do' is locked and de key is gone.' I heard de angels when dey cried ; 'Make haste, my Lord,' Dey cried, 'Make haste.' 565 An English Orphan Two variants of this song appear in the Frank C. Brown Collection. 'An English Orphan.' From Miss Pearl Webb. Pineola, Avery county, without date. Dr. Brown notes: "'My Heart's in the Highlands' and 'Apprentice.' " Dr. White adds : "It does sing to the tune of 'My Heart's in the Highlands.' " I My home is in ICngland, my home is not here. Rut why should I murmur when trials appear? The woman that took me, (iod has taken away ; She's gone to join the angels and with jesus to stav. K K 1. 1 (; 1 <) I' s s () N (; s 619 2 They l)r(nij:;in mv in my cliildlKidd. they never th()Uf,dit that 1 knew ; But it comes to nie so clearlw and 1 know 'lis all just so. I have no friends, no relations, no one to take ni\- ])art; lUu if I live a Christian we'll meet to never part. 3 When 1 teel so sad and lonely and ni\- friiMuU thev seem so few. I take it all to Jesus: I know he'll hear me throuf^h. But 'tis sad to he an ori)han. without a mother's care. But it's sweet to know that Jesus loves his children every- where. 4 Although I'm poor and homeless, without a friend to love, 1 i,''lory in the one grand hope: There is a home ahove, Home, home, sweet, sweet home. Prepare me, dear Savior, for Heaven ahove. Xo title. From MS book of Mary Martin Copley. Route 8, Durham; obtained by Jesse T. Carpenter. R.F.I).. Durliam ; undated. MS incom- plete. With a few verbal variations, follows A through stanza 3, but of stanza 4 has only the opening clause, "Although I'm poor and home- less. . . ." 566 Down by ue Ribberside The song resembles the refrain in 'Down by the River.' in T. P. Fanner. Religious Folk Songs of the Negro (Hampton, Va., 1916), p. 167. The chorus and first stanza are close to part of a song in Utica Jubilee Singers Spirituals as Sung at the Utica Xormal and Industrial Institute of Mississippi (New York, 1930), pp. 16-17. 1" pattern and diction, the whole resembles 'Down by the Riverside,' in Fauset JAF"L XL 297. Cf. .Sandburg, ASb 480-1, and '(iwine-a Study War No Mo'!' in W. A. I-'isher, Sc-c'enty Negro Spirituals (Boston, 1926), pp. 60-2. From W^ J. Andrews, Raleigh (?). witiiout datf. Dr. Brown's cor- respondence with Mr. Andrews contains four l(.•tte^^, dating 1927-42, l)ut no reference to this text. 1 Down hy de rihherside, Down hv de rihherside. Ain' gwine ter study 'hout war no mo'; Down hv de rihherside, Down hv de rihherside, Ain' gwine ter study 'hout war no mo'. 2 Down hv de rihherside, Down hy de riljlierside, X.C.F., Vol. III. (42) 620 NORTH CAROLINA FOLKLORE Ain" gwine ter study 'bunt peace no mo"; Down by de ril)berside, Down by de ribberside, Ain' gwine ter study 'bcnit peace no mo'. 3 Down by de ribl^erside, Down by de ribberside, Ain' gwine ter study 'bout nothin' no more ; Down by de ribberside, Down by de ribl:)erside. Jest goin' ter study 'Ijout beaben some more. 567 Gwine Down to Jordan Refrain and chorus are related to 'I Never Will Turn Back Any More,' in this collection, and stanza 3 to White ANFS 59 (A), p. III. Contributed by Otis Kuykendall, Asheville, 1939. 1 I'se gwine to Jordan on de wheels ob time; Death's a gwine to shake dis frame of mine. And I never will turn back no more. Chorus: No more, my Lawd, no more, my Lawd, And I never will turn back no more. 2 Hypocrite, hypocrite God despise. Tongue so keen and he will tell lies. And I never will turn back no more. 3 If you get there before I do, Look out for nie — I'm comin' too. And I never will turn l)ack no more. 568 God Is at de Pulpit "Negro fragment." From Julian P. Boyd, as collected from Ruby Casey, a pupil of the school at Alliance, Pamlico county, c. 1927-28. (jod is at do pulpit, (iod is at de do', God is always over me. While 1 le is in de middle of de flo'. K E L 1 (i 1 O U S S 0 N c; S ^21 Cliorifs: Ciod is a CjocI ; Clod don't iiebcr cliant;c. 'Cause lie always will be king. 569 ("lOiNc, TO IIkavkn hv tuk Light of tiik Moon Concerning the origin of the song, Dr. White conjectures: •'Very possibly connected with early minstrel song books, like 'Golden Slippers.'" Cf. Steely 242-3 (i935)- From Mrs. Alice Cooke, with imisic. A phonograph recr>rcling was made at Boone in 1922. Going to Heaven bv the light of the moon, Halle, halle, halle. halle-lu-jah, Up to meet them darkies soon. Halle, halle, halle, halle-lu-jah. In the morning, in the morning by the bright ligbt. When Cabriefblows his trumpet in the morning. Go Dowx, Moses The text of this, one of the most stately and beautiful of the Negro spirituals, is close to that of the first two stanzas m J. B. T. INIarsh's The Story of the Jubilee Singers, with Their Songs (Bos- ton. 1881), p. 142. I-n.ni Miss Clara Hearne. Principal of Central School, Roanoke Rapids, Halifax county. October 20. 1923, as sung by Negroes m Chatham county. 1 Leader: When Israel was in Egypt's land. Chorus: Let my people go! Leader: Oppress'd so hard they could not stand. Chorus: Let my people go! Chorus and Leader: Go down, Moses, W'av down in Egypt's land ; Tell old Pharaoh. Let my ])eople go! 2 Leader: 'Thus saidi the Lord." bold Mo.ses said. Chorus: Let my people go ! Leader: If not I'll smite your first-born dead, Chorum: Let my people go ! 622 N f) R T II CAROLINA FOLKLORE Churns and Leader: Go down. Moses, AVay down in Egypt's land ; Tell old Pharaoh, Let my people go ! 571 Golden Slippers White ANFS 106 gives details of the history of the song and a text from Alabama. He notes: "Walking the golden streets is a phrase from the early-nineteenth-century religious songbooks." cit- ing Zion Songster (1827) ; and records testimony that 'Golden Slip- pers' was sung in the 1870s as a minstrel song. It was printed by Auner of Philadelphia as a penny song, and included as "Dein Golden Slippers. Words and music by James A. Beard," in The Celebrated. Original and Only Madame Renty's Songster (New York, 1880 ). p. 45. ANFS 107 gives further comparative refer- ences and a text from Durham, somewhat like the following. 'Going Up.' From Mrs. Sutton, as sung by her sister Pearl. Phono- graph recording, Lenoir, 1922. 1 \\'hat kind of shoes are you going to wear? (iolden slippers. \\ hat kind of shoes are you going to wear ? Golden slippers. Golden sli])pers, Pni a-going away, a-going away, Agoin" away. Golden slippers, I'm a-going away, going up To live with the Lord, (ioin' up, goin' up. goin' up. goin' up. gcjin" u]). Goin' up. goin" up. goin" up, goin' up. goin" u]), Goin" up. goin" u]). Goin up to live with the Lord. 2 What kind of robes are you goin' to wear? Long white robes. AX'hat kind of robes are you goin' to wear? Long white robes. Long white robes. I'm a-goin' away, goin' awav. Long white robes. I'm a-goin' awav. goin' uj) To live with the Lord. Goin' u]). goin" up. goin' uj). goin' up. goin' up, (ioin' u]). goin' u]), goin' up. goin' up, goin' up, (join' UJ). goin' up. Goin' up to live with the Lord. 3 What kind of gates are you goin' through ? Pearly gates. [Repetition after pattern of stanzas i a)id j.\ R E 1. I (i I () L' s s () X (; s 623 4 What kind of strcct.s arc nou i^<>in' in walk? Golden streets. [Repetition after pattern of stan:zas 1, 2, ?.J (iooi) Xi:\vs — Chariot's Comix' C'f. White ANFS 73 and 120; Jackson WNS Ixviii B. p. 19.:;: WilHani Henry Sniilh, lU)ok of Spiriiuals ( C'hicatio, 1937 I, I'l*- '^-lO. I'Tdiii Newman I. White, Durham, Deceml)er lO, 1944, witli this note: ■'There are several "good news' and 'cliariot' songs in my Amcr'nan .\'t\(ir<) 1-olk Songs, l)ut not this one. Omitted, probably l)ecanse 1 had only a very fragmentary text for it and no definite source. All I now remember — if I ever knew more — is:" Good news — chariot's coniin', Good news — chariot's coniin', Cjood news — chariot's coniin', And I (k)n't want it to leave me hehind. S7i Good Lordv, Rocky Alv .Soul The chorus corresponds in part to 'O Rocka My .Soul,' Jackson WN.S 22";. There are closer resemblances to a spiritual in j. Rosa- mond Johnson, Nailing Along in Song (New York, 1937), PP- ^>o-i. From A. J. and J. H. Burrus, Weaverville, Buncombe county. August 1922, with the note: "This is only a fragment of an old negro's planta- tion song. An old negro slave by the name of Sam Clemmons, who was hired by my father to plow corn, would sing the song all day long." Chorus: Lorfl. I want you to rocky niv soul In the hosoni of Ahrahani. Lord. I want you to rocky ni\- soul In the hosoni of Ahrahani, Lord. I want you to rocky my soul In the hosoni of Ahrahani. (jood Lord, rocky my soul. If it wa'n't fur me the rich would li\c And the poor would die. (iood Lordy. rocky my soul. If it wa'n't for me the rich would live And the poor would die. CjOod I.ordw rock\- m\' soul. 624 NORTH CAROLINA FOLKLORE 574 Good News Coming from Canaan "This song is a perfect pattern of many I have found in early 19th century books of white spirituals, like Zioji Songster," writes Dr. White. Cf. 'Good News Chariot's Comin',' above. From the Reverend R. A. Swaringen, KannapoHs, Cabarrus county, July 31, 1922. I thought I heard my mother say, Good news coming from Canaan. I want to hear my children pray. Good news coming innn Canaan. 575 Go Wash in the Beautiful Stream This song alludes to the story of Elisha's curing the Syrian cap- tain Naanian of leprosy, as related in II Kings 5. Chappell FSRA 169 prints a stanza with music from Tom Forbes, Old Trap, Pas- quotank county, taken down in 1938. It is identical in text with the following, except that it has "hallelujah" after "stream" in 1. i. From Julian P. Boyd, as collected from Jeannette Tingle, a pupil of the school at Alliance, Pamlico county, c. 1927-28. Go wash in the beatitiful stream, Go wash in the beautiful stream, Oh, Naaman. oh. Naaman, Go down and wash. Go wash in the beautiful stream! 576 GwiNE DOWN Jordan This song is similar to No. 96 in Jackson WNS 214. From Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P. Perdue). Phonograph recording, Pekin, 1922. Each stanza has the repetitions indicated in stanza i. I Oh. l)rothers. won't you meet me, ( )li, brothers, won't yoti meet me. ( )]i, brothers, won't you meet me? I'm bound for Canaan's happy shore. Chorus: I'm gvvine down b"'dan, I'm gwine down Jordan, K K I. 1 c I (I r s s () N c s 625 I'm i^wiiK' (Idwii J(M"(l;in, halk'lo. I'm i^wine down Jtirdan, I'm y^wine down Jordan. I'm i^winr down Jordan, hallclo. 2 ( )li. sisters, won't vou meet me, etc. 3 ( )]). mothers, etc. 4 ( )li. fathers, etc. 5 ( )li, sinners, etc. 577 Hkar That Rumblixc; (I IIkard a AIic.htv Rumri.ing) The following are apparently ditYerent versions of this song. It resemhies stanza 5 of a copyrighted song, 'I've Got a Home in the Rock. Don't You See,' in Carl Diton, Thirty-Six Soittli Carolina Spirituals (New York, 1928), pp. 16-19. A 'Hear That Rumliling." With musii.-. From G. S. Bhick of ^^)llngs- towii. Ohio. May 14. iy20. There is a phonograph recording, dated 1920. 1 Hear that rumhling down under the ground. Hear that rumhling down under the ground. Hear that rumhling down under the ground ? Oh, why don't you pray for me? CJwnis: You pray for me and I'll ])ray tor you. You pray for me and I'll pray for you. Yoti pray for me and I'll ])ray for you. Oh. whv don't vou pray for me? 2 I helieve it's (jid Satan a-walkin' around, I believe it's old Satan a-walkin" arouiid, I believe it's old Satan a-walkin' around. Oh, why don't you pray for me ? B Xo title. With music. Text from Miss Ella Smith, Pitt county; tune by Mary Barbour, Raeford, Hoke county. Recording, Raeford. 1922 (?). The last two lines are matched by a song from North Carolina rcp()uxi) FOR THE Promised Land Jackson in DESO 11V16 states that the text is by Samuel Sten- nett (17 '7-9^) and remarks that the tmie he prints, "practically identical with the old Scottish 'The Boatie Rows,' " was a favorite of the blackface minstrels and appears in 'Kingdom Coming iq.v ). The followim? text lacks 11. -:.-^2, 25-32 of the text reprinted by Jackson hut has a chorus not in the Stennett te.xt. Jackson WMb 630 NORTH CAROLINA FOLKLORE 208 gives the first stanza and a chorus practically identical with the following. This version, he savs, is found in The Sacred Harp (1844). From the John Biirch Blaylock Collection. 1 On Jordan's stormy bank I stand, And cast a wistftil eye ; To Canaan's fair and happy land Where my possessions lie. Chorus: 1 am hound for the promised land, I am bound for the promised land. Oh, who will come and go with me? I am bound for the promised land. 2 All o'er those wide extended plains Shines one eternal day ; There God. the Sun, forever reigns, And scatters night away. 3 No chilling winds, nor poisonoits breath, Can reach that healthful shore ; Sickness and sorrow, pain and death. Are felt and feared no more. 4 When shall I reach that hai)py place. And be forever blest? When shall I see my Father's face. And in His bosom rest? 582 I Am Going Where the Blood Flows Stronger From Julian P. Boyd, as collected from Rosebud West, a pupil of the school at Alliance, Pamlico county; undated, hut c. 1927-28. "Negro fragment." 1 1 am going where the blood flows stronger, I am going where the blood flows stronger. Way over yonder in the j^romised land. 2 I wonder where is my dear old mother. Way over in the j^romised land. Who will rise and go to my father. Way over in the promised land? 3 ^^li< g'^^O'- gloO'' ballelujah ! Oh, he's way over there in the j)r(imise(l land. I am going where the blood flows strt)nger. R E L I C. I () r S S O N G S 63 1 Oh. yes. I am s^oiii^; wIumc the lilood flows stronger, Oh, Lord! 4 I know those anj^els are ha\in|^ a jjjood time. J'lating of honey and drinking of wine. \\ a\- over there in the ])romised land! 5 1 le is hca(Hng them with his mi^dit\- hand. \\ ay over there in the promised land. Oh, I am going wliere the hhiod flows stronger. I Rklong to That Band The chorus is identical with two lines in a song of the same title included in L. L. McDowell. Songs of the Old Camp Ground (Ann Arhor, Mich., 1937), p. 39. The editor of this collection notes: "This song, in very different form, hoth as to words and music, is in the revised Sacred Harp . . . published in 191 1 under the title of Original Sacred Harp. It is there credited to Mr. S. M. Denson. who is still living in Alabama. INIy father told me positively that he heard this sontj . • . about 1845." From a MS marked "Hodgin, Southeastern N. C." ; without date. 1 I never saw the like since I heen horn — People keep coming and the train done gone. Chorus: I belong to that hand, Hallelnah. halleluah, hallekiah, I belong to that hand, Hallelnah. 2 Some come crippled and some come lame. Some come hobbling in Jesns' name. 3 Clonds look heavy and it looks like rain. Sun's drawing water from ICmanuel's vein. I Dox't Love Old Satax A From Ella Smith. Pitt county ; undated. "Negro fragment." I I don't love old Satan. (Jld Satan don't love me. And under the circumstances Me and old Satan don't ajrrce. 632 NORTH CAROLINA FOLKLORE C horns: I'se gwine to Mount de Zion, ^ly beautiful home. 2 1 stepped in de water. And the water was cold ; Got a free body, And I want a free soul. B Another copy from the same informant, in which the order of stanzas I and 2 is reversed, and the chorus reads : I'm gwine to ]\Iount Zion, my beautiful home. I'm gwine to Mount Zion. my beautiful home. 585 I Don't Sing Like I Used to Sing From JuHan P. Boyd, as collected from Catherine Bennett, a pupil of the school at Alliance, Pamlico county; undated, but c. 1927-28. "Negro fragment." 1 I don't sing like I used to sing, Jesus done changed, changed, changed Dis heart o' mine, dis heart o' mine, Dis heart o' mine, dis heart o' mine, Jesus done changed dis heart o' mine. 2 I don't pray like I used to pray, [Remainder exactly as in stanza i.] 3 I don't shout like I used to shout, etc. 4 I don't talk like I used to talk, etc. 5 I don't walk like I used to walk. etc. 6 I don't moan like I used to moan, etc, 7 I ain't going to do like I used to do, etc. 586 I Do Wonder Is My Mother on That Train 'Sinner, You Better Take Heed.' With music. From an anonymous, undated MS. Dr. White notes: "Taken down in pencil by F.C.B., evi- dently from dictation. May have come from Shorty Love [Will Love, janitor at Trinity College and Duke University]. It resembles other MSS that do. See my note on Gospel Train in American Ncijro Folk Songs, p. 64." Cf. 