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+The Project Gutenberg EBook of Jamaican Song and Story, by Walter Jekyll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Jamaican Song and Story
+ Annancy stories, digging sings, ring tunes, and dancing tunes
+
+Author: Walter Jekyll
+
+Release Date: February 26, 2011 [EBook #35410]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK JAMAICAN SONG AND STORY ***
+
+
+
+
+Produced by Suzanne Shell, Linda Cantoni, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: Bold text is surrounded by =equal signs=. Italic
+text is surrounded by _underscores_. Macrons are indicated in brackets
+with an equal sign, like this: [=u]. Breves are indicated in brackets
+with a right parenthesis, like this: [)u].]
+
+
+
+
+The Folk-Lore Society
+
+FOR COLLECTING AND PRINTING
+
+RELICS OF POPULAR ANTIQUITIES, &c.
+
+
+ESTABLISHED IN
+
+THE YEAR MDCCCLXXVIII.
+
+
+[Illustration: Alter et Idem.]
+
+
+PUBLICATIONS
+
+OF
+
+THE FOLK-LORE SOCIETY
+
+LV.
+
+[1904]
+
+
+
+
+JAMAICAN SONG AND STORY:
+
+_ANNANCY STORIES, DIGGING SINGS,
+RING TUNES, AND DANCING TUNES_
+
+
+COLLECTED AND EDITED BY
+
+WALTER JEKYLL:
+
+
+_WITH AN INTRODUCTION BY_
+
+ALICE WERNER,
+
+
+_AND APPENDICES ON_
+
+TRACES OF AFRICAN MELODY IN JAMAICA
+
+_BY_
+
+C.S. MYERS,
+
+_AND ON_
+
+ENGLISH AIRS AND MOTIFS IN JAMAICA
+
+_BY_
+
+LUCY E. BROADWOOD.
+
+
+ "A few brief years have passed away
+ Since Britain drove her million slaves
+ Beneath the tropic's fiery ray:
+ God willed their freedom; and to-day
+ Life blooms above those island graves!"
+
+ _Whittier_
+
+
+ Published for the Folk-Lore Society by
+ DAVID NUTT, 57-59 LONG ACRE
+ LONDON
+ 1907
+
+
+
+
+CONTENTS.
+
+
+ PAGE
+
+INTRODUCTION (ALICE WERNER), xxiii
+
+AUTHOR'S PREFACE, liii
+
+
+PART I.: ANNANCY STORIES, 1
+
+1. Annancy and Brother Tiger, 7
+
+2. Yung-Kyum-Pyung, 11
+
+3. King Daniel, 14
+
+4. Tomby, 16
+
+5. How Monkey manage Annancy, 20
+
+6. Blackbird and Woss-woss, 23
+
+7. The Three Sisters, 26
+
+8. William Tell, 29
+
+9. Brother Annancy and Brother Death, 31
+
+10. Mr. Bluebeard, 35
+
+11. Annancy, Puss and Ratta, 38
+
+12. Toad and Donkey, 39
+
+13. Snake the Postman, 43
+
+14. Doba, 46
+
+15. Dry-Bone, 48
+
+16. Annancy and the Old Lady's Field, 51
+
+17. Man-Crow, 54
+
+18. Saylan, 58
+
+19. Annancy and Screech-Owl, 60
+
+20. Annancy and Cow, 63
+
+21. Tacoma and the Old-Witch Girl, 65
+
+22. Devil's Honey-Dram, 68
+
+23. Annancy in Crab Country, 70
+
+24. Gaulin, 73
+
+25. Annancy, Monkey and Tiger, 77
+
+26. The Three Pigs, 79
+
+27. Dummy, 84
+
+28. Annancy and Candlefly, 86
+
+29. Parson Puss and Parson Dog, 91
+
+30. Chicken-Hawk, 94
+
+31. Pretty Poll, 96
+
+32. Annancy and Hog, 98
+
+33. Dry-River, 100
+
+34. Yellow Snake, 102
+
+35. Cow and Annancy, 104
+
+36. Leah and Tiger, 108
+
+37. Timmolimmo, 114
+
+38. Calcutta Monkey and Annancy, 117
+
+39. Open Sesame, 120
+
+40. Sea-Mahmy, 123
+
+41. Crab and his Corn-piece, 126
+
+42. Dry-Grass and Fire, 129
+
+43. John Crow, 132
+
+44. Tiger's Death, 135
+
+45. The Old Lady and the Jar, 137
+
+46. John Crow and Fowl-Hawk, 140
+
+47. Finger Quashy, 143
+
+48. Annancy and his Fish-Pot, 145
+
+49. Hog and Dog, 146
+
+50. Devil and the Princess, 148
+
+51. Wheeler, 152
+
+
+PART II.: DIGGING SINGS, 157
+
+52. Oh hurrah, boys! 159
+
+53. Ho biddybye, 159
+
+54. Tell Mr. Linky, 160
+
+55. Tell Mr. Bell, 161
+
+56. Bad homan oh! 162
+
+57. Bell a ring a yard oh! 162
+
+58. The one shirt I have, 164
+
+59. Jessie cut him yoke, 164
+
+60. T'ree acre of Cahffee, 165
+
+61. Away, away, 166
+
+62. Wednesday morning before day, 167
+
+63. Oh Samuel oh! 168
+
+64. Oh 'liza oh! 168
+
+65. Aunty Mary oh! 169
+
+66. Oh me yerry news! 170
+
+67. Jes' so me barn, 170
+
+68. Tell Mary say, 171
+
+69. Me tell them gall, 171
+
+70. Gold, amber gold, 172
+
+71. Gee oh mother Mac, 173
+
+72. Leah married a Tuesday, 173
+
+73. Cheer me oh! 173
+
+74. Me cock a crow, 174
+
+75. Oh Selina! 174
+
+76. Sambo Lady, 176
+
+77. John Thomas, 177
+
+78. Whe mumma de? 178
+
+79. Toady, 179
+
+80. Me know the man, 180
+
+81. Minnie, 181
+
+82. You want to yerry Duppy talk, 182
+
+83. Me know Sarah, 183
+
+84. Me donkey want water, 183
+
+85. A Somerset me barn, 184
+
+86. Timber lay down 'pon pit, 185
+
+87. Me want go home, 187
+
+88. War down a Monkland, 187
+
+
+PART III.: RING TUNES, 190
+
+89. Little Sally Water, 190
+
+90. Poor Little Zeddy, 191
+
+91. Whe me lover de? 192
+
+92. Ring a diamond, 194
+
+93. Carry Banana, 195
+
+94. Pass the ball, 196
+
+95. Me los' me gold ring, 197
+
+96. Old mother Phoebe, 197
+
+97. Deggy, 198
+
+98. Me go da Galloway Road, 199
+
+99. Rosybel, 200
+
+100. Bull a pen ho! 201
+
+101. Two man a road, 201
+
+102. Adina Mona, 202
+
+103. Palmer, 203
+
+104. Mother Freeman, 204
+
+105. Me have me goosey a me yard, 205
+
+106. Drill him, Constab! 205
+
+107. If you make him come out, 206
+
+108. Oh me Toad oh! 207
+
+109. There's a Black boy in a ring, 207
+
+110. Johnny, 209
+
+111. Me lover gone a Colon bay, 209
+
+112. Good morning to you, mother, 210
+
+113. Johnny Miller, 211
+
+114. Bahlimbo, 212
+
+115. Oh den Jacky, 214
+
+116. Ha, ha, ha, ha! 214
+
+
+PART IV.: DANCING TUNES, 216
+
+117. When I go home, 217
+
+118. Guava root a medicine, 218
+
+119. Crahss-lookin' dog up'tairs, 218
+
+120. Goatridge have some set a gal, 219
+
+121. Me carry me akee a Linstead market, 219
+
+122. Since Dora Logan, 220
+
+123. Fire, Mr. Preston, Fire! 221
+
+124. Tief cahffee, 222
+
+125. Fan me, soldierman, 223
+
+126. Manny Clark, 224
+
+127. Bungo Moolatta, 225
+
+128. Bahl, Ada, 225
+
+129. Rise a roof in the morning, 226
+
+130. Oh we went to the river, 227
+
+131. Aunty Jane a call Minnie, 228
+
+132. Marty, Marty, 228
+
+133. What make you shave old Hall? 229
+
+134. Run, Moses, run, 230
+
+135. Whe you da do? 231
+
+136. Mother William, hold back Leah, 232
+
+137. Oh, General Jackson! 233
+
+138. Soldier, da go 'way, 234
+
+139. Don't cry too much, Jamaica gal, 234
+
+140. Dip them, 235
+
+141. Very well, very well, 235
+
+142. Oh trial! 236
+
+143. Father, I goin' to join the confirmation, 237
+
+144. Obeah down de, 239
+
+145. The other day me waistcoat cut, 240
+
+146. All them gal a ride merry-go-round, 241
+
+147. Merry-go-round a go fall down, 242
+
+148. Try, dear, don't tell a lie, 243
+
+149. Look how you mout', 244
+
+150. Breezy say him no want Brown lady, 244
+
+151. Isaac Park gone a Colon, 245
+
+152. Matilda de 'pon dyin' bed, 246
+
+153. Mas' Charley, 247
+
+154. Me buggy a sell, 247
+
+155. Oh 'zetta Ford, gal, 248
+
+156. Birdyzeena, 249
+
+157. Me an' Katie no 'gree, 249
+
+158. Down-town gal, 249
+
+159. Sal, you ought to been ashame, 250
+
+160. Good morning, Mr. Harman, 250
+
+161. Hullo me honey! 251
+
+162. When mumma dere, 252
+
+163. Oh Jilly oh! 253
+
+164. James Brown, you mahmy call you, 253
+
+165. When I go home, 254
+
+166. Feather, feather, feather, 254
+
+167. Quaco Sam, 256
+
+168. Anch a bite me, 257
+
+169. Me know one gal a Cross Road, 257
+
+170. Moonshine baby, 258
+
+171. I have a news, 259
+
+172. Once I was a trav'ller, 260
+
+173. Oh me wouldn' bawl at all, 261
+
+174. You take junka 'tick, 262
+
+175. Yellow fever come in, 262
+
+176. Jimmy Rampy, 263
+
+177. Susan, very well why oh! 264
+
+178. Bahss, Bahss, you married you wife, 264
+
+179. Blackbird a eat puppa corn, oh! 265
+
+180. Me da Coolie sleep on Piazza, 265
+
+181. Notty Shaw, 266
+
+182. You worthless Becca Watson, 267
+
+183. Since the waggonette come in, 267
+
+184. Them Gar'n Town people, 268
+
+185. Young gal in Jamaica, take warning, 270
+
+186. Me no min de a concert, 270
+
+187. Complain, complain, complain, 271
+
+188. I can't walk on the bare road, 271
+
+189. Come go da mountain, 272
+
+190. Amanda Grant, 273
+
+191. Last night I was lying on me number, 273
+
+192. Me lassie, me dundooze, 274
+
+193. Mister Davis bring somet'ing fe we all, 275
+
+194. A whe the use, 275
+
+195. Quattywort' of this! 276
+
+196. Mahngoose a come, 276
+
+
+APPENDIX:
+
+_A._ Traces of African Melody in Jamaica--C.S. Myers, 278
+
+_B._ English Airs and Motifs in Jamaica--L.E. Broadwood, 285
+
+
+
+
+INTRODUCTION.
+
+
+Mr. Jekyll's delightful collection of tales and songs from Jamaica
+suggests many interesting problems. It presents to us a network of
+interwoven strands of European and African origin, and when these have
+been to some extent disentangled we are confronted with the further
+question, to which of the peoples of the Dark Continent may the
+African element be attributed?
+
+The exact relationship between the "Negro" and Bantu races,--which of
+them is the original and which the adulterated stock (in other words,
+whether the adulteration was an improvement or the reverse),--is a
+subject quite beyond my competence to discuss. It seems certain that
+the Negro languages (as yet only tentatively classified) are as
+distinct from the singularly homogeneous and well-defined Bantu
+family, as Aryan from Semitic. Ibo, at one end of the area, has
+possible Bantu affinities, which await fuller investigation; the same
+thing has been conjectured of Bullom and Temne at the other end
+(Sierra Leone); but these are so slight and as yet so doubtful that
+they scarcely affect the above estimate.
+
+The difference in West Coast and Bantu folk-tales is not so marked as
+that between the languages; yet here, too, along with a great deal
+which the two have in common, we can pick out some features peculiar
+to each. And Mr. Jekyll's tales, so far as they can be supposed to
+come from Africa at all, are not Bantu. The name of "Annancy" alone is
+enough to tell us that.
+
+_Annancy_, or _Anansi_ is the Tshi (Ashanti)[1] word for "spider"; and
+the Spider figures largely in the folk-tales of the West Coast (by
+which we mean, roughly, the coast between Cape Verde and Kamerun),
+while, with some curious exceptions to be noted later on, he seems to
+be absent from Bantu folk-lore. His place is there taken by the Hare
+(Brer Rabbit), and, in some of his aspects, by the Tortoise.
+
+[Footnote 1: Fanti is a dialect of this language, which is variously
+called Twi, Chwi, Otyi, and Ochi.]
+
+We find the "Brer Rabbit" stories (best known through _Uncle Remus_)
+in the Middle and Southern States of America, where a large
+proportion, at any rate, of the negro slaves were imported from Lower
+Guinea. Some personal names and other words preserved among them
+(_e.g._ "goober" = _nguba_, the ground-nut, or "pea-nut") can be
+traced to the Fiote, or Lower Congo language; and some songs of which
+I have seen the words,[2] _look_ as if they might be Bantu, but
+corrupted apparently beyond recognition.
+
+[Footnote 2: One is given by Mr. G.W. Cable in the _Century Magazine_,
+xxx. 820, as a Louisiana Voodoo song:
+
+ Heron mande, tigui li papa, Heron mande, dose dan godo.
+
+Another by Mr. W.E. Burghart Du Bois in _The Souls of Black Folk_, p.
+254--apparently a lullaby:
+
+ Doba na coba gene me, gene me!
+ Ben d' nu li, nu li, nu li, nu li, bend'le.
+
+I can make nothing of these. In the latter case, uncertainty as to the
+phonetic system adopted complicates the puzzle. One might be tempted
+to connect the last two words with Zulu _endhle_ or _pandhle_ =
+outside,--but I can find nothing else to support this resemblance, and
+such stray guesses are unprofitable work.]
+
+But the British West Indies would seem to have been chiefly supplied
+from Upper Guinea, or the "West Coast" proper (it really faces south,
+while Loango, Congo, etc., are the "South-West Coast"--a point which
+is sometimes puzzling to the uninitiated). Among the tribes to be
+found in Jamaica, Mr. Jekyll tells me are the Ibo (Lower Niger),
+Coromantin (Gold Coast), Hausa, Mandingo, Moko (inland from Calabar),
+Nago (Yoruba), and Sobo (Lower Niger).
+
+Mr. Jekyll furnishes a bit of confirmatory evidence in the list of
+names (p. 156) given to children according to the day of the week on
+which they are born. These are immediately recognizable as Tshi. As
+given in Christaller's _Dictionary of the Asante and Fante Language
+called Tshi_ (1881), the boys' names are identical or nearly so
+(allowing for the different systems of spelling) with those in Mr.
+Jekyll's list. They are: Kwasi, Kwadwo, Kwabena, Kwaku, Kwaw (or
+Yaw), Kofi, Kwame. (Mr. George Macdonald, in _The Gold Coast Past and
+Present_, gives Kwamina, instead of Kwame, probably owing to a
+difference of dialect.) The girls' names are less easily recognizable,
+but a careful scrutiny reveals the interesting fact that in some cases
+an older form seems to have been preserved in Jamaica. Moreover, the
+sound written _w_ by Christaller approaches that of _b_, which seems
+to be convertible with it under certain conditions, all the girls'
+names being formed by means of the suffix _ba_ = a child. Conversely,
+_ekpo_ in the mouth of a West Coast native sounds to a casual ear like
+_ekwo_.
+
+ Akosuwa [= Akwasiba] = Quashiba.
+ Adwowa = Jubba. (Cf. dw = dj in "Cudjo").
+ Abeua = Cubba.
+ Akuwa = Memba.
+ Ya [= Yawa] = Abba.
+ Afuwa = Fibba.
+ Amma [= Amenenewa] = Beniba.
+
+The boys' names have "Kwa" (= _akoa_, a man, slave) prefixed to that
+of the day, or, more correctly speaking, of its presiding genius.
+These latter are: Ayisi, Adwo, Bena, Wuku, Yaw, Afi, Amin. The names
+of the days appear to be formed from them by the omission of the
+initial A (where it exists), and the addition of the suffix _da_, with
+some irregularities, which no doubt a fuller knowledge of the language
+would explain: Kwasida, Dwoda, Benada, Wukuda, Yawda, Fida, Memeneda
+(Meminda). The week of seven days does not seem to be known elsewhere
+in Africa, except as a result of Moslem or Christian influence. The
+Congo week of four days is puzzling, till one remembers that it, too,
+rests on a division of the lunar month: 7 x 4 instead of 4 x 7.[3]
+
+[Footnote 3: R.E. Dennett, _Folklore of the Fjort_, p. 8.]
+
+The Tshi, Ewe and Yoruba languages are genderless, like the Bantu.
+(The word _ba_ has come to mean "a daughter" when appropriated as a
+suffix to feminine names; but, properly, it seems to mean "a child" of
+either sex.) This fact explains the appearance of such personages as
+"Brother Cow" (see also Mr. Jekyll's note on p. 107), and the wild
+confusion of pronouns sometimes observed: "Annancy really want that
+gal fe marry, but he couldn' catch him."--"When the gal go, him go
+meet Brother Death,"--etc.
+
+The few words given as "African" by Mr. Jekyll seem to be traceable to
+Tshi. "Massoo" (pp. 12, 13) is _ma so_ = to lift. _Afu_ ("hafoo,"
+"afoo," p. 18) is not in Christaller's _Dictionary_, except as
+equivalent to "grass," or "herbs"; _fufu_ is a food made from yams or
+plantains boiled and pounded; perhaps there is some slight confusion.
+_Nyam_ is not "to eat," but _enam_ is Tshi for "meat," as _nyama_ (in
+some form or other) is in every Bantu language. The nonsense-words in
+the songs may be corrupted from Tshi or some cognate language, but a
+fuller knowledge of these than I possess would be necessary in order
+to determine the point.
+
+Transplanted African folk-lore has a peculiar interest of its own, and
+one is very glad to find Mr. Jekyll doing for Jamaica what Mr.
+Chandler Harris, _e.g._ has done for Georgia. But the African element
+in the stories before us is far less evident than in "Uncle Remus,"
+and is in many cases overlaid and inextricably mixed up with matter of
+European origin. At least eleven out of the fifty-one stories before
+us can be set down as imported, directly or indirectly, from Europe. I
+say directly or indirectly, because an examination of Chatelain's
+_Folk-tales of Angola_ and Junod's _Chants et Contes des Baronga_
+shows that some tales, at any rate, have passed from Portugal to
+Africa. Such are _La fille du Roi_ (Ronga), which is identical with
+Grimm's _The Shoes that were danced to pieces_, and with the
+Slovak-gypsy story of _The Three Girls_ (Groome, _Gypsy Folk-tales_,
+p. 141). But in the absence of more detailed and direct evidence than
+we yet possess, it would be rash to assume that they have passed to
+America by way of Africa, rather than that they have been
+independently transmitted.
+
+The eleven stories above referred to are: II. Yung-kyum-pyung, III.
+King Daniel, VI. Blackbird and Woss-woss, X. Mr. Bluebeard, XVII.
+Man-crow, XVIII. Saylan, XXI. Tacoma and the Old-witch Girl, XXVI. The
+Three Pigs, XXXI. Pretty Poll (another version of III.), XXXIX. Open
+Sesame (variant of VI.), VII. The Three Sisters. But some of these, as
+I hope to show presently, also have genuine African prototypes, and it
+is a question how far these fading traditions have been amalgamated
+with fairy-tales told to the slaves by the children of their European
+masters. The last named is one of a small group of tales (VII., XXIV.,
+XXXIV., L.) which I cannot help referring to a common African
+original.
+
+By far the greater number of the stories in this book, whether,
+strictly speaking, "Annancy stories" or not, come under the heading of
+animal-stories, and are of the same type as "Uncle Remus," Junod's
+"Roman du Lievre," and numerous examples from various parts of Africa.
+It will be remembered that, in most of these, the difference between
+animals and human beings is not very clearly kept in view by the
+narrators. As M. Junod says, "Toutes les betes qui passent et
+repassent dans ces curieux recits representent des etres humains, cela
+va sans dire. Ils sont personnalises par un procede linguistique qui
+consiste a mettre devant le nom de l'animal un prefixe de la classe
+des hommes." (This is a point we must come back to later on.) "Ainsi
+_mpfoundla_, le lievre ordinaire, devient dans le contes
+Noua-mpfoundla.... La Rainette, c'est Noua-chinana, l'Elephant,
+Noua-ndlopfou.... Leurs caracteres physiques particuliers sont
+presents devant l'imagination du conteur pour autant qu'ils donnent du
+pittoresque au recit. Mais on les oublie tout aussi aisement des
+qu'ils ne sont plus essentiels a la narration." This feature
+constantly meets one in Bantu folk-lore: the hare and the elephant
+hire themselves out to hoe a man's garden; the swallow invites the
+cock to dinner and his wife prepares the food, in the usual native hut
+with the fireplace in the middle and the _nsanja_ staging over it; the
+hare's wife goes to the river to draw water, and is caught by a
+crocodile; the tortoise carries his complaint to the village elders
+assembled in the smithy, and so on. M. Junod seems to me to overrate
+the conscious artistic purpose in the narrators of these tales: the
+native mind is quite ready to assume that animals think and act in
+much the same way as human beings, and this attitude makes it easy to
+forget the outward distinctions when they appear as actors in a story.
+No doubt this haziness of view is increased by the popular conception
+of metamorphosis as a possible occurrence in everyday life. When, as
+has more than once been the case, we find men firmly believing, not
+only that they can, under certain circumstances, turn into animals,
+but that they actually have done so, we may expect them to think it
+quite easy for animals to turn into men.
+
+The prefix given by the Baronga to animals, when they are, so to
+speak, personified in tales, may seem a slight point, but it is not
+without interest. The Yaos in like manner give them the prefix _Che_
+(_Che Sungula_, the Rabbit, _Che Likoswe_, the Rat, etc.), which,
+though usually translated "Mr.," is of common gender and used quite as
+often in addressing women as men. In Chatelain's Angola stories the
+animals sometimes (not always) have the honorific prefix _Na_ or
+_Ngana_, "Mr."; the latter is sometimes translated "Lord." In Luganda
+folk-lore the elephant (_enjovu_) is called Wa Njovu. In Zulu,
+Ucakijana (to whom we shall come back presently) is the diminutive
+form of _i-cakide_, the Weasel, put into the personal class. I do not
+recall anything similar in Nyanja tales, but cannot help connecting
+with the above the fact that animals, whatever class their names may
+belong to, are usually treated as persons in the tales. Not to be
+unduly technical, I would briefly explain that _njobvu_ (elephant) and
+_ng'ona_ (crocodile) would naturally take the pronoun _i_, but in the
+stories (and, I think, sometimes in other cases) they take _a_, which
+belongs to the first, or personal class. Now, the reader will notice
+how often the animals in the stories before us are distinguished as
+"Mr." or "Bro'er" (cf. pp. 20, 23, 31, 86, etc.), though the Jamaica
+people seem to be less uniformly polite in this respect than Uncle
+Remus. "Brer Rabbit" is so familiar as to be taken for granted, as a
+rule, without further question; but, years before he had become a
+household word in this country, we find a writer in _Lippincott's
+Magazine_[4] remarking, "The dramatis personae are honoured with the
+title _Buh_, which is generally supposed to be an abbreviation of the
+word 'brother,' but it probably is a title of respect equal to our
+'Mr.'" The "but" seems hardly called for, since both assertions are
+seemingly true. We might also compare the Zulu _u Cakijana_ (1st
+class), who is human or quasi-human, while _i-cakide_ (2nd class) is
+the name for the Weasel.
+
+[Footnote 4: December, 1877, p. 751. The article is one on "Negro
+Folk-lore," by W. Owens, and contains several stories, some of these
+independent versions of "Uncle Remus" tales, while others are not to
+be found in that collection.]
+
+Annancy, then, is the Spider, and as such he is conceived throughout
+the folk-lore of West Africa. If he seems, as he continually does, to
+take on a human character, going to Freetown to buy a gun and powder
+(_Cunnie Rabbit_, p. 282), or applying to a "Mory man" for amulets
+(_ib._ p. 139), he only behaves like all other animals, as explained
+above. A Temne authority (_ib._ p. 93) maintains that "Spider was a
+person" in old times, and did not look the same as he does in these
+days, "he done turn odder kind of thing now." But this looks like an
+attempt at rationalising the situation, possibly in response to
+European inquiries. The change of shape alluded to at the end of the
+Temne Tar-baby episode is comparatively a minor matter: he was
+formerly "round lek pusson," but became flattened out through the
+beating he received while attached to the Wax Girl. In the Gold Coast
+stories, too, Anansi is quite as much a spider as Brer Rabbit is a
+rabbit; but in Jamaica, though he still retains traces of his origin,
+they are somewhat obscured--so much so that Mr. Jekyll speaks (pp.
+4-5) of the "metamorphic shape, that of the Spider," which he assumes,
+as though the human were his real form, the other only an occasional
+disguise. In "Annancy and Brother Tiger" we find that he has to "run
+up a house-top" to escape the revenge of the monkeys, which accounts
+for some of his habits to this day. In "Yung-kyum-pyung" (a version of
+_Rumpelstilzchen_, or _Tom Tit Tot_), the only hint of his spider
+character is contained in a mere allusion (quite external to the
+story) to his "running 'pon him rope." In "Brother Death," Annancy and
+all his family cling to the rafters, hoping to escape from Death; but
+it scarcely seems in character that they should be incapable of
+holding on long. They drop, one after another, Annancy last (p. 33).
+He is always in danger from Cows (p. 107): "Anywhere Cow see him, he
+reach him down with his mouth"; and he lives in a banana branch (p.
+119) for fear of Calcutta Monkey and his whip. His moral character is
+consistently bad all through; he is a "clever thief"--greedy,
+treacherous, and cruel, but intellectually he does not uniformly
+shine. He has to call in the help of a wizard in his love affairs;
+"Monkey was too clever for him" on more than one occasion; he has to
+be extricated from the slaughter-house (p. 23) by Blackbird and his
+army of Wasps, and in "Man-crow" he is signally discomfited. In other
+cases his roguery is successful, and he is described as the greatest
+musician and "the biggest rascal in the world" (p. 62). Much the same
+is the character given to Mr. Spider in "Cunnie Rabbit." Not one
+amiable trait is recorded of him.