'The Gospel Train' and 'Little Black Train' ( witli notes) in this collection. R K I. 1 (i 1 () I' s s o N c; s 633 I do woikUt is inv niotluT on thai train. 1 do woiukr is n\\ ukiIIut on that train. Train is uh-coniin' roun' dc cnrvc, An' she's strainin' t"\cr' ncrxc. I d(» wonder is niv mother on that tr.ain. Well, sinner, you hetter take heed; Jes' listen to what I say: You walk with the Christian rou-n". But still you will not pray. God with his an-ger-y frown Some day will call you down. I wonder is my mother on that train. W hen the train rolls u]) to the station All the saints will hegin to shout. Christ the * * * * Conductor. All ahoard for the Gospel Train. You hetter be at the station \\ ith your ticket in your hand. 1 do wonder is my mother on that train. The day of the Resurrection Poor sinner will be lost. You see the good old Christian Come a-wogging [walking?] roun' uh duh Cross, Crying. 'Lord. 1 been uh redeemed. With a garment white and clean.' I do wonder is my mother on that train. Just one moment in glory Will satisfy my mind, Sitting down with Jesus. Eating honey and drinking wine. We'll march around uh the throne With Peter, James, and John. I do wonder is my mother on that train ? Let the uKjther take the daughter And the father take the son, Take them to the Sabbath school And point them to the Lord. That's the way good Christians do To gain the heavenly Ian'. 1 do wonder is mv mother on that train. 634 NORTH CAROLINA FOLKLORE I Got de Key of de Kingdom This song resembles T Got a Key to the Kingdom' (from Ala- bama) in Mary Allen Grissom's The Negro Sings a Neiv Heaven (Chapel Hill, 1930), pp. 98-99. From Julian P. Boyd, as collected from Elsie Rawls. a pupil of the school at Alliance, Pamlico county; undated, hut c. 1927-28. "Negro fragment." 1 Preacher, I got de key of de kingdom. De world can't do me no harm, De world jus' can't do me no harm. Watch yotir secret keeper, Always bringin' you news, Tell a lie upon you And keep you all confu.se'. 2 Some people borrows money, Promise to pay, When dey see you comin' Dey turn de oder way. Oh, I got de key of de kingdom. Dis world can't do me no harm, Dis world jus' can't do me no harm. 3 When you think you got a friend, You had better watch yotir way, For you can never tell ; You may get fooled some day. Oh, I got de key to de kingdom, De world can't do me no harm, Dis ol' world jus' can't do me no harm. 588 1 Have Long Since BeEx\ Learned From Mrs. Norris, without date or address. .\ Mrs. Norris whose early address was Raleigh, N. C, contriliuted c. 1924. Tlie repetitions indicated in the first two stanzas continue throughout. I 1 have long since been learned Dal de trumpets will be soundin', Dat de trumpets will be scnuidin' in dal day. Oh, de trumi)ets will be soundin' in dat day. O Sinner, whar will vou stand in dat day? K V. I. I (I 1 () U S S O N C S 635 C'honis: He can able de blind to see, He can able de lame to walk. He can raise de dead from nnder de o;r()und. () Sinner. i)ray on. pray on. pray (in; jesns is knockin' at de door. 2 1 liave l(nig since been learned Dal King jesus will be comin', Uat King Jesus will be comin" in dat day, ( )li. King Jesus will be comin' in dat day. () Sinner, wliar will you stand in dat day? 3 I bave long since been learned Dat de dead will be a risin'. 4 1 bave long since been learned Dat de mourners will be weepin'. 3 1 bave long since l)een learned Dat de Christians will be sboutin'. 6 1 bave long since been learned Dat de sisters will be sboutin'. 7 I bave long since been learned Dat de brotbers will be sboutin", 589 I Am Standing in the Shoes of John Nu title. With music. From Miss Jessie Hauser, whose early addresses were in Forsyth county and Durham county, July 1923. Phonograph recording, Durham, N. C, 1928. 1 I am standing in the sbcjes of John. 1 am standing in the shoes of John, I am standing. 1 am standing. I am standing in the shoes of John. 2 If thev fit me. 1 will wear them on, If they fit me. I will wear them on. If they fit me. if they fit me. If they fit me. I will wear them on. 590 I Don't Know When ( )li) De.\th"s (iwiNK ter C.\li. Me No title. I'Vcjm -Mrs. N. J. Herring, Tomahawk, Sampson county: undated. N.C.F., Vol. Ill, (4.^) 636 NORTH CAROLINA FOLKLORE I don't know when old death's gwine ter call me ; He's ridin' every day, He don' let nobody stay. My heart is full of sorrow, my eyes is full of tears. Old death is gwine ter call me 'fore many more years. 591 I'm Goin' to Ride in Pharaoh's Chariot No title. From S. M. Helton, Jr.. Principal of Bain Academy, Alatthews, Mecklenburg county; undated, but probably 1938-39. 1 I'm goin' to ride in Pharaoh's chariot, I'm goin' to ride in Pharaoh's chariot ; One of these days God knows that I'm goin' to ride in Pharaoh's chariot, I'm goin' to ride in Pharaoh's chariot one of these days. 2 I'm goin' to cross the river of Jordan, etc. 3 I'm goin' to walk dem golden streets, etc. 4 I'm goin' to play dat golden harp, etc. 5 I'm goin' to wear dem golden slippers, etc. 6 I'm goin' to sing in de angel choir, etc. 7 I'm goin' to talk with Paul an' Silas, etc. 8 I'm goin 'to eat at Peter's table, etc. 592 I Mean to Go to Heaven Anyhow In phrasing and structure this resembles 'Going to Heaven Any- how,' No. 1009 in Songs of the People, edited, compiled, and arranged by Max T. Krone (Chicago, 1937). "Negro fragment." From Julian P. Boyd, as collected from Rosebud West, a student in the scbool at Alliance, Pamlico county ; undated, but c. 1927-28. I I mean to go to heaven anyhow. Anyhow, anyhow, anyhow ! My Lord, I mean to go to heaven anyhow ! Jesus died, oh, he died on the cross, To set every sinner free. Oh, yes, dear Lord, I mean to go to heaven anyhow. RELIGIOUS S 0 N C. S 637 ^■()U toKl luiillu'i- wlii'ii she was liviiii; Wtu wimld treat Ikt chilluns i^oud. yuu know, lint >iiK-f she has hcen dead \'(nr\e (h-i\en u> t'roin your door. lUit anyhow, J mean to ,i;(> to hea\en, Oh, yes, my L.ord, I mean to go to heaven an\how ! Ydu know that Jesu^ (hed on the eross, And 1 mean to go U) heaven anyliow. ( )h. ve>, lie died on the cross, And 1 mean to go to heaven and meet my mother, ( )h, ves. 1 mean to go to heaven. (_)h, ves, 1 mean to go to heaven anyhow! 593 Indian Song: Ah. Pork Sinner I ocil titk' With music. From Mrs. Maude' Minuisli Sutton, sun^ ''.v her sister. Pearl; undated. Dr. White notes: "Really a Negro spiritual, tliough Indians may have sung it." Stanza 4 of 'In Dat Day m \\ . A. Fisher, Seventy Xcgro Spirit mils (Boston. 1926), pp. (j6-8, has an image of the moon resemhling that in line 2 below. Ah, pore sinner, under the rock. Till the moon goes down in hlood. You can hide yo'self on the mountain top. To hide your face from God. Um, ah, ta-alk ahout Jesus! Halle, halle, lu, there's glory in my soul. 594 1 Picked My B.'\nj() Too From MS book of songs lent to Dr. Brown in August 1936 l)y Miss Lura Wagoner, Vox, Alleghany county. Several of the songs are dated, some 191 1, some 1913- 1 Come all you sons of freedom. Come listen unto me ; ril tell you all my conditions And what they used to be. 2 1 used to be a rebel, I wandered from the Lord; I never took his counsel Nor read his holy word. 638 NORTH CAROLINA FOLKLORE 3 The conflict between two parties, The gray coats and the bhie — I vokniteered for freedom, And I picked my banjo too. 4 I was born in North CaroHna And raised up as a slave. And no one ever told me I had a soul to save. 5 Until I had the fever It brought me near my grave, And many a Christian told me I had a soul to save. 6 I went to hear the gospel. To see if it was true ; I laughed and mawked the preacher, And 1 picked my banjo too. 7 Until he called for mourners And tears stood in my eyes, I bowed beneath the altar, And I laid my banjo by. 8 I prayed for sovereign mercy. And Jesus filled my cup. I went home rejoicing. And I burned my banjo up. 9 Brother, will you meet me On that delightful shore? We will praise the Lord forever W'here banjos are no more. 595 I'sE GwiNE Land on Dat Shore From Julian P. Boyd, as collected from Frederick Liverman, a pupil of the school at Alliance, Pamlico county; undated, l)ut c. 1927-28. I I don't like old Satan ; (Jld Satan don't like me, 'Case I believes in Jesus, And he sot me free. Chorus: I'se gwine land on dat shore, I'se gwine land on dat shore, I'se gwine land on dat shore. k K 1. I i; I (1 r s s o N t; s 639 I'll l)t.' blessed forexornuire, When 1 gits to 1 leheii ; I want yon to be dar too; When 1 cries ont holy, 1 wants yon to cry so too. When 1 gits to 1 leben. Who shall 1 see dar ? Alary, Martha, Lnke, and John, Waitin' dar t\)r nie. I Shall Not P.k Blue From Julian P. Boyd, as collected from Minnie Lee, a pupil of the school at Alliance, Pamlico county ; undated, hut c. 1927-28. "Negro fragment." 1 I've got religion. I shall not be blue. I've got religion, 1 shall not be blue. It's like a tree that's planted by the waters, And 1 shall not be blue. Clionts: 1 shall not, 1 shall not be blue. It's like a tree that's planted by the waters, And I shall not be l)lue. 2 I love my Jesus ; 1 shall nut be blue. I love my Jesus ; I shall not be blue. It is like a tree that is planted by the waters, And I shall not be blue. 3 I love my neighbors ; 1 shall not be blue. I love my neighbors; I shall not be blue. it is like' a tree that is planted by the waters, And 1 shall not be blue. B 'I Shall Not Be Moved.' From Julian P. Boyd, as collected from B. D. Banks, pupil of the school at Alliance, Pamlico county ; undated, hut c. 1927-28. "Negro fragment." I Sanctified and holy ; I shall not be moved. Just like the tree planted by the water. Chorus: (ilory. Hallelujah, I nIiuH not be moved, lust like the tree planted by the water. 640 NORTH CAROLINA FOLKLORE 2 I want to go to Heaven, Where 1 shall not be moved. Just like the tree planted by the water. 3 If your mother forsakes you, I shall not be moved, Just like the tree by the water. 4 I am on my way to Heaven, And I know I shall not be moved, Just like the tree of Jesus Christ. 597 It's Good fuh Hab Some Patience From Miss S. O. H. Dickson, Winston-Salem, Forsyth county, in a letter dated November 5, 1913, enclosing this and a version of 'Roll Jordan, Roll' (see C in this collection), with this note: "The tunes of both were spirited, and they were sung with accompaniment of the oars often as they rowed on the river." She indicates that the provenience of both songs was the Sea Islands. Chorus: It's good fuh hab some patience, patience, patience ; It's good ftih hab some patience Fuh ter wait upon de Lawd. 1 My brudder. won't you rise en' go wid me. My brudder, won't you rise en' go wid me, My brudder, won't you rise en' go wid me Fuh ter wait upon de Lawd? 2 My sister, etc. 3 My fader, etc. 4 My mudder. etc. 598 I Waxter Jine de Ban' From Mrs. C. C. Murphy, Ivanhoe, Sampson county, "as sung by her father, J. N. Corbett, who learned it after the Civil War near Bain- bridge, Ga." ; undated. Cliorus as in Allen SS, p. 95. Chorus: Oh. I wanter jine de l*)an'! Oh. I wanter jine de 15an' ! I Two togedder ! .\\\ I wanter jine de P.an' ! Put on de er new shoes. RELIGIOUS S 0 N C. S 641 (1(1 up in hcahfii and talk alxml llic news! C)h, 1 wanlcT jinc dc Uan' ! Argy \vi(l dc l""a(l(k'r an' er chalter wid df Son And' talk alxnU dc w^yV what yi)(.T preach his famous sermon on "The Sun Do Move,' " and "It is no exajT^s'era- tion to say that Rev. John jasper has a j^reater rei)Utation in ICurope than any other Southern man since the war. llis sermon was puh- lished in one of the French pa])ers, and was diNCUs^ed in the London L'luh." When jasjier died, in Richmond, .March 30, njoi, the Rich- jiioihI Tiiinw- Pisf^iilch said ot him (as (iUoted hy llatcher, pp. 12-14) : "He was a national character, and he and iii^ philosopiiy were known from one end of the land to the other. Some people have the impres- sion that John Jasper was famous simply because he flew in the face of scientists and declared that the sun moved, hi one sense, that is true, hut it is also true that his fame was due, in great measure, to a strong personality, to a deep, earnest conviction, as well as to a devout Chris- tian character. Some preachers might have made this assertion about the sun's motion without having attracted any special attention. The people would have laughed over it, and the incident would have passed by as a summer breeze. But John Jasper made an im])ression upon his generation, because he was sincerely and deeply in earnest in all that he said. . . . His implicit trust in the Bible and everything in it, was beautiful and impressive. He had no other lamp by which his feet were guided. He had no other science, no other philosophy. He took the Bible in its literal significance; he accepted it as the inspired word of God ; he trusted it with all his heart and soul and mind ; he believed nothing that was in conflict with the teachings of the Bible — scientists and pliik)sophers and theologians to the contrary notwithstanding."' Cf. the following John Jasper songs with one in White ANFS 128-9. 'John Jasper.' With music (two copies). From an anonymous con- tributor. Apparently this was part of the material Dr. Brown was pre- paring for publication in 1916-18. 1 [dhn lasper was a man, as yoii all do inulerstaiid. And he preach-ed lu de j)C'o])K' with a \eii^^cance. He preach-ed in de church, and ])rcach-ecl out (d' doors, And he preach-ed to de jjeople dat de sun do move. Chorus: Because de sun do move. ])ecause de sun do move. Dear John Jasper was a preacher. He preach-ed in de church, and he preach-etl out (jf doors, And he ])reach-ed to de jK'ople dat de sun do move. 2 And de wise men com-uh from a lon^' ways (dl. And dey took down de hooks dat com-uh from «k' i,ord. ^ For some details concerning John jasper, the editors of this collection are indebted to Mary M. Watt, Questions and Answers Department, the Richmond Times Pist'atch. 646 NORTH CAROLINA FOLKLORE And dey took down de Bible and dey splain-ed de truth. And dey prov-ed to de people dat de sun do move. B No title. From an anonymous contributor, without date or address ; probably c. 1920-25. A fragment. The wise men came from a long way off, An' they took down the book dat came from de Lord, An' they took down the Bible, An' set about to prove, An' dey proved to de people Dat de sun do move. 606 Judgment Day Is Comin' "Negro fragment." From Julian P. Boyd, as collected from Rosebud West, a pupil of the school at Alliance, Pamlico county ; undated, but c. 1927-28. 1 Judgment day is comin', Time is drawin' near. Don't you hear God callin' you ? Judgment day is comin'. For the time is drawin' near. He is callin' you by the thunder. For the time is drawin' near. Oh, yes. he is callin' you by the lightnin', For the time is drawin' near. Judgment day is comin'. Oh, yes. judgment day is comin' ! 2 I am goin' away to leave you. Oh. Lord, time is drawin' near ; Judgment day is comin'. When 1 was a sinner just like you, I fasted and prayed till it come true ! Oh, Lord, judgment day is comin', For the time is drawin' near. Oh, sinner, don't you want to go to heaven ? Time is drawin' near ! Oh, yes. judgment day is coming. Oh, yes, judgment day is coming. 607 Lii.v White Robe From Mrs. Maude M. Sutton, Forest City, July 30, 1928, as sung by Mrs. Becky Gordon, Sainda Mountain, June-July 1928; with tiie fol- lowing notes : relic; lous SONUS 647 "She sings every song I have tieeti able to collect heretofore, and then some ! . . . "I never heard a negro spiritnal with as ricli, tuneful, and moving air. It is a typical mountain spiritual and is beautiful. Miss Rlackstock is at work on harmonizing the air now. The first verse is repeated and the second goes on and on with no changes except 'mothers,' 'brothers,' 'sisters,' 'Christians,' etc.. are substituted for 'fathers.' Mrs. Gordon thought her niotlier had learned it from a book, and at a cabin on 'Big Mungry' near Sugar Mountain. They told us there was a book with tile words and tune. It isn't in The Southern Haniiony. This song is used for all funerals in that section. They start singing it when the grave is lieing filled and sing it till it is finished. Mrs. Gordon said, 'Hit's a song to sing over a corpse.' " 1 There's a lily white rohc' in Hea\eii fur me; I'm a-goin' where my trouhles will he over; Glory, glory, glory, hallelujah ; I'm a-goin' wliere my trouhles will he over. 2 Oh. come, my lovin' fathers, and go along with me ; I'm a-goin' where my trouljles will he over ; Glory, glory, glory, hallelujah ; I'm a-goin' where my trouhles will Ije over. 608 Little David The song resembles one published by Anna Kranz Oduni in JAFL xxvii 263. from Tennessee. It seems related to 'Little David, Play on Your Harp.' but lacks tlie chorus characteristic of that song. Xo title. From H. F. Shaw, eastern North Carolina; undated. 1 ( )h. David was a [xjor shepherd hoy. don't vou see? Oh. David was a poor shepherd hoy. don't you see? Oh. David was a poor shepherd hoy. He killed a lion and shout for joy. He got a home in the rock, don't you see? 2 Judas was a 'ceitful man. don't you see? Judas was a 'ceitful man. don't \()u see? Judas was a 'ceitful man ; He hetrayed an innocent man. He lost a home in der rock, don't \<)U sec? 609 LiTTi.K David. Plav ox Your I1.\ri' This version is more elaborate than those in White ANF'.S 66-8 and Jackson WN.S 226-7. f" stanzas i and 2 it picks up figures from 'All God's Chillun Got Shoes,' just as Jackson's No. cxiv attracts a figure from 'Go Down, Moses.' (Both White and Jack- 648 NORTH CAROLINA FOLKLORE son cite otlier traditional appearances.) Cf. Chappell FSRA 143 (from North Carolina). Text from Julian P. Boyd, as collected from Catherine Bennett, a pupil of the school at .Alliance, Pamlico county; undated, but c. 1927-28. "Negro fragment." Music by Newman I. White, Durham, N. C. As copied by Mr. Boyd, it is not clear whether the first four lines of stanza I are repeated at the beginning of each succeeding stanza ; it is assumed that they are. 1 ]\Iath and Mark, and Luke and John ; Jeremiah, Malachi, Stephen, and Tom ; EH and Closes, Zachariah and Joseph : When we git up in Heben I'm goin' to march around. Have on a robe come flowin' down. Cho7'i(s: Little David, plav on vour hari^ ! Hallelujah, hallelujah f 2 Den I will move at God's command, \\'\d a golden harp in my hand. 3 I will acknowledge and I do say so, Talkin' wid de prophets gone on befo'. 4 \\''ith Paul and Cephas. Stephen and John , (Jid brother Noah, and Ten Thousand more. 5 Some join the church for to sing and shout ; Before six months they's all turned otit. 6 Fo' six months rolled around again. Come back a-gigging,^ 'Take me in!" 7 Deacon stops and studies a while. Asks dat sinner has he reconciled. 8 I've been tempted and I've been tried; Devil have tried me on every side. 9 Feet been fettered, and my hands been crossed. But dungeon been shaken and my chain fell ofif ! 610 The Little Family Belden FSIM 447 describes "The Little Family' as "A Inblical narrative of a type that goes back at least to the seventeenth century and is exemplified by the Resurrection ballad in Roxburghc Ballads I 388 and a later stall print by Barr of Leeds in one of the British Museum collections." He has found it "only in America and there ^ Thus in typescript — for "a-jigging"? K E 1. I c; 1 () I' s SON c. s 649 only as a collector's item." Study of the ])rinted texts sugj^i^csts to him tluit "it has been subjected to tlie fortunes of oral transmis- sion." He cites reports of it from Virj^inia, West Virginia, Ken- tucky, Tennessee, Mississippi, and Ohio. To his references, add: lackson WSSU 195-7 -"kI SFSE.\ 36; Henry FSSH 417-18; Eddy BSO -'95-7; Gardner and Chickering BSSM 366-7; Davis FSV 295-6 (title and first line}. .\ 'Tile Little Family." From Mrs. .Maude M. .Sutton, Lenoir; undated (c. 1933?). Accompanying the te.\t i.s the following- headiiote, amount- ing to a little essay on the spirituals in the North Carolina mountains : "This ballad is found in a songbook that was printed at Catlettsburg, Kentucky, in 1871. There were probably earlier versions. This book is A A'cti' and Choice Selection of Hyunis and So)u/s for the Use of the Reijular Baptist Church and was edited by Elder E. D. Thomas. The ballad is very popular in the mountains now, and this version was col- lected on Fall Creek in Avery County. It is typical of the ballad hymns, and when 'lined out' by the minister and sung by the congregation, they have a strange and somber beauty that is indescrii)able. "My own collection of the spirituals is not nearly as large as I wish it was. There really isn't any reason, except that I started too late, why I shouldn't have a collection as large as anyone, for when I was a little girl there was a small church near Setzer's Gap in the lower end of the Blue Ridge, where all of the best old white spirituals were sung. I have heard them sung by members of my family who went to the church to hear them, and anyone [no one?] who heard Babylon Is I-'allcu, Zion's Ship Is on the Ocean, Moses Smote the IVaters, Douti in the J 'alley to Pray, The Lily White Robe, and scores of others, could fail to realize that the white spirituals were the originals of the Negro spirituals that are our most distinctive contribution to folk music. "These spirituals are not used as much now as they were only a few years ago. They are found now largely as concessions made to the older church members at singing conventions and revivals. In the remotest sections they are used at funerals. One place in Henderson County I beard The Lily White Robe [included in this collection] at a funeral aliout six years ago. That was the last time I heard one except at 'singing conventions,' where they were sung as curiosities ; the younger members of the group at the singing preferred Billy Sunday's type of Gospel Hymns to the ancient spirituals. "Many of the spirituals are based on Bible stories. I have a good many that relate, in some fashion, the Red Sea miracle, as : I want to go to Heaven and I want to go right. Red Sea. I want to go to Heaven all dressed in white. Red Sea. Oh, turn back Pharaoh's army, army, army, Oh, turn back Pharaoh's army from the Red Sea ; or : In ancient days when Israel's host in darkest bondage lay. The mighty power of God was shown ; he rolled the sea away. He rolled the sea away. He rolled the sea away. With Jesus ever near, no foe I have to fear ; He rolls the sea away ; or : Moses smote the waters and the children they passed over, 650 NORTH CAROLINA FOLKLORE Moses smote the waters and the sea gave way. Oh, children, ain't you glad you left that sinful army? Oh, children, ain't you glad the sea gave way? "I went to a foot washing once, way up in the Blue Ridge, at a little slab church. I went for curiosity, and, perhaps, for amusement ; but the service was impressive. The minister was an austere man. His sermon was delivered in a high, monotonous singsong, and it was full of hellfire and damnation. It presented the theology as harsh as that of the Old Puritans, and the songs he selected were of the same type." (Here follows an account of "the song with the sermon," substantially as given in the headnote to the A text of 'As I Went Down in the Valley to Pray,' after which Mrs. Sutton continues.) "As a closing song that day, the minister clapped his hands and started Old-Time Rcliyion. On the verse 'It was good for Paul and Silas,' a woman shouted, and the fervor of the emotion in the church was very intense. The songs were moving, and the unfamiliar time and queer gaps in the airs were very impressive. "There were only a few books in the church, and the songs in tliem were written in the old shaped note music. "I have found only a few of the traditional carols of the early English church. The Wife of Usher's Well, or The Romish Lady,^ is commonly known. The Cherry Tree Carol, The Tweh'e Blessings of Mary, and The Twelve Days of Christmas are the only ones I have, li'hen Mary Went a-Journeyin' has been found in this section, but I wasn't the lucky discoverer. That legend is commemorated in this county with the super- stition about 'Mary goes over the mountain.' " (Here Mrs. Sutton digresses in a paragraph on weather signs, which is omitted. She resumes.) "Elliott Daingerfield commemorated that legend in his exquisite paint- ing The Madonna of the Hills, that hangs over the altar of the Episcopal church at Blowing Rock. It shows the Virgin on the crest of Grand- father w'ith a mountain lily in her hand and the rhododendron in bloom at her feet. "The white spirituals and ancient carols are more nearly done than any other type of folksong. The very fine work that has been done by the churches in mountain communities has destroyed them. Collectors have been less interested in them than in any other type of folksong. Only a very few of the older people recall them. I have an old friend in this county who will sing Red Sea and The Lone Pilgrim for me [the latter in this collection]. "There is a regular 'all-day-singing-and-dinner-on-the-ground' in Caldwell County every summer. I shall plan to go this summer and ask some of the older singers to sing some of the spirituals. I know of three copies of The Southern Harmony and one of The Missouri Harmony in the county. They contain some of the better-known spirit- uals, and it is interesting to know that Anne Rutledge and Abraham Lincoln sang out of these books at singing sciiools when they were courting. "When art music is composed from American folk music, as sometimes it will be, then the 'White Spirituals from the Southern Uplands' will come into their own." It is possible that the influence back of them is ' The Wife of Usher's Well (Child, No. 79) and The Romish Lady (in Belden BSM 450-5, Hudson FSM 137-9, and many other collections) are not, as Mrs. Sutton seems to imply, alternative titles for the same ballad; thev are quite different pieces, hardly carols at all, especially the second." [A. P. H.] "This may be an allusion to George Pullen Jackson's Jl'hite Spirituals in the Southern Uphuids, ])ublished in 1933. [A. P. H.] R K I. I c; 1 () V s s () N (; s 651 more tK-rinanic than luij^lisli. l)iit one of tlie most interesting and dis- tinctive pliases of American life was tiie old singing school, and the songs that were used in it are intensely interesting. "I remember an old minister who used to come to our home when I was a little girl. He would ask my mother to play and sing his favorite hymn. He had an old Ixjok (1 do not know what it was) with the hymn in it. I recall only one verse of the hymn, hut it told a story. It began, '1 saw a wayworn traveler.' I wish I had copied it down, for it was illustrative of a type of hymn that is no longer used in the churches, and a type that iuHuenced very deeply the life of our folk." On Mrs. Sutton's headnote to 'The Little Family' Professor White comments : "I remember this hymn, with the music, from childhood, somewhat vaguely, as follows : "I saw a wayworn traveler; His shoes (clothes?) were . . . A-toiling up the mountains ; His life was almost gone." (Four more lines, then Chorus:) "Then palms of victory, Robes of glory. Palms of victory I shall wear." Mrs. Sutton's version of 'The Little Family' is as follows: 1 Thei-e was a littlt- family that lived in Bethany ; Two sisters and one hrother composed this family. At morning and at evening they raised their voices high, With praying and with singing like angels in the sky. 2 And while they lived together, so pure, so kind, and good. Their hrother was afflicted and duly thrown in l)ed. Poor Martha and poor Mary stood weeping by his side. But still he grew no better, but lingered on and died. 3 When Jesus heard the tidings while in a distant land. Right quickly did He travel to join the lonely band. The news came to his sisters. 'Put Lazarus in the tomb,' While swiftly Jesus hurried to wipe away their gloom. 4 When Martha saw Him coming, she met Him on the way. And told Him how her brother had died and passed away. He charged her and He blessed her and begged her not to weep. For in Him was the power to wake him from the sleep. T When Mary saw Him coming, she ran and met Him too. And at His feet a-weeping she told her tale of woe. When Jesus saw her weeping, lie fell a-weeping too. And wept until she showed Him where Lazarus was in tomb. 6 He rolled away the stone and looked upon the grave. Then prayed iinto His Father His loving friend to save. N.C.F.. Vol. 11. (4-1) 652 NORTH CAROLINA FOLKLORE Then Lazarus in full power came from the gloomy mound ; With full strength and vigor he walked upon the groimd. 7 Now if you love Jesus and do His holy will. Like Martha and like Mary, and always use Him well. From death He will redeem you and take you to the skies. Where you will live forever and pleasure never dies. B 'The Little Family of Bethany.' From W. Amos Abrams, Boone ; un- dated. Eight stanzas as follows : i corresponding to A i with 11. 3 and 4 reversed ; 2 as copied below ; 3 corresponding to A 2 ; 4 as copied be- low ; 5, 6, 7, 8 corresponding to A 4, 5, 6, 7, respectively, with slight verbal variations. 2 They lived in peace and pleasure for many a lonely years, And laid away their treasures beyond this vale of tears. Though poor and without money, their kindness never ends ; Their house was ever open to Jesus and His friends. 4 The Jews came to the sisters and laid Layasers in the tomb And tried for to comfort and drive away their gloom. When Jesus heard the tidings far in a distant land. So swiftly did He travel to see that lonelv band. 'Martha and Mary." Phonograph recording by Mrs. Cynthia Aloody, Spear. Avery county, 1939. 611 Mary Bowed Lines 3 and 4 of stanza i are related to 'Lay This Body Down,' Jackson WNS Nos. 34 and xxxiv (pp. 170-1 ). The second stanza is from Nahuni Tate's Christmas carol beginning "While shepherds watched their flocks by night." It is included in The J^irginia Harmony (Winchester, Va., 1831 ), No. 53. From Julian P. Boyd, as collected from Catherine Bennett, a pupil of the school at Alliance, Pamlico county ; undated, but c. 1927-28. I I wonder where Sister Mary's gone ; She has been gone so long. She's gone to some new buryin' ground For to lay her feeble body down, To moulder in de clay. RELIGIOUS SONGS 653 Marv bowed so low. Mary bowed so low,' ]\lar\' bowed so low. and so low. 2 Tlie shei)lierds watclu'd tbe flock by uii;bt. All seated on tbe ground; An angel of tbe Lord came down, And glory sbined all 'round. 612 AIosES Smote the \\'.\ters With music. From Mrs. Maude M. Sutton, Lenoir; undated. I'rom "A group of religious songs sung by some people in the southern part of the Bhie Ridge. I got these songs from hearing my auiits and my father imitate tliem. I never went to the little chapel of Shiloh, wlierc they learned them. The tunes arc much like negro tunes." The text is given in Mrs. Sutton's long note accompanying her version of 'The Little Family,' above. 613 And Must I Be to Judgment Brought? Jackson DESO -213-14 includes the whole song, attributing the text to Charles Wesley. He indicates that it was printed in Walk- er's Christian Harmony (1866), which was a popular hymn book in the South. From Mrs. Maude M. Sutton, Lenoir; undated. One stanza with chorus in Dr. I')r(iwn's hand, as taken from Mrs. Sutton. And must I be to judgment brougbt. And answer in tbat day. For every idle deed and tbougbt. And every word I say? CJiorus: We are passing away, we are passing away, We are passing away, to the great judgment day. 614 The New Burying Ground A version of this song, from Georgia, appears in Sandburg ASb 473. It is related to 'Let's Go to de Buryin' ' in Lawrence Gellert, Negro Songs of Protest (New York, 1936), pp. 46-7. ^ The informant indicates "So low Wsry bowed" as an alternative reading of the repeated clause. 654 NORTH CAROLINA FOLKLORE A 'Hus Keep uh-RoUin'.' With music. From the Misses Andrews (no address). October 1922. "Negro fragment." 1 Hits [Hearse] keep uh-rollin", Hus keep uh-rollin'. An' uh hus keep uh-rollin'. Oh, me ! Oh, my ! 