+
+A Gold Coast story,[5] however, shows him arbitrating between a Rat
+and a Panther in very much the same way as the Yao Che Sungula settles
+the difficulty between the Man and the Crocodile,[6] making the latter
+go back into the trap whence he had too confidingly been released, in
+order to show how it was done. Once having got the ungrateful Panther
+back into the trap, the Spider advises the Rat to leave him there.
+
+[Footnote 5: J.C. Christaller, in Buettner's _Zeitschr. fuer Afr.
+Sprachen_. M. Rene Basset says of a similar story included in Col.
+Monteil's _Contes Soudanais_: "L'Enfant et le caiman est le sujet bien
+connu de l'ingratitude punie que l'on retrouve dans tous les pays de
+l'ancien monde, et dont M. Kenneth Mackenzie vient d'etudier les
+diverses variantes." The idea is one so likely to occur independently
+that we must not in all cases resort to the hypothesis of borrowing.]
+
+[Footnote 6: Duff Macdonald, _Africana_, ii. 346.]
+
+As there is a Gold Coast tradition which affirms the human race to be
+descended from the Spider,[7] it might be expected that he should
+sometimes appear in a more favourable light, and also that those
+peoples who had lost this myth, or never possessed it, should
+concentrate their attention on the darker side of his character. At
+the same time, even in what may be called his own home, he does not
+appear as infallible. A very curious story, given by Zimmermann in his
+_Grammatical Sketch of the Akra or Ga Language_, shows us the Spider
+and his son in the character of the two sisters who usually figure in
+tales of the "Holle" type,[8] and, strangely enough, it is the father
+who, by his wilfulness and indiscretion, forfeits the advantages which
+the son has gained. During a time of famine the young spider crawls
+into a rat-hole in search of a nut which has rolled into it, and
+there meets with three unkempt and unwashed spirits, who desire him to
+peel some yams and cook the peelings. He does so, and they are changed
+into large yams. They give him a large basket of yams to carry home,
+and teach him a spell which is not to be imparted to any one else. He
+repeatedly obtains supplies from the same source, but at last is
+followed by his father, who insists on going in his stead. He derides
+and disobeys the spirits, loses his yams, and is flogged into the
+bargain.
+
+[Footnote 7: Ellis, _Tshi-speaking Peoples of the Gold Coast_.]
+
+[Footnote 8: No. 16 in the _Handbook of Folklore_ (p. 122). It might
+also be referred to the "Golden Goose" type (51). Stories of this kind
+are the Ronga "Route du Ciel," and "The Three Women" in Duff
+Macdonald's _Africana_. But perhaps the tale referred to in the text
+comes nearer to "The Two Hunchbacks."]
+
+We have mentioned the comparative absence of the Spider from Bantu
+folk-lore. I have been able to discover only two references to him in
+East Africa, both to be found in Duff Macdonald's _Africana_. The
+first is in a creation-myth of the Yaos (i. 297), which informs us
+that when _Mulungu_ was driven from earth by the conduct of mankind,
+who had set the bush on fire, he went, being unable to climb a tree as
+the Chameleon had done, to call the Spider. "The spider went on high
+and returned again, and said, 'I have gone on high nicely,' and he
+said, 'You now, Mulungu, go on high.' Mulungu then went with the
+spider on high. And he said, 'When they die, let them come on high
+here.'" The other is in the story of "The Dead Chief and his Younger
+Brother" (ii. 322)--also Yao. The dead chief gives his brother four
+bags to enable him to overcome the obstacles which his enemies put in
+his way; he opens the first on coming to a large tree in his path--a
+wood-moth comes out and gnaws a way through. From the second bag comes
+out a manis (scaly ant-eater), which digs a way under a rock, and from
+the third (which he opens when he comes to the bank of a river) a
+spider, which "went to the other side," and, presumably (though this
+is not expressly stated), made a bridge with its web for him to
+cross.[9]
+
+[Footnote 9: In Mr. Dudley Kidd's _Savage Childhood_ (published since
+the above was written), I find that Zulu (or Pondo?) boys draw certain
+omens from spiders, in connection with dreams (p. 105), and that in
+Gazaland the rainbow is called "the spider's bow" (p. 153).]
+
+Mr. R.E. Dennett (_Folklore of the Fjort_, p. 74) gives a Lower Congo
+story, telling how the Spider brought fire down from Nzambi Mpungu in
+heaven, and won the daughter of Nzambi (Mother Earth) by so doing. In
+an Angola story (Heli Chatelain, p. 131) the Spider is mentioned as
+affording a means of communication between heaven and earth, by which
+the Sun's maidservants go down to draw water, and his daughter is
+ultimately let down to be married to the son of Kimanaueze. But the
+Spider only comes in incidentally; it is the Frog whose
+resourcefulness makes the marriage possible. The notion of the
+spider's web as a ladder to heaven is one that might occur
+independently in any part of the world, and there is no need to
+suppose these tales to be derivatives of the Hausa one given by
+Schoen.[10]
+
+[Footnote 10: _Magana Hausa_, 63.]
+
+So far, the appearances of the Spider in Bantu folk-tales are so
+infrequent as to be almost a negligible quantity. We find him,
+however, playing a tolerably conspicuous part in the folk-lore of the
+Duala. These, living in the German territory of the Kamerun, may be
+considered the north-western outpost of the Bantu race, and their
+language, unmistakable in its general character, has departed, perhaps
+more widely than any other, from the normal Bantu standard. Herr
+Wilhelm Lederbogen, formerly of the Government School, Kamerun, has
+collected a large number of stories, some of which are published in
+the _Transactions_ of the Berlin Oriental Seminary (see _Afrikanische
+Studien_ for 1901-1903). These comprise 67 "_Tierfabeln_" and 18 tales
+of the ordinary _maerchen_ type. The latter (some of them recognizable
+as variants of tales current in Bantu Africa) introduce animals along
+with human beings, and the incident of the Spider being consulted as a
+soothsayer repeatedly occurs. "_Die Spinne tritt immer als Wahrsagerin
+auf_" says the collector in a note. But the malignant aspect of Anansi
+seems to be absent.
+
+The late W.H.J. Bleek, who supposed the animal-stories which he had
+collected from Hottentots and Bushmen to be characteristic of and
+peculiar to these races, had built up a somewhat elaborate theory,
+scarcely borne out by the facts as known to us to-day, in connection
+with this point. Briefly, it amounted to this: that a fundamental
+limitation in the Bantu race, which had prevented, and always would
+prevent, their advancing beyond a certain point, was denoted by the
+absence of grammatical gender in their languages, their supposed
+incapacity for personifying nature, and their worship of ancestors, as
+opposed to the alleged moon-worship of the Hottentots.[11] The Zulus,
+he says, believe that the spirits of the dead appear to them in
+dreams, and also show themselves to the waking eye in the shape of
+animals, usually serpents. "No personification of the animal takes
+place, however, such as we find, for instance, in the mythical world
+of our earliest [Teutonic] literature. The imagination of the
+ancestor-worshipper does not even, as a rule, show us the animal as
+possessing the gift of human speech; it is only supposed to perform
+acts well within its capacity as an animal, though such acts are
+considered, in the case of individual animals supposed to be possessed
+by the spirits of deceased persons, as emanating from the spirits."
+Thus, a serpent, known by various tokens to be an _idhlozi_, may enter
+a hut and consume the meat left for it, or it may engage in combat
+with other snakes which must be supposed to represent the enemies of
+the deceased. Animals thus revered by ancestor-worshippers always have
+the distinguishing characteristic that they have once been human
+beings; and spirits, unless they appear as animals, are always
+invisible. "A personification of the animal world (such as we find in
+our own fables), or even of other things (as in the mythologies of
+Europe), is utterly absent from this primitive, prosaic way of looking
+at things." The poetic impulse implied in such personification can
+only arise, in Bleek's view, among the speakers of a sex-denoting
+language. The linguistic argument I cannot here reproduce in detail;
+its tendency is sufficiently shown by the following quotation, which
+bears directly on our subject:
+
+"The form of a sex-denoting language, by exciting sympathy even for
+creatures not connected with us by human fellowship, leads in the
+first instance to the humanization of animals, and thus especially
+gives rise to the creation of fables. Even on the lowest stage of
+national development, we find the Hottentot language accompanied by a
+literature of fables, for which we may vainly seek a parallel in the
+literatures of the prefix-pronominal languages."
+
+[Footnote 11: See _Ursprung der Sprache_ (Weimar, 1868), pp. xix,
+xxiii (Introduction).]
+
+The validity of Bleek's theory was seriously doubted by the late Dr.
+C.G. Buettner, in 1886, and the masses of fresh material which have
+come to light during the last forty years, have completely altered
+the aspect of the question. The Hottentot myth of the Hare and the
+Moon, to take but one example, which appears among the Zulus as the
+tale of Unkulunkulu and the Chameleon, is told by the Anyanja (of the
+Shire Highlands and Lake Nyasa) of the Chameleon. The Duala have the
+same Chameleon story; and there is a Gold Coast version, in which the
+two messengers are the Sheep, who linger on the way to graze, and the
+Goat, who arrives first with the tidings that man shall not return
+after death. The Kr[=u]men of the Ivory Coast say that _Nemla_ (a
+small antelope probably representing, if not identical with, the
+"Cunnie Rabbit" of Sierra Leone), maliciously, not accidentally,
+rendered inoperative the remedy against death provided by the fetich
+Blenyiba. Who is responsible for the original version it is perhaps
+impossible to settle. But there can be no question of _recent_
+borrowing; and supposing that the Bantu did derive the myth from their
+predecessors (now represented by the remnant of the Bushmen, and
+perhaps the Pygmies), this would surely prove them at least capable of
+assimilating fresh ideas and thus advancing beyond the line so
+inexorably traced for them from the beginning. It may be remarked in
+passing that there seems some probability of the Bantu Anyanja in the
+Shire district having largely absorbed, instead of exterminating as
+was elsewhere the case, a smaller-sized race who previously occupied
+the country. In the same way, the Abatembu of the Cape Colony are the
+descendants of a Bantu clan amalgamated with the Bushman tribe of the
+'Tambuka, and traces of similar fusion could no doubt be discovered
+elsewhere. But we doubt its being _necessary_ to the introduction of
+animal-stories into folk-lore,--or, in general, of ideas connected
+with the personification of nature.
+
+The Zulu tales which Bleek had before him present a character very
+different from that of the Hottentot beast-fables. But a comparative
+study of Bantu folk-lore suggests at least the possibility that they
+may have been developed out of animal-stories. Hlakanyana is conceived
+of as certainly human, and reminds us of Tom Thumb; but some of his
+adventures are identical with those of the Hare, the Jackal, or Brer
+Rabbit. Cakijana shows still clearer traces of animal origin. The
+episode of Hlakanyana's demanding a digging-stick in exchange for the
+birds he accuses his companion of having eaten, and the sequence of
+exchanges which culminates in his acquiring a cow,[12] is in
+substance the same as the story told by the Anyanja about the Hare
+(_kalulu_) which was given in _Folk-Lore_ for Sept. 29th, 1904. This
+again reminds us of "The Man who Lived by Overreaching Others" (Dr.
+Elmslie in _Folk-Lore_, vol. iii.), and of a Sukuma story given by
+Herrmann,[13] in which a boy gives his grandmother some honey to keep
+for him, and, coming back after a time, and finding she has eaten it,
+makes her give him some corn in exchange. The corn is then exchanged
+for an egg, the egg for sticks, the sticks for a knife, and the knife
+for a cow's tail, for which, by the same trick as in Dr. Elmslie's
+story, he obtains a cow. There is no suggestion of trickery in the
+Nyanja story, whereas it is brought out very strongly both in
+Hlakanyana and the Sukuma example.
+
+[Footnote 12: McCall Theal, _Kaffir Folk-Tales_, pp. 96-98.]
+
+[Footnote 13: "Afrikanische Studien," 1898 (_Transactions_ of the
+Berlin Oriental Seminary, vol. i.) p. 194.]
+
+We shall have occasion to refer, later on, to more than one instance
+where a story is found in two forms, one having animals, the other
+human beings, as its characters.
+
+The animals figuring in folk-tales must necessarily vary with the
+locality of the tale, and in cases where a story has travelled (or
+possibly where the same idea has arisen independently in different
+places) it is interesting to note the changes in its _dramatis
+personae_. Thus, the incident of the race between the swift creature
+and the slow seems to be found in the folk-lore of every country. In
+Africa the winner is always, so far as I know, the Tortoise, as Brer
+Terrapin is in "Uncle Remus." The Jamaica version in the volume before
+us substitutes the Toad, while the defeated party is the Donkey. In a
+Konde (North Nyasa) variant, the protagonists are the Elephant and the
+Tortoise, in a Duala one, the _Ngolon_ (a large kind of Antelope) and
+the Tortoise. Another version of the Duala story, contained in
+_Maerchen aus Kamerun_, by the late Frau Elli Meinhof, has the Hare and
+the Tortoise, but with the explanation that by "hare" is meant "eine
+kleine Antilopenart, _eseru_ genannt." The curious thing is that Njo
+Dibone, the native authority for the tales, himself suggested the name
+of "hare," but added "Hase ist nicht wie hier,[14] sondern hat kleine
+Hoerner." It is not stated whether he had himself seen the European
+hare, but apparently he thought the two animals so far similar that
+_Hase_ would be the nearest available rendering for _eseru_. This may
+throw some light on the question why the _Dorcatherium_ gazelle, or
+possibly the Royal Antelope, _Neotragus_, is called "Cunnie Rabbit" in
+Sierra Leone English.
+
+[Footnote 14: He had been brought to Europe by a German naval officer
+in 1885, and remained for some time an inmate of Professor Meinhof's
+family.]
+
+The Tortoise plays a conspicuous part in the folk-lore both of Bantu
+and West African Negroes. In Yoruba tradition he takes the place of
+the Spider with the Fantis, all mankind being descended from him.
+Perhaps this is not strange, when we consider how much there is about
+him which would appeal to the primitive mind as uncanny and
+mysterious. A recent writer in the _West African Mail_[15] says on
+this subject: "The original conception of the tortoise culminated in a
+belief concerning its attributes that, in the eyes of these [Niger]
+Delta natives, elevated it to the sovereignty of the beasts of the
+forest.... Absolutely harmless and inoffensive in himself, the
+tortoise does not prey on even the smallest of insects, but subsists
+entirely on the fallen fruits of the forest"--or, in some cases, on
+fungi. "In the gloomy forests of the Delta there are only two enemies
+capable of doing him any serious harm. The one is man, who is able to
+lift him up and carry him bodily away, which, however, he does not do,
+except in those instances in which the animal is regarded as sacred,
+and required in connection with certain religious ceremonies. His
+other and most dangerous enemy is the python, who having first of all
+crushed him by means of the enormous power of constriction which it
+can apply, swallows him alive, shell and all. But pythons large enough
+to do this, unless the tortoise happens to be very young and small,
+are very scarce, so that he has not much to apprehend in that quarter.
+To the elephant--herbivorous, like himself--he is too insignificant,
+for unlike the mosquito or the sand-fly, he has no sting; and although
+they meet in fable, in real life the hippopotamus and himself are not
+much thrown together. From the leopard or the bush-cat, he has nothing
+to fear, for their teeth cannot penetrate his shell, nor can [their]
+claws do him any damage. Thus it is that ... the tortoise has been
+practically immune from attack and therefore destruction--a fact that
+in a great measure explains his longevity."
+
+[Footnote 15: May 25, 1906, p. 202.]
+
+If we add to this his power of living for a long time without food,
+his silence, the extreme slowness and caution of his movements, his
+instinct of keeping out of sight, and the peculiar air of dogged
+determination with which he sets about overcoming or circumventing
+obstacles, it is "easy to understand how in process of time the word
+which stood for tortoise became a synonym for cunning and craft, and a
+man of exceptional intelligence was in this way known among the Ibo as
+'Mbai,' and among the Ibani as 'Ekake,' meaning a tortoise. For
+although he of the shell-back was slow, he was sure, as the old Greek
+Aesop tells us.... This sureness, in the native mind, implied
+doggedness and a fixed determination, while silence and secrecy
+implied mystery and a veiled purpose behind which it is impossible to
+get."
+
+The tortoise of African folk-lore is sometimes, in fact usually, the
+land-tortoise (as implied in the above extracts), of which there are
+several species, living either in forest-country or in deserts like
+the Kalahari. In Angola, the story of "Man and Turtle" (Chatelain, p.
+153--identical with "Mr. Fox tackles Old Man Tarrypin" in "Uncle
+Remus") refers to a kind which, if not aquatic, is evidently
+amphibious. We find tortoise stories all over Negro and Bantu Africa;
+we have Temne, Bullom, and Yoruba examples, besides Duala, Konde
+(Nyasa), Yao, Nyanja, Herero, Bemba, Congo (Upoto), Angola and Sesuto
+ones. This does not exhaust the list I have made out, and further
+research would no doubt bring to light many more. One of these is the
+well-known "tug-of-war" story, which in "Uncle Remus" has the title
+"Mr. Terrapin shows his strength." We have two versions of this
+(agreeing in their main points) from the Kamerun, one told by the
+Duala, the other by the Yabakalaki-Bakoko tribe. Here it is the
+Elephant and the Hippopotamus whom the Tortoise induces to pull
+against each other. The American Negro substitutes the Bear for one of
+these competitors, and then, apparently at a loss for a wild animal
+strong enough to take the place of the other, makes "Brer Tarrypin"
+tie "Miss Meadows's bed-cord" to a root in the bed of the stream. But
+it is interesting to find two native African versions in which other
+animals are substituted for the Tortoise. The Temne (_Cunnie Rabbit_,
+p. 117) gives his part to the Spider, while the Bemba people
+(North-eastern Rhodesia) make the Hare the hero of the adventure. Col.
+Monteil gives a Mandingo variant, introducing a different motive for
+the contest: the Hare has borrowed a slave apiece from the Elephant
+and the Hippopotamus, and when pressed for payment hands each of his
+competitors in turn the end of a rope, with the words, "Tu n'as qu'a
+tirer sur cette corde, le captif est au bout."[16]
+
+[Footnote 16: _Contes Soudanais_, p. 49.]
+
+Another Temne story collected by Miss Cronise, "Mr. Turtle makes a
+riding-horse of Mr. Leopard," is paralleled by an Angola one
+(Chatelain, p. 203) in which it is Mr. Frog who plays the trick on Mr.
+Elephant. In the New World, it will be remembered that Brer Rabbit has
+usurped the part.
+
+In M. Rene Basset's _Anthology of African Folk-tales_[17] is included
+a tale about a monkey and a tortoise from Baissac's _Folklore de l'Ile
+Maurice_ which recalls a Nyanja one obtained by me at Blantyre and
+printed in the _Contemporary Review_ for September, 1896. In the
+latter it is the iguana, not the monkey who robs the Tortoise; but in
+both, the Tortoise exacts retribution with a cold-blooded
+relentlessness suggestive of Shylock. A Brazilian negro story is also
+given, which looks like a variant of one told in Calabar to account
+for the fact that the Tortoise's shell is composed of separate plates,
+as though it had been broken to pieces and put together again.
+
+[Footnote 17: P. 425. Another Mauritius negro tale from the same
+source is identical with the Yao one of the Elephant and the Hare
+(Duff Macdonald, ii. 353)--also found elsewhere in East Africa.]
+
+But we look in vain for the tortoise in these stories of Mr. Jekyll's.
+Even in the race-story, as we have seen, the part which in Africa is
+so peculiarly his own, is taken by the Toad. Probably this is because
+the land-tortoise is not found in Jamaica, and the great turtle of the
+seas is not a creature whose ways would come under the daily
+observation of the peasantry. In the same way familiar animals have
+been substituted for unfamiliar ones in a great many cases, though not
+in all. Mr. Jekyll thinks "Tiger" is a substitute for "Lion," but it
+seems equally possible that "Leopard" is meant. All over South Africa,
+leopards are called "tigers" by Dutch, English, and Germans, just as
+hyenas are called "wolves," and bustards "peacocks" (_paauw_). "Tiger"
+is used in the same sense in German Kamerun, and probably elsewhere in
+West Africa. Lion and elephant are known--perhaps by genuine
+tradition--to Uncle Remus; but they seem to have faded from the
+recollection of the Jamaica negroes; indeed, the lion is not found in
+their original homes, being absent from the whole West Coast as far as
+Sierra Leone.
+
+"Brer Rabbit," so characteristic a figure of Bantu folk-lore that his
+adventures are related from one side of Africa to the other (though in
+the west he is less frequently met with north of Angola), only appears
+in two of Mr. Jekyll's stories, in none of which we can recognize
+anything of his traditional character. In "Annancy and his Fish-pot,"
+he is unscrupulously victimised by Annancy, and subsequently dies of
+fright and worry; in "Snake the Postman," he escapes from Annancy's
+machinations, but there is no indication that he could ever be
+considered a match for "that cravin' fellah." In "John Crow and
+Fowl-hawk" he is merely alluded to (p. 142, "This company was
+Rabbit"). In "Dry Bone," he is induced by Guinea-pig to carry the
+unwelcome load, but succeeds in passing it on, for the time being, to
+Annancy. Finally, in "Gaulin," he cuts a poor figure as the
+unsuccessful suitor. A Bantu story by no means complimentary to the
+Hare's intelligence is given by M. Junod,[18] and seems to have
+reached Louisiana[19] as "Compair Lapin et Michie Dinde," where the
+Rabbit gets his head cut off under the belief that the Turkey has
+removed his when he puts it under his wing to sleep. M. Junod thinks
+this must refer to a second species of Hare, a by-word for stupidity,
+as the other is for cuteness; but it is at least worth noting that the
+same story is told by the Basumbwa (south of Lake Victoria) of the Hen
+and the Tiger-cat.
+
+[Footnote 18: _Chants et Contes_, p. 135, see also the preceding
+story, and some remarks on p. 86, footnote 2.]
+
+[Footnote 19: Alcee Fortier, _Louisiana Folklore_, p. 24.]
+
+Besides Annancy himself, and the "Tiger" already mentioned, we have,
+in these stories, either domestic or quasi-domestic animals: Cow, Hog,
+Dog, Puss, "Ratta," etc., or creatures indigenous to Jamaica, such as
+John-Crow, Chicken-Hawk, Sea-Gaulin, Candle-Fly, Crab and Tarpon. Some
+stories, for which I fail to recall any exact parallel, either in
+Africa or Europe, may be of purely local origin; this is most likely
+to be true of those which profess to explain some elementary fact in
+natural history, such as the inability of two bulls to agree in one
+pasture ("Timmolimmo"), or the hostility between dogs and cats. Even
+were this not so, the amount of local colour introduced (as always
+where tales are transmitted orally) could change them almost beyond
+recognition. This often has a very quaint effect, as in "Parson Puss
+and Parson Dog," who are evidently conceived as ministers of some
+rival Methodist denominations, and in the references to weddings,
+funerals, and dances possibly ending up with a free fight, as in
+"Gaulin," "How Monkey manage Annancy," "Doba," etc. Annancy's inviting
+the animals to his father's funeral and slaughtering them (with the
+exception of Monkey, who is too clever for him) reminds us of the
+Temne "Mr. Leopard fools the other animals,"[20] but in this, Leopard
+himself pretends to die. Cunnie Rabbit's test, "Die pusson nebber
+blow," is less ingenious than that applied by Brer Rabbit in "Uncle
+Remus:"[21] "When a man go to see dead folks, dead folks allers raises
+up der behime leg en hollers _wahoo_!" (In Mr. Owen's version, they
+"grin and whistle.") In the Sesuto story[22] the Monkey suspects a
+trick and escapes, when the Hare persuades the Lion to entrap the
+other animals by shamming death. Perhaps the baptism of the crabs
+("Annancy in Crab Country") may be connected with "Mr. Spider
+initiates the fowls,"[23] where the Temne Spider, assuming for the
+nonce a quasi-religious character, gathers his victims together to
+celebrate the Bundo mysteries, and massacres them wholesale.
+
+[Footnote 20: _Cunnie Rabbit_, p. 219.]
+
+[Footnote 21: "Mr. Wolf makes a failure."]
+
+[Footnote 22: Jacottet, p. 19.]
+
+[Footnote 23: _Cunnie Rabbit_, p. 133.]
+
+"Annancy and Hog" (XXXII.) is a fragmentary story, not very easy to
+understand as we have it, but something has evidently dropped out. The
+sentence "An' when Hog think him done up Annancy him done up him own
+mother" may point to some original similar to the Fiote story given by
+Mr. Dennett, in which the Leopard's wife is induced to eat her
+husband's head.[24] But in that case it is difficult to understand the
+connection with the opening incidents.
+
+[Footnote 24: _Folklore of the Fjort_, pp. 82-84.]
+
+In "John-Crow and Fowl-hawk" (XLVI.) we _may_ have a reminiscence of
+the class of stories represented by the Yao "Kalikalanje," in which an
+unborn child is promised by the mother in return for a service
+rendered her by some person or animal. The resemblance, however, is
+not very marked, and the incident is quite lost sight of in the later
+part of the story.
+
+"Annancy and Death" is curious, and, as it stands, not very
+intelligible. Death, as a person, is introduced into several African
+stories,[25] and even (in one from the Ivory Coast) together with the
+Spider, but none of these have anything parallel with the one before
+us. The last part, however, where Annancy and his children are
+clinging to the rafters, and Death waiting for them below, recalls the
+story to be found on pp. 224-226 of _Cunnie Rabbit_. The Spider and
+his family take refuge in the roof when pursued by the Leopard, and he
+sits on the ground and catches them as they drop one by one. Last of
+all, the wife, Nahker, "he say he done tire, en Spider say: 'Yo' wey
+(= who) big so? Fa' down now, yo' go get de trouble.' Nahker fa' down,
+Lepped yeat um. Spider he one lef' hang." He escapes, however.
+
+[Footnote 25: _Kalunga_ in Angola, _Ko_ by the Ne Kru-men. Some
+curious episodes connected with the latter are given by M. Georges
+Thomann in his _Essai de Manuel de la langue neonla_ (Paris: E.
+Leroux).]
+
+In "Dummy," Annancy wins a bet and the hand of the King's daughter by
+inducing "Peafowl" to make the dumb man talk. This "Peafowl" does by
+the sweetness of his song; but in a Duala story given by Lederbogen as
+"Der Tausendfuss und das stumme Kind," the means adopted more nearly
+resemble the time-honoured recipes for detecting changelings in this
+country. The Mouse advised the dumb child's parents to consult the
+Spider, who told them to hang up a centipede over the fireplace, set
+on a pot of water just underneath it, and leave the child sitting
+beside the fire. They did so, and went out. As soon as the steam rose
+from the water, the centipede, feeling the heat, began to struggle,
+and the dumb child watching it cried out in his excitement, "Father!