2 Peops [People] keep uh-dyin', Peops keep uh-dyin'. An' uh peops keep uh-dyin'. Oh, me ! Oh, my ! 3 Hus keep uh-rollin' Somebody to de grabeyard, An' uh hus keep uh-rollin'. Oh. me ! Oh, my ! 4 Hus keep uh-rollin'. Peops keep uh-dyin', An' uh hus keep uh-rollin'. Oh. me! Oh, my! B 'The New Burying Ground.' From Miss Fannie E. \'ann, Clinton, Sampson county : undated. The repetition indicated in stanza i con- tinues in 2 and 3. 1 The hammer keeps a-knocking, And somebody's dying. The hammer keei)s a-knocking, And somebody's dying. The hammer keeps a-knocking. And somebody's dying Way oyer in the new burying ground. 2 The hearse keeps a-roUing. And somebody's dying, etc. 3 The clods kee]) a-f ailing On somebody's coffin, etc. c 'New Burying Ground.' From G. B. Caldwell, Monroe, Union county ; undated. The informant's arrangement of the text does not seem clear and consistent. I Come on, come on, let's go to heaven. Come on, come on, let's go to heaven. Come on, come on, let's go to heaven. R E L I c; 1 0 u s s o N c; s 655 W ay over, over in de new burying gjround. 2 I hear a niiglity rumbling. Lawd. Lawd. I bear a mighty rumbling. 3 Hammer keeps a-ringing on. On somebody's coffin, Lawd. Lawd. de hammer keeps a-ringing on, On somebody's coffin. 4 De hearse keej) a-rolling — Somebody's dying. De hearse keep a-rolling — Somebody's dying. De hearse keep a-rolling — Somebody's dying. Lawd. Lawd. over in de new burying ground. 5 De hearse keeps a-rolling My mudder to de graveyard. The hearse keeps a-rolling IVly mudder to the graveyard. 615 Nobody Knows The song appears in Allen S.S 55; Marsh, The Story of the Jubilee Singers; Jackson WNS 159; and many other printed col- lections— with variations. Collected by I. T. Poole, Burke county ; undated. 1 Nobody knows the trouble I seen ; Nobody knows but Jesus. Nobody knows de trouble I seen. Glory, glory, hallelujah. 2 Sometimes Ls up, sometime's Ls down, Oh, yes, Lord ; Sometimes Ls almost to the groun'. Glory, glory, hallelujah. 616 No Hidin'-Place A From Newman I. White, Durham, July 1922, as learned from Lucius Chai)in, Richmond, Virginia, in 1919. Phonograph recording, Durliam, 1922. The following text, witli two additional stanzas, was published 656 NORTH CAROLINA FOLKLORE without music in White ANFS 121-2. W'liite's headnote points out that stanza 3 has been imported from 'Mary Wore Three Links of Chain' (q.r. in the present collection), calls attention to commonplaces from other spirituals in the song, and cites several printed collections con taining versions of it. 1 \\'ent (Idwn the rocks to hide my face, Went down the rocks to hide my face, Went down the rocks to hide my face. The rocks cried otit no hidint,^-place. No hiding-place down there. 2 Pharaoh's daughter lookin' for roses, Pharaoh's daughter lookin' for roses, Pharaoh's daughter lookin' for roses, Stumps her toe and discovers Moses. No hiding-place down there. 3 Sister Mary wears a golden chain, Sister Mary wears a golden chain. Sister Mary wears a golden chain. And every link's in heaven's name. No hiding-place down there. 4 Sinnaman sitting on the gates of hell, Sinnaman sitting on the gates of hell, Sinnaman sitting on the gates of hell ; The gates f\e\v open and in he fell. No hiding-place down there. From an anonymous contributor ; without date or address. Defective text. 1 Judgment day is not far away. Sinner man, what you goin' to do that day ? O rocks in the mountains, rocks in the mountains. Fall on lue. 2 Go on to the rocks for a hiding-place. O . . . . 3 Rock cried out no hiding-place; Sinner man, you can't hide here. O . . . . 4 Sinner man, what voti goin' do that day? O . . . . R E L I c: I () r s SONGS 657 6.7 No Mori:! No More! This or a variant seems to be the basis of 'I'll Never Turn Back No More,' arranged by \V. C Handy (New York, 1935), a copy- ritjhted song. From Julian P. Boyd, as collected from Mary Price, a pupil of the school at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro frag- ment."' Cf. "I Never Will Turn Back ,\ny More.' in this collection. 1 Xu more! Xo more! My Lord, I will ne\er turn l)ack No more. A fisherman was Peter on the sea. I'll never turn hack. 2 Your time is whirlin" round; Got no time to tarr\- ; Got no time to wait for you ; My home is over Jordan ; I am on my way. 618 Oh, I Used to Drink Beer No title. From Mrs. Norman J. Herring, Tomahawk, Sampson county ; undated. "Negro song." The repetition indicated in stanza i continues in stanzas 2 and 3. 1 Oh. I used to drink beer. But I throwed it all away, But I throwed it all away, But I throwed it all away. Oh, I used to drink beer, Bitt I throwed it all away, And now I'm free at last. 2 Oh, I used to chew tobacco. But I throwed it all away, etc. 3 (Jh, I used to love sin. But I throwed it all away, etc. 4 Oh, I gave hell a shake \\ hen I came out de wilderness, When I came out de wilderness. When I came otit de wilderness. Oh, I gave hell a shake When I came out de wilderness. 658 NORTH CAROLINA FOLKLORE 619 Oh. Lord, I'se Steppin' Higher From Helen Fraser Smith (no address), 1923. "I would like to repeat our cook's favorite song." Oh, Lord, Lse steppin' higher; Doan' let de ladder break. Saint Peter, open up de do' An' gib mah ban' a shake ! 620 Oh, the Heavens Shut the Gates on Me From K. P. Lewis, Durham, c. 191 5, as set down from dictation of Dr. Kemp P. Battle, Chapel Hill, in November 1910. Oh, the heavens shut the gates on me, Oh, the due time, shut the gates on me. Sometimes I weep, sometimes I mourn, Sometimes I do nary one. Oh, the heavens shut the gates on me, Oh, the due time, shut the gates on me. 621 O Lord. Won't You Come by Here? The refrain, "Oh Lord, won't you come by here," is shared with a song having the same title in Madelyn Sheppard, Eight Selected Spirituals (New York, 1926), pp. 18-20. From Julian P. Boyd, as collected from Minnie Lee, a pupil of tlie school at Alliance, Pamlico county; undated, but c. 1927-28. "Negro frag- ment." The repetition indicated in stanza i continues through stanzas 2 and 3. 1 Somebody's sick ; Lord, come by here. Somebody's sick ; Lord, come by here. Somebody's sick ; Lord, come by here. O Lord, won't you come by here ! 2 Somebody's dying; Lord, come by here. 3 Somebody's in trouble; Lord, come liy here. 622 Oh. See Mv Father Lavin' There 'Wlien de Wind Blows East and de Wind Blows West." From Julian P. Boyd, as collected from Catherine Bennett, a pupil of the school at Alliance, Pamlico county; undated, but c. 1927-28. "Negro fragment." The repetition indicated in stanza i continues in the remaining stanzas. K !•: I. 1 c 1 () r s s () N i; s 659 1 ( )li. >(,'(■ m\- t'atluT layiii' there. Oh. see my father layiii* there. Oh. see my fatlier layin' there. 1 cannot stay here hy myself! Chorus: Lord. 1 cannut stay here hy myseh'. Lord. I cannot stay here hy myself. When de wind hlows east, and de wind hlows west, Lord. I cannot sta\- liere ])y nnself ! 2 ( )h. see my mother la}in' there, 3 ( )li. see my hrother layin" there, 4 ( )h, see my sister layin' there. 5 Oh, the sycanKjre tree, shade of all, 623 The Old Ship of Zion In ANFS 93-96. White g;ives an extensive account of Sliip of Zion songs, a common type in the old liynins and spirituals. His references include a large number of published collections contain- ing it. dating from the 1830s on. Jackson WNS 148-9, 201 reprints some of the older versions with music and notes offshoots of the song. Ethel Park Richardson's American Mountain Songs ~i gives a version with music. A 'The Old Ship of Zion.' With music. From Will ("Shorty") Love, Trinity College and Duke University janitor, c. 1924; text in hand of Dr. Brown, with fair copy and rough draft taken down as sung. Fairly close to White's C text (also from North Carolina) in ANFS 95. The somewhat incongruous third stanza shows the influence of 'She'll Be Coming Around the Mountain.' which, according to Sandburg ASb 372, developed out of another old spiritual. 'When the Chariot Comes.' 1 The old Slii]) of Zion when she comes, when she comes, The old Ship of Zion when she comes, when she comes. It's the old Ship of Zion. the old Ship of Zion. The old Ship of Zion when she comes. 2 She rocks so level and steady when she comes, when she comes. She rocks so level and steady when she comes, when she comes. She rocks so level and steady, sh.e rocks so level and steady, She rocks so level and steady when she comes. 66o NORTH CAROLINA FOLKLORE 3 She's comin' roiin' de mount'in when she conies, when she comes. She's coniin' roun" de mount'in when she comes, when she comes. She's comin' roun' de mount'in, she's comin' roun' de mount'in. She's comin' roun de mount'in when she comes. 4 Have your lamps trimmed and iDurning when she comes, when she comes. Have your lamps trimmed and hurning when she comes, when she comes. Have yotir lamps trimmed and hurning. have yoiu" lamps trimmed and hurning. Have your lamps trimmed and l)urning when she comes. 5 Have oil in your vessels when she comes, when she comes. Have oil in your vessels when she comes, when she comes, Have oil in your vessels, have oil in your vessels, Have oil in your vessels when she comes. 6 It'll be the old Ship of Zi()n when she comes, when she comes, It'll be the old Ship of Zion when she comes, when she comes. It's the old ship of Zion. the old Ship of Zion, It's the old Ship of Zion when she comes. 'Old Ship of Zion.' From Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P. Perdue), 1921-24. Given as "a black mammy's song." Phonograph recording, Pekin, 1921-23. 'Tis the old Ship of Zion Come a-sailing across the ocean. Heavy-loaded with bright angels. True believers in that band. Come along, my mother, and go with me. Come along, my mother, and go with me. Come along, my mother, and go with me, And remember your dying day. c 'The Old Ship of Zion.' From the same informant, same locality, and the same period. Phonograph recording. A quite different song from A and B, belonging to the Ship of Zion group, but using the figure for the purixjse of arousing zeal for missionary effort. I 'iliere's a wail from the islands of the sea; There's a \()ice that's a-callin' you and me. K I. I. 1 (, 1 () I' S SONGS 66l I'l'din across the widi' waters. See Africa's dark (lau,L;lUers. 0 Shij) of Salvation, hither fly. 2 'Come over and hel]) iis' is the cry; 'Come over and help us ere we die.' In the old Ship o' Zion, The strong hand of Zion, The good news o' Zion carrv ye. 3 There's a niom-n from the Clanges full of pain; There's a sigh over Africa's sunn\- ])lain. 1 hear India calling. I see the idols falling. O Ship of Salvation, hear the cry. 624 ( )ld Satan's Mao The following; piquant songs about Old Satan borrow their choral elements from perhaps more serious spirituals. White, in ANFS 117, points out that one recurrent rhyme, "Old Satan's mad and I am glad," appears in "the teasing rhyme of wliite cliildren," and also in printed spirituals reported by Perrow JAFL xxvi 154 and others. Jackson WNS 307 (juotes it as one of the 'Wandering Rhyme Pairs' of the old spirituals. Stanza 2 of 'I'll Meet You Way Up Yonder' in Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 18, resembles stanzas 2 of the B text and i of the C text of 'Old Satan's Mad.' Cf. also the copyrighted song 'Satan's a Liar an' a Conjur Too,' collected and arranged by David W. Guion (New York, 1918). a 'Old Satan.' From Airs. Maude M. Sutton, Lenoir, c. 1920. witli the following note : "Old Sativi is as wild as its name. When I heard it first 'Bunk' Sanders played it, down on Little King's Creek, at the foot of the Brushies. 'Hit sounds jes' like a painter (panther) yellin',' he said. 'I learn hit from a feller Forester over in Wilkes.' I'd like to trace it. The hauntingly wild strain is exactly the same as a Roumanian folk dance I heard Elnian play on a violin once. I thought of our Caldwell fiddlers then. I wonder if they picked up this dance from a wandering Romany fiddler, or if the Transylvanian .Mps have awakened the same response in the soul of their folk that the Blue Ridge has in ours? 1 should like for Elman to hear 'Bunk' play it. .And I'd like to give 'Bunk' Elman's Strad violin and see what he'd dcj. He's a real genius, no question about that. But he looks like a movin:^-picture mountaineer, and he's a famous blockader. I commented to him on the beauty of the Slick Rocks. 'Best place fur a still in the county,' was his answer." Cf. the refrain with 'I Never Will Turn Back Any More' and 'No More ! No More.' Cf. also Howard W. Odum, Relii/ioiis I-'olk-Songs of the Southern Xegrocs, reprinted in the American Journal of Religious Fsycholngy and Education (July 1909), iii, 23. 662 NORTH CAROLINA FOLKLORE 1 What's old Satan grumblin' about? He's in Hell and can't git out. And I never will turn back no more, No more, my Lord, no more, my Lord ; And I never will turn l)ack no more. 2 Old Satan is a liar and a conjurer too; If you don't look out he'll conjure you. And I never will turn back no more, No more, my Lord, no more, my Lord; And I never will turn back no more. 'Old Satan's Mad.' From Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P. Perdue), July 1922. Phonograph recording. Cf. White ANFS 1 17-18. Cf. refrain and chorus with 'Down by the Riverside' and songs cited in the headnote. 1 Old Satan wears a slippery shoe Down by de ribber. An' ef you don' min' he'll slip up on you, Down by the riverside. Chorus: We'll end dis warfare, Down by de ribber ; We'll end dis warfare, Down by de ribberside. 2 Old Satan's mad and I am glad, Down by de ribber ; He lost dis soul he thought he had, Down by the ribberside. 3 Old Satan wears a long-tailed coat, Down by de ribber ; An' ef you don't mind he'll cut yo' throat. Down by the ribberside. 'I'm Climbing up Zion's Hill.' From Miss Jennie P.elvin, Durham, July 1922. Phonograph recording. Cf. refrain and cliDrus with 'Climli- ing up Zion's Hill.' Jackson WNS 183. Old Satan's mad and 1 am glad. Lm climbing up Zion's hill ; Lie missed one soul he thought he had. I'm a-climbing up Zion's hill. K K L 1 (I 1 () I' S S () N (; S 663 Chants: I'm a-clinil)inrniK'tt, a pupil of tile school at Alliance, Pamlico county; undated, hut c. \()2j-2H. "Negro fragment." 1 Somehody's all de time talkin' 'hout me, L)Ut that's all right. Somehody's all de time talkin' 'hout me, But that's all right. 2 Talk ahout me just as mueh as you please ; I'm goin' to tell it to Jesus down on my knees. Somehody's all de time talkin' 'hout me, But that's all right. 3 Talk ahout my Jesus here helow, Talkin' 'bout me wherever you go. Somehody's all de time talkin' 'hout me. But that's all right. 635 Someb()dy'.s Knockin' at Your Door III idea, phraseology, and pattern, this song resembles songs in R. N. Dett's Religious Polk-Soiigs of the Negro (Hampton Insti- tute, Va., 1927), p. 144; John W. Work's American Negro Songs and Spirituals (New York, 1940), p. 192; the opening of 'Some- body Knocking at Yo ' Do' ' in Emily Hallowell, Calhoun Plantation Songs (Boston, 1901 ), p. 12; and W. A. Fisher, Seventy Negro Spirituals (Boston, 1926), pp. 164-5. Contributed by O. Kuykendall, Asheville, 1939. 1 Somebody's knockin' at your door, Somebody's knockin' at your door. Go, Mary, go, Martha ; Somebody's knockin' at your door. 2 It's your mother ; Somebody's knockin' at your door. It's your father ; Somebody's knockin' at your door. Go. Mary, go. Martha ; Somebody's knockin' at vour door, 6/0 NORTH CAROLINA FOLKLORE 3 In the churchyard, Somebody's knockin' at your door ; In the churchyard. Somebody's knockin' at your door. Go, Mary, go, Martha : Somebody's knockin' at your door. 4 It's the preacher ; Somebody's knockin' at your door. It's the preacher ; Somebody's knockin' at }'our door. Go, Mary, go, Martha ; Somebody's knockin' at your door. 5 Come to tell you Somebody's knockin' at your door. Come to tell you Somebody's knockin' at your door. Go, Mary, go, Martha ; Somebody's knockin' at your door. 636 Soon as My Foot Struck Zion Two variants of the song, from Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P. Perdue). A Text and phonograph recording, 1921-24. Submitted as a Negro spiritual. Soon as my foot struck Zion. And de lamps all lit on de shore. Bid dis world a long farewell. And de lamps all lit on de shore. And de lamps all lit on de shore, shore, shore. And de lamps all lit on de shore ; Bid dis world a long farewell. And de lamps all lit on de shore. B Text and phonograph recording, July 1922. Soon as my foot struck Zion, An de lamps all lit on de sho'. Bid dis worl' a long farewell. An' de lamps all lit on de sho'. Chorus: Oh, you better walk study, Jesus a-Hs'nin' ; K K 1. 1 i; 1 () r S SONGS 6/1 ( )h, you better walk study, Jesus died ; Oh, you l)etter walk study, Jesus a-lis'uin' all day long. 637 Standing in thk Nkkd of Prayer A variant of this song, entitled 'It's j\Ie,' appears in John W. Work's AmcricLUi Negro Songs and Spirituals (New York, 1940), p. 70. The chorus is the same, hut in Work's text the stanza key- words, "hrother," "sister," "mother," "elder," are arranged differ- ently. White, in ANFS no, prints two versions (both from North Carolina), with citation of other collections containing the song. See also A. E. Wier, Songs of the Sunny South (New York, 1929), p. 104. There is a version close to it in W. A. Fisher, Sez'entx Xegro Spirituals (Boston. 1926). pp. 168-9. The song under the same title appears in Rodeheaver, Sixty-Tzco Southern Spirituals (Winona Lake, Ind., 1946), No. 39. A 'Standing in the Need of Prayer.' With music and recording. From Miss Kate S. Russell, Roxboro, Person county, c. 1923. 1 It's not my mother, nor my father, But it's me, O Lord, Standing in the need of prayer. Chorus: It's me, it's me, it's me, O Lord ; Standing in the need of pray ; It's me, it's me, it's me, O Lord, Standing in the need of pray. 2 It's not my brother, nor mv sister, P>ut it's me, O Lord, Standing in the need of pray. 3 It's not my uncle, n(u- my aunt, etc. B 'Standing in the Need of Prayer.' Text as published by White ANFS 1 10. from MS of W. Q. Grigg, "sung by Negroes at a big meeting" (in western North Carolina). Phonograph recording as sung by Newman L White, Durham, N. C. 'Standing in the Need of Prayer.' From Julian P. Boyd, .-Mliance, Pamlico county ; undated, but c. 1927-28. "Negro fragment." The vari- ant readings of the first line of each stanza are as supplied by informant. 672 NORTH CAROLINA FOLKLORE 1 'Tain't ( It ain't) the preacher, or the deacon, But it's nie. ( ) Lord. Standing in the need of prayer. Chorus: It's me. it's me. O Lord. Standing in the need of prayer. It's me. it's me. O Lord. Standing in the need of prayer. 2 'Tain't (It ain't) your father, or your mother. But it's me. O Lord. Standing in the need of prayer. 3 'Tain't ( It ain't) your sister, or your hrother, But it's me. O Lord, Standing in the need of prayer. 4 'Tain't (It ain't) your friend, or your neighbor, But it's me, O Lord, Standing in the need of prayer. 638 Sweet Heaven Cf. White ANFS 109, who points out thenies and conventions of spirituals parodied in this song and gives a text of two stanzas. He indicates that tlie idea of going to heaven "all dressed in white." found in many of the spirituals which he cites, may be traceable to "the Millerite excitement of the eighteen-forties," when "white robes somewhat resembling nightgowns were sold by the thousand." From Miss Duo K. Smith, Houstonville, Iredell county ; undated. 1 I want to go to Heaven and I want to go right ; How I long to be there. I want to go to Heaven all dressed in white ; I low 1 long to l)e there. Chorus: Sweet Heaven, sweet Heaven, sweet Heaven, Oh. hcnv I long to be there ! 2 When I was a mourner just like you ( H(jw I long to be there). I rolled and I tumbled till I came through (Ilf)W I long to be there). 3 I had a little book, 1 read it through ( I low I long to be there) ; R E L 1 (; I () u s s 0 N c; s 673 Then I had jcsus as well as you ( llow 1 long to be there). 4 ( >1(1 Satan canu' into my tent (How I long to be there) ; 1 gave him a biscuit and out he went (How 1 long to be there). 5 As I went down the turnpike road ( How 1 long to be there ) , 1 met a terrapin and a toad ( How 1 long to be there). 6 1 run old Satan round the stumj) (liow I long to be there) ; 1 gave him a kick for every jiuup (How I long to be there.) 7 Old Satan thought he had me fast (How 1 long to be there). I broke all Satan's chains at last (How 1 long to be there). 639 Talk About Jesus The second stanza is a free adaptation of the hymn by Horatius Bonar (1846), beginning "I heard the voice of Jesus say" and in- cluded in most hymn-books (e.g., that of the Protestant Episcopal Church in the United States, 1916, pp. 220-1). The second stanza corresponds to the first stanza of 'Jesus Christ I Want to Find,' above. From Julian P. Boyd, as collected from B. D. Banks, a pupil of the school at Alliance, Pamlico county; undated, but c. 1927-28. It seems probable that what appears as the first stanza is really a chorus, but it is not so designated by the informant. 1 Talk about Jesus^ie has blessed my soul ; And he is gone. Must Jesus bear the cross along [alone?] ? For there's a cross for everyone. And there's a cross for me. 2 I hear the voice of Jesus saying, 'Come unto me and rest ; Lie down like everyone lies. Your head upon my l)reast.' 3 'Tis Jestts Christ 1 want to hear; Pray tell me where he is. 'Tis him alone can tender ( ?) my mind. And give my conscience rest. 674 NORTH CAROLINA FOLKLORE 640 That Old-Time Religion Lonj^ a canip-nieeting and revival favorite, "That Old-Time Re- ligion' has been included in many published collections of religious folk songs; e.g., R. N. Dett, Religions Folk-Sougs of the Negro (Hampton. Va.. 1927), p. 200: Jackson, W'NS 184-5; White, ANFS 91-2. With music. From Will ("Shorty") Love, Negro janitor at Trinity College and Duke University, Durham, as sung c. 1922. Order of sing- ing: stanzas i, 2, 3, 2, 4, 3, 5, 6, 3, 7. 1 \\ ell. a gimme dis ol' time religion, Yes, a gimme dis ol' time religion. Yes. a gimme dis ol' time religion ; It's good enottgh for me. 2 It's good when I am dyin'. It's good when I am dyin'. It's good when I am dyin' ; It's good enough for me. 3 But-a I need dis ol' time religion. I need-a dis ol' time religion, I need-a dis ol' time religion ; It's good enough for me. 4 l>ut-a some says gimme silver, Some say gimme gold. But I says gimme Jesus, 'Tis preciotis to my sotil. 5 'Twas-a good for Paul and Silas. 'Twas-a good for Paul and Silas, 'Twas-a good for Paul and Silas ; It's good enough for me. 6 ^\'ell-a gimme dis ol' time religion, Yes-a gimme dis ol' time religion. All I want is dis ol' time religion ; It's good enough for me. 7 It'll save you when you're dyin'. It'll save you when you're dyin'. It'll save you when you're dyin' ; It's good enough for me. R E I, I 0 I O U S SONGS 675 641 Thkre's a Little Wheel A-Turning C f. Augustine T. Sniythc, ct at., Society for the Preservation of Spirituals, The Carolina Low Country (New York, 1932), pp. 274- 5: A. E. Wier, Songs of the Sunny South (New York, 1929). p. 93; R. N. Dett. Religious Folk-Songs of the Negro (Hampton, Va., ig2j). p. 168; and W. A. Fislier, Sezrnty Negro Sf^irituals (Boston, 1926), pp. 104-7. With music. Phonograph recording. From T. G. Neal, Trinity Col- lege student, from Laurini)urg, N. C, c. 1920. There's a little wheel a-tiiriiing in my heart, In my heart, yes, Lord, in my heart. There's a little wheel a-turning. Oh, for you, yes. Lord, for you. There's a little wheel a-turning in my heart, Des a little wheel a-turn-ing jus' for you, Lord, Des a little turn all my days, yes, Lord, Oh. dere's a little wheel a-turn-ing, a-turn-ing in my heart, A-turn-ing, Lord, for you. 642 Through the City Where He Rode The chorus, "1 shall know him by the prints," etc., has been familiar to one of the editors of this collection since his boyhood in Mississippi, in the early 1900s. From Julian P. Boyd, as collected from Rosebud West, a pupil of the school at Alliance. Pamlico county ; undated, but c. 1927-28. "Negro fragment." 1 Through the city where he rode Was spotless white. He will lead me where No tears won't never fall. Oh, yes, he is leading me, For I feel his hands on mine. Chorus: I shall know him hy the prints Of the nails in his hands. Oh, yes, I shall know him By the prints of the nails in his hands. 2 Through the gates, through the city, where he rode Was spotless white. Oh, yes, he will lead me where No tears won't never fall. \\'here no tears won't never fall. 6/6 NORTH CAROLINA FOLKLORE 3 When I shall reach the other side, He will lead me where No tears won't never fall, Oh, yes, where no tears won't never fall. 643 Tossed and Driven From MS book of songs lent to Dr. Brown in August 1936 by Miss Lura Wagoner, Vox, Alleghany county. Several of the songs are dated, some 191 1, some 1913. The repetition continues as in stanza i. 1 Father said to nie when dying. \\ hen his hreath was almost gone, 'Dear daughter, live for Jesus ; This world is not my home.' Chorus: Sometimes I'm tossed and driven. Sometimes I know not where to roam. I've heard of a city called Heaven ; I've started to make it my home. 2 Mother said to me when dying, etc. 3 Sister said to me when dying, etc. 4 Brother said to me when dying, etc. 644 Tree in Paradise Spirituals about a tree in Paradise appear to be rare in printed collections. The nearest to this in our collection seems to be one in A. E. Perkins' "Negro Spirituals from the Far South," JAFL XXXV 233-4, which has this stanza: The tallest tree in Paradise [/re.?]. The Christians call it the tree of life. All of my sins are taken away. Taken away. Cf. Howard W. Odum, Religious Folk-Soiigs of the Southern Negroes, reprinted from the American Journal of Religious Psy- chology and Education (July 1909), iii, 36: Dere's a tree in Paradise, Christians call de tree ob life. See also 'Wrastling Jacob,' Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 41; and W. A. Fisher, Scc'cnty Negro Sf>irituals (Boston, 1926), pp. 8-11. R K L I C. 1 0 U S SON C. S 6/7 No title. From Miss Jewell Kohhins, Pekin, Montgomery county (later Mrs. C. P. Perdue), July 1922. Phonograph recording, Pekin, 1922. 1 There's a green tree standing; in ranulise. Yes. my Lord. And the Christians call it the tree of life. Oh. yes. my Lord. I'll pitch my tent on that camij^round. Oh. yes. my Lord. And give old Sjatan] a few more rounds. Oh. yes, my Lord. Chorus: And it's over Jordan River Lm hound to go, Yes, my Lord. 2 We'll shout in glory around that throne. Oh, yes, my Lord, When we give old Satan a few more rounds. Oh, yes, my Lord. There's a union in Heaven where I helong, Oh, yes, my Lord. B 'There's a Long, Tall Tree in Paradise.' From Julian P. Boyd, as col- lected from B. D. Banks, a pupil of the school at .Alliance, Pamlico county; undated, but c. 1927-28. "Negro fragment." There's a long, tall tree in Paradise. I'll go down and die. Christians call it the tree of life. I'll go down and die. Oh, spare me the body. I'll go down and die. I redeem my people. Lcjrd. Oh. spare me the body. Lord. And I'll go down and die. c 'Never Mind.' From an anonymous contributor, without date or address. With music. "Negro fragment." Never mind, never mind, never mind, Never mind, never mind. Never mind, never mind. For 'twon't always be so, never mind. There's a tree in Paradise ; Christians call it the tree of life. Never mind, never mind, never mind. 678 NORTH CAROLINA FOLKLORE Never mind, never mind, never mind ; For 'twon't be always be so, never mind. 645 Two White Horses Side by Side White, in ANFS 88, prints some variants of tlie couplet. No title. From H. F. Shaw (date and address not given), as from the eastern part of North Carolina. Two white horses side by side. None can ride but the sanctified. Hallelujah ! I belong to that throng. 646 W'AY Over in the Promised Land "This is a 'white' spiritual," says Dr. White. "See The Hebrew Children, Southern Harmony and Musical Companion (1847), and quoted in ANFS 429." See also Jackson WNS 202-3, \\'ho prints versions with nmsic and cites several other collections containing the song, among tliem the Georgia Sacred Harp (1844 ed. ) ; and Southern Plantation Spirituals, collected by Betty Kendall, Musical Settings by Mildred K. Schulze (Washington, D. C, 1929). pp. 6-7. Cf. also Sandburg ASb 92-3. From Miss A. Henderson, Worry, Burke county; undated, but c. 1914-15. 1 Where, oh, where is the prophet Daniel, Where, oh, where is the good old Daniel, Who was cast in the den of lions ? Way over in the promised land. Chorus: By and by we'll go to meet him, By and by we'll go to meet him, By and by we'll go to meet him, Way over in the promised land. 2 Where, oh, where is the good Elijah, Where, oh, where is the good Fdijah, Who went to heaven in a chariot of fire? Way over in the promised land. 3 Where, oh, where are the Hebrew children. Where, oh, where are the Hebrew children, Who were cast in the fiery furnace? Way over in the promised land. RELI(. lOUS SONGS 6/9 647 We Are Marching On In plan and phrasing this song resembles 'We Are Ciuing Home' l)y Ida L. Reed in The Jeweled Croivn, A Choiec Collection of Original Hymns and Tunes for the Sunday School by Asa Hull (New York. 1891 ), p. 12. From Mrs. Asa L. Wilson, Silvcrstone, Watauga county, with music by .Miss Eula Wilson. Phonograph recording, Silvcrstone, 1921-22. 1 W c arc marching on. We are marching on. To the land of light. To the land of love. \\ e are marching on. Chorus: Where the angels wait At the golden gate. To condtict us there To a mansion fair. We are marching on. 2 We are marching on, Happy pilgrim band. We are marching on To the heavenly land. We are marching on. 3 To the Eden clime. To the stmny shore, To the happy place Where the Savior dwells We are marching on. 4 To the home so bright. To the home so fair. To the home prepared For the pilgrim band. We are marching on. 648 We Have Loved Ones Over Yonder From a copy enclosed in a letter of R. D. Ware, Trinity College stu dent, dated August 3. 1922, to Dr. Brown. ".As recalled from childhood by his father. Rev. W. R. Ware." At the end of his copy of the text, the informant states, "Kindred and friends can be named indefinitely, followed by the chorus." 68o NORTH CAROLINA FOLKLORE 1 We have loved ones over yonder, we have loved ones over yonder, We have loved ones over yonder, over yonder ocean. By and by we'll go and meet them, by and by we'll go and meet them. By and by we'll go and meet them, over yonders ocean. Chorus: Won't that be a happy meeting, won't that be a happy meeting. Won't that be a happy meeting, over yonders ocean ? 2 I have a mother over yonder, I have a mother over yonder, I have a mother over yonder, over yonders ocean. By and by I'll go and meet her, by and by I'll go and meet her. By and by I'll go and meet her, over yonders ocean. 3 I have a father over yonder, etc. 4 I have a sister over yonder, r(c. 649 W'hat You Gox'er Do That Day? From Miss Mary Morrow, Greensboro, Guilford county, January 29, 1928. 1 \enus, Venus, beautiful star. Beautiful star, beautiful star. Venus. Venus, beautiful star. Oh, what yoti gon'er do that day? 2 Rocks in the mountains fall on me, Fall on me. fall on me. Rocks in the mountains fall on me, Oh, what you gon'er do that day? 3 Some to the right, some to de left, Some to de left, some to de left. Some to the right and some to de left. Oh, what you gon'er do that day ? 650 Wr'll Roll the Old Chariot Along No title. From Ethel Hicks Buffaloe, Granville county ; without date. The repetition indicated in stanza i continues in stanzas 2 and 3. K E L 1 i; 1 O IT S SONGS 68l 1 We'll roll the old ehariot along, We'll roll the old chariot along, W e'll roll the old chariot along, And we won't lag hehind. 2 If a Baptist comes along we'll take him up with us, 3 It a Methodist comes along we'll take him uj) with us, 4 If Satan comes along we'll roll it over him. If Satan comes along we'll roll it over him. If Satan comes along we'll roll it o\er him. So he can't jump on hehind. 651 We'll Sail Away to Heaven This spiritual with a fresh and daring simile corresponds to a copyrighted song, 'I Want to Go to Heaven Like a Feather in the Air. a Negro Spiritual with Cliorus ad Libitum by Rev. Paul Sykes,' adapted by Thurlow Lieurance (Philadelphia. 