+there is a centipede going to fall into the pot."
+
+"William Tell" is puzzling. There is no single point of contact
+between the owner of the witch-tree and the mythical archer of Europe.
+It is most probable that the name (a likely one to remain in the
+memory) had been picked up by some negro story-teller who did not know
+the tale belonging to it and simply attached it to the first
+character that came handy. The "sings" by means of which Annancy fells
+the tree occur frequently in native African stories; we need only
+mention the incident (found not only in the Xosa "Bird that made
+Milk," but in a Duala tale, and elsewhere) of the song which made the
+hoed garden return to grass and weeds, and that of Simbubukwana's
+sister[26] who sang "Have legs, have arms," and the boy who was
+without those members immediately grew them. The notion of spells to
+be sung, however, does not seem to be confined to any country or race.
+
+[Footnote 26: McCall Theal, p. 68.]
+
+I do not remember any exact parallel to "Dry River" (XXXIII.), but the
+incident of the river rising is found in Africa with several different
+sequels. In a Nyanja story which I have in MS., some children go out
+into the bush to gather wild fruit, and are cut off on their return by
+the rising of the river. They are helped across by "a big bird, with
+one wing, one eye and one leg" (one of the "half-beings"[27] whose
+place in Bantu folk-lore has not yet been fully worked out), and
+charged not to tell who took them over. One boy tells his mother, and
+is drowned on the next expedition, his companions getting across in
+safety. In "The Village Maiden and the Cannibal" (Mrs. Martin's
+_Basutoland, its Legends and Customs_), the girls cannot cross the
+swollen stream till they have thrown a large root into the water, and
+complied with the directions. The last girl, who is reluctant to obey,
+but finally gives in, is not drowned, but she and her sister have an
+adventure with cannibals of a not uncommon kind, which may be referred
+to Mr. Jacobs's "Flight from Witchcraft" type. Two other stories, a
+Kinga (North-east Nyasa) and a Machame (Kilimanjaro) one, have the
+same opening incident (in the one case, however, it is a rock and not
+a river which enlarges itself and blocks the way), but continue in
+quite a different way--the girls are helped by an animal (in one case
+a jackal, in another a hyena) who subsequently insists on marrying one
+of them. The Machame tale, to which we shall have to return presently,
+as it belongs to the group to which we refer "Yellow Snake" and some
+others, goes on to relate how the girl escaped from the hyena's
+village; the Kinga one takes an entirely different course.
+
+[Footnote 27: See Junod, _Chants et Contes des Baronga_, p. 197; also
+a note in Chatelain, _Folk-tales of Angola_, p. 254, and Callaway,
+_Zulu Tales_, p. 199.]
+
+"Leah and Tiger" is one of the stories which can be most
+unhesitatingly identified as African; and, as it happens, the examples
+at present known to me are nearly all Bantu. Perhaps the closest
+parallel is the Suto "Tselane" (Jacottet, p. 69),[28] where, however,
+the girl, instead of being secluded by her father to avoid the trouble
+which her refusal to marry threatens to bring upon him, herself
+insists on staying in the house her parents are leaving. As in the
+Jamaica version, they bring her food every day, and sing to let her
+know of their approach. The cannibal on the prowl (represented in
+Jamaica by the "tiger") imitates the mother's voice, but fails; after
+swallowing a red-hot hoe, he succeeds at the first trial. He does not
+eat Tselane, however, and so end the story with a warning against
+obstinacy; he puts her into a bag to carry her home, and rests on his
+way at a hut, which proves to be her uncle's. While he is resting
+inside the hut, leaving his bag outside, the family discover the girl
+and let her out, substituting a dog and some biting ants. In other
+versions it is bees and wasps, or snakes and toads; but the result is
+always the same--the death of the cannibal. The incident of swallowing
+red-hot iron to soften the voice is found also in "Demane and
+Demazana" (Theal) and elsewhere. In a curious Masai story, "The Old
+Man and his Knee" (Hollis, _The Masai: Language and Folklore_, p.
+153), the "enemies" (not said to be cannibals) carry off the old man's
+two children by means of the same stratagem. After failing in the
+first attempt they consult a medicine-man to find out how they can
+"make their voices resemble an old man's." He tells them merely to go
+back, and eat nothing on the road. They eat a lizard and an ant, and
+their voices do not produce the desired effect. On trying again, and
+this time complying exactly with the doctor's directions, they deceive
+the children and get the door opened. This incident is preserved in
+"Leah," and, like the Masai "enemies," Tiger thinks that such a trifle
+as the guava and "duckanoo" cannot possibly do any harm. The Masai
+story concludes with the killing of the old man by making him swallow
+a hot stone--an incident which crops up in various connections in the
+Hare stories, but seems out of its place in this one. On the whole
+(though I do not like to hazard a conjecture) it seems more probable
+that the Masai had picked up this tale from some of their Bantu
+neighbours than that the Bantu should have adopted it from them.
+
+[Footnote 28: This story is also given by Arbousset.]
+
+As regards the imported stories, it seems reasonably clear that
+"Yung-Kyum-Pyung" is a "Rumpelstiltzchen" story which has accidentally
+become associated with Annancy. Though the superstition on which these
+stories are based exists in Africa as well as in other parts of the
+world, and is one of the factors in the custom of _hlonipa_, I do not
+remember any tale embodying it in this form, though there are numerous
+examples of those which turn a _tabu_ of some sort.
+
+"King Daniel" is the story of the jealous sister, best known, perhaps,
+in the ballad of "Binnorie." But it has African prototypes as well,
+though the resemblance to these is not so close, in which the crime is
+discovered by the song of a bird--sometimes the metamorphosed heart of
+the victim. In "Masilo and Masilonyane" and the Kinga "Die
+Reiherfeder,"[29] one brother (or companion) kills the other; in
+"Unyengebule" (Callaway) the husband kills the wife, and here it is
+her feather head-dress which turns into a bird. "Pretty Poll" (XXXI.)
+is a variant of this story.
+
+[Footnote 29: R. Wolff, "Grammatik der Kingasprachen" (_Archiv fuer das
+Studium deutschen Kolonialsprachen_, iii.), p. 135.]
+
+Another pair of variants, apparently, are "Blackbird and Woss-woss"
+and "Open Sesame." But the former of these, it seems to me,
+corresponds much more closely with a Nago story of the Lizard and the
+Tortoise, given by M. Basset (_Contes populaires d'Afrique_, p. 217);
+and it should be remembered that the Nagos of Yoruba are one of the
+tribes represented among the Jamaica negroes. The lizard finds a rock
+containing a store of yams, and overhearing the words used by the
+owner "_Stone, open!_" obtains food for himself in time of famine. He
+imparts the secret to the tortoise, and they go together, but the
+tortoise lingers behind to load himself with all he can carry, and not
+knowing the word fails to get out, and is killed when the owner
+returns. He revives, however, and gets the cockroach to stick his
+shell together, thus presenting a point of contact with other
+aetiological myths about the Tortoise. The rescue by the army of wasps
+I have been unable to match.
+
+"Man-crow" is the story, which exists in so many variants, where the
+hero is robbed of the fruit of his achievement by an impostor stepping
+in at the last minute. The nearest parallel which occurs to me is
+"Rombao" (probably obtained from a Portuguese source by the Quilimane
+natives who related it to Mr. Duff Macdonald), where the hero kills
+the whale and cuts out its tongue; the captain who finds it dead
+claims his reward, but is discomfited by Rombao's appearance with the
+tongue.
+
+"The Three Pigs" will be readily recognized as the familiar English
+story, and corresponds pretty closely to the version in Mr. Jacobs's
+_English Fairy Tales_. A version current among the negroes of the
+Southern States is given by Mr. Owens in the paper in _Lippincott's
+Magazine_ already referred to. This version, entitled "Tiny Pig,"
+omits the two incidents of the apple-tree and the butter-churn; but
+curiously enough these appear as "Buh Rabbit" episodes in another part
+of the same paper, the apple-tree having become a pear-tree, and the
+churn a tin mug which Buh Rabbit puts over his head, while he hangs
+various articles of tinware about his person.
+
+"Sea-Mahmy" introduces several different elements. The mermaid herself
+is probably of European extraction,[30] and the device by which
+Blackbird brings Annancy to the feeding-tree _might_ be a far-off echo
+of the Daedalus and Icarus myth. But Annancy's trick for conveying
+Trapong to his house and eating him recalls one of the stock incidents
+of Bantu folk-lore--the one where Hlakanyana, or the Hare, or some
+other creature, induces his dupe to get burnt or boiled by pretending
+to undergo the process himself and to escape with impunity. The Suto
+Hare[31] commends this as a device for attaining immortality--in which
+there is a faint suggestion of Medea's caldron. I was at first
+disposed to refer this episode to the "Big Klaas and Little Klaas" (or
+the "Getting-to-Heaven-in-a-Sack") group; but the inducement to enter
+the sack, which is so great a point in these, is here wanting. It is
+found in a Zanzibar story ("Abu Nuwasi na waziri na Sultani") in Dr.
+Velten's collection,[32] where Abu Nuwas is sewn up into a sack to be
+thrown into the sea, and induces another man to take his place by
+saying that he is to be drowned for refusing to marry the Sultan's
+daughter. This is evidently an Arab tale, though I do not remember it
+in the _Arabian Nights_.
+
+[Footnote 30: One kind of duppy is a mermaid--but I can find no
+indication that she came from Africa.]
+
+[Footnote 31: Jacottet, p. 15.]
+
+[Footnote 32: _Suaheli Maerchen_, p. 154 (p. 241 in the German
+translation).]
+
+The exotic tales to be found in Bantu Africa come mainly from two
+sources--Arab and Portuguese. The former is exemplified at Zanzibar
+and all down the Mozambique coast; the latter in Angola and
+Mozambique. We have already referred to an example obtained at Delagoa
+Bay by M. Junod; but "Bonaouaci" (_Chants et Contes_, p. 292), though
+the names are Portuguese, and the local colouring goes so far as to
+introduce the Governor of Mozambique in person, is in substance
+identical with one of the "Abu Nuwas" stories given by Dr. Velten, the
+incident of the egg-production being nearly the same in both, as well
+as the two other impossible tasks set the hero--sewing a stone and
+building a house in the air. I fancy the same is the case with
+"Djiwao," though the incidents have been a good deal remodelled, and
+the concluding episode--the boiling of the chief Gwanazi in the pot he
+had intended for Djiwao, is the purely Bantu one alluded to in the
+last paragraph--in a somewhat unusual setting. "Les trois
+vaisseaux,"[33] again, is an _Arabian Nights_ story, of which a
+curious version has been obtained at Domasi, probably brought from the
+coast by some member of a Yao trading caravan. Mr. Dennett's No. III.,
+"How the wives restored their husband to life," looks like a much
+altered and localized form of this. If so it might have reached the
+Congo through the Portuguese. We also find it on the Ivory Coast[34]
+where it might have come from an Arab source through Mandingoes or
+Hausas.
+
+[Footnote 33: _Ib._ p. 304.]
+
+[Footnote 34: See Thomann, _op. cit._, "Trois maris pour une femme."]
+
+The stories of "Fenda Maria" and "Fenda Maria and her elder brother
+Nga Nzua"[35] ("The Three Citrons" and "Cinderella"), are good
+examples of transplanted stories invested with local colour by
+successive generations of narrators, till, as Mr. Chatelain says,
+"the fundamental idea of exotic origin has been so perfectly covered
+with Angola foliage and blossoms, that science alone can detect the
+imported elements, and no native would believe that [these tales] are
+not entirely Angolan."
+
+[Footnote 35: Chatelain, No. I. and No. II.]
+
+A curious stage in the migration of stories is exemplified by the
+"Taal" (or Cape Dutch) versions of Oriental stories imported into
+South Africa by the Malays, and existing in a purely traditional form
+among the coloured people. One of these was printed by Mr. H.N. Mueller
+in _De Gids_ for Jan., 1900, but I think hardly any attempt has been
+made to collect them. And here I may mention that Herr Seidel's
+_Lieder und Geschichten der Afrikaner_[36] contains a Nama version of
+the Lear story, taken down and translated by Herr Olpp, of the Rhenish
+Mission, who seems quite unaware of its real origin, in spite of the
+very obvious parallel in Grimm's _Hausmaerchen_. He says in a note:
+"Diese Begebenheit kann sich nur in der Kap-Kolonie ereignet haben zu
+einer Zeit in welcher Kolonisten sich schon angesiedelt hatten und
+unter den Eingeborenen wohnten. Der Name der Tochter spricht dafuer und
+enstammt dem Hollaendischen." Now the youngest daughter's name is
+"Katje Leiro"--surely, all things considered, not such a very far cry
+from Cordelia.
+
+[Footnote 36: P. 135, "Liebe bis zum Salz."]
+
+It is interesting to trace the African elements in these imported
+tales as distinct from those which are merely derived from West Indian
+surroundings. Thus Mr. Bluebeard's three-legged horse (compare also
+the three-legged horse in "Devil and the Princess") is, as explained
+in the footnote, a "duppy"; and the duppy, whatever the derivation of
+his name, seems to be West African in origin. Duppies are the souls of
+the dead, "capable of assuming various forms of men and other
+animals."[37] Some of these forms are monstrous, as the "three-foot
+horse" already alluded to, the "long-bubby Susan," and the "rolling
+calf." The informant who is responsible for these statements also says
+that "the duppy in human form generally moves along by spinning or
+walking backwards." Perhaps this may explain the mysterious "Wheeler"
+(LI.) who has his habitation in a hollow tree, and seizes the hand of
+any unwary person who puts it into the hole. What he would have done
+if not requested to "Wheel me mile an' distant," remains obscure; but
+apparently the persons making the request are whirled through the air
+and then dropped at the place where Annancy (who has previously passed
+through the experience unscathed) has prepared a trap for them. The
+story suggests--though the resemblance is not very close--the episode
+of "The Stone that wore a Beard" in _Cunnie Rabbit_ (p. 167), where
+the Spider, having had a narrow escape from the magic powers of the
+bearded stone (a transformed "devil") utilises them for the
+destruction of his acquaintances. Those who remark on the peculiarity
+of the stone are struck down unconscious, and Spider exercises all his
+ingenuity in inducing his victims to say, "Dah stone get plenty
+bear'-bear'!" Cunnie Rabbit will not say the words till Spider has
+himself done so, and has suffered the consequences; both are
+afterwards rescued by Trorkey (Tortoise). Somewhat similar to
+"Wheeler" is the magic jar in XLV.--which might, however, be due to a
+distorted reminiscence of "Bluebeard." Spirits are often believed on
+the Gold Coast to take up their abode in trees, as well as to assume
+the form of animals. The usual Tshi name for them appears to be
+_bonsum_ or _bossum_: the word "duppy" I have been unable to trace.
+
+[Footnote 37: See _Folk-Lore_, March, 1904, p. 90.]
+
+The method of divination in "Mr. Bluebeard" is one I do not remember
+to have met with, though it may be akin to the "magic mirror of ink."
+The magic drum by which Calcutta Monkey (XXXVIII.) finds out Annancy's
+whereabouts is African. I do not recall any parallel story, but drums
+are much used by witch-doctors and in ceremonial dances, and in some
+cases auguries are drawn from their sound. But Monkey first discovers
+Annancy to be the thief by cutting the cards, which of course is
+European.
+
+Two stories, "Annancy and the Old Lady's Field" (XVI.) and "Devil's
+Honeydram," introduce the incident of a woman compelled to dance
+against her will--in one case to dance herself to death. In both cases
+the music seems to be the compelling power; but it is not clear
+whether, in "Devil's Honeydram," the knowledge (and use in the song)
+of the woman's name has anything to do with the spell. If so, the idea
+is so universal that one can scarcely refer to it as specially
+African. It is interesting, though perhaps scarcely pertinent to the
+matter in hand, to note that the Akikuyu believe their images (of
+which Mr. Scoresby Routledge has brought home specimens) to have the
+power, if held up before people, of compelling them to dance.
+
+The folk-lore of Jamaica, as given in the interesting papers published
+in _Folk-Lore_, 1904-5, is decidedly of a composite character. The
+negroes have, as there pointed out (1904, p. 87), "adopted many of the
+most trivial of English superstitions," while at the same time
+preserving some reminiscences of their African beliefs. These are
+especially seen in the notions respecting "duppies," which again are
+perceptibly influenced by Christian ideas, cf. the efficacy of the
+name of Christ (p. 90) and the statement that the "rolling calf" is
+the spirit of a person not good enough for heaven or bad enough for
+hell, or the recipe of "sitting on a Bible" to get rid of a duppy. The
+directions for "killing a thief" (p. 92) belong to the system
+(universal throughout Negro and Bantu Africa) of guarding crops by
+means of "medicine," or "fetish," or whatever one likes to call it:
+the technical name in Chinyanja is _chiwindo_. I do not remember any
+of the particular forms of _chiwindo_ here enumerated; and the silver
+threepence to be planted with the "guinea yam" is a civilized
+addition, but the principle is the same. The methods of "finding out
+the thief," on the other hand, which follow on p. 93, are certainly
+English--the Bible and key, and the gold ring, hair and tumbler of
+water. There is a third alternative:--"A curious kind of smoke, which,
+when it rises, goes to the house of the thief, etc."--but it is too
+vaguely stated to enable us to pronounce upon it.
+
+Among funeral customs we find the following (p. 88): "If a person dies
+where there are little children, after the body is put into the
+coffin, they will lift up each little child, and calling him by name,
+pass him over the dead body." According to a Sierra Leone paper this
+custom is observed there; but it is not stated by which of the tribes
+who make up the extremely mixed population. It may even be found on
+investigation that some of the freed slaves brought the notion back
+from the New World. The same authority states that it is considered
+unlucky to whistle, and adds the rationalizing explanation that
+whistling attracts snakes, lizards, and other undesirable creatures
+into the house. In Jamaica, you must not "whistle in the nights, for
+duppies will catch your voice."
+
+The proportion of native and acquired, or African and European ideas
+in these superstitions can only be determined by a much more detailed
+examination than I can make here, and one based on fuller materials
+than are yet accessible.
+
+In conclusion, I would briefly glance at five stories which I have
+grouped together as derived from a common African original, and which
+present several features of interest, though I am unable to examine
+them as much in detail as I should like to do. These are "The Three
+Sisters" (VII.), "Gaulin" (XXIV.), "Yellow Snake" (XXXIV.), "John
+Crow" (XLIII.), and "Devil and the Princess" (LI.). The type to which
+these may be referred resembles the one registered by Mr. Jacobs as
+the "Robber-Bridegroom"; but the African prototypes are certainly
+indigenous, and it might seem as if the stories Mr. Jacobs had in view
+were late and comparatively civilized versions of the corresponding
+European and Asiatic ones, the Robber being the equivalent of an
+earlier wizard or devil, who, in the primitive form of the story, was
+simply an animal assuming human shape. The main incidents of the
+type-story are as follows:
+
+ (1) A girl obstinately refuses all suitors.
+
+ (2) She is wooed by an animal in human form, and at once
+ accepts him.
+
+ (3) She is warned (usually by a brother) and disregards the
+ warning.
+
+ (4) She is about to be killed and eaten, but is saved by the
+ brother whose advice was disregarded.
+
+A Nyanja variant of this story, where the bridegroom is a hyena,
+corresponds very closely with the Temne "Marry the devil, there's the
+devil to pay" (_Cunnie Rabbit_, p. 178)--even to the little brother
+who follows the newly-wedded couple, against the wishes of the bride,
+and who is afflicted--in the one case with "craw-craw," in the other
+with sore eyes. A translation of the Nyanja story may be found in the
+_Contemporary Review_ for September, 1896. In Mrs. Dewar's
+_Chinamwanga Stories_ (p. 41) there is a variant,--"Ngoza,"--where the
+husband is a lion. In the Machame story, previously alluded to, the
+hyena, having befriended a girl, marries her, and she escapes with
+some difficulty from being eaten by his relations. Yet another variant
+is "Ngomba's Balloon" in Mr. Dennett's _Folklore of the Fjort_. Here
+the husband is a _Mpunia_ (translated "murderer")--apparently a mere
+human bad character, and Ngomba escapes by her own ingenuity.
+
+In the Jamaican stories it strikes one that the idea of transformation
+is somewhat obscured. We are told how "Gaulin" (Egret) and "John Crow"
+provide themselves with clothes and equipages--the latter a carriage
+and pair, the former the humbler local buggy;--and this seems to
+constitute the extent of their disguise. Yellow Snake is said to
+"change and fix up himself"--but the expression is vague. Gaulin,
+however, can only be deprived of his clothes (and so made to appear in
+his true shape) by means of a magic song. The "old-witch" brother, who
+has overheard the song, plays its tune at the wedding and thus exposes
+the bridegroom, who flies out at the door. "John-Crow" is detected by
+a Cinderella-like device of keeping him till daylight, and his hurried
+flight through the window (in which he scraped the feathers off his
+head on the broken glass) explains a characteristic feature of these
+useful but unattractive birds.
+
+In neither of these is the bride in any danger: but in "Yellow Snake"
+her brothers save her when already more than half swallowed; in "Devil
+and the Princess," she escapes by the aid of the Devil's cook, who
+feeds the watchful cock on corn soaked in rum. In this story, too, it
+is not the girl's brother, but the "old-witch" servant-boy, who warns
+her; and, as he is cast into prison for his pains, he has no hand in
+the release. In two cases ("Gaulin" and "John Crow") Annancy is one of
+the unsuccessful suitors, and, in the former, "Rabbit" is another.
+(He, apparently, takes no steps to change his shape, being rejected on
+the ground that he is "only but a meat," _i.e._, an animal.) In the
+Nyanja story, Leopard and Hare are mentioned as meeting with refusals,
+before the Hyena arrives on the scene. "The Three Sisters," while
+keeping one or two points of the original story, is much altered, and
+seems to have introduced some rather unintelligible fragments of an
+English ballad (as to which see Appendix, p. 286). The Snake is never
+accepted; and the youngest of the sisters, who answers him on behalf
+of all, would seem to represent the "old-witch" brother who detects
+his true character. His "turning into a devil" is another alien
+element--perhaps due to Biblical recollections, and the concluding
+assertion that he "have chain round his waist until now" seems to
+refer to something which has dropped out, as there is no previous
+allusion to a chain in the story as it stands. Of all the five,
+"Yellow Snake" is, on the whole, the closest to what we may suppose to
+have been the original; "Devil and the Princess" is in some respects
+complete, but has acquired several foreign features, and "John Crow"
+has quite lost the characteristic conclusion. It is to be hoped that
+we may one day succeed in discovering, if not all the African variants
+of this story, yet enough to render those we possess more
+intelligible, and to afford materials for an interesting comparative
+study.
+
+A. WERNER.
+
+
+
+
+AUTHOR'S PREFACE.
+
+
+The stories and tunes of this book are taken down from the mouths of
+men and boys in my employ. The method of procedure has in every case
+been to sit them down to their recital and make them dictate slowly;
+so the stories are in their _ipsissima verba_. Here and there, but
+very rarely indeed, I have made a slight change, and this only because
+I thought the volume might find its way into the nursery. The
+following list exhausts the emendations: (1) It was not his fat that
+Tiger took out when he went bathing, but his viscera; (2) The
+"Tumpa-toe" of one of the stories is "Stinking-toe"; (3) Dog always
+swears, his favourite expression being, "There will be hell here
+to-night," and the first line of one of the dance tunes runs really:
+"Hell of a dog up'tairs"; (4) "belly" is replaced by a prettier
+equivalent.
+
+The district in which I live is that of the Port Royal Mountains
+behind Kingston. Other districts have other "Sings," for these depend
+upon local topics. The Annancy Stories are, so far as I know, more or
+less alike throughout the island. This title seems to include stories
+in which Annancy himself does not figure at all, but this is of course
+an illegitimate use of it. The collection in this book is a mere
+sample both of stories and tunes.
+
+The book as a whole is a tribute to my love for Jamaica and its dusky
+inhabitants, with their winning ways and their many good qualities,
+among which is to be reckoned that supreme virtue, _Cheerfulness_.
+
+W.J.
+
+JAMAICA, _January_, 1906.
+
+
+
+
+JAMAICAN SONG AND STORY.
+
+
+
+
+PART I. ANNANCY STORIES.
+
+
+When the hoes stop clicking and you hear peals of laughter from the
+field, you may know that somebody is telling an Annancy story. If you
+go out, you will find a group of Negroes round the narrator,
+punctuating all the good points with delighted chuckles. Their sunny
+faces are beaming, and at the recital of any special piece of knavery
+on Annancy's part ordinary means of expression fail, and they fling
+themselves on the ground and wriggle in convulsions of merriment.
+
+Annancy is a legendary being whose chief characteristic is trickery. A
+strong and good workman, he is invariably lazy, and is only to be
+tempted to honest labour by the offer of a large reward. He prefers to
+fill the bag which he always carries, by fraud or theft. His appetite
+is voracious, and nothing comes amiss to him, cooked or raw. No sooner
+is one gluttonous feast over than he is ready for another, and endless
+are his shifts and devices to supply himself with food. Sometimes he
+will thrust himself upon an unwilling neighbour, and eat up all his
+breakfast. At another time he carries out his bag and brings it home
+full of flesh or fish obtained by thieving. He is perfectly selfish,
+and knows no remorse for his many deeds of violence, treachery and
+cruelty. His only redeeming point is a sort of hail-fellow-well-met-ness,
+which appeals so much to his associates that they are ready almost,
+if not quite, to condone his offences.
+
+Annancy has a defect of speech owing to a cleft palate, and pronounces
+his words badly. He speaks somewhat like Punch, through his nose very
+rapidly, and uses the most countrified form of dialect. He cannot say
+"brother," and has to leave out the _th_ owing to the failure of the
+tongue to meet the palate, so he says "bro'er." He even pretends he
+cannot say "puss," and turns it into "push." Strings of little words
+he delights in, such as, in the Brother Death story, the
+often-repeated "no mo so me no yerry," an expressive phrase difficult
+to render into good English. It means "I must have failed to hear."
+The words are "no more so me no hear," equivalent to "it must be so
+(that) I (do) not hear," the "no more" having something of the force
+of the same words in the colloquial phrases, "no more I do," "no more
+I will." When, for instance, to the remark, "I thought you didn't like
+the smell of paint," we make the rejoinder "no more I do," Priscian
+strives in vain to disentangle the words and reduce them to rule of
+syntax, but they mean "Well! I do not." Thus "no more me hear" would
+be "Well! I do not hear." The "so" introduces the hypothetical element
+and the "no" before "yerry" is a reduplicated negative.
+
+Thus far for the sense. Now for the pronunciation. The accent
+indicates where the stress of the voice falls, and unless the accent
+is caught, the phrase will not run off the tongue. This is how it
+goes:
+
+ n[)o] m[)o] | s[=o] m[)e] n[)o] | yerry.
+
+As an illustration of the necessity of right placing of the accent,
+take the name of that town in Madagascar, which we so often saw in our
+papers a few years ago, Antananarivo. Most of us just nodded our heads
+at it, but never tried, or at least only feebly, to articulate it.
+With all this "an an" it was the same sort of hopeless business as
+the deciphering of the hieroglyphics of those writers whose words
+seem to be composed of nothing but _m_'s. And yet how simple, and easy
+to say, the word is when we catch the accent. First "an"; then stop a
+little; "tanana," same values as traveller; and finally "rivo." French
+sounds for the vowels of course, An-tananarivo. This grouping of
+accents is that which in music is known as rhythm. Rightly grouped
+they make musical sense, wrongly grouped--and alas! how often we hear
+it--musical nonsense. See the stuttering hopelessness and helplessness
+of an-tan-an-a--there might be any number more of "an-an"s to follow,
+and compare with this the neat satisfying form Antananarivo. So let no
+bungler read in the story of Brother Death "no mo so me no yerry" with
+halting and panting, but let him reel off as quickly as he can "no mo
+so me no yerry" with just the accent that he would use in this
+phrase:--"It is here that I want you." Remember, too, that the _o_'s
+have the open sound of Italian, and not the close sound of English. So
+is exactly like _sol_ (the musical note) with the _l_ left out, and
+not as we pronounce it. And above all, speed.
+
+When the stranger lands in Jamaica and hears the rapid rush of words,
+and the soft, open vowels, he often says: "Why, I thought they talked
+English here, but it sounds like Spanish or Italian!" The difficulty
+in understanding a new language lies in the inability to distinguish
+the point where one word ends and the next begins. The old puzzle
+sentence, _Caille a haut nid, taupe a bas nid_, shows this very well.
+The ear catches the sound but fails to differentiate the words, and,
+their real identity being disguised, the listener has a sort of
+impression of modern Greek or Italian, writing these fragments in his
+brain _oni_, _bani_.
+
+Just as hopeless is negro English to the newcomer, and the first thing
+to do is to set about learning it. And well it repays investigation.
+It is the boast of the English language that it has got rid of so much
+superfluous grammatical matter in the way of genders, inflections and
+such-like perplexities. True, it has abolished much that was evil, and
+enables us to speak and write shortly and to the point. But negro
+English goes a step further, and its form is still more concise.
+Compare these expressions:
+
+ NEGRO. ENGLISH.
+
+ Corn the horse. Give the horse some corn.
+ Care the child. Take care of the child.
+ Him wife turn fire. His wife became a shrew.
+ You middle hand. The middle of your hand.
+ My bottom foot. The bottom of my foot.
+ Out the lamp. Put out the lamp.
+ The boy too trick. The boy is very tricky.
+ I did him nothing. I did not provoke him.
+ See the 'tar up a 'ky. Look at the star up in the sky.
+ No make him get 'way. Do not let him get away.
+ Me go buy. I am going to buy.
+ A door. Out of doors.
+ Short-mout'ed. Quick at repartee.
+ Bull a broke pen. The bull has broken out of the pen.
+ Bell a ring a yard. The bell is ringing in the yard.
+ Same place him patch. In the place where it was patched.
+ To warm fire. To warm oneself by the fire.
+ You no give. If you do not give.
+ Bring come. Bring it here.
+ A bush. In the bush.[38]
+
+[Footnote 38: These idioms are very similar to those of Cape Dutch,
+especially as spoken by the coloured people, and may help to
+illustrate its development. Cf. _Jy is te skellum_,--_ek gaan_ (or
+better, _Corp_) korp, etc. "To warm fire" reminds one of the Bantu _Ku
+ot a moto_, of which it is almost a literal translation. (A.W.)]
+
+These are a few typical sentences out of a host which might be cited
+to show the neat, short turn they take in the mouth of the Jamaica
+Negro.
+
+The rapidity of utterance natural to all the Blacks is exaggerated by
+Annancy. He generally affects, too, a falsetto tone as in "Play up the
+music, play up the music," in Yung-kyum-pyung. He has a metamorphic
+shape, that of the Spider. At one moment he is a man "tiefing
+(thieving) cow," the next he is running upon his rope (web).
+
+As he is the chief personage in most of the stories in this book, it
+is well to have a perfectly clear idea of the pronunciation of his
+name. Unnahncy does not represent it badly, but the first letter has
+actually the sound of short French _a_ as in _la_. The accent falls
+strongly on the middle syllable. In "Tacoma" all the syllables are
+very short. The first has the sound of French _ta_, and takes the
+accent; _co_ is something between English _cook_ and Italian _con_,
+and it is impossible to determine whether to write the vowel _o_ or
+_u_; _ma_ again as in French. The exact relation in which Tacoma
+stands to Annancy is obscure. In one case he is described as Annancy's
+son, but, according to most of the stories, he appears to be an
+independent neighbour.
+
+The stories are obviously derived from various sources, the most
+primitive being no doubt those which are concerned only, or chiefly,
+with animals. These may be of African origin, but we should have
+expected to find the Elephant and not the Tiger. I have a suspicion
+that Tiger was originally Lion, and that he is the Ogre of Jack the
+Giant-killer, and other fairy stories brought to Jamaica from England.
+Ogre would easily be corrupted to Tiger, and with the information,
+which might have been acquired at the same time, that Tiger was a
+fierce animal which ate men, his name would find its way into stories
+repeated from mouth to mouth. This is, however, pure conjecture. How
+much the stories vary may be seen from the two versions of Ali Baba,
+in one of which the point is so entirely lost that the door is not
+kept shut upon the intruder.
+
+The tunes are in the same case as the stories. What I take to be
+certainly primitive about them is the little short refrains, like
+"Carry him go 'long" (Dry Bone) and "Commando" (Annancy and Hog).
+These suggest tapping on a drum. Again, the same influence that has
+produced the American Plantation Songs is occasionally visible, as in
+"Some a we da go to Mount Siney" (Annancy in Crab Country). This kind
+of patter is just what the Negro likes. Some of the tunes are
+evidently popular songs of the day, as, for instance, the vulgar
+"Somebody waiting for Salizon" (Snake the Postman). But others are a
+puzzle, showing as they do a high order of melodic instinct. Such are
+the melodies in "The Three Sisters" and "Leah," and the digging-tunes,
+"Oh, Samuel, Oh!" and "Three Acres of Coffee." These digging-tunes are
+very pleasant to hear, and the singers are quick at improvising parts.
+They are an appropriate accompaniment to the joyous labour of this
+sunny, happy land.
+
+One more word with regard to the tunes. They gain a peculiar and
+almost indescribable lilt from a peculiarity in the time-organisation
+of the Negro. If you ask him to beat the time with his foot, he does
+it perfectly regularly, but just where the white man does not do it.
+We beat _with_ the time; he beats _against_ it. To make my meaning
+quite plain, take common measure. His first beat in the bar will be
+exactly midway between our first and second beats. The effect of this
+peculiarity in their singing is, that there is commonly a feeling of
+syncopation about it. The Americans call it "rag-time."
+
+The men's voices are of extraordinary beauty. To hear a group chatting
+is a pure pleasure to the ear, quite irrespective of the funny things
+they say; and their remarks are accompanied with the prettiest little
+twirks and turns of intonation, sometimes on the words, sometimes mere
+vocal ejaculations between them. The women's voices have the same fine
+quality when they speak low, but this they seldom do, and their usual
+vivacious chatter is anything but melodious.
+
+
+
+
+I. ANNANCY AND BROTHER TIGER.
+
+
+One day Annancy an' Bro'er Tiger go a river fe wash'kin. Annancy said
+to Bro'er Tiger:--"Bro'er Tiger, as you are such a big man, if you go
+in a de blue hole with your fat you a go drownded, so you fe take out
+your fat so lef' it here."
+
+Tiger said to Bro'er Annancy:--"You must take out fe you too."
+
+Annancy say:--"You take out first, an' me me take out after."
+
+Tiger first take out.
+
+Annancy say:--"Go in a hole, Bro'er Tiger, an' make me see how you
+swim light."
+
+Bro'er Annancy never go in.
+
+As Tiger was paying attention to the swimming, Annancy take up his fat
+an' eat it.
+
+Then Annancy was so frightened for Tiger, he leaves the river side an'
+go to Big Monkey town.
+
+Him say:--"Bro'er Monkey, I hear them shing a shing a river side
+say:--
+
+[Music:
+
+ "Yeshterday this time me a nyam Tiger fat,
+ Yeshterday this time me a nyam Tiger fat,
+ Yeshterday this time me a nyam Tiger fat,
+ Yeshterday this time me a nyam Tiger fat."]
+
+The Big Monkey drive him away, say they don't want to hear no song.
+
+So him leave and go to Little Monkey town, an' when him go him said:--
+
+"Bro'er Monkey, I hear one shweet song a river side say:--
+
+ "Yeshterday this time me a nyam Tiger fat.
+ Yeshterday this time me a nyam Tiger fat."
+
+Then Monkey say:--"You must sing the song, make we hear."
+
+Then Annancy commence to sing.
+
+Monkey love the song so much that they made a ball a night an' have
+the same song playing.
+
+So when Annancy hear the song was playing, he was glad to go back to
+Bro'er Tiger.
+
+When him go to the river, he saw Tiger was looking for his fat.
+
+Tiger said:--"Bro'er Annancy, I can't find me fat at all."
+
+Annancy say:--"Ha ha! Biddybye I hear them shing a Little Monkey town
+say:--
+
+ "Yeshterday this time me a nyam Tiger fat.
+ Yeshterday this time me a nyam Tiger fat.
+
+"Bro'er Tiger, if you think I lie, come make we go a Little Monkey
+town."
+
+So he and Tiger wented.
+
+When them get to the place, Annancy tell Tiger they must hide in a
+bush.
+
+Then the Monkey was dancing an' playing the same tune.
+
+Tiger hear.
+
+Then Annancy say:--"Bro'er Tiger wha' me tell you? You no yerry me
+tell you say them a call you name up ya?"
+
+An' the Monkey never cease with the tune:--
+
+ Yeshterday this time me a nyam Tiger fat.
+ Yeshterday this time me a nyam Tiger fat.
+
+Then Tiger go in the ball an' ask Monkey them for his fat.
+
+The Monkey say they don't know nothing name so, 'tis Mr. Annancy l'arn
+them the song.
+
+So Tiger could manage the Little Monkey them, an' he want fe fight
+them.
+
+So the Little Monkey send away a bearer to Big Monkey town, an' bring
+down a lots of soldiers, an' flog Bro'er Tiger an' Annancy.
+
+So Bro'er Tiger have fe take bush an' Annancy run up a house-top.
+
+From that, Tiger live in the wood until now, an' Annancy in the
+house-top.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=Go a river fe wash 'kin=, go to the river to wash their skins.
+Pronounce =fe= like =fit= without the =t=.
+
+=in a de=, into the.
+
+=A go drownded=, will be drowned.
+
+=fe take=, short for =must have fe take=, must take.
+
+=so lef'=, and leave.
+
+=fe you=, for you, yours.
+
+=me me=, I will. Annancy is fond of these reduplications.
+
+=in a hole=, in the hole.
+
+=make me see=, let me see. =Make= and =let= are always confused.
+
+=frighten=, frightened. Past participles are seldom used.
+
+=take=, =eat=, =leave=, =go=, takes, eats, leaves, goes. This shortening is
+always adopted. If a final =s= is used, it is generally in the wrong
+place.
+
+=shing a shing=, sing a song. Annancy's lisp will not always be printed,
+but in reading, it should be put in even when not indicated.
+
+=a river side=, at the river's side. The =v= is pronounced more like a =b=,
+and the =i= in =river= has the sound of French =u=.
+
+=me a nyam=, I was eating, I ate. =Nyam= is one of the few African words
+which survive in Jamaica.
+
+=make we hear=, and let us hear it.
+
+=have the same song playing=; the past participle again avoided, and its
+place supplied by the present participle. Song and tune are
+interchangeable terms, and, even when there is no singing, the fiddle
+speaks words to those who are privileged to hear; see "Doba" and other
+stories.
+
+=Biddybye=, by the bye.
+
+=a Little Monkey town=, in Little Monkey town. So already in this story
+we have had _a_ standing for =to=, =in=, =the=, =at=, =will=, besides being
+interjected, as in =me a nyam= and elsewhere.
+
+=make we go=, let us go.
+
+=in a bush=, in the bush, in the jungle.
+
+=dancing an' playing.= No mention of singing, observe.
+
+=a wha' me tell you, etc.= What did I tell you? Did you not hear me tell
+you they were talking about you up here? A good phrase to illustrate
+the use of the interjected =say=.
+
+=Call you name=, mention your name.
+
+=Monkey them=; another common addition.
+
+=nothing name so=, nothing called so.
+
+=a bearer.= Bearers are important people in the Jamaica hills where
+post-offices are few. They often bear nothing but a letter, though
+some carry loads too.
+
+=Jack Mantora, etc.= All Annancy stories end with these or similar
+words. The Jack is a member of the company to whom the story is told,
+perhaps its principal member; and the narrator addresses him, and
+says: "I do not pick you out, Jack, or any of your companions, to be
+flogged as Tiger and Annancy were by the monkeys." Among the African
+tribes stories we know are often told with an object. The Negro is
+quick to seize a parable, and the point of a cunningly constructed
+story directed at an individual obnoxious to the reciter would not
+miss. So when the stories were merely told for diversion, it may have
+been thought good manners to say: "This story of mine is not aimed at
+any one."
+
+
+
+
+II. YUNG-KYUM-PYUNG.
+
+
+A King had t'ree daughter, but nobody in the world know their name.
+All the learned man from all part of the eart' come to guess them
+name, an' no one could'n guess them.
+
+Brother Annancy hear of it an' say:--"Me me I mus' have fe fin' them
+ya-ya gal name. Not a man can do it abbly no me."
+
+So one day the King t'ree gal gone out to bathe, an' Brother Annancy
+make a pretty basket, an' put it in a the house where he knew they was
+going to come fe eat them vittle.
+
+He leave it there, an' go under the house fe hear the name.
+
+When them come, them see the basket, an' it was the prettiest
+something they ever see in their life.
+
+Then the biggest one cry out:--
+
+ Yung-kyum-pyung! What a pretty basket!
+ Marg'ret-Powell-Alone! What a pretty basket!
+
+And the next one say:--
+
+ Margaret-Powell-Alone! What a pretty basket!
+ Eggie-Law! What a pretty basket!
+
+And the youngest bahl:--
+
+ Eggie-Law! What a pretty basket, eh?
+ Yung-kyum-pyung! What a pretty basket, eh?
+
+Brother Annancy hear it all good, an' he glad so till him fly out a
+the house an' gone.
+
+Him go an' make up a band of music with fiddle an' drum, an' give the
+musicians them a tune to sing the names to.
+
+An' after a week him come back.
+
+When him get where the King could yerry, him give out:--"Play up the
+music, play up the music."
+
+So they play an' sing:--
+
+[Music:
+
+ Yung-kyum-pyung
+ Eggie-Law
+ Marg'ret-Powell-Alone.]
+
+After six times sing the Queen yerry.
+
+She say:--"Who is that calling my daughter name?"
+
+Annancy tell them fe play all the better.
+
+Then the Queen massoo himself from up'tairs, an' t'row down broke him
+neck.
+
+Dat time de King no yerry, so Annancy harder to play de music still.
+
+At last the King yerry, an' him say:--"Who is dat, calling me daughter
+name?"
+
+Annancy let them sing the tune over and over:--
+
+[Music:
+
+ Yung-kyum-pyung
+ Eggie-Law
+ Marg'ret-Powell-Alone.]
+
+An' the King t'row himself off a him t'rone an' lie there 'tiff dead.
+
+Then Annancy go up an' take the t'rone, an' marry the youngest
+daughter an' a reign.
+
+Annancy is the wickedest King ever reign. Sometime him dere, sometime
+him gone run 'pon him rope an tief cow fe him wife.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Me, me I mus' have, etc.=, I will find out those girls' names. Anybody
+else would have said:--"Me mus' have fe find them ya (those here) gal
+name," but Annancy likes to add a few more syllables. His speech is
+=Bungo talk=. The Jamaican looks down on the Bungo (rhymes with Mungo)
+who "no 'peak good English."
+
+=abbly no me=, except me.
+
+=go under the house.= It is no absurdity to the narrator's mind to
+picture the King's house on the pattern of his own. This is a
+two-roomed hut, consisting of the hall or dining-room and a bedroom.
+It is floored with inch-thick cedar boards roughly cut and planed, so
+that they never lie very close. An air space is left underneath, and
+anybody who creeps under the hut can hear all that goes on above.
+
+=bahl=, bawl.
+
+=hear it all good=, hears everything perfectly.
+
+=Play up the music.= He almost sings, like this:--
+
+[Music:
+
+ Play up the music.]
+
+=all the better=, all the harder.
+
+=massoo himself=, lifts herself up. "Massoo" is an African word. The
+hall seems to have a sort of gallery.
+
+=t'row down, etc.=, throws herself down and breaks her neck. They always
+say =to broke=.
+
+=Dat time de King.= The turning of =th= into a =d= or nearly a =d= is
+characteristic of negro speech. To avoid the tiresomeness of
+dialect-printing, and for another reason to be mentioned by and by,
+this is not always indicated. The change is introduced occasionally to
+remind readers of the right pronunciation.
+
+=let them sing=, makes them sing.
+
+=Sometime him dare=, sometimes he is there (at home), sometimes he goes
+and runs upon his web and steals cows for his wife. Other stories will
+show Annancy's partiality for beef, or indeed anything eatable.
+
+=tief=, thieve.
+
+Spiders' webs of any kind are called =Annancy ropes=.
+
+
+
+
+III. KING DANIEL.
+
+
+There was two young lady name Miss Wenchy an' Miss Lumpy. The King
+Daniel was courtening to Miss Wenchy, an' the day when they was to get
+marry Miss Lumpy carry Miss Wenchy an' show him a flowers in the pond.
+Miss Wenchy go to pick it, an' Miss Lumpy shub him in the pond.
+
+An' she said:--"T'ank God! nobody see me."
+
+Now a Parrot sat up on a tree, an' jes' as Miss Lumpy say "T'ank God!
+nobody see me" the Parrot say:--"I see you dough!"
+
+Then Miss Lumpy said to the Parrot:--"Do, my pretty Polly, don't you
+tell, an' I'll give you a silver door an' a golden cage."
+
+And the Parrot sing:--
+
+[Music:
+
+ No, No, I don't want it,
+ for the same you serve another one you will serve me the same.]
+
+"Oh do, my pretty Polly, don't you tell, an' I'll give you a silver
+door an' a golden cage."
+
+But the Parrot wouldn' stay, and he fly from houses to houses singing
+this tune:--
+
+[Music:
+
+ I brought, I brought a news to the young King Daniel;
+ Miss Lumpy kill Miss Wenchy loss,
+ on becount of young King Daniel.]
+
+At last the Parrot got to the table where the young King Daniel was.
+
+An' Miss Lumpy was into a room crying. Many pocket-handkerchief she
+got wet with tears. An' the Parrot sing the same song:--"I brought, I
+brought a news to the young King Daniel; Miss Lumpy kill Miss Wenchy
+loss on becount of young King Daniel."
+
+Then Miss Lumpy call out:--"Oh drive away that nasty bird, for Miss
+Wenchy head hurting her."
+
+But King Daniel wouldn' have it so, but said:--"I heard my name call.
+I would like to know what is it."
+
+An' the Parrot fly near upon the King's shoulder an' tell him what
+become of Miss Wenchy. An' they go an' look in the room an' find her
+not.
+
+An' pretty Polly take them to the pond an' show them where Miss Wenchy
+is, an' she was drown.
+
+Then the King call Miss Lumpy an' head him up into a barrel an' fasten
+it up with tenpenny nails, an' carry him up to a high hill an' let him
+go down the gully, an' he drop in the gully pom-galong.
+
+An' the Parrot laugh Ha! Ha! Ha! Ha!
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=I see you dough.= The first three words are pitched high and the voice
+falls as low as possible on the =dough= and dwells upon it.
+
+=Do, my pretty Polly, etc.= I have heard this story many times, and
+these words never vary. Obviously it was once a silver cage with a
+golden door.[39]
+
+[Footnote 39: The well-known and lately-current ballad of _May
+Colvin_, in which this incident occurs (though it is the false lover,
+not the sister, who is murdered), has a cage of gold with an ivory
+door. (C.S.B.)]
+
+=I brought=; brought for bring, as we had =broke= for break.
+
+=loss.= It is doubtful what this word represents. It may be loss or
+lost. Observe =be=count.
+
+=I would like to know what is it=, I should like to know what it is,
+what the matter is. The perverse misplacing of these words strikes a
+newcomer to the island. In questions they misplace them again and say
+"What it is?"
+
+=find her not.= The =not= has a heavy accent.
+
+=gully=, precipice.
+
+=pom-galong= imitates the sound of the barrel as it goes bumping down.
+The =o='s have the Italian sound.
+
+
+
+
+IV. TOMBY.
+
+
+One day there was a gal, an' Annancy really want that gal fe marry,
+but he couldn' catch him. An' Annancy ask a old-witch man--the name of
+him was Tomby--an' the old-witch man had a 'mash-up side, an' him was
+the only man could gotten the gal for Annancy. An' Annancy give the
+old-witch man a t'reepence to give the gal when him goin' to the
+market to buy a t'reepence of youricky-yourk. An' the gal take the
+t'reepence. An' as she walk along the pass to market she meet up one
+of her friend call Miss Princess Johnson an' she said:--"Good mornin'
+me love," an' the answer:--"How you do, me dear? Where you a come from
+now?"
+
+An Miss Justina say:--"Me a come from Tomby yard, an' see de
+t'reepence he give me fe go buy youricky-yourk."
+
+"Never you bodder with somet'ing 'tan' so. Gi' ahm back him fuppence
+because him goin' to turn trouble fe you."
+
+"How I manage fe gi' him the fuppence?"
+
+"When you go to the market come back tell him you no see no
+youricky-yourk."
+
+"An' what you go go buy, Miss Princess?"
+
+"Me go buy me little salt fish an' me little hafoo yam, t'reepence a
+red peas fe make me soup, quatty 'kellion, gill a garlic to put with
+me little nick-snack, quatty ripe banana, bit fe Gungo peas, an' me
+see if me can get quatty beef bone."
+
+"Ah! me missis, Cocoanut cheap a market ya."
+
+"Yes, me love, make me buy sixpence."
+
+An' as they talking they get to market. They buy what they want an'
+turn back, an' when they reach up Princess yard they tell goodbye an'
+Justina call in to Tomby.
+
+An' Justina bring back the t'reepence an' sing:--
+
+[Music:
+
+ Me go to market, me look, Tomby;
+ look oh! me look, Tomby, look oh!
+ me look, Tomby, see no youricky-yourk;
+ Me went to Lingo Starban, 'cornful day,
+ me went to Lingo Starban, 'cornful day,
+ me went to Lingo Starban, 'cornful day.]
+
+An' Tomby very vex as, being a old witch, he knew all what the gal do
+already. An' he answer:--
+
+[Music:
+
+ Hm hm! hm hm! me have me mash-up side gee oh!
+ a him make you say
+ Tatalingo ya you bit oh!
+ 'cornful day.]
+
+An' he won't take the t'reepence. Now the rule is that anybody take
+something from old-witch an' can't give it back, it give him power to
+catch him. An' so comes it that Tomby catch Justina an' send for Mr.
+Annancy an' make him a present to be a wife. His name was Miss
+Sinclair, but she becomes now Mrs. Annancy Sinclair.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Old-witch=, a person of either sex possessed of supernatural powers,
+not necessarily old in years, as will be seen in other stories. The
+name "white witch" applied to men is familiar to dwellers in the West
+of England.
+
+='mash-up=, smashed up, wounded, lacerated.
+
+=youricky-yourk=, a nonsense word for some kind of plaster.
+
+=pass=, path.
+
+=Miss Princess.= Prince and Princess are common names for boys and
+girls.
+
+=good mornin'.= This broad =o= is always pronounced =ah=.
+
+=yard=, a house with its immediate surroundings.
+
+=Never you bodder=, don't you bother with something which stands so,
+with that sort of commission.
+
+=ahm=, frequently used for him.
+
+=fuppence=, with Italian =u= having a turn towards =o=, fivepence in
+the old Jamaica coinage, equal to threepence English. Princess advises
+the return of the fuppence because it is going to get Justina (English
+=u= and Italian =i=) into trouble, coming as it does from an old-witch.
+It would not be guessed that the Jamaica coinage is identical with that
+of England. Such is, nevertheless, the case in spite of these curious
+names:
+
+ 3 farthings 1 gill.
+ 2 gills 1 quatty (quarter of sixpence, pronounced quotty).
+ 2 quatties 1 treppence or fuppence (old coinage).
+ 3 quatties 1 bit.
+ 4 quatties 1 sixpence or tenpence (old coinage).
+ 5 quatties, bit-o-fuppence.
+ 7 quatties, bit-o-tenpence.
+ 8 quatties 1 shilling or maccaroni.
+ 10 quatties, mac-o-fuppence.
+
+=go go buy.= It is not only Annancy who uses reduplications. The close
+English =o= is replaced in the Negro's mouth by an Italian open =o=.
+
+=hafoo= (pronounced hahfoo, really =afoo=, an African word), a kind of
+yam.
+
+='kellion=, skellion or scallion, a kind of onion which does not bulb.
+
+=Gungo=, Congo. This pea is not only excellent for soup, but the growing
+plant improves the soil by introducing nitrogen into it.
+
+=ya=, do you hear? a common ending to any remark.
+
+=tell goodbye.= They =tell= howdy (how do you do?) and goodbye.
+
+=Lingo Starban.= This should probably be Lingo's tavern, Lingo's
+tahvern; =v= and =b= being indistinguishable as in Spanish and Russian.
+
+='cornful day=, a day of scorning or flouting. Justina wishes Tomby to
+believe that she tried everywhere to get some youricky-yourk, but met
+only with flouts and jeers.
+
+=Hm, hm=, grumbling.
+
+=a him=, it is him, it is that which makes you say:--"Tatalingo, here's
+your bit," your three quatties. She only had a treppence but the Negro
+is above accuracy as the Emperor Sigismund was above grammar.