1918). According to a note at the top of the sheet music, the original of Mr. Lieu- ranee's adaptation was "dictated to the present writer by the Rev. Paul Sykes. a quaint and kindly old minister living in a remote village in Arkansas." Correspondences and differences between the North Carolina and the Arkansas versions may be suggested by the following indication of tlie essential structure of the latter: 1 I want to go to heaven like a feather in the air. 2 My Brudder went to heaven like a feather in the air. 3 My Sister, etc. 4 My Father, etc. 5 My Mother, etc. 6 My Jesus, etc. With music. From Mrs. Morris. Raleigh, c. 1920. "Negro frag- ment." Tlie repetition indicated in stanza i continues in the remaining stanzas. Chorus: We'll sail away to heaven like a feather in de wind, Feather in de wind. Lord, feather in de wind ; We'll sail away to heaven like a feather in de wind ; We'll sail away to heaven hy me hy. 1 O sisters, don't he weary, weary. Lord, weary, C) sisters, don't he weary ; \\ e'll sail awav to heaven l)y me by. 2 O brothers, don't be weary, etc. 3 O fathers, don't be weary, etc. 4 C) mothers, don't be weary, etc. 682 north carolina folklore When 1 Was Lost in the Wilderness Contributed by H. S. B. (no other information). 1 King Jesus handed the candle down. An' 1 hope dat trumpet goin' er hlow nie home Ter de New Jerusalem. 2 When Moses smote de water wid his shepherd's rod, De waves r'ared back en' we crossed dry shod. 3 An' when I 'scaped from de Red Sea flood, I loked en' dar King Jesus stood. 4 When Joshua ordered dat de sun stan' still, King Jesus stood smilin' on de highest hill. 5 En' when I sink in de watery grave, King Jesus'll come stridin' on de biggest wave. 653 W^HEN THE World Is on Fire Related to what Jackson WNS 164-5 describes as a "very fluid song." He prints two versions and cites numerous collections con- taining others. White ANFS 282 prints a parody of it used as a work song in North Carolina. Cf. Steely 243-4 (1935). From Julian P. Boyd, as collected from Rosebud West, a pupil of the school at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro fragment." 1 The world is on tire. What are you going to do? What are you going to do \\ hen the world is on fire ? 2 I am going to fly, I am going to fly, When the world is on fire. I am going home when the world is on fire. I am going to shout, I am going to shout When the world is on fire. 3 Sinners wants to pray. Sinners wants to pray When the world is on fire. I am going to fly, I am going to fly When the world is on fire. RELIGIOUS SONGS 683 WiiKKii x\lv l.DRD Went tu Trav The first stanza owes something to 'He Never Said a Mumbling Word,' above. Stanzas 2 and 3 are a free treatment of Luke 22 04-62 and 23 :26. Contributed l)y the State Prison Camp at Boone, Watauga county, July 18, 1936. 1 \\ av over yonder behind the niuuiitaiii, Where my Lord went to pray, They dressed my Lord in a long, white robe, An' he never said a mumblin' word. 2 He hewed him out a cross about thirty feet long. And he went waggin' along; He wagged on down abotit the foot of the hill, And he sent for Peter and Simon Cyrene : 3 "Come and help me to bear this old cross along. You can't do me no good, you can't do me no harm' ; Cryin', 'Oh Lord, oh, Lord, Yo' can't do me no harm, yo' can't do me no good.' Refrain: 1 done sold it to my Lawdy, Lawdy, 1 done scjld it to my Lawd. 4 Amazin' sight, the Savior stands And knocks on every door, Ten thousand blessings in his hand To satisfy the poor. Refrain : I done sold it, etc. 655 What Kind of Crowns Do the Angels Wear? Cf. 'What Kind of Shoes Are You Goin' to Wear' (from North Carolina) in White ANFS 107; also, a parody, ibid., 297-8. From Julian P. Boyd, as collected from Luther Belangia, a pupil of the school at Alliance, Pamlico county; undated, but c. 1927-28. "Negro fragment." The repetition indicated in stanza i cimtiiuies in the re- maining stanzas. I What kind of crowns do the angels wear ? The angels wear the golden crown, the golden crown. I'm bound to rest, I'm bound to rest, N.C.F., VoL III, (46) 684 ^M) R T H CAROLINA FOLKLORE I'm l)ound to rest, the golden crown. I'm bound to rest, bound to rest with God. 2 What kind of robe do the angels wear? 3 What kind of slippers do the angels wear? 656 Wrestlin' Jacob The chorus corresponds to 'Wrestle On, Jacob.' in Allen SS 4. Cf. also JAFL xli 580 (one stanza of a song from South Caro- lina ) and Thomas P. Fenner, Religious Folk Songs of the Negro (Hampton, Va., 1916), p. 131. In chorus and plan, the song re- sembles "Wrastling Jacob' in Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 41. From Miss S. O. H. Dickson, Winston-Salem, Forsyth county, in a letter dated November 15, 1913. 1 Wrestlin' Jacob seek de Lawd. I will not let thee go. An' I wrestle all night till de break oh day, An" 1 will not let thee go. Chorus: W'restle Jacob ; day is a-breakin' ; wrestle Jacob ! Lord, I will not let thee go. An' I will not let thee go. An' I will not let thee go ; Till Jesus bless my soul I will not let thee go. Wrestle Jacob ; day is a-breakin' ; wrestle Jacob ! Lord. I will not let thee go. 2 Bredren, don't get weary, Bredren, don't get weary, Bredren, don't get weary, Oh, bredren, don't get weary. For de work is almost done. Keep your lamps trimmed and burnin'. Keep your lamps trimmed and burnin'. Keep your lamps trimmed and burnin', For de work is almos' done. 3 Sisters, don't get weary, etc. 4 Elders, don't get weary, etc. 5 Class-leaders, don't get weary, etc. r e i, i c i o u s son c. s 685 'Zkkiki.'i.i. \\'i:f.i' and 'Zi:kii;i.'i.i. Mow I-'niiii Mr. Fairlcy, 1 )uluj Cage. The 3; 10 Courting Case. The (10) Courtiiu/ Song 15; 27 *Cradle Song 114. 117A; i4<), Creation 523; 580 *C rip pic Creek 299, 299 1'.; 354 CVoii' ami the II' easel. The 1 205 Crow He Pecked at the Wca The 157 ; 205 Cuckoo Is a Pretty Little H 248E; 273 *Cu}nherland Gap 329; 381 Cumberland Traveller, The 5 573 153 57'- scl. ird 15; Daisy 78 A ; no *naniel in the Lion's Pen 524: 581 *Dark and Stormy Night 20B ; 43 Dark is the Night 526B; 584 Dark Was the Night 526; 584 Darling Little Pink 287; 342 Darling. ]'ou Can't Lore but One 103; 137 Dar'll Be No Distinetion Par 563: 617 *Dearesf Mae 405 ; 485 Departed Loved Ones 525 ; 583 Dese Bones Gwine to Rise Again 523B; 580 Deserter's Song 384; 459 *Didn't It Rainf 564, 564C ; 617 f. *Doctor Jones 90; 127 Dodgers. The 333: 387 Docs Your Mother A';u»n.' )'ou're Out? 398; 473 Dogs in the Alley. I'he 127; 177 *Dolly-Play Song. The 9O ; 131 Don't Cry 71 ; 104 Don't Go Out Tonight. My Dar- ling 26, 26A-C; 51 ff. Don't Like a Rich While Man Nohozv 481 ; 549 Don't Slav after Ten 16, 16A ; 28 ♦Don't Teli Pa 307CDH : 362 f. Don't ]'ou Grieve after Me 527; 585 INDEX 689 iiin, * Don't You Sec (Poor Old Laz- arus ) 628 ; 665 *Diin-n by tie Ixihbcrsidc 566; 619 Down by tlie Weeping Willow 2C)7J : 317 Dozen by the Weeping Willozv 'Tree 268 ; 3 1 7 *Down in tlie \alley U> Pray 5 53 A : ()i() *Do-wn in the I 'alley I IHrminghnm Jail) 281, 281 A; 330 Dozen on the Farm 210, 210A-E; 241 f. Down to Lynchburg Town 415D; 500 *Down under the Hill 41 ; 72 Drinking Song 38C ; 70 Drinking Jl'ine 48; 78 Drooping Souls, No Longer Griez'c 528: 586 Drunkard. A 28B ; 55 Drunkard's Courtship (10) *Drunkard's Doom, The 21 ; 44 * Drunkard's Dream. The (I) 22. 22A-E; 45 ff. Drunkard's Dream. The (Uj 23; 48 Drunkard's Hell, The 20, 20AD ; 42. 44 Drunkard's Lone Child. The 25 ; 50 Drunkard's Love Child, The 25C ; 51 Drunkard's Song, A 39A ; 71 ♦Drunkard's Wife, The 28C ; 56 Duke of Buckingham, The 218; 250 *Duke of York, The 99: 135 *Dummy Line, The 435; 521 Durham Jail 354; 419 Dying frotn ILnne and Lost 61 ; 91 *J)vin(/ Llobo, 'Lhe 360, 360AC : 427 f. *Larly One .\h>rning in the Month of July 377 ; 499 Eastern Hobo, The 360B ; 428 Eli::a Jane (I) 436; 522 Hlica Jane (II ) 437 ; 522 Ella Rliee 412 ; 494 690 1 N English Orphan. An 565, 565A ; 618 Everybody's Gal Is My Gal 438; 523 Eair Brown 486 ; 553 Fair Mona 499 A ; 559 False Truc-Lovcr, The 258; 299 Far Back in My Childhood 31 A; 60 *I-arc Yon Well. My Otcn True l.ove 109; 142 Farmer Boy, A 17FS; 31. 36 Farmer Boy. The 88C ; 125 Farmer Boy for Me 17G; 32 * farmers Boy, The 88, 88ABD ; 125 Farmer's Wife I'll Be 17I: 33 Father, Dear Father, Come Home with Me Now 24AB: 49 father, Dear father. Come ifith Me Now 24 ; 48 Fishing Song 226 ; 257 flora MaeDonald's Lament 368: 437 /'7.V Around. My Blue-Eyed Girl 286; 339 Fly Around, My Pretty Little Miss 286C; 340 foggy Mountain Top. The 365; 433 For Six Days 228; 258 for Six Days Do All That Thou Art Able 228; 258 Forsaken Lover 248 A ; 271 Forty Years Ago 335C ; 392 Fox 129D ; 180 *fox and the Goose. The 129, 129AE; 178. 180 *Frail Wildwood Flower, The 263C; 311 *Free a Little Bird 255H ; 296 Frog and the Mouse 120I; 160 Frog Courtship 120Q; 162 ♦Frog Went A-Courtin', A 120A, 120P; 154, 162 *Frog Went A-Courting 120BDE FHJKMNOSTUWX; 155 f., 158 f., 161 f.. 163 f. Froggie Went A-Courting 120Y; 164 Froggy Went A-Courtin' 120G; 159 frog's Courtship, The 120; 154 Funeral Song of Uncle Ananias 520A; 576 Garden Gate. The 319; 3-2 *Georgia Buck 500, 500ABC ; 560 fiF. Get Along Down Town 415; 499 Get Along, John, the Day's il'ork's Done 160; 206 Get Along, Sindy 404E ; 484 *Get on Down to Richmond Town 415A; 498 Gideon's Band 544A ; 601 Git Along Down Town 415G; 501 Git Along Home, Cindy 402G *Go Dozen. Moses 570; 621 Go Tell Aunt Patsy 128; 177 Go to Sleep 115C; (151) Go to Sleep, Go to Sleep 115D; 151 Go to Sleep. My Little Pick- aninny 116, I16B ; 151 f. Go li'ash in the Beautiful Stream 575 : 624 Go 'li'ay from My Windon' 439; 523 God Bless the Ocean 485B; 552 God Is at de Pulpit 568 ; 620 *God Pity Bessie, the Drunkard's Lone Child 25B ; 51 Going Back West 'fore Long 296; 353 Going Down to Town 415H; 501 *Going to Georgia 248 B ; 271 *Going to Heaven by the Light of the Moon 569; 621 Going Up 571 ; 622 * Golden Slippers 571 ; 622 Good Lordy. Rocky My Soul 573; 623 *Good Nezi.'s — Chariot's Comin 572; 623 Good News Coming from Canaan 574: 624 *Good Old Rebel. The 391 : 464 Goodbye. Little Girl. Goodbye 271; 319 *Goodbye. My Blue Bell 395; 471 Goodbye, My Lover, Coodbyc 274, 274B ; Z22 i. Gospel Pool, The 521 ; 578 Gospel Train, The 529; 588 ♦Grandma Grunts 145; 194 Great Romni-Gp, The 516; ~,j:s ♦Green Grows tlic Wild Olive 280C: 329 *Groun' Hog. The 221 C; 255 ♦Ground Hog 194F. 221 AB: 22,2, 253 f- *Grouiid Hog, The 221 ; 253 *-Gumea Negro Song 472; 542 Guiiitree Ganoe, The 269; 318 *Gzcine Dozen Jordan 576 ; 624 Gzcine Dozvn to Jordan 567 ; 620 Had a Pie 89D ; 127 Hand Me Doini My Walking Gane 363. 363AB; 430 f. Hang John Brown on the Sour Apple Tree 378B ; 450 Happy Goon, The 424; 510 Happy Little Negro 468; 540 *Hard Times 332, 332A-D. 480: 385 ff.. 549 Harness Gp Vo' Hosses 373; 442 Haul, Haul, Haul, Boys 226; 257 *Have a Little Banjo Beating 427 ; 514 *He Xezrr Game Back 394 ; 470 He Sez'er Said a Mumbling Word 578; 626 *Hear That Runibling (I Heard a Mighty Kumbliixj) ^~~. 577A ; 625 *Heathen Ghinese. The 233; 261 Heaven Is a Beautiful Place 579; 627 ♦Heaven Is a Beautiful Place. I Know 579B : 628 Here Gomes Three Laziyers 68 ; lOI Here, Join, Here 207: 240 Here Lies de Body uv Po' Little Ben 440; 523 Here We Go in Mourning 72; 105 Hi Vo Boat Rozi' 223; 256 Hic'.s' Farewell 530; 589 Hidden Still, The 41 ; 72 Hidi Quill LodI Ouili 206; 239 INDEX 691 Hii/h-Topped Shoes 301, 301 1?; 355 f. Hills of Pan, The 403; 478 Homespun Press, The 380; 453 ♦//()/> /./■(//;/. Ladies 85. 85A : 119 f. ♦Hop Up de Doodle 474B ; 543 * Housekeeper's I ragedy, A 312, 312A ; 367 *Hozv I Loz-e the Old Black Gat 147: 195 *Humble Tanner, The 213; 244 *Hung My Bucket on de White Folks' Pence 475; 544 Hunks of Pudding and Pieces of Pie 89C: 127 ♦Hus Keep uh-Rollin' 614A; 654 Hush, Honey, Hush 118; 153 Hush, Little Baby 580; 629 Hush. Oh. Baby," Don't You Cry 580 ; 629 ♦Hush-a-By 115A: 150 Hush-a-Bye, Don't You Gry 115: 150 ♦/ Ain't A-Gonna Work a No Mo' 242; 268 / Am Bound for the Promised Land 581 ; 629 / .tni Going to Heaven 533; 592 / .-/;;/ Going li'here the Blond Tlozi's Stronger 582 ; 630 ♦/ Am Standing in the Shoes of John 589; 635 */ Been a Miner 240 : 267 / Belong to That Band 583; 631 ♦I Bought Me a Hen 124ABC; 172 f. / Gouldn'f Live Without de h'lozi-- ers 442 : 524 I Do Like Sugar in My Cofifec 92 A ; 129 / Do Love Sugar in My Goffee O 92; 129 / Do Wonder L<; My Mother on That Train 586 ; 632 / Pon't Knozv When Old Death's Gzi-nne ter Gall Me 590; 635 / Pon't Like a Nigger 484; 551 ♦/ Don't Love Old Satan 584: 631 / Don't Sing Like I Gsed to Sim/ 585; 632 692 I N */ Got a Girl 448; 527 *I Got a Long. Tall Valler Gal 450B; 527 */ Got dc Hcaotation Stockings and dc Hczotation Shoes 507 ; 564 / Got dc Key of dc Kingdom 587 ; 634 / Got Mine 52 : 82 / Had a Banjo Made of Gold 445; 525 I Had a Dog and His Name Was Blue 220; 252 I Had a Little Hen 124D; 173 / Had a Little Horse IVhosc Xanic IVas Jack 176: 217 *I Had a Little Ship 35oH ; 415 / Have a Father in My Native Land 231 ; 260 *I Have a Ship on the Ocean 350G: 415 */ Ha7r Long Since Been Learned 588; 634 *I Heard a Mighty Lumbering 577C; 626 / Lay Around the Old Jail House (John- C. Britton) 364; 431 *I Love Coffee, I Love Tea 91ABD; 128 f. I Love Little Willie 307BF ; 361 f. / Love Little Willie. I Do, Mamma 307 ; 361 / Mean to Go to Heaven Auyhozc 592; 636 / Never Will Turn Back Any More 345 : 404 I Once Had a Sweetheart 280B ; 329 / Picked My Banjo Too 594 ; 637 / Sent My Love a Letter 282; 331 / Shall Not Be Blue 596; 639 I Shall Not Be Moved 596B ; 639 / W^anf to Go to Baltiinorc loi ; 136 */ JVanter Jinc dc Ban' 598; 640 I Was Born About a Thousand Years Ago 426C ; 513 / Was Born About Ten Thousand Years Ago 426. 426A ; 512 *I Was Born Ten Thousand Years Ago 426B: 513 / Was Once in a I}ark and Lone- some J 'alley 599; 641 */ Went Dozen to My Gul's House Las' Night 451 ; 528 I Went Down to Suckie's House 123A; 171 / JVcnt Dozen to the Loze Ground 187; 225 I Went to See My Susan 426D ; 513 I Wish I Had a Great Big House 41 4C; 497 I Wish I Had a Pig and a Pen iiiD; 144 / Wish I Was a Single Girl Again 28; 54 *I Wish I Was Single Again 19BDEGI ; 38 f. *I Wish I Were Single Again 28A: 54 */ Wish My Captain Would Go Blind 244 ; 268 */ Wish That Girl Was Mine 298; *I Wonder as I Wander 600; 641 / Wondered and I Jl'andered 315; 370 I Won't Marry at All 17JK; 33 f. I Would Not Marry an Old Man 17N: 34 */ Wouldn't Marry 17, 17DEQR: 30 f., 35 I Wouldn't Marrv an Old Maid 17B I Wnitc My Love a Letter 282 B ; 331 */'(/ Rather Be Dead 443; 525 If iiiC ; 144 *If Amid the Din of Battle 390D ; 464 // / L)ic i)t 'Tennessee 495 ; 557 // / Had It )'ou Could Get It 494; 556 If Religion Was a Thing That Money Could Buy 341C; 401 // the Seaboard Train IVrecks I Got a Mule to Ride 237; 266 *// )'ou Don't Hclicve I'm Sink- ing 447 ; 526 // )\>ii (,'.•/ Tlu-rr nch'rr I Do 531 : 5"! *// )\>ii Mi-rt >i U'lniiiiii ill tin- M oninui 446 ; ~,2U If )'ot( li'aiif til (ill .l-Ci>urtin' // ]'oi( Want III (,'11 III lli-aii'ii 444: 5-^5 *It You Will Only \W My I'.rick- /'// /•')>.■ Pis 'I'l-ip 222; 255 */•// //<;;/, 270; 319 I'se (]\vine Down to Town 415F; 501 I'se Gieine Land on Dat Shore 595; 638 I'se (iwine to Live in de Harvest 39C; 71 *lt Ain't er Gwiiie ter Rain 43()A ; 517 It Ain't No Harm to Trust in Jesus 529B ; 589 *It Takes a Long, Tall, Slim Black Man 450C ; 528 *Italy iiiE; 145 It's All Night Long 170 ; 214 It's Good fuh Hah Some Patience 597; 640 It's Raining Here 508; 564 *rve Been Working on the Rail- road 234A ; 262 */'7r Bin to the 'Bama and I Just Got Back 498; 558 I've Got a Brother in the Snozv- IVhite Fields 535 : 593 I've Gut a Master and I .Im His Man 148: 196 I've Got a New Sweetheart 307I ; 363 Jack-a-Maria 134; 185 *Jack of Diamonds so. soACD ; 80 f. Jacob's Dream 536A ; 594 ^Jacob's Ladder 536, 536C ; 594 f. Jacob's Ladder 527 B ; 586 Jaybird. The 153 ; 201 *Jaybird and the Sparrow, The 89 F; 127 Jaybird Died with the Whooi)ing- cough 1 53 AH ; 201 Jaybird Up in the 'Sinunon 'Tree 155. 