+
+=Tatalingo.= Lingo's name is now transferred to Tomby. Italian vowels in
+Tata. In "Finger Quashy" we find Tatafelo as one of the cats' names.
+
+=make him a present=, make her (Justina) a present to Annancy.
+
+=Mrs. Annancy Sinclair.= They are not particular in the matter of
+surnames. A remarried widow is constantly called by the surname of her
+first husband.
+
+
+
+
+V. HOW MONKEY MANAGE ANNANCY.
+
+
+One day Mr. Annancy an' his wife sat under a tree an' don't know that
+Mr. Monkey was on the tree. Mr. Annancy say to his wife:--"You know I
+really want little fresh." The wife say to Annancy:--"What kind a
+fresh?"
+
+"How you mean, me wife, fe ax me dat question? Any meat at all. Me
+wife, you know wha' we fe do. Make we get a banana barrel an' lay it
+on de bed, make him favour one man, so get white sheet an' yap him up
+from head to foot, an' sen' go call Bro'er Cow, Bro'er Monkey, Bro'er
+Sheep, Bro'er Goat an' Bro'er Hog. An' when them come we mus' put all
+the strange friend them inside de house an' den you fe stay inside de
+room wi' dem."
+
+Now Bro'er Annancy send fe all his friend, Sheep, Goat, Hog, Monkey.
+Cow was the minister.
+
+When they come to Annancy yard they met him was crying.
+
+Parson Cow say:--"Don't cry so much, my good friend, because it is the
+all a we road."
+
+Annancy say:--"Ah, ah! Bro'er Cow, you no know the feeling me have fe
+me one puppa. Bro'er Cow, as you is the parson, take you frien' in,
+you will see de ole man 'pon bed."
+
+During this time Mrs. Annancy was inside the room. The Reverend Cow
+went in to raise up the sheet.
+
+Mrs. Annancy say:--"No; me husban' say nobody fe look on the ole man
+face till in the morning."
+
+So Cow don't rist.
+
+Mr. Monkey who hear all what Annancy was saying, he an' his wife
+wouldn' go in the house.
+
+Mr. Annancy say:--"Bro'er Monkey, go inside. Go see the last of the
+ole man."
+
+Monkey say:--"No, Bro'er Annancy, me sorry fe you too much. If a go in
+dere a we cry whole a night."
+
+"No, Bro'er Monkey, go in, go keep them other one company for you are
+me nearest frien'."
+
+Monkey never go.
+
+He has to left Monkey, for Monkey was too clever for him.
+
+An' by that time Mr. Annancy hid his cutlass back of his door well
+sharpen an' go in the house an' shut the door. It was the only door in
+the whole house, so he sat back of the door after lock it.
+
+An' after, Bro'er Annancy ask Bro'er Cow to say a word of prayer.
+
+During the praying Annancy was crying.
+
+Hog with an old voice say:--"Keep up Mr. Annancy, keep up Mr.
+Annancy."
+
+He cry much the better.
+
+The prayer was finish. Mr. Annancy ask Cow to raise a hymn.
+
+The Cow commence with hundred a de hymn, hundred a de page.
+
+[Music:
+
+ Me gullen ho St. John,
+ me gullen ho St. John,
+ me see the last to-day ya,
+ me see the last, puppa gone.]
+
+Bro'er Annancy want fe kill Parson Cow, begin with a big confusion,
+say that him don't like that hymn.
+
+During this time his door was well lock, an' same time Bro'er Annancy
+draw his cutlass an' raise a fight, say that him don't like that hymn.
+
+An' the poor friend them didn' have anything to fight. He kill the
+whole of them.
+
+In the morning Monkey laugh, say:--"Bro'er Annancy, If me min come in
+a you house you would a do me the same."
+
+Annancy say "No."
+
+Him give Monkey a piece of the meat.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=fresh=, fresh meat. In the country districts the only meat to be had as
+a rule is ancient salt beef out of a tub.
+
+=favour=, look like. In some parts of England the word is still used in
+this sense.
+
+=met him was crying=, found him crying.
+
+=all a we.= All of us have to tread the road of death.
+
+=one=, own.
+
+=who hear=, who had heard previously when he was on the tree.
+
+=cutlass.= Every Negro carries one. It is used for every sort of
+purpose, but seldom murderously as here.
+
+=old voice=, voice of simulated grief.
+
+=much the better=, all the more.
+
+=hundred a de=, hundredth.
+
+=me gullen ho=, nonsense words.
+
+=confusion=, quarrel.
+
+=min=, been. If I had come in you would have done the same to me.
+
+
+
+
+VI. BLACKBIRD AND WOSS-WOSS.
+
+
+One day there was a place where they usual to kill plenty of meat. An'
+Mr. Blackbird has a certain tree, hiding himself. An' every cow them
+kill Mr. Blackbird see how them kill it. An' going into the house, the
+house don't lock with no key nor either open with no key. When they
+want to go in them use a word, say "one--two--t'ree--me no touch
+liver," an' the door open himself. An' when them want to come out of
+the house them use the same words "one--two--t'ree--me no touch
+liver." An' Mr. Blackbird tief them fe true, an' them never find it
+out.
+
+An' one day Mr. Blackbird write his friend Mr. Annancy to take a walk
+with him, an' him will show him where he is getting all these meat.
+An' when he is going him tell Mr. Annancy all the rule, that when he
+go on the tree he must listen, an' him will hear what them say to open
+the door both going in an' coming out.
+
+What Mr. Annancy did; when he see the butcher them passing with the
+meat, Annancy was trembling an' saying:--"Look a meat,--Look a meat."
+
+"Bro'er Annancy hush you mout', you a go make dem shot me."
+
+When the butcher them gone, Mr. Blackbird come down, he an' Mr.
+Annancy, an' go inside the house the very same as the butcher them do,
+say "one--two--t'ree--me no touch liver." As they go into the house
+Blackbird tell him that him mustn't take no liver. An' Mr. Annancy
+took liver an' put in his bag. An' when Blackbird started out with the
+same word Mr. Annancy left inside was tying his bag.
+
+Now Mr. Annancy ready fe come out of the house, count
+"one--two--t'ree--me no touch liver," and by this time he has the
+liver in his bag.
+
+The door won't open.
+
+Blackbird call him "Come on."
+
+He say:--"The door won't open."
+
+Then he count more than what he was to by get so frighten. He
+say:--"One--two--t'ree--four--five--six--seven--eight--nine--ten--me
+no touch liver."
+
+The door won't open.
+
+Mr. Blackbird say:--"Look in your bag, you must be have liver."
+
+The fellow so sweet-mout' say in a cross way "No."
+
+Blackbird leave him.
+
+When Blackbird go home he look an' can't see Mr. Annancy, so him fly a
+bush an' get up a whole regiment of soldier. Who these soldier was,
+was Woss-Woss. Mr. Blackbird was the General, march before. When them
+reach to the place they were just in time, for the butcher were taking
+Mr. Annancy to go an' tie him on a tree to cut him with hot iron. Word
+of command was given from Mr. Blackbird, an' by the time the butcher
+them come to the door with Mr. Annancy the whole world of Woss-Woss
+come down on them.
+
+They have to let go Mr. Annancy. Not one of the butcher could see. Mr.
+Blackbird soldier gain the battle an' get 'way Mr. Annancy. They take
+all the butcher meat an' carry home. Then Mr. Blackbird take Mr.
+Annancy under his wing an' all his soldiers an' fly to his own
+country. From that day Woss-Woss is a great fighter until now, so bird
+never do without them to guard their nest.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=Woss-Woss.= The West Indian wasp hangs its paper nest to the twigs of
+bushes and trees as a rule, though it does not despise the shelter of
+the verandah. The wasps live in colonies, making many small nests
+instead of one big one. The nests are shaped like the rose of a
+watering-pot with the shank turned upwards.
+
+This story clearly owes its origin to Ali Baba. The conversion of
+Sesame, which meant nothing to the negro, into one-two-three, which at
+least means something, is not unnatural.
+
+=fe true=, literally =for true= is an expressive phrase conveying the idea
+of intensity. =It hot fe true=, it is intensely hot. =He tief fe true=, he
+steals terribly. =It rain fe true=, it is raining very hard. =He
+wort'less fe true=, he is a regular scamp. =He sinnicky fe true=, he is a
+horrid sneak. =His ears hard fe true=, his ears are outrageously hard,
+said of a boy who will not do as he is told. =He nyam fe true=, he eats
+immensely. =Lazy fe true=, abominably lazy. =Ugly fe true=, exceedingly
+ugly. =The water cold fe true=, the water is very cold. =White yam burn
+fe true=, the white yam is sadly burnt. =Orange bear fe true=, the
+oranges bear heavily. =Puss catch ratta fe true=, the cat catches any
+amount of rats. =Him favour tiger fe true=, he looks for all the world
+like a tiger, said of a man who has a sullen expression. =Me head hurt
+me fe true=, I have a very bad headache. =Boot burn me fe true=, my boots
+gall me dreadfully.
+
+=by get so frighten=, through fright; literally, owing to his getting so
+much frightened.
+
+=must be have=, must have.
+
+=sweet-mout'=, sweet-mouthed, greedy.
+
+
+
+
+VII. THE THREE SISTERS.
+
+
+There was t'ree sister living into a house, an' everybody want them fe
+marry, an' them refuse.
+
+An' one day a Snake go an' borrow from his neighbour long coat an'
+burn-pan hat an' the whole set out of clothing. Then he dress himself,
+an' him tell his friends that him mus' talk to those young lady. An'
+what you think the fellow does? He get up a heap a men to carry him to
+the young lady yard. An' when him got there the door was lock with an
+iron bar. An' when he come he say:--"Please to open the door, there is
+a stranger coming in." An' he sing like this:--
+
+[Music:
+
+ My eldes' sister, will you open the door?
+ My eldes' sister, will you open the door oh?
+ Fair an gandelow steel.]
+
+An' the eldest one was going to open the door. An' the last one, who
+was a old-witch, say to her sister:--"Don't open the door," an' she
+sing:--
+
+[Music:
+
+ My door is bar with a scotran bar,
+ My door is bar with a scotran bar oh,
+ Fair an' gandelow steel.]
+
+Then the Snake ask again to the same tune:--
+
+ My second sister will you open the door?
+ My second sister will you open the door oh?
+ Fair an' gandelow steel.
+
+An' the youngest, which was old-witch, sing again:--
+
+ My door is bar with an iron bar,
+ My door is bar with an iron bar oh,
+ Fair an' gandelow steel.
+
+An' the Snake turn to a Devil, an' the t'ree sister come an' push on
+the door to keep it from open.
+
+An' the Devil ask a third time:--
+
+ My youngest sister will you open the door?
+ My youngest sister will you open the door oh?
+ Fair an' gandelow steel.
+
+But the last sister won't have it so, an' she said with a very
+wrath:--
+
+[Music:
+
+ The Devil roguer than a womankind,
+ The Devil roguer than a womankind oh,
+ Fair an' gandelow steel.]
+
+An' the Devil get into a great temper an' say:--
+
+[Music:
+
+ What is roguer than a womankind?
+ What is roguer than a womankind oh?
+ Fair an' gandelow steel.]
+
+Then the Devil fly from the step straight into hell an' have chain
+round his waist until now.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Snake= is pronounced with an indefinite short vowel between the =s= and
+=n=, senake.
+
+=burn-pan hat=, the tall hat of civilized towns. The =pan= is the usual
+cylindrical tin vessel used for cooking. When blackened by fire it is
+a =burn-pan= or burnt pan. It is pronounced like French _bonne_.
+
+=Gandelow, scotran.= The meaning of these words is lost.
+
+=roguer.= This word is doubtful. Sometimes it sounds like rowgard, at
+others like rowgod. It may mean "more roguish." The boy who gave me
+this story often quotes this line from a hymn:
+
+ "To break the bonds of cantling sin."
+
+One day I asked him to point it out in his hymnbook. It was
+=conquering=. He can say it perfectly well, but he still goes on with
+=cantling=. It is not surprising, therefore, that we cannot recover
+words passed from mouth to mouth for generations.
+
+=womankind.= Again it is doubtful whether this is a single word or two
+words. The article would fix it as the latter in pure English, but in
+negro speech it goes for nothing.
+
+=old-witch=, though she was a young girl: see notes to No. IV. (Tomby).
+
+
+
+
+VIII. WILLIAM TELL.
+
+
+Once there was a man who name William Tell, an' him have a lots of
+cow. An' in the yard there was a tree, an' the tree no man can fall
+it. Any animal at all go under that tree it kill them, an' the name of
+the tree is Huyg.
+
+An' William Tell wanted the tree to cut down.
+
+An' him offer a cow to any man that kill the Huyg. They shall get the
+cow.
+
+An' first of all Tacoma went to cut down the tree, an' him couldn'
+bear the itch, I mean 'cratch of the tree.
+
+An' William Tell made a law that any man come to cut the tree they
+must not 'cratch their 'kin or else they would lose the cow.
+
+An' Mr. Tacoma were very sorry, an' he was to leave the cow just to
+save his life.
+
+An' that great man Mr. Annancy heard about the cow an' him got a very
+sharp axe. An' when Mr. Annancy come, William Tell show him the
+cow--Annancy glad when he see the cow--an' after he show Mr. Annancy
+the tree.
+
+Then Mr. Annancy say:--"Ho, me good massa, don't you fret of the tree.
+If one sing don't send 'way the tree another one must send him 'way."
+
+An' the first sing was:--
+
+[Music:
+
+ Big chip, fly! little chip, fly!]
+
+He repeat the word over an' over, but the tree don't fall yet.
+
+So him take up another sing again:--
+
+[Music:
+
+ Me go to Rickylanjo, eye come shine,
+ come show me your motion, eye come shine.]
+
+An' Mr. Annancy never cease till him cut down the tree an' receive his
+reward.
+
+
+NOTES.
+
+=Huyg= for Hag, as they say =buyg= for bag. The spelling is awkward but it
+seems the only convenient one to adopt. The sound will be best
+understood from the second example. Say =buy= and put a hard =g= after it.
+The =Huyg= seems to combine the qualities of the Upas and Cow-itch
+(_Mucuns pruriens_). The last, a common Jamaica weed, looks like a
+scarlet runner. It bears pods covered with a pretty velvet of hairs
+which "scratch" or irritate the skin.
+
+=sing.= Further on there is a collection of these =sings=.
+
+=show me your motion=, let me see you begin to topple.
+
+
+
+
+IX. BROTHER ANNANCY AND BROTHER DEATH.
+
+
+One day Brother Annancy sen' gal Annancy fe go a Brother Deat' yard fe
+go beg fire.
+
+When the gal go, him go meet Brother Deat' dis a eat fe him breakfas'
+enough eggs. Brother Deat' give gal Annancy one. Gal Annancy take the
+egg an', after eat done, put the shell 'pon him finger.
+
+Brother Annancy wait an' wait but can't get the fire, till at last he
+see the gal a come.
+
+When him see the gal with the egg shell 'pon him finger, him run an'
+bit off the gal finger slap to the hand. Him take 'way the fire, out
+it, an' go back to Deat' say:--"Bro'er Deat', de fire out."
+
+Brother Deat' give him fire an' one egg, tell him fe go home.
+
+"Say, Bro'er Deat', I goin' to give you me daughter fe marry to."
+
+So Annancy do marry off Deat' an' him daughter the same day. So him
+lef' them gone for a week, then come back again fe come see him
+son-in-law.
+
+When him come him say:--"Bro'er Deat', me son, me hungry."
+
+Brother Deat' no 'peak.
+
+So Annancy begin fe talk to himself: "Bro'er Deat' say me fe go make
+up fire, but no mo so me no yerry."
+
+After five minutes him call out:--"Bro'er Deat', me make up de fire."
+
+Deat' no 'peak.
+
+"Bro'er Deat' say me fe wash de pot, but no mo so me no yerry."
+
+When the pot wash done, him call out:--"Pot wash."
+
+Deat' no 'peak.
+
+"Bro'er Deat' say me fe to put him on, but no mo so me no yerry."
+
+Soon him say:--"Bro'er Deat', where de vittle?"
+
+Deat' no 'peak.
+
+"Him say me fe look somewhe de me see enough yam, me fe peel dem put
+dem a fire, but no mo so me no yerry."
+
+Annancy cook all Deat' food.
+
+When it boil, him take it off. Him say:--"Bro'er Deat', him boil."
+
+Deat' no 'peak.
+
+"Bro'er Deat' say me fe share, but no mo so me no yerry."
+
+Annancy eat fe him share, then turn back say:--"Bro'er Deat', you no
+come come eat?"
+
+Deat' no 'peak.
+
+"Bro'er Deat' say him no want none, but no mo so me no yerry."
+
+So Annancy eat off all the food him one.
+
+Then Deat' get vex in a him heart, and him run into the kitchen.
+
+"Bro'er Annancy a whe you mean fe do me, say a come you come fe kill
+me?"
+
+So Deat' catch Annancy an' say:--"Me no a go let you go again, no use,
+no use."
+
+Then, after, Deat' carry Annancy in a him house an' leave him, gone to
+get his lance to kill him.
+
+So, after Annancy sit a time an' about to go away, him say:--"Bro'er
+Deat' say me fe go take piece a meat, but no mo so me no yerry."
+
+When Annancy go to the meat cask, him see the cask full with meat. Him
+take out two big piece of meat. Then he see fe him daughter hand with
+the missing finger. Him jump out of the house an' bawl out:--"Bro'er
+Deat', you b'ute, you b'ute, you kill me daughter."
+
+Deat' catch him again an' was going to kill him, but the feller get
+'way, run home a fe him yard.
+
+Brother Deat' follow him when him go home.
+
+Annancy take all him children an' go up a house-top, go hang up on the
+rafter. Brother Deat' come in a de house, see them up a de house-top.
+
+Annancy say to his family--there was two boy an' the mumma--"Bear up!
+If you drop de man a dirty de a go nyam you."
+
+Here come one of the boy say:--"Puppa, me han' tired."
+
+Annancy say:--"Bear up!"
+
+The boy cry out fe de better.
+
+Annancy say:--"Drop, you b'ute! No see you dada a dirty de?"
+
+Him drop.
+
+Deat' take him and put him aside.
+
+Five minutes the other one say:--"Puppa, me han' tired."
+
+Annancy say again:--"Drop, you b'ute! No see you dada a dirty de?"
+
+Him drop.
+
+Deaf take him an' put him aside.
+
+Soon the wife get tired, say:--"Me husban', me han' tired."
+
+Annancy say:--"Bear up, me good wife!"
+
+When she cry she couldn' bear no more, Annancy bawl again:--"Drop you
+b'ute! No see you husban' a dirty de?"
+
+She drop.
+
+Deat' take her.
+
+At last Annancy get tired. Das de man, Bro'er Deat' been want. Annancy
+was so smart, no want fe Deat' catch him, so he say:--"Bro'er Deat', I
+goin' to drop, an' bein' me so fat, if you no want me fat fe waste, go
+and fetch somet'ing fe catch me."
+
+"What me can take fe catch you?"
+
+"Go in a room you will see a barrel of flour an' you fe take it so fe
+me drop in de."
+
+Deat' never know that this flour was temper lime.
+
+Deat' bring the barrel an', just as he fixing it up under where
+Annancy hanging, Annancy drop on Deat' head PUM, an jam him head in a
+the temper lime an' blind him. So he an' all him family get 'way.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=dis a eat=, just as he had eaten.
+
+=no mo so me no yerry=, I must have failed to hear. See page 3.
+
+=Deat' no 'peak=, Death won't speak. The comedy is well sustained.
+Annancy goes through the various stages of preparation for breakfast,
+pretending that he is carrying out orders from Death which he fails to
+hear.
+
+=put him on=, put the pot on the fire.
+
+=somewhe de=, somewhere there. The =e='s are like French =e=, and =de=
+is said with a strong accent and made very short.
+
+=enough yam=, plenty of yams.
+
+=say a come you come=, say do you come.
+
+=me no a go etc.=, I am not going to let you go again.
+
+=no use=, no mistake about it this time.
+
+=bawl.= Remember to pronounce it =bahl=.
+
+=b'ute=, brute, pronounced byute like the island Bute.
+
+=a fe him yard=, to his yard.
+
+=a dirty de, etc.=, on the ground there will eat you.
+
+=fe de better=, all the more.
+
+=Das=, that's.
+
+=temper lime=, tempered lime originally no doubt, but now meaning quick
+lime. Temper, I am told, means cross. And in further explanation my
+informant adds: "You can't fingle (finger) temper lime as you have a
+mind; it cut up your hand."
+
+=pum= with the shortest possible vowel represents the thud of Annancy's
+fall upon Death's head.
+
+The Kitchen is outside the house, often at a considerable distance
+from it.
+
+
+
+
+X. MR. BLUEBEARD.
+
+
+There was a man named Mr. Bluebeard. He got his wife in his house an'
+he general catch people an' lock up into a room, an' he never let him
+wife see that room.
+
+One day he went out to a dinner an' forgot his key on the door. An'
+his wife open the door an' find many dead people in the room. Those
+that were not dead said:--"Thanky, Missis; Thanky, Missis."
+
+An' as soon as the live ones get away, an' she was to lock the door,
+the key drop in blood. She take it up an' wash it an' put it in the
+lock. It drop back into the blood.
+
+An' Mr. Bluebeard was a old-witch an' know what was going on at home.
+An' as he sat at dinner, he called out to get his horse ready at once.
+An' they said to him:--"Do, Mr. Bluebeard, have something to eat
+before you go."
+
+"No! get my horse ready."
+
+So they bring it to him. Now, he doesn't ride a four-footed beast, he
+ride a t'ree-foot horse.
+
+An' he get on his horse an' start off itty-itty-hap, itty-itty-hap,
+until he get home.
+
+Now, Mrs. Bluebeard two brother was a hunter-man in the wood. One of
+them was old-witch, an' he said:--"Brother, brother, something home
+wrong with me sister."
+
+"Get 'way you little foolish fellah," said the biggest one.
+
+But the other say again:--"Brother, brother, something wrong at home.
+Just get me a white cup and a white saucer, and fill it with water,
+and put it in the sun, an' you will soon see what do the water."
+
+Directly the water turn blood.
+
+An' the eldest said:--"Brother, it is truth, make we go."
+
+An' Mrs. Bluebeard was afraid, because he knew Mr. Bluebeard was
+coming fe kill him. An' he was calling continually to the cook, Miss
+Anne:--
+
+[Music:
+
+ Sister Anne, Sister Anne, Ah! you see any one is coming?
+ Sister Anne, Sister Anne, Ah! you see any one is coming?]
+
+An' Sister Anne answer:--
+
+[Music:
+
+ Oh no, I see no one is coming,
+ But the dust that makes the grass so green.]
+
+An' as she sing done they hear Mr. Bluebeard coming, itty-itty-hap,
+itty-itty-hap.
+
+Him jump straight off a him t'ree-foot beast an' go in a the house,
+and catch Mrs. Bluebeard by one of him plait-hair an' hold him by it,
+an' said:--"This is the last day of you."
+
+An' Mrs. Bluebeard said:--"Do, Mr. Bluebeard, allow me to say my last
+prayer."
+
+But Mr. Bluebeard still hold him by the hair while he sing:--
+
+ Sister Anne, Sister Anne, Ah! you see any one is coming?
+ Sister Anne, Sister Anne, Ah! you see any one is coming?
+
+An' Sister Anne answer this time:--
+
+[Music:
+
+ Oh yes! I see someone is coming,
+ And the dust that makes the grass so green.]
+
+Then Mr. Bluebeard took his sword was to cut off him neck, an' his two
+brother appear, an' the eldest one going to shot after Mr. Bluebeard,
+an' he was afraid an' begin to run away. But the young one wasn't
+going to let him go so, an' him shot PUM and kill him 'tiff dead.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=three-foot=, three-legged.[1] =Hand= is used for arm in the same way.
+
+=itty-itty-hap=, imitating the halting gait of the three-legged horse.
+The voice rises on =hap= which is said with a sharp quick accent.[40]
+
+[Footnote 40: "The 'three-foot horse' is believed to be a kind of
+duppy with three legs, hence its name; and is able to gallop faster
+than any other horse. It goes about in moonlight nights, and if it
+meet any person it blows upon him and kills him. It will never attack
+you in the dark. It cannot hurt you on a tree." _Folklore of the
+Negroes of Jamaica_, in _Folklore_, Vol. XV., p. 91. (C.S.B.).]
+
+=fe kill him=, to kill her. The use of masculine for feminine pronouns
+is bewildering at first.
+
+
+
+
+XI. ANNANCY, PUSS, AND RATTA.
+
+
+One day Annancy an' Puss make a dance, an' invite Ratta to the ball.
+Annancy was the fiddler. The first figure what him play, the tune
+say:--
+
+[Music:
+
+ Ying de ying de ying,
+ Ying de ying de ying,
+ take care you go talk oh,
+ min' you tattler tongue ying de ying,
+ min' you tattler tongue ying de ying,
+ min' you tattler tongue ying de ying.]
+
+The second tune he say:--
+
+[Music:
+
+ Bandywichy wich, Bandywichy wich, Bandywichy wich,
+ Timber hang an' fall la la, fall la la, fall la.]
+
+Then, as the Ratta dance, the high figure whe him make, him slide in
+the floor an' him trousies pop. Then the shame he shame, he run into a
+hole, an' him make Ratta live into a hole up to to-day day.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+This story should be rattled off as quick as possible.
+
+=Ratta=, rat or rats.
+
+=Ying de ying= imitates the "rubbing" of the fiddle, as they call it.
+
+=take care you go talk=, mind you don't talk, mind your tattling tongue.
+
+=figure whe him make=, caper that he cuts.
+
+=trousies pop=, trousers burst.
+
+
+
+
+XII. TOAD AND DONKEY.
+
+
+One day a King made a race and have Toad and Donkey to be the racer.
+An' Toad tell Donkey that him must win the race, an' Donkey mad when
+him yerry so. And the race was twenty mile.
+
+An' Donkey say:--"How can you run me? I have long tail an' long ear
+an' a very tall foot too, an' you a little bit a Toad. Let me measure
+foot an' see which one longer."
+
+An' Toad say to Donkey:--"You no mind that man, but I must get the
+race."
+
+An' Donkey get very vex about it.
+
+An' Donkey say to the King:--"I ready now to start the race."
+
+An' the King made a law that Donkey is to bawl at every miles that he
+might know where he got.
+
+Now that little smart fellah Toad says to the King that he doesn't fix
+up his business yet, an' will he grant him a little time.
+
+An' the King grant him a day, an' say to the two of them:--"Come again
+to-morrow."
+
+An' Donkey wasn't agree, for he know that Toad is a very trickified
+thing.
+
+But the King wouldn' hear, an' say:--"No, to-morrow."
+
+Now Toad have twenty picny. An' while Donkey is sleeping, Toad take
+the twenty picny them along with him on the race-ground, an' to every
+mile-post Toad leave one of his picny an' tell them that they must
+listen for Mr. Donkey when he is coming. "An' when you yerry that
+fellah Mr. Donkey bawl, you must bawl too." An' Toad hide one of his
+picny behind every mile-post until him end the twenty mile.
+
+So the race begin.
+
+Donkey was so glad in a him heart that he was going to beat Toad that
+he say to himself:--"Tche! That little bit a fellah Toad can't manage
+me, so I must have plenty of time to eat some grass."
+
+So him stand by the way, eat grass and poke him head through the fence
+where he see some potato-slip, an' try a taste of Gungo peas. An' he
+take more than an hour fe catch up the first mile-post, an' as him get
+him bawl:--
+
+[Music:
+
+ Ha! Ha! Ha! me more than Toad.]
+
+An' there comes the first picny call out:--
+
+[Music:
+
+ Jinkororo, Jinkokkokkok.]
+
+An' Donkey quite surprise, an' say:--"Tche! How him manage to be
+before me?"
+
+An' he think:--"Me delay too long with that grass, I must quicker next
+mile."
+
+An' him set off with a better speed an' only stop a minute for a drink
+of water. An' as him get to the next post him bawl:--
+
+[Music:
+
+ Ha! Ha! Ha! me more than Toad.]
+
+An' there come the second picny call out:--
+
+[Music:
+
+ Jinkororo, Jinkokkokkok.]
+
+An' Donkey say:--"Lah! Toad travel fe true. Never mind, we will chance
+it again."
+
+So him 'tart, an' when him reach the third mile-post him bawl:--
+
+[Music:
+
+ Ha! Ha! Ha! me more than Toad.]
+
+An' the third picny behind the post say:--
+
+[Music:
+
+ Jinkororo, Jinkokkokkok.]
+
+Jackass get vex when he hear Toad answer him, an' he go fe 'mash Toad,
+an' Toad being a little man hide himself in a grass.
+
+Then Donkey say:--"Hi! fellah gone ahead; make I see if I can catch up
+the next mile-post before him." An' he take him tail an' touch it like
+a horsewhip an' begin fe gallop.
+
+An' him get to the fourth mile-post an' bawl:--
+
+[Music:
+
+ Ha! Ha! Ha! me more than Toad.]
+
+An' there comes the fourth picny answer him:--
+
+[Music:
+
+ Jinkororo, Jinkokkokkok.]
+
+When him yerry, him 'tand up same place an' trimble, say:--"My
+goodness King! a whe me a go do? Make me gallop so I knock off all me
+hoof self upon the hard hard dirty because I must beat the race."
+
+An' he gallop so fast than he ever do before, until when he get to the
+fifth mile-post he was really tired an' out of breath.
+
+But he just have enough to bawl:--
+
+[Music:
+
+ Ha! Ha! Ha! me more than Toad.]
+
+When he hear:--
+
+[Music:
+
+ Jinkororo, Jinkokkokkok.]
+
+This time he really mad, an' race on harder than ever. But always the
+same story. Each mile-post he catch him bawl:--"Ha! Ha! Ha! me more
+than Toad." An' always come answer:--"Jinkororo, Jinkokkokkok."
+
+An' Donkey begin to get sad in his mind for he see that he lost the
+race. So through Toad smartness Donkey can never be racer again.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=tall foot=, long leg. A tall bridge is a long one, not one that stands
+high above the river.
+
+=wasn't agree=, didn't agree. Auxiliaries are a snare.
+
+=picny.= This is the almost universal form of picaninny in Jamaica,
+varied occasionally by picany.
+
+=Tche!= the Pshaw! of books and the Tush! of the Psalms. There is a
+world of contempt in this ejaculation, which is accompanied by an
+upward jerk of the chin. The vowel is that of French =le=.
+
+=potato-slip.= The sweet potato (_Ipomoea Batatas_) is cultivated by
+slips or cuttings. Our kind of potato is called "Irish potato."
+
+=Jinkororo, etc.= This is a capital imitation of the Toad's croaking
+chuckle. The second bar should be made as out of tune as possible and
+the =kok= is on the lowest note of the voice. It is the repeated k's
+that make the croak so life-like.
+
+=take him tail.= They are fond of this expression. Other examples
+are:--"The horse take him mout' fe 'cratch him foot," the horse
+scratches his leg with his mouth. "Me take me owny yeye an' see it," I
+saw it with my own eyes.
+
+=a whe me a go do?= What am I going to do, what shall I do?
+
+=dirty=, ground.
+
+
+
+
+XIII. SNAKE THE POSTMAN.
+
+
+One day Annancy ask Snake to be his postman.
+
+Snake ask him how much he is going to pay him.
+
+An' Annancy tell Snake that he know he is a man love blood, an' when
+him come in the night he will give him a bite off his head.
+
+An' Snake did agree.
+
+An' the first night he give Annancy a bite in his head, an' Annancy
+feel it very much.
+
+An' the second night when Snake is to come back Annancy invite his
+friend Mr. Rabbit. An' Annancy usual to sleep out in the hall. An'
+that night, when his friend Mr. Rabbit did come, he move an' go in the
+room an' make a very high bed. An' his friend Mr. Rabbit didn' know
+what Annancy mean to do.
+
+So Annancy put him out in the hall, an' tell him that one of his
+cousin is sleeping in here too, so he will come in later on; an' when
+him hear him call he must just get up an' open the door an' see who it
+is.
+
+An' when Annancy out lamp Rabbit think it very hard, an' say to
+himself:--"Bro'er Annancy up to some trick."
+
+An' Rabbit wake up an' begun to dig a hole, an' him dig a hole until
+him get outside the door an' find himself back to his yard.
+
+When Snake come in the night to get the other bite from Annancy him
+call Annancy.
+
+Annancy wouldn' give answer as him being put Rabbit outside in the
+hall, an' Snake continually calling until Annancy give answer.
+
+An' when him give answer he begin to wake Rabbit an' thought Rabbit
+was inside the house. He didn' want was to receive his bite, an' he
+begun to call Rabbit "Cousin Yabbit," that Rabbit may glad an' give
+him answer. When him couldn' hear, him say "Godfather Yabbit" An' him
+call again "Bro'er Yabbit," an' him couldn' hear him. An' he call
+again "Puppa, Puppa!" an' he couldn' hear.
+
+An' him light the lamp an' come out the hall an' begin to s'arch for
+Rabbit. An' when him look, him see Rabbit dig a heap of dirt an' come
+out.
+
+An' Annancy beguns to cry inside the house an' wouldn' open the door.
+An' he begin to complain to Snake that the first bite him gi' him he
+'mash up the whole a him head.
+
+An' Annancy 'tudy a 'cheme, catch up a black pot an' turn it down over
+him head.
+
+An' as he put out him head Snake bite the pot, t'ought it's Annancy
+him catch. An the whole of Snake mouth was in sore. An' when he get
+home he send back to Annancy that he sick an' won't manage to come
+back another night.
+
+An' Annancy was very glad an' send go tell him that himself is in bed.
+
+An' when the bearer start for home him sing this song:--
+
+[Music:
+
+ Somebody waiting for Salizon,
+ Somebody waiting for Salizon,
+ Somebody waiting for Salizon,
+ Take up your letter an' go.]
+
+An' from that day Snake broke friend with Annancy.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+The house would have two rooms, first the hall and then the inner room
+or bedroom. From Rabbit's burrowing operations it appears to have no
+floor. This was a common condition in the old times, but now it gets
+rarer and rarer. Only Coolie (East Indian) houses are unfloored.
+
+=him being put=, he had put.
+
+='tudy a 'cheme=, studies a scheme. It is more usual ='tudy a plan=. This
+common, vulgar song is evidently of late origin and probably does not
+really belong to the story.
+
+
+
+
+XIV. DOBA.
+
+
+One day Puss make a ball an' invite the whole world of Ratta.
+
+All the Ratta dress in long coat an' silk dress. There was t'ousand of
+them women, an' men. When them come they bring a little boy an' the
+mother with a young baby.
+
+When all the Ratta settle, the door was shut, an' the Puss them have
+them junka 'tick secretly in a them trousies' foot. They made a
+bargain between themselves that, when the Ratta deep in dancing, Doba
+must out the lamp, then the licking-match commence.
+
+When the music begin, it sweet Ratta so that they dance till their
+white shirt-bosom was wet.
+
+The fiddler was Dandy Jimmy Flint.
+
+An' this is what the fiddle say:--
+
+[Music:
+
+ Doba, Doba, Doba no make de little one get 'way
+ Ballantony Bap! twee twee,
+ Ballantony Bap! twee twee.]
+
+The boy Ratta take notice of what the fiddle say.
+
+Him go to him dada an' whisper:--"Puppa, you no yerry what the fiddle
+say?"
+
+[Music:
+
+ Doba, Doba, Doba no make de little one get 'way
+ Ballantony Bap! twee twee,
+ Ballantony Bap! twee twee.]
+
+The father say:--"Get 'way, Sir, you little fellah you! It the worst
+fe carry any little boy out fe met. Go, off, Sir, you lying fellah!"
+
+During this time the boy hear what the music say in truth, went an'
+dug a hole fe him an' him mumma.
+
+When Ratta in hot dancing the gate-man Puss, Mr. Doba, out the lamp.
+Then the junka 'tick fly round an' all the Ratta was kill. Blood was
+cover the floor an' all the Puss take their share.
+
+Only boy Ratta an' his mumma an' the young baby, get way.
+
+If the puppa did take what the boy say him wouldn' dead.
+
+Puss ball was flourish with meat.
+
+If boy Ratta an' his mumma didn' get 'way we wouldn' have no Ratta in
+dis ya-ya-world again.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=Ratta=, rats.
+
+=Puss them.= These words are closely joined together.
+
+=junka 'tick=, short sticks.
+
+=trousies' foot=, the legs of their trousers. The Negroes are expert in
+the art of hiding things about their person.
+
+Fighting with sticks is called a =licking-match=.
+
+=sweet= (a verb), pleased, delighted.
+
+In these stories the fiddle is often made to sing words which some
+have the gift of hearing.
+
+=Bap!= is the knock of the stick, or "lick of the stick" as they say.
+
+=twee twee=, the squeak of the rat.
+
+=no make=, don't let.
+
+=it the worst fe carry, etc.= It is very troublesome to take a little
+boy out to a meeting. Met, dance, spree, picnic are convertible terms.
+
+=Carry= is seldom used as in English. They say:--Carry the mule a pastor
+(to the pasture). When a man carries you over a river on his back he
+"crosses you over."
+
+=Doba=, long =o= as in Dover.
+
+=Blood was cover, etc.=, the floor was covered with blood.
+
+=Dis ya-ya=, the vulgar English "this here." =Ya-ya= is said very quickly.
+It does not come into common speech but is reserved for Annancy
+stories and is generally found only in Annancy's mouth.
+
+
+
+
+XV. DRY-BONE.
+
+
+One day Rabbit invite Guinea-pig to his yard.
+
+An' when Guinea-pig go, Rabbit ask Guinea-pig to go an hunting.
+
+An' Rabbit meet up Dry-bone.
+
+An' when him meet up Dry-bone, him t'row down his gun an' him call to
+Guinea-pig an' tell him:--"I meet with a luck."
+
+An' Guinea-pig tell Rabbit:--"I won't carry none of the Dry-bone, but
+you must make me carry the birds what we kill."
+
+Rabbit wasn't agree to let him carry the birds, but Guinea-pig coax
+him until Rabbit consent an' they fix up the bargain: Rabbit was to
+carry Dry-bone, an' Guinea-pig was to carry the birds.
+
+So they put Dry-bone into the bag, an' Rabbit ask Guinea-pig to help
+him up.
+
+An' Guinea-pig help him up an' pick up the gun an' carry it.
+
+An' they start home to their yard.
+
+An' when Rabbit got half part the road he found the load getting
+heavier an' heavier, an' him ask Guinea-pig to take it for a while.
+
+Guinea-pig tell him that he made no promise was to help him with
+Dry-bone.
+
+Rabbit walk on till the load get so heavy him begin to cry, say that
+him going to t'row down Dry-bone.
+
+An' Dry-bone fasten on his head an' begin to talk.
+
+He say to Rabbit:--"You take me up you take up trouble."
+
+An' that time Guinea-pig was laughing after Rabbit.
+
+Just then that cravin' fellah Mr. Annancy was passing an' see Rabbit
+with his load. He thought that it was something good, an' he ask
+Rabbit that he will help him carry it.
+
+An' Rabbit was very glad to get relief of his trouble.
+
+So Annancy take Dry-bone from Rabbit an' put him on his own head.
+
+An' when Annancy 'tart, he t'ought that Rabbit was coming.
+
+An' Rabbit turn back an' hide a bush an' leave the trouble to Annancy.
+
+When Annancy get home to his yard him find that it was Dry-bone, an'
+it vex him in a him heart.
+
+An' Annancy want to leave Dry-bone an' go away.
+
+An' Dry-bone find out what Annancy mean to do.
+
+Annancy have a cock in the yard.
+
+Dry-bone tell him that him must watch Annancy, keep him a yard, an' he
+will pay him.
+
+An' the Cock ask Dry-bone:--"What is your name?"
+
+An Dry-bone say:--"'Tis Mr. Winkler."
+
+So Dry-bone live in Annancy yard.
+
+An' one day Annancy ask him if him don't want to warm sun.
+
+Dry-bone say:--"Yes."
+
+An' Annancy tell him that to-morrow he will put him out a door.
+
+Annancy went away an' make a bargain with Fowl-hawk, that him have a
+man name of Mr. Dry-bone, him must come to-morrow an' take him up an'
+carry him an' drop him in the deepest part of the wood.
+
+An' so Fowl-hawk did do.
+
+When the Cock see Fowl-hawk take up Mr. Winkler him sing out:--
+
+[Music:
+
+ Mister Winkler, Winkler come give me me pay.]
+
+An' Annancy look up a 'ky an' sing:--
+
+[Music:
+
+ Carry him go 'long, Annancy say so,
+ Carry him go 'long,
+ Me'll pay fe cock,
+ Carry him go 'long, Annancy say so,
+ Carry him go 'long,
+ Me'll pay fe cock,
+ Carry him go 'long.]
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=help him up=, to get the load on to his head. In this story and some
+others the load once taken up cannot be put down. It sticks to the
+head of the bearer and, until it reaches its destination, can only be
+transferred to another head.
+
+=cravin'=, craving, greedy, often sounds like craven. A man who is
+=cravin'= is generally =cubbich=, covetous. This has lost its original
+meaning of desiring possession of other people's things and is used
+only in the sense of close-fisted. A =cravin'= man wants to get hold of
+what others have got, a =cubbich= (ends with the sound of rich) one will
+not part with what he has.
+
+=laughing after=, laughing at.
+
+=him must watch.= The Cock must watch Annancy and not let him leave the
+yard; Dry-bone is helpless, and requires attention.
+
+=to warm sun=, to warm himself in the sun. So they have:--"Puss warm
+fire," the cat warms herself by the fire.
+
+=a 'ky=, in the sky.
+
+=Me'll pay fe cock=, I will pay the Cock's wages which Dry-bone agreed
+to give. _We_ pay a person for a thing, but the Negro pays for the
+person as well.
+
+=Walk=, =talk=, =warm=, =hawk=, all have the vowel ah. This story refers to
+the time of slavery. It is almost indisputable that in certain cases,
+when a slave was in a weak state owing to incurable illness or old
+age, he was carried out and left to die. To his pitiful remonstrance,
+"Massa me no dead yet," the overseer made no reply, but went on with
+his directions to the bearers, "Carry him go along." This kind of
+barbarity was not practised by owners living in Jamaica. By them the
+slaves were well treated and such a thing would have been impossible.
+But when the masters went away they left the control in the hands of
+overseers, men of low caste who had neither scruples nor conscience.
+
+
+
+
+XVI. ANNANCY AND THE OLD LADY'S FIELD.
+
+
+One day there was a old lady work a very nice field on a rock, an' an
+old-witch boy is the watchman.
+
+An' one day Annancy heard about the old-witch boy, an' Annancy send
+an' invite him to his yard. An when the old-witch boy come, Annancy
+ask him what his name. An' he says to Annancy that his name is
+John-John Fe-We-Hall.
+
+An' the boy ask Annancy why him ask him like that.
+
+An' Annancy say:--"Don't be afraid my frien', I very love you; that's
+why I ask whe you name."
+
+An' by this time the old lady didn't know that the old-witch boy gone
+to Annancy yard.
+
+An' Annancy have a son is a very clever tief, call Tacoma.
+
+An' Annancy made a bargain that, when him see John-John Fe-We-Hall
+come, he must walk to the back door an' come out, an' go to the old
+lady ground an' destroy the provision.
+
+An' when Tacoma come home, Annancy leave John-John out the hall, an'
+tell him that he is going to get some breakfast for him.
+
+Now the old lady make a law that, if the watchman eat any of his
+provision, it going to make him sick in a way that he will find out if
+it is the same watchman tiefing him.[41]
+
+[Footnote 41: This is evidently a reminiscence of the "medicine"
+(Nyanja, _chiwindo_) used in Africa to protect gardens. Sometimes it
+kills the thief, sometimes makes him ill. (A.W.)]
+
+An' being the boy is old-witch, he know that the food Annancy is
+getting ready is from the old lady field. So when Annancy bring the
+breakfast he won't eat it.
+
+Annancy tell him that he must eat the food, he mustn't be afraid.
+
+An' the boy say:--"No."
+
+An' Annancy send an' tell the old lady that the man is here clever
+more than him.
+
+An' when the old lady receive the message from Annancy, he sent to the
+ground to tell the old-witch boy that he must look out for Mr.
+Annancy, for him receive a chanice from Annancy.
+
+An' this time the old lady didn't know that the watchman is at Annancy
+yard.
+
+An' the old-witch boy is a fluter, an' when the old lady want to dance
+it's the same boy playing for the old lady. An' the old lady have a
+tune which he is dancing with. An' Annancy ask the boy to play the
+tune when he is going home, an' Annancy know if the tune play the old
+lady will dance till she kill herself.
+
+When the boy going home, him took up his sing with the flute:--
+
+[Music:
+
+ Old lady you too love dance, turn dem,
+ Old lady you too love dance, turn dem,
+ Turn dem make dem lay, turn dem,
+ Turn dem make dem lay, turn dem.]
+
+An' when the old lady hear the sing she beguns to dance an' wheel
+until she tumble off the rock an' dead.
+
+An' Annancy becomes the master of the field until now.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+A rock would be a bad place for a field. Her house was on a rock
+probably, and her field or provision-ground elsewhere. For
+Provision-grounds and their contents see Digging-Sings.
+
+=old-witch.= Join these words as closely as possible wherever they
+occur.
+
+=Fe-We-Hall.= Very humble houses are called So-and-so Castle and
+So-and-so Hall. =Fe we=, for us, our. He was John of our Hall.
+
+=destroy=, take away, so that they are lost to the owner and destroyed
+as far as she is concerned.
+
+=out the hall=, out in the hall.
+
+=breakfast=, the principal repast of the day at twelve o'clock.
+
+=the man is here.= They delight in this enigmatic language. Annancy
+speaks of himself. He sends word that the man here (himself) is more
+clever than her (the old lady). Straightforwardness is a quality which
+the Negro absolutely lacks. If you try to get at the truth of any
+story he brings, and cross-question him upon it, he will shuffle and
+change it little by little, and you cannot fix him to any point.
+Language with him is truly, as the cynic said, the art of disguising
+thought.
+
+=chanice=, more usually =chalice=, challenge.
+
+Boys constantly carry their musical instruments about with them. The
+Flute, a cheap kind of fife, and the Concertina are the favourites.
+They play as they walk along the road.
+
+The tune, which is quick, is sung over and over and gets uproariously
+and deliriously merry; gasps on an inward breath, which there is no
+time to take properly, doing duty for some of the notes.
+
+The words are fragments of a song referring to fowls and eggs. It
+runs:--
+
+ Mother Bonner me hen a lay, turn dem,
+ Them a lay t'ree time a day, turn dem,
+ Turn dem make dem lay, turn dem.
+
+
+
+
+XVII. MAN-CROW.[42]
+
+[Footnote 42: Cf. the story of "Rombas" in Duff Macdonald's _Africana_
+II., which would seem to have reached Africa through the Portuguese.
+Rombas kills the whale which has swallowed the girl, and removes the
+tongue. (A.W.)]
+
+
+Once there was a bird in the wood name Man-crow, an' the world was in
+darkness because of that bird.
+
+So the King offer thousands of pounds to kill him to make the world in
+light again.
+
+An' the King have t'ree daughter, an' he promise that, if anyone kill
+Man-crow, he will make them a very rich man an' give one of his
+daughter to marry.
+
+So t'ousands of soldiers go in the wood to kill Man-crow. An' they
+found him on one of the tallest trees in the woods. An' no one could
+kill him, an' they come home back.
+
+So there was a little yawzy fellah call Soliday.
+
+An' he say to his grandmother:--"Gran'mother I am very poor. I am
+going in the wood to see if I can kill Man-crow."
+
+An' the grandmother answer:--"Tche, boy, you better go sleep a
+fireside than you go to the wood fe go dead."
+
+"Gran'mother, I goin' to town fe buy six bow an' arrow."
+
+So he went to Kingston an' bought them.
+
+An' when him return home he ask his grandmother to get six Johnny-cake
+roast, an' he put it in his namsack, an' he travel in the wood.
+
+He s'arch until he find the spot a place where Man-crow is, an' he see
+Man-crow to the highest part of the tree.
+
+An' he call to him with this song:--
+
+[Music:
+
+ Good marnin' to you, Man-crow,
+ Good marnin' to you, Man-crow,
+ Good marnin' to you, Man-crow,
+ How are you this marnin'?]
+
+An' the bird answer:--
+
+[Music:
+
+ Good marnin' to you, Soliday,
+ Good marnin' to you, Soliday,
+ Good marnin' to you, Soliday,
+ How are you this marnin'?]
+
+An' Soliday shot with his arrow at Man-crow an' two of his feather
+come out.
+
+An' Man-crow come down to the second bough.
+
+An' Soliday sing again:--
+
+[Music:
+
+ Good marnin' to you, Man-crow,
+ Good marnin' to you, Man-crow,
+ Good marnin' to you, Man-crow,
+ How are you this marnin'?]
+
+An' Man-crow answer as before:--
+
+[Music:
+
+ Good marnin' to you, Soliday,
+ Good marnin' to you, Soliday,
+ Good marnin' to you, Soliday,
+ How are you this marnin'?]
+
+An' he fire after Man-crow an' two more feather fly out.
+
+An' so the singing an' shotting go on.
+
+At every song Man-crow come down one branch, an' Soliday fire an arrow
+an' knock out two feather, till five arrows gone.
+
+So Brother Annancy was on a tree watching Soliday what he is doing.
+
+An' the song sing for the sixth time, an' Man-crow jump down one more
+branch.
+
+An' Soliday put his last arrow in the bow an' took good aim an' shot
+after Man-crow.
+
+So he killed him an' he drop off the tree.
+
+An' Soliday go an' pick up the bird an' take out the golden tongue an'
+the golden teeth, an' shove it in a him pocket, an' Soliday come
+straight home to his grandmother.
+
+An' Annancy come off the tree an' take up the bird, put ahm a him
+shoulder, cut through bush until he get to the King gate, an' he
+rakkle at the gate.
+
+They ask:--"Who come?"
+
+He say:--"Me, Mr. Annancy."
+
+An' they say:--"Come in."
+
+An' the King said:--"What you want?"
+
+"I am the man that kill Man-crow."
+
+An' they take him in an' marry him to one of the King daughter an'
+make a very big table for him an' his family.
+
+They put him in the middle of the table, but he refuse from sit there.
+He sit to the doorway to look when Soliday coming. (The King then do
+know that that fellah up to trick.) An' directly Annancy see Soliday
+was coming, he stop eating, ask excuse, "I will soon be back." An' at
+that same time he gone outside into the kitchen.
+
+An' Soliday knock at the gate.
+
+An' someone answer him an' ask:--"What you want?"
+
+"I am the boy that kill Man-crow."
+
+An' they said:--"No, impossible! Mr. Annancy kill Man-crow."
+
+An' he take out the golden tongue an' teeth an' show it to the King,
+an' ask the question:--"How can a bird live without teeth an' tongue?"
+
+So they look in the bird mouth an' found it was true.
+
+An' they call Annancy.
+
+An' Annancy give answer:--"I will soon be there."
+
+An' they call him again.
+
+An' he shut the kitchen door an' said:--"Me no feel well."
+
+All this time Brother Annancy shame, take him own time fe make hole in
+the shingle get 'way.
+
+They call him again, they no yerry him, an' they shove the kitchen
+door.
+
+Annancy lost in the shingle up to to-day.
+
+An' the King marry Soliday to his daughter an' make him to be one of
+the richest man in the world.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Yawzy.= Yaws is a disease very prevalent among the Negroes. It causes
+ulcers to form on the soles of the feet. In old slave days every
+estate had its yaws-house for the accommodation of the sufferers. This
+complaint does not attack the Whites.
+
+=six bow an' arrow=, a bow and six arrows, we suppose.
+
+=Johnny-cake=, journey cake made of flour and water fried in lard.
+
+=spot a place=, spot of place, exact place.
+
+=ask excuse=, asks to be excused. Pronounce the =s= like =z=.
+
+=shame, etc.=, was ashamed and was quietly making a hole in the shingle
+roof so as to get away.
+
+
+
+
+XVIII. SAYLAN.
+
+
+There was a man have two daughter. One of the daughter belongs to the
+wife an' one belongs to the man. An' the wife no love for the man
+daughter, so they drive her away.
+
+An' she get a sitivation at ten shillings a week, an' the work is to
+look after two horses an' to cut dry grass for them.
+
+An' every night she put two bundles of dry grass in the 'table.
+
+An' the mother was very grudgeful of the sitivation that she got.
+
+An' one night she carry her own daughter to the pastur' an' they cut
+two bundles of green grass. An' they go secretly to the horse manger
+an' take out the dry grass an' put the green grass in its place.
+
+So the horse eat it, an' in the morning they dead.
+
+An' the master of that horse is a sailor.
+
+The sailor took the gal who caring the horse to hang her.
+
+An' when he get to the 'pot a place to hang her he take this song:--
+
+[Music:
+
+ Mourn, Saylan, mourn oh!