1 55 A; 203 Jeff Dazns Rode a White Horse 387; 461 Jekkel Walls 601 ; 642 Jennie Jenkins 69, 69B ; 102 Jenny Jenkins 69C ; 103 Jesus Born in Bethlehem 537; 595 694 Jesus Christ I Want to find 602; *Jesus Lover of My Soul 347 ; 408 Jesus Says, ')'ou Goes and I Goes li'id You' 603 ; 643 Jigger, Rigger, Bumbo 471 ; 542 Jim Crack Corn 414, 414ABDE; 496 ff. Jimmy My Riley 195; 232 Jinger Blue 496 ; 557 *John Brown Had a Little Injun 136, 136A; 186 f. John Brown's Body 378, 378A ; 449 f- *John He Baptized Jesus 604; 644 *John Jasper 605, 605A ; 644 f. John, John, John 100; 136 *John Sazv de Hundred and Forty- Four Thousand 539; 597 John Saiv the Holy Number 538 ; 596 *Johnny Was a Baptist 540; 597 *Johnson Boys 338. 338ABC ; 394 f. *Johnson's Mule 512; 566 Johnston Boys They Went A- Courting, The 338D ; 395 * J oily Soldier, The 367 ; 437 Jolly Thrasher 58; 90 Jonah 346E ; 407 * Jonah and the Whale 346, 346A-D ; 405 ff. Jonah Fishing for a Whale 184; 222, Josephus and Bohunkus 321 ; 372 Journeyman, The 49, 49C ; 78, 80 Judgment Da\ Is Cotnin' 606; 646 Judie My Whiskey Tickler 35; 64 *Julie Jenkins 69A ; 102 *Just Down to the Gate 319; 372 *Just Kick the Dust Over My Coffin 40; J2 *Katy Kline 255CDE; 295 Keemo-Kinio 120 App. ; 166 *Kicking Mule, The 513; 567 *Kind Sir, I See You've Come Again 3A ; 11 Kindling Wood 324; 375 * Kissing Song 313; 368 ♦Kitchie Ki-Me-O 120 App.; 165 Kitten Is under the Sod, The 179; 219 Kitty Alone 114 ; 149 *Kitty Kline 255, 255AB; 293 f. *Kitty Wells 409, 409A-M, 411, 411A-M ; 492 f. Laura Lee 102A ; 137 Laurie Lee 17A; 30 Lavender Girl 245 ; 268 * Leather Breeches 322; 374 Leave for Texas, Leave for Ten- nessee 339; 395 Like an Ozcl in the Desert 304 ; 359 *Li'l Liza Jane 436; 522 Lily White Robe 607 ; 646 Lips That Touch Liquor, The 30B; 59 Lips That Touch Liquor Must Never Touch Mine, The 30; 57 Lips That Touch Liquor Shall Never Touch Mine, The 30A ; 58 *Littlc Alabama Coon 116A; 151 Little Birdie in the Tree 146; 195 Little Black Train, The 541 ; 598 Little Black Train Is A-Coming 541 : 598 Little Brozen Hands 327 ; syy *Little Broun Jug 2,;^, 33A-DF; 62 f. Little David 608; 647 * Little David, Play on Your Harp 609 ; 647 Little Familv, The 610, 610A; 648 f. *Little Family of l'>ethany, Tlie 610B; 652 /./'///(' Light in Mexico 79; 112 ♦Little Johnny Miller 75C ; 108 Little Lonely Valley 260D ; 306 ♦Little More Cider,' A 46ABDF: 75 f. Little More Cider Sweet, A 46E ; 76 Little More Cider Too, .{ 46 ; 75 ♦Little More Sugar in .My Coffee, A 92B ; 129 Little Red Caboose lU-hind the Train, The 235; 263 INDEX 69 = */.(///(' Sparrozc J54, 254AB ; 290 f. i,ittlc Sparrow 248 1' ; 274 ♦Little Turtle Dove 249: 274 ♦Liza Jane 437; 522 Logging Song 494; 556 *Louc Pihirim. The 54^. 54-'A ; 599 *Loucsoinc Dove. The 305; 359 ♦Lonesome Pine. The 283C ; 334 Lonesome Road 292. 292A ; 347 *l.o}ui IVIiite Rohe 518: 575 ♦Look Up, Look Down That Lone- some Road 292 B ; 348 *Lord. 1 Ne7'er Will Come luieic No Mo' 349: 409 Lords of Creation, The 308; 363 ♦Love Somebody 106C Lovely Emma 250F ; 279 Lticindy. Won't )'ou Marry Me.^ 6; 14 Litlii 183; 222 *L\nchbnry Total 415, 415CE; 498, 500 f. Madam, I Am Come A-Courting 8: 17 Madam. I Have Cold and ."stiver 12; 23 MadamMozcllc.Tvc Come Court- imi 4: 13 *Madam. Will ]'ou Walk? 2. 2AB; 9 f- Mamma Don't Allow No Lozv Doii'n Hanqinq Around 452; 528 *Mammy in the Kitehen 497; 558 ♦Man Who Wouldn't Hoe Corn 216; 247 Man Who Wouldn't Hoe His Com. The 216 ; 247 Marching round the Levee (109) ♦Marching round the Love-Ring 76; 109 Marster Had a Yallcr Gal 406B ; 487 ♦Martha and Mary 610C; 652 .\fary Bozved 61 1 ; 652 ♦Mary Wore a Golden Chain 543B; 601 *Mary Wore Three Links of Chain 543; 600 Massa Bought a ^'aller Gal 406A ; 487 Massa Had a ]'aller Cat 406; 487 Master Had an Old Black Hen 1 59 ; 206 May I Sleep in \'(iur Barn To- night, Kind Mister? 356A ; 420 May I .S'leef> in ]'our Ham To- niijht. Mister? 356, 356C ; 420, 422 *McDonald's Tarm 125, 125A; 174 ♦Me and My Sister, We Fell Out 91 E; 129 Meditations of an Old Hachclor 57; 88 Meet Me by the Moonlight 350I5E ; 412, 414 ♦Meet Me in the Moonlight 350A DI; 411, 413, 415 Meet Me Tonight 350F ; 415 ♦Merry Green Fields of the Low Lands, The 125D ; 176 Mexican War 79; 113 Midniijht Dezv, The 285; a7 Miller Boy. The 74, 74AB; 108 Miss Jennia Jones (102) *Miss Julie Ann Clozrr 410; 492 Miss. Will You Haz'e a Farmer's Son? 5 ; 14 Mobilinc 283B ; 334 *Mole in the Cround 173; 215 Monkey Married a Baboon's Sis- ter 181 C ; 220 Monkey Married the Baboon's Sister. The 181. 181 AB; 219 f. Moonshine 42 ; 73 Moonshiner's Dream 355 ; 420 *Moses Smote the Waters 612; 649. 653 Most Done Suflfering 632C; 668 Mother. May I Co Out to Sicim? 325; 376 Mr. Carter no; 142 Mr. Frog Went A-Courting 120V ; 163 Mr. Rabbit 167I ; 213 Mr. Revel 141A; 189 .\fr. Squirrel 171 ; 214 }fusf I Co to Old Virginia? 279; 327 696 INDEX *My Darling Little Pink 78D. 287; III, 34^ My Father and Mother were Irish 80B ; 113 My Father Was a Spanish Mer- chant (25) My Howe's Across the Smoky Mountains 278. 278A ; 326 My Horses Ain't Hungry 250C ; 278 My Long Tail Blue 416; 502 *My Mammy Don't Love Me 314: 369 *M\ Mammx Told Me 316, 316A BC: 370 My Martha Ann 300 ; 355 My Name Is Dinah 324A ; 375 *My Name Is Dinah from South Carolina 324B ; 375 My Old Sow's Nose 177; 218 My Ole Mistus Promised Me 417; 502 *Xancy Till 409. 409AB ; 491 Napper 123B ; 171 *Needle's Eye, The 74; 107 Negro Cotton-Picker 211; 243 Negro Fragment 37C. 536D, 551, 552, 563, 564AD, 568, 592. 602, 603. 606; 68, 595, 609, 610, 617, 618, 620, 636, 643, 646 *Negro Hollow 487; 554 *Negro Song 141B, 462. 481: 189, 538, 549 Negro Yodel Song 453 ; 529 Neighbor Jones 144; I93 Nelly Bly 407 ; 488 *Never Mind 644C ; 677 Never Mind )'our Knal^saek 382; 457 *Nezv Bur\inq (irou)ul. The 614, 6i4BC;"653f- *New River Train 103; 137 Nigger in the Woodpile 509 ; 565 Nightingale, The (24) Ninety-Nine Blue Bottles 190; 226 *No Hidin Place 616; 655 No More! No More! 617; 657 *No, Sir 14. 14BD; 25, 27 Noah's Ark 544; 601 Nobody Knows 615; 655 North Carolina Hills, The 402; 477 O Brother Green, Come to Me 393C; 470 O Lord. Won't ]'ou Come by Here/ 621 ; 658 O No, John 14A ; 26 O, Ship of Zion 460; 534 O, the Dogs in the Alley 127 *0 When I Die Don't Bury Me Dce(y 455 *0 When I Die Don't Bury Me Deep 38F ; 70 Obey 308 ; 363 *0h. Dot li'aterniilion 454, 454B ; 529 *Oh, Dear, What Can the Matter Be? 122, 122AB ; 170 Oh, Don't Stay after Ten 16B; 29 *0h, Goodbye, Babe, Forever More 37B; 68' *Oh, Grandma Had Some Very Fine Geese 125C; 176 Oh. Honey. Where ]'ou Been So Long? 317: 371 Oh. I Used to Drink Beer 618: 657 Oh, I've Got a Master and I Am His Man 148; 196 Oh, Life Is a Toil! 312B ; 368 Oh. Lord, Tse Sfeppin' Higher 619: 658 *Oh, Lordy, Come This A-Way 342: 403 Oh. Loz'cly. Come This Way 98; 134 Oh, Mary, Don't You Weep 545A ; 602 Oh. Mr. Revel! 141 ; 189 *0h. Mourner 423FI ; 509 f. Oh, Nigger, You Shall Be Free 478: 548 *0h. Pretty Polly 70; 104 Oh. See M \ Father Layin' There 622; 658" *0h. Susanna! 408. 408ABI ; 488 f., 491 Oh. the Heavens Shut the Cales on Me 620; 658 697 ♦Oh. the Old Grey Mare She Ain't Wliat Slio Used to Be 1-4C: _'iO Oh. Tlu'y I 'lit JkIui on the Island 546 ; 004 Oh, We're All A-Singint> 05; 131 Oh! When a Man dct the lUiirs 506; 563 Oh. Where Is My Sweetheart.' 303. 303ABC; 357 f. Oliio 77: iO() Old Ahe Is Siek 388; 462 Old Aunt Dinah 487; 554 Old Aunt Kafy 323: 374 Old Hee .Makes de Ilnney Conil> 479: 548 Old Blaek Hen, The 159: 206 Old Black Sheep 117C; I53 Old Blue 220; 252 *Old Bob Ridley 194. 194D ; 229, 231 Old Boots 9DE: 19 Old Chishohn Trail. The 217; 248 Old Corn Licker 43 ; 74 Old Corn Song of Long Ago, The 205; 239 *Old Dan Tucker 82. 82ABCF; 114 ff. Old Dan Tucker 458D *01d Darkey Joe 421 B; 507 Old Gray Goose 128; 178 Old Cray Horse Came Tearing through the Wilderness. The 174: 216 *Old Crey Marc. The 175; 217 *01d Grimes Is Dead 321A; 373 Old Horse, Old Horse 227 ; 258 *01d Jim Crow 413A; 495 *Old Joe Clark 86, 86ABDE; 120 f., 123 Old Maid, The 17P; 35 *01d Maid's Song 170; 35 *01d Man, An 17M ; 34 Old Man, Old Man 251 J; 285 *01d Man, The 9C ; 18 Old Man's Courtship. The 9; 17 Old Massa Married a Yaller Gal 404C Old Molly Hare 167EGH; 212 f. Old Molly Hare (Mr. Rabbit) 167 : 211 *01d Napper 123C; 171 Old Reuben 236B ; 265 *Old Rosin the Beau 32 ; Oi Old Sam Fanny ( 181 ) *01d Satan 624A ; 661 Old Satan Made One Grab at Me 624D; 663 *Old Satan's Mad 624, 624 B ; 661 f. *()ld Ship of Zion, 'The 623, 623 A BC : 659 f. Old Shoe Boots and Leggins 9A ; 17 *01d Skin and Bones 142F ; 192 *01d Smokey 253A ; 287 *Old Smoky 253. 253C-F; 287 ff. *Old Sozc. The 178; 218 *01d Turkey Buzzard 105B; 139 *Old Turkey Hen. The 203; 238 Old Uncle" Joe Cut Off His Toe 96C Old War Song 369 ; 440 Old li'oman All Skin and Bones 142, 142C; 189, 191 Old Woman and Her Pig. The 130, 130AC; 181 f. *01d Woman's Little Pig, The 130B; 182 Old Zip Coon 418; 503 *01e Marse Robert 391 D; 466 Ole Massa in de Parlor 291 B; 347 Olc Massa's Going Aicay 215: 247 Ole Molly Har' 167F; 212 *01e Molly Hare 167BC; 212 Ole Molly Hare. What \'ou Doin' There? 167 A ; 211 On a Dark and Doleful Xiglit O26; 664 *0n a Dark and Stormy Night 20C ; 44 On the Tombigbee River 269.\ ; 318 On Top of Old Smokie 253B ; 288 On Top of the Smokies All Cov- ered with Snow 253G ; 290 One Day We Went Rowing 269B: 318 One 'Lection Morning 340 P. ; 398 One More River to Cross 455 ; 530 698 *One Morning iu May 13, 13AB CD ; 24 f/ One of Tonight 625 ; 663 One Two Three 120C; 156 *Our Fathers They'll Be There 627 ; 665 Over the Hills So Far Auvy 165 ; 210 *Over the River to Feed the Sheep 67A; 100 ♦Owen's Fort 383; 458 *Owl in the Desert, The 304; 359 Paddle Your Ozvn Canoe 55; 87 *Page's Train Runs So Fast 104; 138 Pale Amaraiithus, The (309) Pale li'ildwood I'lourr, The 263, 263B; 309 f. Papa Has Got the Whooping Cough 93; 130 * Paper of Pins. A i. lA-M; 6 ff. * Pasquotank 189; 225 Pass Around the Bottle 34; 64 Peaches in the Summer Time 97 B ; 134 *Pharaoh's Army 545. 545CD ; 602 f. Pharaoh's Army Got Drownded 545B: 603 *Pickin' Out Cotton 212, 212AB; 243 f- Pickle Mm Bones in Alcohol 38; 69 Picnic, A 191 ; 226 Pig in the Parlor 80; 113 Pitty Patty Poke 119; 154 Plantation Song 46G, 405B, 471 ; 77, 486, 542 Po' Liza Jane 456 ; 530 Poor Johnny 250E ; 279 *Poor Little Kitty Puss 108; 141 Poor Little Lamb Cries 'Matnniy!' 117; 152 Poor Little Laura Lee 102; 136 *Poor Married Man 309, 309AB ; 364 f. Poor Old Lazarus 628; 665 Poor Sinner, A 63 ; 95 Pop Goes the PVeasel 93; 130 Pore Little Kitty Puss 107 Possini Sits on 'Simmon Tree, De 164; 209 *Possu)ii Am a Cunning 'Thing, De 162, 162AB ; 208 Possum Ran from Under the Barn 165 *Possum Tree 194E ; 231 Possum Up a Gum Tree 161D; 207 *Possu>n Up a 'Simmon Tree 161, 194B ; 206, 230 * Possum Up de 'Simmon Tree 161 B ; 207 Possum Up the 'Simmon Tree 161 C; 207 *Preachcr and the Bear, The 425, 425B; 511 f. Preacher in the Pulpit 342 ; 403 Preacher Song, The 511 ; 565 Preacher Went Out Hunting 425 A; 511 Preacher's in de Pulpit 343 ; 403 * Prettiest Girl I Ever Saw, The 47 ; 77 Pretty Little Pink 78CE ; in Pretty Mary 250D ; 278 *Pretty Pear Tree, The 133; 184 *Pretty Peggy 381 ; 456 *Pretty Saro 252, 252AB: 285 f. Prisoner's Song, The 350, 350C ; 4", 413 Privates Eat the Middlin'. The 389; 462 Pulling Hard Against the Stream 54; 86 Quack, Quack. Quack 126; 177 Quaker's Wooing, The 8; 16 Rabbit in the Log 166; 211 Rabbit Skipped, the R abb i t Hopped. The 168: 213 Rabbit Song 166 ; 211 Rabbit Stole de Greens 169; 214 Raccoon Has a Bushy Tail, The 163 ; 208 ♦Raccoon Has a Bushy Tail, De I 63 A ; 209 ♦Raccoon Is a Cunning Thing, The 1 62C ; 208 ♦Raccoon Up de Tree 161E; 207 I N I) E X 699 V Raccoon Wears a Busliy Tail 163B ; 209 *Railroad Dinah (iai 493 ; 556 *Ram Conic Wet Mc 490; 555 *Naisc a Ruckus Toniiiht 4g(), 499BD : 558 ff. Ramblinii Soldier, The 369; 430 ♦Raven Black Hair 263A ; 310 Red Bird Sitting in Jay Bird's Nest 154H : 202 Red River I 'alley 260, 26oL"E ; 305 f- /v(-44 ; 676 'J'ree in the Wood (184) Troubled in Mind 290; 344 *Turkey Buzzard 105, 105A; 139 ^Turkey in the Strazv 94; 130 Turn, Young Men 65A ; 97 'Turtle-Dove, The 249; 274 Tzi'cnty (Forty. Sixty) ]'ears Ago 335; 390 ♦Twenty Years Ago 335A ; 391 Tzi'cnty-One Years Is a Mighty Long Time 352; 417 ♦Two Fleas 192 ; 227 'Ai'o Little Fleas 192; 227 ♦Va'o Little Xiggers Black as far 467; 540 Tico White Horses Side bx Side 645; 678 Cnclc Joe Cut Off His Toe 97, 97CE; 132, 134 * Uncle Ned 420, 420AC; 505 f, Cnclc Sam's Farm 399; 474 Under the Weeping Willow Tree 267K; 317 Unreconstructed Rehel, The 391 A; 464 Up Roanoke and Down the Rii'cr 205; 239 Up the Lane and Down the Level 102B ; 137 J'eteran's Song. The 392; 467 *]'oodoo Man, The 429; 516 *rozirls. The 139: 188 ♦Wagoner Lad, The 250B ; 276 *Wa(/o)ter's Lad. The 250, 250A ; 275 f. Wait on de Lord 344; 404 Waiting for a Train 361 ; 428 *Walk in the Parlor 341, 341EF; 399, 402 f. I folk Light. Ladies 469 *\\"alkin" Talkin' Jinger Blue 496 : 558 *\\'alking Up and Down One Day 149; 196 Wallflower, Wallflower, Growing Up So High (106) War Song 379A ; 452 irashtuh Blues. The 247; 269 ]]'atcrmeIon Hanging on the J'ine 468; 540 Way Dozen Bclozv 492; 555 Way Dozen on the Old Pcedce 421 ; 506 W'ay Down Yonder a Long \\'ay Off 153C; 201 W ay Dozift Yonder in Pasquotank 189; 225 *Way Down Yonder in the Lone- some Valley 547A ; 605 *Way Dozen Yonder on Cedar Street 469; 541 Jl'av Over in the Premised Land 646; 678 *We Are Marching On 647; 679 *We Have a New Pig in the Par- lor 80C; 113 It e Have Loved Ones Over Yonder 648; 679 We Live on the Banks of the Ohio 224 ; 256 We Loved, but \Ne Parted 248D ; 272 We Will All Pray Together 625 ; 663 Ji' easel and the L^at. The 172; 215 *Weeping Willoze. The 267, 267A CI; 314 f- 317 Weeping Willow Tree. The 267B D-G: 315 f. *li'ee7'i!y Wheat 6y; 100 We'll Have a Little Danee To- night. Boys 491 : 555 We'll Roll the Old Chariot Along 650; 680 *We'll Sail Azeax to Heaz'en 6^1 ; 681 *Went Dozen Tozen 502: 562 if'cnt to the River and I Couldn't Get Across 193; 227 Jl'c're All A-Singing 95; 131 Ji'hat Are Little Girls Made Of? 143: 193 What Kind of Crozens Do the Angels Wcar.^ 655; 683 What Shall I Do with My Old Sow's Nose? 177; 218 What )'ou Gon'er Do That Day? 649 ; 680 *ll'hat ]'oH Gzt.'i)ia Do Whoi the World's on Fire.'' 470; 541 What's the Lady's Motion:' 87; 124 *Whe)i Adam Was Created 53, 53A: 83 f. W hen Colonel Died 38B ; 70 When I'irst I Seen This Lovely Queen 294; 349 *When I Die 38ADE: 69 f. When I Die Don't Wear So Black 489; 554 When I Saw Sweet Nellie Home ^89: 343 When I Was a Little Box 131; 182 *Wheii I Was a ]'oung Girl 10; 20 When I Ji'as Lost in the Wilder- ness 652; 682 *JYhen I Was Single 19, 19ACFJ- Q: 37 ff. W hen I Went Down to Sycamore Town 154A ; 202 When de Wind Blows East and de Wind Blows West 622 ; 658 When the World Is on Fire 653: 682 When This Cruel War /.s- Ozer 390, 390ACE; 462 ff. *Whcn ]'oung Men Go Courting 337 ■• 394 Where Are You Going, My Pretty Fair Maid? iiB ; 22 Where Are Yon Going. My Pretty Maid 11 ; 21 Where M\ Lord Went to I'rax 654: 683 *Whip Jamboree 230; 260 Whistling Girls and Crozeing liens 145 : 194 White Folks Go to College 473; 543 1 X 1) K X 703 ll'hite Folks in tin- }\irlor 476; Cents a Day 234 B ; 263 ;44 *ll'ork-iny on the Railroad 234, *irititc (nil. Yallcr Cal. lUack (,al 234C, 500; 262 f. 477; 544 Write My Mother I'll />'<• Home ♦White Owl with tlic White Head, 353: 418 The 152A: 199 ll'rcstliu' Jacoh 656 ; 684 Hl'ho Is Mv Xcii/hhorf 60: 91 *Who Will Shoe My Pretty Little )allcr Cirl, The 450; 527 Feet? 258K: 303 *\v Nations All 554; 612 *ll'ho's (niHua Love Yon. Iluncy.' Yonder Comes a (ieori/ia (iirl 302; 357 ^3: 11^ //7iV Do You liol' Your Hair. )'ou Can h'lin A ; /"ir Got Mine 501 ; 562 56 *)'ou. )'ou, ]'ou 276; 325 Wish I Had a Xeedte and I'liread ♦'S'oung Folks, Old Folks, Every- III ; 143 body Come 341 B; 401 ♦Wish I Had a Pig in a Pen *Young Girls, Take Warniiv^ iiiB ; 144 248C ; 272 Wood Llauler, The 340, 340 A ; 397 Young People Hark 62A ; 92 ♦Woodman's Song, A 120L; 161 ♦Won't You Walk Out Tonight? 