+ Mourn, Saylan, mourn;
+ I come to town to see you hang, hang, you mus' be hang.]
+
+An' the gal cry to her sister an' brother an' lover, an' they give her
+answer:--
+
+[Music:
+
+ Sister, you bring me some silver?
+ No, my child, I bring you none.
+ Brother, you bring me some gold?
+ No, my child, I bring you none.
+ Lover, you bring me some silver?
+ Yes, my dear, I bring you some.
+ Lover, you bring me some gold?
+ Yes, my dear, I bring you some.
+ I come to town to see you save, save you mus' be saved.]
+
+An' the lover bring a buggy an' carry her off an' save her life at
+last.
+
+An' the mumma say:--"You never better, tuffa."
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+This is quite an unusual form of story, but appears to be of some
+antiquity in my district, where it ranks as an Annancy story.[43]
+
+[Footnote 43: Cf. _The Maid Freed from the Gallows_, F.J. Child,
+_Ballads_, vol. ii., p. 346. (C.S.B.)]
+
+=caring=, taking care of. This is so convenient a word that it is used
+by everybody.
+
+=You never better=, you will never be good for anything.
+
+=tuffa=, with Italian =u= imitates spitting, a sign of contempt.
+
+
+
+
+XIX. ANNANCY AND SCREECH-OWL.
+
+
+One day Annancy made a dance, an' ask 'creech-owl to be the musician.
+An' Annancy send an' invite all his friend.
+
+An' when they come Ratta was in long coat an' Guinea-pig too, for
+Ratta tell Guinea-pig they must wear long coat an' they will get all
+the gal to dance with.
+
+An' 'creech-owl is a great player, but the only danger he cannot sing
+in the day.
+
+An' 'creech-owl has a Cock in his yard, an' he sent an' ask Annancy if
+he can bring a friend along with him.
+
+An' Annancy send an' tell him that 'tis no objectin to bring the
+friend, an' Annancy tell 'creech-owl that he will get a lots of drink.
+
+At that time Annancy didn't know the friend as yet.
+
+So, as he being hate 'creech-owl, he didn't wish to see no friend of
+his.
+
+So when the friend come the friend was a Cock.
+
+An' Annancy was very sorry for he knew that the Cock going to crow
+when day clean, an' 'creech-owl going to know when day is cleaning an'
+go away.
+
+An' Annancy got some corn, an' get a pint of 'trong rum, an' t'row the
+rum in the corn, an' let the corn soak in the rum.
+
+An' when the Cock call out to 'creech-owl that he is hungry, he says
+to Mr. Annancy that he must treat his friend Mr. Cock, an' Annancy
+took some of the corn an' give to the Cock.
+
+An' it so being that he love corn, Annancy continually feed him with
+the corn until he get drunk an' fast asleep.
+
+An' Annancy feel very glad in his heart that he is going to kill
+Brother 'creech-owl for his breakfast.
+
+An' when 'creech-owl playing, his mind was on his dear friend Mr.
+Cock, an' he continually listen to hear him crow, an' he couldn' hear
+him.
+
+An' he ask for him.
+
+Mr. Annancy tell him that he is having a rest.
+
+An' 'creech-owl play an' play till day catch him.
+
+An' Annancy got a kettle of boiled water an' dish it out an' ask his
+friend them to have some tea.
+
+An' 'creech-owl get very sad to see day catch him.
+
+An' Annancy didn' know whe make 'creech-owl wouldn' drink the tea.
+
+So Annancy begin to raise a confusion over it, say, as he won't drink
+the tea he must made up him mind to sarve him breakfast.
+
+An' 'creech-owl began to cry.
+
+An' the same time Annancy (that wicked fellah!) take up 'creech-owl
+music, an' ask young ladies an' young gentlemen to assist him in a
+noble song which he is going to kill Mr. 'creech-owl with.
+
+An' this the song:--
+
+[Music:
+
+ There's a blind boy in a ring, tra la la la la,
+ There's a blind boy in a ring, tra la la la la,
+ There's a blind boy in a ring, tra la la la la,
+ He like sugar an' I like plum.]
+
+An' when Annancy sing the sing done, he catch up 'creech-owl an' wring
+off him neck, an' get him cook for his breakfast an' becomes the
+master of 'creech-owl's band of music.
+
+An' from that day Mr. Annancy becomes the greatest player an' the
+biggest raskil in the world.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=the only danger=, the only danger is. This omission is frequent.
+
+At daylight, or soon after, it is the custom to drink tea. This is
+generally hot water and sugar with, or more often without, milk.
+Sometimes they make an infusion of the leaves of lime, orange, mint,
+fever-grass, cinnamon, pimento or search-me-heart. Coffee and
+chocolate are also occasionally used. These all grow in Jamaica, but,
+owing to its high price, actual tea is beyond the reach of the
+peasant. Lime is, of course, not the English tree of that name, but
+the tropical one which bears that small juicy fruit which is so much
+better than the coarser lemon. Fever-grass (_Andropogon citratus_) has
+the exact smell and taste of lemon-scented verbena. Search-me-heart
+(_Rhytidophyllum tormentosum_) is a pretty wild plant with leaves of
+green velvet, which on moist days give out a delicious aromatic smell
+much like _Humea_.
+
+=raise a confusion=, get up a quarrel. Annancy resorted to the same
+artifice when he killed Cow and the other animals at the mock
+obsequies of his father.
+
+=sarve him breakfast=, serve for his breakfast.
+
+The song will be found again among the dance tunes.
+
+=sing the sing done=, finished the song.
+
+='creech-owl= sounds like creechole.
+
+
+
+
+XX. ANNANCY AND COW.
+
+
+One day Annancy tell his family that he is going in the wood.
+
+Before he start he get some cane-liquor an' pour it into a big gourdy,
+an' he tell him wife that "me gone."
+
+An' he travel so till he meet three Cow.
+
+An' he tell one of the Cow marnin', say:--"Marnin', Bro'er Cow."
+
+Cow say:--"Marnin', Brother Annancy."
+
+Annancy say:--"Beg you a little water, Bro'er Cow."
+
+When Annancy get the water he said:--"The water no sweet not 't all."
+An' he say to Cow:--"Come taste fe me water." An' he no make Brother
+Cow know say a cane liquor him got.
+
+When Cow taste it him lick him tongue.
+
+Annancy say:--"No say fe me water sweeter more than fe you?"
+
+Cow said "Yes."
+
+Annancy said:--"Bro'er Cow, you want to go home with me becausen me
+have it de a run like a river? Bro'er Cow, if you want to go with me
+you fe make me put one wiss-wiss over you harn. But, Bro'er Cow, me
+have some picny a me yard, dey so fooyish, when time we most yech, dey
+ma go say 'Puppa bring Cow.' When them say 'Puppa bring Cow' you mus'
+say 'A so him do.'"
+
+Annancy carry Cow into his yard an' tie him upon a tree, an' tell Cow
+him goin' to get a yitty breakfus' for him. (Annancy 'tudy trick fe
+nyam Cow; he was very anxious for his beef.)
+
+An' he get into his house and take his tumpa bill coming to Cow force
+ace fe chop off Cow's neck. He miss the neck an' chop the wiss-wiss,
+an' Cow take him tail put on him back an' gallop away.
+
+Annancy a bawl, a call:--"Say, Bro'er Cow, a fun me a make, me a drive
+fly, come back."
+
+Cow no a yerry but gallop till him get home an' tell him wife an'
+picny, said Annancy want fe kill him:--"Thank God me get 'way; the
+whole family must sing we own tune to-day ya":--
+
+[Music:
+
+ Brother Annancy tie somebody,
+ Me no min know da bad me do,
+ Brother Annancy tie somebody,
+ Me tie, me tie, me tie oh!
+ Brother Annancy tie somebody.]
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=cane liquor=, juice of sugar-cane.
+
+=gourdy=, the dried shell of the gourd-like fruit of the Calabash
+(_Crescentia Cujete_).
+
+=wiss-wiss=, withe. There are many kinds of these natural ropes to be
+found in the bush.
+
+=fooyish=, foolish.
+
+=most rech=, almost reach, are just getting to the yard.
+
+=day ma go say=, they may go and say.
+
+=A so him do=, so he does. The reciter imitates lowing here, the voice
+falling to a deep prolonged note on the last word.
+
+=carry=, lead.
+
+=yitty=, little.
+
+=nyam=, eat.
+
+=tumpa=, stumpy, short.
+
+=force ace=, post haste.
+
+=a fun me a make=, it's fun I am making, I was only pretending.
+
+=min=, been, wrong auxiliary for did. I did not know that I had done
+anything wrong.
+
+Substitute the vowel =ah= in water, all, bawl, call.
+
+
+
+
+XXI. TACOMA AND THE OLD-WITCH GIRL.
+
+
+One day there was a old-witch gal, an' Tacoma want the gal to marry.
+An' Tacoma went to the gal yard an' ask the gal to courten to. An' the
+gal tell Tacoma that he don't want a husband as yet.
+
+So Tacoma get very sad in his heart, an' he comes home back to his
+yard, an' when he come he 'tudy a plan. An' when he 'tudy the plan he
+fix a day to go back to the gal yard.
+
+An' Tacoma get a buggy, an' get Ratta for his Coachman, an' get a pair
+of brown-coloured mongoose to be the horse.
+
+An' when Tacoma was going he sent to notice the gal that he is
+coming such a day.
+
+An' Tacoma went to his friend Annancy an' borrow long boots an' dress
+himself nicely, an' borrow a gold watch an' chain, an' got a helmet to
+his head.
+
+An' when Tacoma ready he order his coachman to harness up the horses.
+An' when he start he carry lots of present, an' hitch a grey horse
+behind the buggy, an' take along with him t'ree pieces of music.
+
+An' this time Tacoma didn' know the gal was a old-witch, an' all what
+Tacoma talk from home the gal really know everything.
+
+An' he reach up the yard an' sing:--
+
+[Music:
+
+ I will make you have a present of a nice gold watch,
+ Just to wear it on your side for to let the people see,
+ If you'll only be my true lover,
+ If you'll only be my true lover.]
+
+An' the gal answer:--
+
+[Music:
+
+ No, no, dear, not for all your gold watch,
+ I will never be yours true lover,
+ I will never be yours true lover.]
+
+An' Tacoma have plenty more t'ing is to make a present to the gal. An'
+he promise to give her a nice silk dress, an' a nice silver bangle,
+an' a nice gold egg, an' a nice grey horse, an' tell the gal that
+everyt'ing, which is going to make him a present to, he must wear it
+along the street to let the people see, if you will only be my true
+lover.
+
+An the gal say to Tacoma:--"No, for I want the best thing which you
+have."
+
+An' Tacoma guess an' guess an' he couldn' find out.
+
+An' the gal say if Tacoma find out she will marry Tacoma.
+
+An' Tacoma guess an' guess until he made the gal a promise that he
+will give him the key of his heart.
+
+An' then the gal was so glad an' said to Tacoma that I'll ever be
+yours true lover.
+
+An' Tacoma sent for the gal's parents an' his parents an' marry off
+the gal, an from that day the gal becomes Tacoma wife.
+
+
+NOTES.
+
+=mongoose=, see the note to the dance tune "Mahngoose a come."
+
+=yours true lover=, always =yours=. Generally it is "you" for "your." They
+say "this is yours" correctly and then add "and this is mines."
+
+=t'ing is=, things.
+
+=which is going, etc.=, which he is going to make her a present of.
+
+When, commenting on Tacoma's directions, I objected that the girl
+could not wear the grey horse, the boy who was telling the story saw
+it at once and said:--"No, he must =carry= it." When the story was done
+(it is reproduced exactly from his dictation) he sang all the missing
+verses with the girl's answer to each verse, and instead of his usual
+"carry" which did not fit he substituted "lead it in the street." The
+singer will see at once where to make the necessary alterations. The
+words "silver bangle" want four quavers instead of two crotchets, and
+it will be worn on the hand as they call the wrist or any part of the
+arm. "Just to keep it in your hand" follows "gold egg." "The silk
+dress is worn 'long the street," and after "the key of my heart" comes
+"just to keep it in your own." I was looking out in this last verse
+for a change in the words "for to let the people see," but none came.
+To the last verse the answer is:--"Yes, yes, dear, for the key of your
+heart I will ever be yours true lover." [Cf. Baring-Gould, _Songs of
+the West_, No. xxii.; Fuller-Maitland and Broadwood, _English County
+Songs_; and _Journal of the Folk-Song Society_, Vol. ii., pp. 85-87.
+(C.S.B.)]
+
+
+
+
+XXII. DEVIL'S HONEY-DRAM.
+
+
+One day Devil set his honey-dram near a river side.
+
+An' Annancy has a little son name of John Wee-wee, an' when the boy
+find out Devil honey-dram he continually tiefing all the dram.
+
+An' Devil couldn' find out who was doing it.
+
+An' Devil put out a reward that if any one can prove who is tiefing
+his dram he will pay them a good sum.
+
+An' one day Annancy miss his son, an' Annancy guess that the little
+boy must be gone to Devil honey-dram.
+
+An' as Annancy being a tief himself he went an' s'arch for the boy.
+An' when he go he found him drunk an' fast asleep. An' Annancy lift
+him up an' bring him home.
+
+An' when the boy got sober, about three days after, he got so use to
+the dram an' he went back.
+
+An' Devil gone out to hunting. An' when he was going he ask his mother
+to give a heye upon his dram until he come in. An' the mother went
+down to the dram an' he found the boy drunk the very same again.
+
+An' there was no one know the woman name except Mr. Annancy.
+
+An' Annancy went an' look for his son.
+
+An' when he go the woman catch the boy already an' carry him to Devil
+yard. An when the boy go the woman gi' him some corn to beat.
+
+An' Annancy went an see his son was beating corn, an' he ask the woman
+what the boy is doing here. An' the woman tell him that this is the
+boy was tiefing all Devil honey-dram, an' now him catch him, an' him
+wouldn' let him go until the master come.
+
+An' Annancy ask the woman if he don't have any more corn to beat.
+
+The foolish woman say:--"Yes, Brother Annancy, but not all the corn
+you going to beat you won't get your son till the master come."
+
+An' Annancy begin to fret for him know when Devil come he won't have
+no more son again, for Devil will kill him an' eat him.
+
+An' the woman name is Matilda.
+
+An' Annancy took the corn an' begun to beat an' he start to sing:--
+
+[Music:
+
+ Wheel oh! Wheel oh Matilda.
+ Turn the waterwheel oh Matilda!
+ Matilda mahmy los' him gold ring,
+ Turn the waterwheel oh Matilda.]
+
+An' the woman begun to dance an' wheel. An she dance an' dance till
+she get tired an' fall asleep. An' Annancy (the clever fellah) took
+his son out an' light Devil house with fire.
+
+An' when Devil in the bush look an' see his house is burning he t'row
+down his gun an' 'tart a run to his yard.
+
+Until he come the house burn flat to ground.
+
+An' Devil couldn' find Matilda his faithful mother, an' Devil take to
+heart an' dead.
+
+An' Annancy take Devil honey-dram for himself an' build up a house in
+Devil own place, an' from that day Mr. Annancy becomes the smartest
+man.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=Honey dram.= The ingredients are honey, water, chewstick, ginger and
+rum. When mixed the dram is put in the sun to ripen. Chewstick
+(_Gouania domingensis_) is bitter and takes the place of hops.
+
+=beating corn=, _i.e._ maize, to separate the grain from the husks,
+called also =huxing corn= (husking).
+
+When an animal is found trespassing it is brought down to the yard,
+and its owner comes to redeem it by a money payment. John Wee-wee was
+brought in in the same way and according to custom was given something
+to do while he waited.
+
+=faithful.= A faithful person is one in whom confidence is reposed.
+
+
+
+
+XXIII. ANNANCY IN CRAB COUNTRY.
+
+
+One day Annancy form himself as a minister, an' was going out an'
+preaching about. An' Annancy preach an' preach till he get in Crab
+country. An' Crab them wouldn' hear Annancy at all.
+
+An' Annancy went home back, an' dress himself in a black gown, an' get
+some red paint an' redden his 'tummy, an' ask a few friend to walk
+with him.
+
+An the friend was Mr. Toad an' Ratta an' Blackbird.
+
+An' they all start.
+
+An' when Annancy reach to Crab country he beguns to preach.
+
+An' he preach an' preach till they wouldn' hear him again.
+
+An' Annancy hire a house from Crab to stop in the night.
+
+An' Annancy, seeing he couldn' catch them with his preaching, made a
+drum an' a fiddle an' give Blackbird the fiddle to play. An Ratta was
+playing the drum. An' Annancy see that the music didn't sufficient.
+He wait, until the next day he made a flute an' give to Toad.
+
+An' when he done he put up the music them an' got in friendship with
+Crab, an' begun to do the same as Crab them are doing.
+
+An' poor Crab didn' know what Mr. Annancy mean.
+
+An' Annancy go on go on until they got used to Annancy.
+
+An' when they got used to Annancy, Annancy write out plat-card and put
+it out an' tell his friend Mr. Crab that he is going to have a nice
+baptism at his house, an' tell them that he will have a bands of music
+playing in going home, an' how the music will be so sweet they won't
+tired walking.
+
+An' when Annancy start with his three friend he tell Ratta to roll the
+drum, an' Blackbird is to rub the fiddle 'tring till it catch fire,
+an' Toad is to blow the flute as hard as he can, an' he will be
+reading the tune.
+
+An' he start like this:--
+
+[Music:
+
+ The bands a roll, the bands a roll,
+ the bands a roll, a go to Mount Siney.
+ Salem is Zakkilow,
+ Some a we da go to Mount Siney.]
+
+An' when Annancy get home he made a bargain with his t'ree friend that
+he is going to baptize them an' let Crab see.
+
+An' when he baptize them, Crab they were very glad to see this treat
+which Annancy do to his t'ree friend, an' they say that they want
+Annancy to do them the very same.
+
+An' Annancy tell them that they must wait till to-morrow.
+
+An' Crab them agree.
+
+An' Annancy made a bargain with his t'ree friend an' is going to
+baptize Brother Crab with boiling water.
+
+An' he get a deep barril an' order Crab them that they must go in the
+barril, an' Crab they do so.
+
+At that time Annancy have a good pot of boiling water an' as Crab a
+settle theirself in the barril Annancy tilt the pot of boiling water
+on them an' the whole of Crab body get red.
+
+An' Annancy was very glad an' said:--"T'ank God I have got some of the
+clever man them for me breakfus'."
+
+An' from that day Annancy was going about an' fool all his friend.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+The black land-crab is a much-esteemed delicacy. Formerly every
+property had its crabber, whose duty it was to provide crabs for the
+house. Since the introduction of the mongoose they have become
+scarcer.
+
+=form himself as=, pretends to be.
+
+=stop in the night=, stop in for the night.
+
+=put up=, put away.
+
+=do the same, etc.=, live in the same way as the Crabs.
+
+=plat-card=, placard; a rough written advertisement affixed to the trunk
+of a tree. When there is a public gathering the musicians play as they
+walk to the place of entertainment and again as they leave it.
+
+
+
+
+XXIV. GAULIN.
+
+
+One day there was an India woman who have a daughter, an' when the gal
+born she born with a gold ring on her finger. An' everybody hear about
+it but they never see it.
+
+An' Mr. Annancy was very crave to got the gal to be his wife.
+
+An' Annancy study a plan an' take up his bands of music an' go down to
+the gal yard, an' when him go down they admit Mr. Annancy.
+
+An' when they admit him Annancy beguns to play all different tune just
+to see if the gal would laugh with him. But the gal was very sad,
+neither would laugh nor smile, until Annancy see there was no good,
+an' tell good bye an' go home back.
+
+Annancy when him goes home back, met his friend Mr. Rabbit in the
+road.
+
+Rabbit ask him:--"Brother Annancy, where you is comin' from?"
+
+An' Annancy begun to tell Rabbit.
+
+So Rabbit make a bargain with Annancy that he is going to try his
+luck.
+
+So Annancy say:--"As you being such a clean an' white gentleman I
+think you will succeed. So if you succeed, when you coming home back
+you must make me know; then you can take me to be your servant."
+
+That time Rabbit didn' know what Annancy study. Annancy mean was to
+take away the gal from Rabbit.
+
+So Rabbit start to the yard, an' when him go they admit him in.
+
+An' the mumma ask Rabbit what he come about.
+
+Rabbit says he is looking for a courtier.
+
+An' the mumma say to Rabbit:--"Oh, my dear Mr. Rabbit, I am very
+sorry! You is only but a meat,[44] so I can't give you my daughter."
+
+[Footnote 44: Cf. the Bantu use of _nyama_ ("meat") for "an animal."
+(A.W.)]
+
+An' Rabbit spend a little time till he tell goodbye.
+
+Meanwhile Annancy wouldn' go home. Him sit in the road till Rabbit
+coming home back. An' him ask Rabbit if him succeed.
+
+Rabbit say:--"Oh no!"
+
+So they begin to talk. An' by this time Sea-gaulin was passing an'
+hear what they are saying.
+
+An' when Gaulin go home back, him 'tudy between himself that, if him
+only get a bus an' dress himself tidy an' drive to the gal yard,
+she'll sure be his wife.
+
+An' Sea-gaulin goes down, an' the gal was very glad to see him an'
+invite him inside the house, an' they begun to arrange to be married.
+
+An' there was a old-witch boy which was brother to the gal whisper to
+her:--"That one is Gaulin."
+
+An' the gal say:--"Oh no, it is my dear love."
+
+So the boy say to then:--"Never mind, one day you will find out if he
+is not Mr. Gaulin."
+
+So, when Gaulin tell goodbye an' go home to his yard back, the boy
+follow him an' go to the river side where Gaulin is fishening, an' he
+climb a tree which hung over the water.
+
+An' when Gaulin come down the river he 'tart a singing:--
+
+[Music:
+
+ My iddy, my iddy Pyang halee,
+ Come go da river go Pyang,
+ me Yahky Yahky Pyang me jewahlee Pyang,
+ me Yahky Yahky Pyang me jewahlee Pyang.]
+
+An' that time Gaulin didn' know that the boy was on the tree hearing
+him.
+
+When he first sing his hat fall off.
+
+An' he sing again his jacket was off.
+
+That time the boy was seeing every bit.
+
+An' he sing again an' his shirt was off.
+
+Sing an' sing till the trousies drop off.
+
+An' as he done he find himself inside the water begun to fishening.
+
+An' as him put him head under a stone-hole the boy come down off the
+tree an' find himself back to his yard.
+
+An' next Wednesday when Gaulin come to get married, the boy provide
+for him to sing that very same tune when they are on the cake table.
+
+An the boy say:--"Ladies and gentlemen will you like to hear a song?"
+
+An' everybody say "Yes."
+
+An' that time the boy was a fiddler, an' he tune up his violin an'
+beguns to play "My iddy, my iddy Pyang halee."
+
+Gaulin say:--"Oh no, my brother, stop that tune. That same very tune
+kill my grandfather, an' when you sing it you let me remember my old
+grandfather."
+
+An' the boy never stop sing an' play till all Gaulin clothes drop off.
+
+An' Gaulin fly out the door mouth an' find himself right up in the
+air.
+
+An' from that day that's what make Gaulin fly so high.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Gaulin=, the Egret. In stormy weather the egrets leave the seaside and
+fly up into the country to fish in the streams. They are especially
+fond of the small crabs which abound in the mountain rivulets. The
+words of the song have been spelt so as to convey as nearly as
+possible their right sound. =Halee= rhymes in both syllables to the
+=stali= of the Venetian gondolier. =Jewahlee= is =Jubilee= with a different
+middle syllable. =Pyang= with French =a= made as short as possible is the
+Egret's cry. It should be accented and brought out strongly.
+
+=When him goes home back=, as he was going home.
+
+=white gentleman.= This counts many points in the estimation of the
+Negro.
+
+=Rabbit spend a little time.= Most characteristic. After the rebuff one
+would have expected him to go away at once, but that is not the
+Negro's way. He is never abashed, and after the curtest refusal of any
+favour he has come to ask, will sit on and talk of other things,
+finally taking his leave as if nothing had happened.
+
+=bus=, the buggies which ply for hire in Kingston are so called.
+
+=Wednesday=, the favourite day for weddings. The bridegroom is
+accompanied to church by a godmother, not the baptismal one but
+another specially appointed for the occasion.[45] They ride to church,
+which is usually at some distance from the yard. The bride also rides
+from her yard, accompanied by a godfather and two bridesmaids between
+the ages of eight and eleven. The ceremony and signing of the register
+over, the newly-wedded couple mount and gallop to the wife's yard, the
+rest of the company following more leisurely. Arrived there, the bride
+proceeds to put on her wedding-clothes and the guests are received by
+the godfather and given sugar-water and bread. When the bride has
+donned her satin gown and veil (she was married in her riding-habit)
+and with much sorrow pinched her feet into white shoes too small for
+them, the company sit down to the cake table. This has upon it two
+cakes, two fantastically fashioned loaves of shewbread, triumphs of
+the baker's art with their doves and true lovers' knots, and three
+vases of cut flowers. The bread is not eaten then but is distributed
+(_distribbled_, as they have it,) to friends on the days following the
+wedding. One cake is cut. A knife and fork being handed to a
+bridesmaid she takes off the cake-head, which is a small top tier or
+addition to the cake proper. This is put aside and afterwards sent to
+the officiating minister. The godfather then proceeds to the more
+serious work of cutting up the cake, giving pieces first to the bride
+and bridegroom and then to the guests. The second cake is left intact.
+Wine is poured out, and there are speeches and toasts and hymns. Then
+follows dinner, which is over about five o'clock. They then begin to
+play _Sally Water_ (see introduction to the Ring tunes) which goes on
+for an hour or two, and as night falls dancing is started. This goes
+on all night and does not end, at the earliest, till dusk on the
+following day, Thursday. It is often kept up until Friday evening or
+even until Saturday, the dancers and musicians appearing to require no
+rest. The latter are well supplied with rum and when they get sleepy
+they beg for an extra tot to rub their eyes, which burns them and
+keeps them awake. The whole of this time refreshments are supplied to
+the guests, and as long as these hold out they do not disperse, or as
+they put it:--"till hungry bite them they no go 'way."
+
+[Footnote 45: Is this a survival of the African institution of
+"sureties" (Yao, _ngoswe_, see Duff Macdonald, I. 118), or "sponsors,"
+who arrange the marriage? I am not sure whether the custom exists
+among Negro as well as Bantu tribes. (A.W.)]