'Zekiel'll Weep and 'Zekiel'lt 81 A; 114 .]Joan 657; 685 Workin' on the Railroad Forty Zigon Made a Wheel 445: 525 CONTRIBUTORS TO VOLUME II AND VOLUME III ILJERE are included, in one alphabetical list, the names both of these persons who gave their contributions di- rectly to Dr. Brown and to the North Carolina Folklore Society — or to another collector whose materials have been added to our collection — and of those from whom they obtained their texts of the Ballads and Songs ; and also, when known, the names of the singers. Thus for a single text there may have been two or three or even more "contributors." But the records are often unclear or incomplete, proper names are variously spelled, and many details which Dr. Brown's or Dr. White's memory would have supplied are now missing. We hope, how- ever, that any inaccuracies and omissions will l^e for- given. When a contributor's name occurs in two forms, before and after marriage, it is usually entered in the latter form, with a cross-reference. The numeral fol- lowing each name shows the number ( as accurate as we can make it) of the contributions appearing in these volumes. A Supplementary List, printed below, contains the names of those who sent in items which were not. for various reasons, used by the Associate Editors of vol- umes II and III. Many of the same names occur in both lists. A complete list of all contributors was earlier com- piled and mimeographed by Dr. White, and may be con- sulted in the Duke University Librarv. Special mention should be made of Mrs. Sutton's numerous contributions, often with lively and illuminating commentary of her own; of the many texts collected by Julian P. Boyd (now distinguished in quite different ways) from his old pupils in Alliance; of the unusual number sent in by Thomas R. Smith, by Miss Jewell Robbins (later Mrs. Perdue). ])y W. Amos Abrams, by L. W. .Anderson, by K. P. Lewis, and bv Miss Ger- trude Allen (later Mrs. V^aught) — to name only those with fortv or more texts to their credit. Dr. IJrown and the North C () X T R 1 I! r T () R S 705 Carolina l'\)lkl()rc Society aci|uirc(l not oiil)- .sinj^lc lexis hul also whole collections. ( )n Dr. .\l)i"anis' nuinu.script book see III, 573. j. ]\. 1 Icnncnian's and 1. Cj. (ireer's collections came to the Society throni^ii Professor C". Alphonso Smith. Miss lulilh Walker and .Miss I .ura Wagoner generously lent Dr. lirown their manuscri])t hooks to copy from. Dr. White borrowed in 1943 a similar book from Mrs. llarold (dasscock. In 1944 through the agency of Dr. Abrams the Blaylock Collection of 274 ballads and songs was presented to the Society, and from it a large selection was made by Professor Hudson and J. W. McCullough. Professor Hudson also made liberal use of the unpublished Master's thesis at the University of North Caro- lina by Mrs. Mercedes S. Steely. Details of these accpiisitions and other pertinent information are to be found in the editorial notes accompanying the texts. It hardly need be said lliat the addresses given there are not correct for the present, and no attempt has been made to bring them down to date. Abrams, W. Amos 59; Abrams and Williams, Gratis D. 12; Adams, Monta i ; Adams, Moses i : Aider, Leonora i ; Aiken, B. O. i; Allen, Gertrude (sec Vaught, Mrs. R. C.) ; Anderson, L. W. 46 ; Andrews, George Lawrence i ; Andrews, The Misses i ; An- drews, W. J. I. Bagley, Charles R. 15; Ballentine, Mabel 2; Banks, Bryan D. 5; Barbee, Mrs. J. W. 2 ; Barbour, Mary 2 ; Barlowe, Margaret 5 : Barnes, Mrs. R. E. i ; Barnett. Myra (sec Miller, Mrs. J. J.): Barnett, Mrs. O. D. i ; Barnwell. Lila Ripley i ; Barnwell, Mildred G. I : Bascom. Louise Rand 17; Basetiekl, Phebe G. i ; Bast, Vivian I ; Battle. Dr. Kemp P. 41 ; Baum, Rlioda i ; Beaseley, Antoinette 3; Beasley. Mrs. Lorena 1; Belair, Miss i: Belangia, Luther i ; Belk. Henry i ; Belvin, Jennie 15; Bennett, Catherine 16; Bennett, Louise 7; Best, Mrs. J. A. 3: Biggers, Caroline i; Bird. Dean W. E. I : Black. Elizabeth Janet 5; Black, G. S. 3; Blacknall, Mrs. R. D. 11; Blackstock. Vivian 2; Blackwell, Mrs. L. E. (Julia E. Self) [X'irginia] i; Blades, Camden Charles 2; Blair, Col. W. A. I : Blaylock, John Burch 75 ; Block, G. S. i ; Bobbitt, Emma i ; Best, Mary 12: Bostic, Mrs. A. L. i; Bowers, Virginia 3; Bow- man, Marvin 1; Boyd, Julian P. no; Boyd. Tom i; Brady, J. W. i; Brandon, Bell 4: Bray. Cleophas i; Brim, Mrs. Kenneth M. (Doris Overton) 11; Brower, R. Frank i; Brown, Mrs. 4; Brown. Ethel 8; Buchanan. Mrs. Silas 4; Buckner, C. E. 2; Buffalo, Ethel Hicks 4; Burleson, Clarice i; Burleson, Ethel i; Burns, 2; Burrus, Rev. Andrew Jackson 6; Burrus, J. H. 8; Burrus, O. J. l; Bushee. Isabel B. 3; Busl)ee. Jac(|ues i: Byers, Mrs. X. 'I". 8. 706 CONTRIBUTORS Caldwell. G. B. 4: Canada, Mary i; Carpenter. Jesse T. 2~ \ Carniichael, M. K. 3; Carson, Mrs. Charles M. i; Casey. Ruby 4; Cavenaugh. E. D. 2 ; Chamberlain. Mrs. J. R. 2 ; Chambers. M. R. i; Chappelle. Iris C. (Mrs. H. C. Turlington) 2; Chase, Prof. Richard i; Cheek, Lucille 22; Cheek, Mamie E. 5; Cherry. H. A. 3; Christenbury, Jane 2: Church. Mrs. Minnie },2\ Clarke. Eugenia i; Clayton, i; Clayton. J. W. 2; Cobb. Lucy R. 3; Coble. Cozette 3 ; Coffey, Mrs. Ann i ; Coffey, Betty i ; Coffey, O. L. and Mrs. O. L. 24; Coley. Mrs. Will X. i; Coleman. Florence 4; Col- lins. Prof. Fletcher, Jr. i : Colvord, Maude S. i : Combs, Jack i ; Copley. Mrs. Mary ^L1rtin 22; Cook. Mrs. Alice 5; Cooper, Rev. Bertram i; Corbett, Mrs. J. N. i; Corum. Clyde 2; Corum, John 2; Couch, Mrs. Daisy Jones 6; Cousor. 3; Covington. Cor- nelia E. [S. C] i; Covington, William B. 16; Cox. Catharine 2: Cox, Jeannette 2; Craig, Marjorie 2; Craven. Rev. Braxton i: Crawford, D. C. 2; Crawford. Eugene C. 5: Cromartie. Mrs. Laura ^L 4; Crowell, Mrs. E. A. i ; Cumming. William C. 5. Daulken. William C. 4; Davis. Junius i; Davis. S. ]\L 8: Day. Ethel i; Dickson. Bonnie Ethel 13; Dickson. S. O. H. 4; Dilling. Percy F. i ; Dixon. Josa i ; Dobson. Mattie i : Doering. J. F. i ; Douglas. Clarence D. i; Downum, Rev. J. M. i; Doxey, Elsie 5: Dudley, W. R. i : Duncan. John i ; Dunnegan. Lucy i. Edwards, R. B. 4; Efird, Rosa 2; Efird. Ruth 4; Eggers, Mrs. Sallie I ; Elliott, A. E. i : Elliott. Austin L. 6; Ellis, Mrs. A. J. i ; Ellison, W. A., Jr. 2; Emerson. E. [Maine] i; Ericson. E. E. i. Fairley, 4: Farrior, Minnie Bryan 4: Farthing. Mrs. 2: Faucette, Miss i; Faulkner. S. T. i : Few. Kendrick 3; Fincher. Lizzie i; Fish, Edith B. 10; Fitzgerald, W. S. i ; Fletcher. D. \\'. 6; Fletcher. E. T. i ; Fletcher, Lizzie i ; Folger, J. C. i ; Foreman, Wilma I : Fonts, Mrs. Augusta i ; Fox. Mrs. ^L1e Smith i : Foy, Miss 2; Frierson. W. C. 2; Fries. Adelaide L. 3: Frye, Pat 15: Frisbie, Zilpah Rebecca 9: Fulton, Prof. ^L G. 7: Funderburk. Beulah M. (Mrs. H. C. Trull) i; Furr. Eva 2: Fusscll. Tina (Mrs. L. A. Wilson) 4. Gahagan. Nita i; Gibson. Edwin P. i: Gill. T. J., Jr. 3: Glass- cock, Mrs. Harold 24; Gordon, Mrs. Rebecca 11; Gosney, Mrs. Minnie Stamps 4; Graham. Pearl i; Graybeal. Mrs. Estalena 2; Green, Mrs. A. L 2; Green, Paul and Elizabeth i ; Greene. Manley i; Greer, L G. 40; Greer, John M. 1; Grigg. W. Q. i; Grimes. Minnie Bryan 2; Grindstaff, Mrs. Norma i; Grogan, Ben i; Gro- gan, Fannie 8; Grogan. Mrs. Julia 9; Grogan, Sherman i. Hagaman. Elsie 1: Hageman. Susie i; Hall, Virginia C. 3: Hamlen, Annie {sec Swindell. Mrs. E. S.): Hampton, Belvia i: C" () N T K I I! r T () R S 707 Hanchey. H. H. 2: Hardin. Addic J ; Hank-n, I-'.Ila 3: Harmon. George D. 4; Harris, I'.dna 2; Harris, j. Wcu 1; Harris. Jim i ; Harris, Loy \'. 3; Harris. Mildred i; Harris. W. K. 1; Harrison Blake B. 5; Hartsell. Vir.c:inia 4; Harward, Harvey i: Haskett. Katherine i: Hatcher, Howell J. K; Hauser. Jessie 6; Hawkins. Lon i; Haymann, Rev. L. D. 10; Haywood, Delma 6; Haywood. Mrs. H. G. i; Hearne, Clara -'f) ; IkMiderson. Amy 31 : Henneman. J. B. 8; Herring, Mrs. Norman J. 3; Hicks. Mrs. Calvin i; Higgs. Margaret i; Hill, Buck i: Hines. Lizzie 3; Hodges, Mrs. Martha I ; Hodgin, 6; Holder, D. E. 2; Holeman. Jean 2; Holenian, The Misses ( Hallie and Jean) 15: Holton, Aura 3; Helton, Carlos 2; Holton. Florence 7: Holton, S. M., Jr. 7; Horton, Mrs. I'rank i; Houck. C. B. 6; Houck, Herman i; House. David T., Jr. 2; Houston, 'Granny' i; Houston. Ida C. i; Howell. Dr. E. V. i; Howard, Valeria Johnson 3 ; Huhbard, R. T. i : Hubbell, Prof. J. B. i; Huckabee. W. T.. Jr. 2; Hudson, Prof. A. V. 8; Hughes. Mrs. Arizona i ; Hull, Bessie Lou i ; Huskins, i ; Hutchins. Louise I : Hutchings, C. M. 3. Icenham. Mrs. Rebecca 3; Isenhour. Mrs. Rebecca i. Jenkins. Frederica 3: Johnson. Anne i : Johnson. Bonnie i : John- son, J. D., Jr. 4; Johnson. Lois 4; Johnson, Margaret i; Johnson. Obadiah (Obie) 29: Johnson, Sadie i; Jones, Katlierine Bernard 6; Jones, J. P. i; Jones, Mrs. Mattie Southgate 4: Jones. Mrs. Rebecca 2: Jones. Southgate 4: Jordan. Prof. A. C. i; Jordan. Charles E. i : Jordan, Patsy i. Keever, Homer M. i ; Kennedy, Fronde i ; Kirkland, E. C. i ; Knox, Carl G. 1 1 : Knox. J. C. 3; Kuykendall. Otis 27. Lambert. Autie Bell 2; Lambert, Elsie 2; Lancaster, Mrs. Nilla 15; Lane, Martha i; Leach, Floy i; Leake. W. B. 4: Leary. Thomas F. 2; Lee, Minnie 16: Lewis. K. P. 41; Lewis, R. '!". t; Lineberger, Nancy i; Litaker. K. W. 8; Litaker. Thomas 3: Little. George C. 2; Liverman. Frederick i : Livingston. Jesse ^L i ; Love, Will 7; Lovell, E. C. i; Lovill, Melba 2; Lucas, Louise 3; Luns- ford, Basconi Lamar 3; Lvon, James E. 3. MacRea, Mrs. Donald 2; Malloy. Katharine i: Mangum, Eura 10; Mann, Blanche i; Mansfield, Mamie 26: Marshbanks, Flossie 4; Martin, Averie M. 2; Martin, Miss Cooper i; Martin, H. C. 2; Massey, J. E. 4; Massey, J. W. 3; Massey. Lucille 6; Masten, ;\L I ; Matthews, Laura 2; Maxwell, Nancy 5: McAdams, J. G. 3; McCauley. Clara J. i; McClusky. John i; McCotter. Clifton 2; McDonald. Monnie Lou 2: McGee. Andy i; McKay, James A. 2; McKinnon. 2; McLean, Mrs. John Allen i ; McNeill. Hattie 4: Meekins. Bob i ; Meckins, Irene i; Meekins. Mrs. Sallie 7: 708 CONTRIBUTORS Meredith, Flora M. i ; Michael, Chloe i; Midgett, J. B. 7: Midgett, P. D., jr. i;: Milam, Edna i; Miller, E. B. 3 ; Miller, Gaithe'r i; Miller, "Mrs. J. J. (Myra BarnettJ 19; Miller, J. W. 2; Miller, Mrs. Joseph i ; Miller, Lorenzo (Ranz) i ; Miller, Pauline 2; Miller, Walter J. 3; Minnish, Maud {see Sutton, Mrs. ) ; Monteague, Arnold i; Moody, Alice R. 3; Moody, Mrs. Birdie May i; IMoody, Mrs. Cynthia i ; Moody, Evelyn 4 ; Moody, Fred i ; Moore, Arthur 2; INIoore, Mrs. M. M. i; Morris, Mrs. i; Morgan, Macie 9; Mor- gan, M. F. I ; Morgan, Ruth 5 ; Moffitt. Mrs. E. E. i ; Morrow, Mary 6; Mull, Bessie Lou 2; Murphy, Mrs. C. C. 4; Murray, Rob- ert B. I ; Myers, E. 3. Neal, J. G. i : Neal, T. G. i : Neal. Thomas T. i ; Neal, W. C. i ; Nelson, J. L. 1 ; Newsom, D. W. i ; Newton, Jane Elizabeth i ; Nichols, Madge 5; Nichols, Penelope i; Norris, Mrs. i; Norris, E. J. I : Norris, Imogene i ; Norton, Mrs. Fannie i. Olds, Fred A. i ; Overton, Doris (sec Brim, Mrs. Kenneth M.). Page, Lida 2 ; Paisley, Jesse L. i ; Patten, Constance 2 ; Pearce, Allie Ann; Pendergraph, Bertha (Mrs. J. S. Bowman) i; Pennell, Laura i ; Perdue. Mrs. C. P. (Jewell R. Robbins ) 70; Perry, Arnold i; Perry, Fred i; Perry, George i; Perry, Mrs. Lilly 2; Perry, Mrs. Peggy 8; Perry, Mrs. T. L. (Isabel Rawn) 12: Perry, Mrs. W. T. 2; Peterson, Jesse L. i; Peterson, Mildred 10 ; Pickens, 2; Pickens, M. L i ; Pool, Eliza A. i ; Poole, L T. 6; Poovey, W. E. 2 ; Powles, Joe 2 ; Prather, Mrs. Nancy i ; Price, Mary 5 ; Pridgen, Mrs. Loraine Iseley i ; Pridgen, Mrs. W. L. 9 ; Proffitt, Frank 11. Randall, Willard i; Rawls, Elsie 2; Rawn, Lsabel (see Mrs. T. L. Perry); Rayfield, Mrs. Ada Miller i; Rayfield, Mrs. Polly 7; Reavis, B. C. 2 ; Reese, Mrs. Ira i ; Reese, Wagner A. i ; Reid, Mrs. I ; Reynolds, Letch i ; Riggs, Marguerite i ; Rig^bee, Mrs. i ; Rhew, Estella i ; Rhinehart, Constance i ; Rhinehart, Lillie i ; Rob- bins, Jewell (sec Mrs. C. P. Perdue); Robinson, G. S. 20; Robin- son, Mrs. R. A. 1; Royall, Dorothy [Wis.] 2; Royster, Prof. James F"". i; Royster, Dr. J. M. 2; Royster, V. C. 9; Russell, B. "s. i; Russell, Kate S. 16; Rymer, i. Sails, Dr. Alfred i ; Sails, Helen H. i ; Saunders, 2; Scar- borough, Mary 4; Scarborough, Mildred i ; Scott, Duval 6; Sechrist, Vernon 4; Shaffner, Etta i; Shaw, H. F. 6; Sheetz, H. E., Jr. i; Shelton, W. R. i; Shunian, Florence L. (Mrs Mackenzie) i; Shuma, Miss i; Simpkins, Mrs. Elizabeth 8; Simpson, Eleanor l; Skinner, Charles Boyd i; Sloan, Louise W. 2; Smith, Mrs. Anne 1; Smith, I^ennett 5; Smith. Bessie 2; Smith, C. II. t; Smith, Duo K. 4: Smith, I'Llla 5; Smith, Ellen i; Smith, Mrs. (• () N T K 1 H V T () K S /OQ I'jimia 2; Sniitli, llck'n ['"rascr i; Sinitli, Mae 3: Sniitli. Mrs. Mary 2: Smith. .Merle ;^ ; .Smitli, Robert i; .Smith. Tliouias K. 88; Smith, W. (). i; Southi^ati'. James i; .S])ainh()ur. J. !•". i; .S])ence, 11. !■:. I ; Speuce, .Mrs. 11. l".. 1 : Si)ivey. K. G., Jr. i; Stack, N. L. 1 : .Stanley. l'4)h i; Starr. I'lol". !•'.. L. 4; .Stone, Alma Irene i ; StovaU. Sidney 2; Straw hridije. .Mary 2; Stroupe, Carrie 2; Sum- mer. Sam 1; Sutton, .Mrs. Dennis 11. 129; .Swariniien. Rev. R. A. 2; Swim. Airs. \V. 11. i ; Swindell, Mrs. K. S. 2. Taylor. 1'^. (i. i ; Thomas. .Mrs. C". C. 4: Thomas, C". V. i ; Thoma^, James i; Thomas. Mrs. Katherine i; Ticknor. 11. W. i ; Tingle. James 6: Tingle, Jeannette 9; Tillett, C"harles K. 3: Tillett, Mrs. Charles K. (Juanita) 20; Tillett, Maxine 12; Todd, Kula i; Trull, Mrs. H. C. i; Tucker, Effie 9; Tugman, Alexander 6; Tuttle, Emeth i. Vance, Airs. Zebulon Baird 3: Vann, Dorothy McDowell 2; \'aim, Fannie E. i; \\anney. R. G. i; Vaughan, W. N. 2; Vaught, Mrs. R. C. (Gertrude Allen) 41. Wagoner. Lura 39 ; Walker, C. L. 3 ; Walker, Edith 25 ; Walker, Elizabeth 2: Walton, Beulah 4; Walz, H. O. i; Ward, Monroe i; Ware, R. D. 7 ; Warf , Lena i ; Watkins, Louise i ; Watkins, Sarah K. 4 ; Wayne, Graham 4 ; Weaver, Lizzie Lee i ; Weaver, Luna i ; Weatherly, Mrs. C. T. 3; Webb, Pearle 26; West, Rosebud 7: White, b'. N. i; White, Prof. N. I. 8; Whitley, Edna 6; Wil- liams, Gratis D (sec Abrams and Williams); Wise, Alva 13; Wise, Mrs. J. P. 2; Wilson, Mrs. Asa L. i; Wilson, C. A. i; Wilson, Ida i ; Wilson, Mrs. Jim i ; Wilson. Mrs. Leander i ; Wil- son. Mrs. Rhoda i ; Winston. Judge R. W. 2 ; Wiseman. Mrs. Manas.sa i ; Wright, Prof. J. T. C. 4 ; Wyatt, Cora Lee i. York, lames 18. SUPPLEMENTARY LIST OF CONTRIBUTORS W. Amos Ahranis, Gertrude Allen (Mrs. R. C. Vaught), L. W. Anderson. Mabel Ballentine. Suzanne Bardin, Grace Barbee, Jennie Belvin, Louise Bennett. Caroline Biggers, Janet Black, Rutb Black, Cam- den Blades, Julian P. Boyd, Virginia Bowers, Bell Brandon, Ethel Brown, H. Braisted, N. C. Buffaloe, C. E. Buckner, R. T. Byers. G. B. Caldwell, M. K. Carmichael, Jesse T. Carpenter, S. Carter, Mrs. J. R. Chamberlain, Lucille Cheek, Mamie E. Cheek, Mrs. Minnie Church, Eugenia M. Clark, O. L. Coffey, Collier Cobb, Alice Cooke, Mrs. M. M. Copley. Bonnie Ethel Dickson. Elsie Doxey. Austin L. Elliott, Fairley. E. T. Fletcher. Eula G. Fletcher. Tina Fussell (Mrs. L. A. Wilson). Thomas Gallop, George Gilbert, Mrs. Harold Glasscock, I. G. Greer. Susie Hageman, Virginia A. Hall, H. H. Hanchey, Deacon S. Harris, Blake B. Harrison, Howell J. Hatcher, Clara Hearne, Mrs. Norma J. Herring, The Misses Holeman, Aura Holton, Florence Holton, S. M. Holton, C. B. Houck. Jay L. Jackson, J. D. Johnson, Jr., Mrs. Kate Johnson, Lois John- son, Obadiah Johnson, Katherine B. Jones, Mattie Southgate Jones. Carl G. Knox, O. Kuykendall. Autie B. Lambert, Mrs. Nilla Lancaster, W. H. Lander. Minnie Lee, K. P. Lewis, Thomas Litaker, E. C. Lovell, Louise Lucas. Blanche Mann, M. M. Mansfield, Jeanne McCauley, Mrs. J. J. Miller, J. B. Midgett, Walter J. Miller, Macie Morgan. Ruth Mor- gan, Mary Morrow. E. Myers. Fred A. Olds, Doris Overton (Mrs. Kenneth M. Brim). W. E. Poovey, Thomas E. Price, Mrs. Pridgen. Jewell Robbins (Mrs. C. P. Perdue), G. S. Robinson, Miss K. S. Russell. Mary Scarborough, Duval Scott, \>rnon Sechrist, Eleanor Simp- son, Arthur Smith, Ella Smith, Duo K. Smith, Mary .Smith. Lucv Gray Smither, Miss Smithers, Annabel Snow. Mrs. C. K. Tillett. Juanita Tillett. Lura Wagoner, C. L. Walker, Edith Walker, Mrs. Weatherly, Luna Weaver, Pearle Webb, N. I. WHiite, Edna Whitley, Elaine Winchenbaugh. D00479267Z 598.09756 D877F v. 3 618553 -.n>«0i»