+
+The Sunday after the wedding is 'turn t'anks (return thanks). The
+married couple and their friends get all the beasts, _i.e._ horses and
+mules, they can muster, and ride to church dressed in their best. The
+bride and bridegroom, attended by the godfather and godmother, sit in
+"couple bench," the rest of the party going to their own pews. After
+service the whole cavalcade gallops as hard as it can, regardless of
+the precipices which skirt all Jamaica mountain paths, up hill and
+down hill to the husband's yard. There wine is provided, and the
+second cake is cut and eaten. Dinner follows at three, and then _Sally
+Water_ is again played until midnight, when dancing recommences and
+goes on till four or five o'clock on Monday afternoon. This is the end
+of the festivities, which sometimes cost twenty pounds or more.
+
+=provide for him=, prepared himself.
+
+=door mouth= includes not only the opening, but also the whole space
+just outside the door.
+
+
+
+
+XXV. ANNANCY, MONKEY AND TIGER.
+
+
+One day Annancy an' Tiger get in a rum-shop, drink an' drink, an' then
+Monkey commence to boast. Monkey was a great boaster.
+
+Annancy say:--"You boast well; I wonder if you have sense as how you
+boast."
+
+Monkey say:--"Get 'way you foolish fellah you, can come an' ask me if
+me have sense. You go t'rough de whole world you never see a man again
+have the sense I have."
+
+Annancy say:--"Bro'er Monkey, how many sense you have, tell me?"
+
+Monkey say:--"I have dem so till I can't count dem to you, for dem de
+all over me body."
+
+Annancy say:--"Me no have much, only two, one fe me an' one fe me
+friend."
+
+One day Monkey was travelling an' was going to pass where Tiger live.
+Annancy was working on that same road.
+
+As Monkey passing, Tiger was into a stone-hole an' jump out on the
+fellah an' catch him. All his sense was gone, no sense to let him get
+'way. Tiger was so glad, have him before him well ready to kill.
+
+Here come the clever man Mr. Annancy.
+
+When he saw his friend Monkey in the hand of such a wicked man he was
+frighten, but he is going to use his sense.
+
+He said:--"Marnin', Bro'er Tiger, I see you catch dat fellah; I was so
+glad to see you hold him so close in hand. You must eat him now. But
+before you eat him take you two hand an' cover you face an' kneel down
+with you face up to Massa God an' say, 'T'ank God fe what I goin' to
+receive.'"
+
+An' so Tiger do.
+
+An' by the time Tiger open his eyes Monkey an' Annancy was gone.
+
+When they get to a distant Annancy said to Monkey:--"T'ink you say you
+have sense all over you 'kin, why you no been get 'way when Bro'er
+Tiger catch you?"
+
+Monkey don't have nothing to say.
+
+Annancy say:--"Me no tell you say me have two sense, one fe me an' one
+fe me friend? Well! a him me use to-day."
+
+From that day Tiger hate Annancy up to now.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=can come and ask me=, that can come. The ellipsis is best explained by
+giving the sentence another turn: "Get away you man who are so foolish
+that you can come," etc.
+
+=into a stone-hole=, in a cave.
+
+=Tiger was so glad, etc.=, Tiger was well pleased and held him in his
+paws all ready for killing.
+
+=why you no been=, why didn't you.
+
+=a him me use=, that is the one I used.
+
+
+
+
+XXVI. THE THREE PIGS.
+
+
+One day a Hog have three Pig an' the three of them was boy. When they
+were about two month the father died, so the mother grow them up
+herself. When the Pig them come to big young man the mother said to
+the first son:--"Me son, a time fe you go an' look you own living."
+
+The day come when he was to start. The mother tie up his clothes an'
+give him, an' said:--"If you get work sen' an' tell me."
+
+The Pig start.
+
+As he was going he meet a man with a cart of hay.
+
+He said:--"Please, sir, you can give me that hay that I may go an'
+build a house?"
+
+The man give him.
+
+Pig go an' make up a house with his hay, an' find it very warm an'
+comfortable.
+
+One day Wolf come, call:--"Little Pig, little Pig, let me come in."
+
+Pig say:--"No, no, by the hair of my chinnychinchin."
+
+Wolf said:--"I will huff an' I will cuff an' blow you house down."
+
+Wolf huff an' cuff an' blow down the house, an' go in an' eat Pig.
+
+The mother wait an' can't get no letter from the first son.
+
+She send the other one, second to the first, an' that one travel until
+he meet a man with a cart of kindling.
+
+He say:--"Please, sir, you can give me that kindling that I may go an'
+build a house?"
+
+The man give him.
+
+He make up his house, an' one day Wolf was passing, see that it was
+pig house, call to him:--"Little Pig, little Pig, let me come in."
+
+Pig say:--"No, no, no! by the hair of my chinnychinchin."
+
+Wolf say:--"I will huff an' cuff an' will blow you house down."
+
+An' he do so an' go in an' eat Pig.
+
+The mother wait six months an' don't get no letter.
+
+She said:--"Those boy must be get good work an' can't get to write."
+
+The last son she said:--"Me own little son, time fe you go look you
+living."
+
+Pig say:--"Yes, mumma me wi' go now."
+
+She tie up his bundle give him some money an' kiss him, say:--"You
+must try write me."
+
+The boy start.
+
+He travel an' travel till night take him. He has to sleep under a
+stone-hole. When he was sleeping he get a dream that he see his two
+brother was in a frying-pan. He was so frighten he wake an' start away
+the same hour. He travel till day clean. At about nine o'clock he get
+to a big road. He travel on that road till he meet a man with a cart
+of brick.
+
+He said:--"Please, sir, you can give me that brick that I may go an'
+build a house?"
+
+The man give him.
+
+He go an' make up a grand house with the brick.
+
+When his house finish Wolf hear, an' come one day, call to
+Pig:--"Little Pig, little Pig, let me come in."
+
+Pig say:--"No, no, no! by the hair of my chinnychinchin."
+
+So wolf think that this house was like the rest.
+
+He said:--"I will huff an' cuff an' will blow you house down."
+
+He try for one whole day an' never succeed, so he lef an' go home an'
+'tudy upon Pig.
+
+One evening he come an' call Pig an' tell him he know where there is a
+garden of all sort a t'ing, so Pig must come an' let them take a walk.
+
+Pig ask him:--"What time you will be going?"
+
+He said:--"A two in the morning."
+
+Pig 'tart eleven, go an' come back with all good food.
+
+At two Wolf come an' call:--"Little Pig, you ready?"
+
+Pig say:.--"You lated; I go an' come back already."
+
+Wolf was so vex he go home back. He didn' want nothing but to eat Pig.
+
+He said a next day:--"Little Pig, I know where there is a apple tree a
+Mr. Simmit garden, make we go an' get some."
+
+Pig ask:--"What the time?" Wolf say "T'ree."
+
+Pig go two.
+
+By Pig was on the tree fulling up his basket here come Wolf. Pig was
+so frighten he was on the tree trimbling. Wolf was quite glad to think
+he was going to catch Pig. He couldn' stand his ground, but dance
+about with joy.
+
+Pig say:--"The apple is so sweet that I have fe take a good load. Mr.
+Wolf, you would like to taste one?"
+
+Wolf say "Yes."
+
+Pig say:--"Let me see if you can run as that apple?"
+
+Pig throw one of the apple far an' Wolf run after it. By the time he
+is come back Pig get down off a the tree, leave him baskit an'
+everyt'ing, an' run nearly reach home.
+
+Wolf was so sorry when he come, left the apple an' gone home.
+
+Next night he call to Pig an' tell him that he know where there will
+be a met, so they must take a walk.
+
+Pig say:--"What hour?" Wolf said "T'ree."
+
+Pig start twelve an' go dance till two. He was the best dancer an'
+they give him a butter-churn as a reward. As he walking home he see
+Wolf at a distant coming.
+
+He said:--"My goodness King! What I going to do?"
+
+Nevertheless he get in the churn a roll down the hill.
+
+Wolf see the thing. He run for his home.
+
+The next day he go an' ask Pig if he did go to the ball.
+
+Pig said:--"Yes, an' as I was coming home I see you, an' was so
+frighten I get in me churn an' roll down to see if you don't run. An'
+so you did run, Ha! Ha!"
+
+Wolf get vex. He huff an' cuff all day again to see if he could broke
+down the building, but all he do he has to lef' it.
+
+So one rain night he send his wife with a young baby to see if Pig
+would take her in by changing her voice.
+
+She went an' call:--"Mr. Pig, please Sir, if you can give a night
+rest, Sir; for rain, an' I am from far."
+
+Pig said:--"No, I don't take in no stranger whatever, especially you,
+Mrs. Wolf. You husban' try an' try an' can't manage, an' now him send
+you to see if you can kill me."
+
+Mrs. Wolf commence to climb the chimley.
+
+Pig put a big copper of water on the fire an', by the time she reach
+the top an' was coming down the chimley, she drop in the water an'
+dead, she an' the child.
+
+Wolf come again an' call Pig.
+
+An' Pig take up this song:--
+
+[Music:
+
+ Wolf, Wolf, Wolf! no use you try fe come in,
+ You wife dere da ready;
+ Ha! Ha! Ha!
+ You wanta try fe come in,
+ Come Wolf,
+ Me will put you both together.]
+
+Wolf get worser vex, commence to beat Pig house with all his might an'
+couldn' get in. He climb up the chimley, an', by he fe get to the top,
+the pot of boiling water was long time ready waiting for him, an' he
+going down in a haste make a slip, drop in the water.
+
+Pig salt them an' put them in his cask to soak, an' write to invite
+his mother to help him eat them for he find out it was them eat his
+two brother.[46]
+
+[Footnote 46: Cf. Joseph Jacobs, _English Fairy Tales_, No. xiv., and
+note, p. 233. (C.S.B.)]
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Pig them.= Read these words together, not, Pig--them come.
+
+=you can give=, can you give.
+
+=huff=, scratch with the hoof.
+
+=kindling=, small wood to light fires with.
+
+=day clean.= Day is clean when you can see to walk.
+
+=big road=, one that is what the Italians call _carozzabile_,
+carriageable. In the hills of Jamaica the roads are for the most part
+mere mule tracks.
+
+=Simmit=, Smith.
+
+=make we go=, let us go.
+
+=What the time?= at what time?
+
+=By Pig=, as Pig.
+
+=fulling=, =trimbling=, always so.
+
+=when he come, etc.=, when he came back to the tree, that he left the
+apples and went home.
+
+=met=, meeting, ball.
+
+=da ready=, already.
+
+=by he fe get=, by the time he got.
+
+=cask to soak.= Salt meat is kept in a tub of brine.
+
+
+
+
+XXVII. DUMMY.
+
+
+There was a man couldn' talk, called Dummy.
+
+One day Annancy bet the King he going to make Dummy talk.
+
+So the King say:--"If you make Dummy talk I will give you one of my
+daughter fe marry."
+
+Well, Annancy went to Hog, ask him:--"Bro'er Hog if I carry you fe
+Dummy, whe you wi' say?"
+
+Hog say:--"Me wi' say ugh! ugh!"
+
+Annancy say:--"You won't do."
+
+He went to Goat:--"Bro'er Goat, if I carry you fe Dummy, whe wi' you
+say?"
+
+"Me wi' say Meh--eh--eh!"
+
+"You won't do."
+
+So he went to fowl.
+
+Fowl say:--"Me wi' say Clk! Clk! Clk!"
+
+"You won't do."
+
+So he went to Bro'er Peafowl an' ask him:--"What you will say if me
+carry you fe Dummy?"
+
+Peafowl say:--"Me wi' say:--
+
+[Music:
+
+ "Chirryway,
+ Chirryway, Chirryway dem de,
+ Chirryway, Constan' dead to-day,
+ Chirryway."]
+
+Then Annancy say:--"A you me wanty."[47]
+
+[Footnote 47: See the story of Tangalomlibo in Torrend, _Comparative
+Grammar of S. African Bantu Languages_, p. 319, where the cock is
+chosen as messenger, when the ox and goat are rejected. (A.W.)]
+
+So Annancy beg Bro'er Peafowl he must come with him to Dummy.
+
+An' when Dummy hear the tune it sweet him so, he commence to shake him
+head an' hum.
+
+So them went to the King yard, Peafowl before, Dummy in the middle,
+Annancy de a back.
+
+An' as they reach up Annancy say "Wheugh!" being him breat' gone an'
+him tired, but peafowl never cease with the song.
+
+When Annancy got him breat' he say to the King:--"Master me a come, me
+a go make Dummy talk."
+
+Then the King say:--"I will like to hear Dummy talk."
+
+An' Peafowl sing an' sing, an' make all sort of figure before Dummy.
+
+Dummy commence to shake him head two t'ree time de way de song sweet
+him.
+
+At last Dummy begin to hum.
+
+As Peafowl see him commence to hum, Peafowl make a sudden spring, went
+up to Dummy with a great flourish, an' at last Dummy sing right out
+the same as Peafowl:--
+
+[Music:
+
+ Chirryway,
+ Chirryway, Chirryway dem de,
+ Chirryway, Constan' dead to-day,
+ Chirryway.]
+
+An' Annancy get the bet an' the King marry him off.
+
+An' Annancy give Peafowl gold all over his body an' six quarts of
+corn. From that Peafowl cover all over with gold.
+
+
+NOTES.
+
+=Whe you wi' say=, what will you say?
+
+=sweet him so=, pleased him so much.
+
+=Constan'=, Constance.
+
+
+
+
+XXVIII. ANNANCY AND CANDLEFLY.
+
+
+One day Annancy go to Brother Candlefly yard fe fire.
+
+When him go Candlefly give him fire an' tell him to wait an' he will
+go give him a few eggs.
+
+When Annancy get the eggs he go home with the fire.
+
+The next day he go back fe fire an' Candlefly give him more eggs.
+
+Annancy go till him get halfway, out the fire an' turn back.
+
+When him come him say:--"Bro'er Candlefly, the fire out; give me some
+more."
+
+When Candlefly give him the fire, him wait an' wait to see if him can
+get more eggs. Candlefly never give him one.
+
+Annancy say:--"Bro'er Candlefly, the fire a burn me, please give me
+one egg make me wet me han', fe make it better."
+
+Candlefly give him one an' tell him to come an' he will carry him
+where any amount of egg da, "But you must not come till close a
+night."
+
+Annancy don't wait till night, go about midday. When him go him get a
+long bag ready. Every minute him come out of the house an' look on
+sun. Annancy couldn' tarry but only praying to see if night can come.
+
+When night come Candlefly get ready an' tell Annancy to stay aback.
+Them travel till at last them get. (Annancy going to play out
+Candlefly.)
+
+Every gash Candlefly gash an' see a egg going to pick it up, Annancy
+say:--"A me first see ahm."
+
+Candlefly gash again: Annancy take away every one till him bag full.
+Candlefly don't get one. So as Annancy such a strong man Candlefly
+compel was to lef' without say a word.
+
+But Annancy going to feel the blow.
+
+After Candlefly gone with the light Annancy couldn' find nowhere to
+put his foot.
+
+Annancy say:--"Poor me boy, I mus' try see if I can fin' the way."
+
+Annancy start.
+
+Him travel till him go an' buck on a house. The way the night was so
+dark he never see the house, he just buck on it.
+
+He don't know whose house it was but him call "Godfather!"
+
+The person answer:--"Who is that calling?"
+
+Him say:--"Annancy, you godson, bring some eggs fe you."
+
+During this time Annancy never know that it was Tiger who him hate so
+much.
+
+When the door open there come Brother Tiger.
+
+Annancy say:--"Marnin', Godfather Tiger."
+
+Tiger say:--"Come in."
+
+Same time Tiger send his wife to go an' put on the copper on the fire.
+
+So them boil the whole barrel-bag of eggs.
+
+When the eggs boil Tiger ask Annancy if him want any.
+
+The frighten in him, him say "No."
+
+So Tiger eat the whole bag of eggs, he an' his wife an' children.
+
+To find out if Annancy want any of the eggs Tiger tell him wife fe lef
+two of the good shell. So Tiger get a lobters an' put with the egg
+shell.
+
+When Annancy go in to sleep, Annancy see these two eggs, don't know
+that it was shell. Tiger know how the fellah love eggs.
+
+When lamp out Annancy 'tretch him hand to catch the eggs.
+
+Lobters paw give him a good bite. Him jump. Then Tiger know that it
+was the egg the fellah want.
+
+Tiger ask:--"What the matter Mr. Annancy?"
+
+"No dog-flea a bit me up so, sir? Me never see place have dog-flea
+like a you yard."
+
+Tiger gone back to sleep.
+
+Five minute more Annancy cry out:--"Lahd! me never see place have
+dog-flea like a you yard."
+
+During this time he was trying to get the egg-shell. So he try an' try
+the whole night an' never get.
+
+When day light Tiger say:--"Me son, me sorry to see dog-flea bit you
+so last night. You is the first man come here a me house say dog-flea
+bit you."
+
+Annancy say:--"Godfather, I don't get a rest from I go to bed till
+now."
+
+Tiger wife get tea an' give him, so he get ready.
+
+Tiger say:--"Go a me goat-pen, you see one goat, fetch him ya fe me
+before you go."
+
+Annancy go. When him go he see a big he-goat, him beard was a yard
+long. Annancy catch the beard, lift him up t'row him a ground, take a
+big stick begin to beat him, give bup! bup! say:--"You b'ute! a you
+master nyam all me egg never give me so so one self."
+
+Him beat him so till the goat form 'tiff dead. Now this was Tiger all
+the time. Annancy leave him gone to see if he can get any knife to cut
+him up.
+
+By Annancy come back him don't see no goat, only a big old man
+standing up. Him put after him. Annancy run back to Tiger yard. The
+man was after him. Annancy see a gourdy, run right in it. Tiger lost
+the fellah.
+
+Well! Tiger take his gourdy going fe water.
+
+Annancy, knowing that Tiger mother was sick, as Tiger get halfway with
+the gourdy on his head Annancy call out of the gourdy mouth:--"Bro'er
+Tiger, you mumma dead a house from yeshterday."
+
+Tiger stop, him listen, him can't hear.
+
+He make a move.
+
+Annancy bawl out again:--"Bro'er Tiger, you mumma dead a house from
+yeshterday."
+
+Tiger stop, him listen, him can't hear.
+
+He go on again, he hear the voice again.
+
+He throw down the gourdy.
+
+Annancy get out, said to Tiger:--"You b'ute! if you been broke me foot
+you wouldn' min' me wife and picny."
+
+Tiger hear the voice but never see a soul.
+
+Him run gone home to see if his mother dead. When he go his mother was
+still alive.
+
+Annancy go home an' go to Candlefly yard tell him say:--"I never will
+be cravin' again, ya, Bro'er? you fe carry me again." An' Candlefly
+say "Yes."
+
+Every day Annancy come. Candlefly wife say:--"Him gone long time."
+
+Annancy never get to go with Candlefly again, an' he don't know the
+place.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=Candlefly.= Among the smaller fire-flies which twinkle all the year
+rushes, in the summer months, the great Candlefly. It makes a roaring
+sound with its strong, swift flight, and is a strange and splendid
+object. It has three lights, two looking like eyes, and a larger and
+much more brilliant one underneath the thorax. When at rest only the
+eye lights shine, but with the spread of its wings a shutter is drawn
+back and discloses the abdominal light. The insect, which is the size
+of a cockchafer but rather longer, is commonly called Big Winky or
+Peeny.
+
+=da=, is pronounced like Italian.
+
+=look on sun=, looks at the sun to see if it is sinking.
+
+=a back=, behind.
+
+=get=, get to the place.
+
+=gash=, flash. Lightning is said to gash. As explained above, this
+gashing of the great light of the Candlefly is continuous while it is
+in flight, but ceases as soon as it rests.
+
+=buck on=, run against. A horse =bucks=, here, when he stumbles. A man
+=bucks= his toe when he knocks his naked foot against a stone, and
+women fight (men too for that matter) by =bucking= with their heads.
+
+=Marnin'.= Good morning and good evening are used as salutations without
+reference to the actual time of day.
+
+=barrel-bag=, a bag of the capacity of a flour barrel.
+
+=the frighten, etc.=, owing to the fright which was in him he said "No."
+
+=fe lef'=, to leave.
+
+=lobters.= This transposition of letters has a ludicrous effect on the
+word.
+
+=paw=, pronounced =pah= very broadly.
+
+Fleas are always called dog-fleas, or rather dahg-fleas.
+
+=tea=, the morning sugar-water, is the signal that it is time for the
+guest to be soon moving on. Generally, however, he is given something
+to do before he goes.
+
+=ya=, here.
+
+=so so one self=, even one.
+
+=form=, pretended.
+
+=Him put after him.= The old man put (ran) after Annancy.
+
+=You couldn' mind, etc.= This piece of pleasantry is common. When two
+men are doing anything that requires care to avoid accident, such as
+moving a heavy stone, one says to the other:--"No kill me ya, you
+couldn' min' me wife an' picny," you can't support my wife and
+children.
+
+=ya=, do you hear? Which is also its meaning in the preceding note. Just
+now =ya= meant 'here.'
+
+
+
+
+XXIX. PARSON PUSS AND PARSON DOG.
+
+
+One day Toad was courting for a long time to a very pretty India gal,
+an' Toad didn' want marry the gal. An' him didn' want the gal was to
+leave him but to live without married.
+
+An' Puss was Toad parson. An' the mother send an' call Puss, an' when
+Parson Puss come, the mother lay the matter before Parson Puss.
+
+An' Parson Puss call Toad one of his lovely member in the church, an'
+him didn' want Toad was to leave his church. An' Parson Puss talk
+until Toad agree to married the gal.
+
+An' Dog himself was a parson.
+
+So Toad send out a invitation to all his countrywoman an' countryman,
+an' invite Tacoma an' his families, an' likewise invite his friend Mr.
+Annancy an' his families. An' when him done Toad invite Parson Dog.
+
+An' the day when Toad is to married Parson Puss come to married Toad.
+
+An' Parson Dog come with his gown was to take away the business from
+Parson Puss.
+
+But Toad say:--"Oh no! he will like to give his Parson the
+preference."
+
+An' Dog say:--"Yes, I must have it. If not will be mossiful fight
+to-day."
+
+Puss wife, was the organ-player, say:--"What a man fe swear!"
+
+An' Parson Puss say to Toad mother-in-law:--"You don't mustn't listen
+what that fellah Parson Dog is saying. He so tief, as soon as they
+'tick the hog he will soon forget all this for he has to go an' lick
+blood, so when he gone I will marry my member Toad."
+
+An' so Dog did go away.
+
+Until he come back Parson Puss marry off Toad.
+
+An' when they eat cake done, then Parson Puss ask the young ladies
+them to let them go an' play in the ring, an' so they did do.
+
+That time Parson Dog didn' know what was doning, but soon he hear this
+sing:--
+
+[Music:
+
+ When you see a hugly man,
+ When you see a hugly man,
+ When you see a hugly man,
+ Never make him marry you.]
+
+An' as him hear him hold up one of him foot an' listen.
+
+An' he come nearer an' hear again:--
+
+[Music:
+
+ Parson Dog won't married me,
+ Parson Dog won't married me,
+ Parson Dog won't married me,
+ Cut your eye an' pass him.]
+
+Then Parson Dog shake him head, run come.
+
+An' as he run come he meet Parson Puss was wheeling all the gal.
+
+Parson Dog get very vex an' he bear an' bear.
+
+But as he hear plain how the sing go, an' see that some of the gal
+Puss was wheeling began to laugh after him, say:--"No see how him
+mout' long," Parson Dog get fairly upstarted till him run in the ring
+an' palm Puss an begin to fight him.
+
+An', as Parson Puss feel Parson Dog 'trength more than fe him, him
+look for a very tall tree an' run right upon it to save his life.
+
+An' from that day that why Dog an' Puss can't 'gree until now.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=lovely member.= A certain amount of blarney is supposed to be
+admissible to keep your sheep from straying to a rival's flock.
+
+=to married Toad.= Though they sometimes say =marry= (see the first song)
+they prefer =married=. The =d= before the =T= of Toad is very awkward to
+pronounce, yet the reciter, whose normal speech is of the laziest,
+like that of all his kindred, got it out quite plainly.
+
+=mossiful=, unmerciful. Dog really used a bad word here, which is always
+put in his mouth. He uses the same word in "Finger Quashy." So much
+does it belong to him that it occurs as a descriptive adjective to the
+dog in the tune for the third Quadrille figure, which will be found
+among the dance tunes. The word is not really very bad, but it was not
+considered appropriate to a book which may find its way into the
+nursery, so in every case another one is substituted.
+
+='tick=, stick. The pig was killed for the wedding festivities, which
+were only just beginning. See note on weddings in "Gaulin."
+
+=play in the ring=, play Sally Water, see Ring Tunes.
+
+=doning=, being done.
+
+=never make him marry you=, never let him, etc.
+
+=cut your eye=, turn your eye aside. Where we use transitive =cut= they
+put intransitive =cut eye=.
+
+=wheeling=, turning them in the dance.
+
+=run come=, came running up.
+
+=bear an' bear=, was patient for a while. A picturesque way of
+describing Dog's self-restraint. He bears it and he bears it again.
+
+=no see, etc.=, don't you see how long his mouth is. This is always the
+joke about Dog. About Puss it is:--"You face too (very) short. Cut off
+half inch you don't have nose."
+
+=upstarted=, angry.
+
+=palm=, touch or hold with the hand.
+
+=fe him=, his.
+
+
+
+
+XXX. CHICKEN-HAWK.
+
+
+Once a lady have t'ree daughter. One of the daughter, the youngest
+one, born with a gold teet'. The other sisters h'ard of the teet' an'
+ask their sister to show them the teet', but she never would show
+them.
+
+One day they get Monkey an' Goat to come an' dance to let the sister
+laugh. They make all sort of mechanic. She never laugh all the dance
+Monkey an' Goat was dancing.
+
+Those other two pay her so much to see the teet'. She won't show them.
+
+So the second sister tell the big one say:--"Sister, let we go make
+bargain with Chicken-hawk to try if we can see the teet'."
+
+So they did go an' see Chicken-hawk about it an' pay Chicken-hawk so
+much.
+
+The day come when they fix up to go to the river.
+
+Chicken-hawk was on a tree.
+
+So they gone to swim for a long time, the big sister them swimming an'
+laughing in the water for the little one to laugh for them to see the
+teet', but she never laugh.
+
+During that time Chicken-hawk took up all three of them clothes an'
+gone on a high tree where them can see him.
+
+When the sister know that Chicken-hawk took the clothes they came out
+of the water all t'ree of them.
+
+All the clothes was gone.
+
+The first sister commence fe sing:--
+
+[Music:
+
+ Chicken-hahk oh! Chicken-hahk oh! give me me frock.
+ Chicken-hahk oh! Chicken-hahk oh! Chicken-hahk!]
+
+An' Chicken-hawk bring come.
+
+The next sister do the same an' get her frock.
+
+Here comes the youngest one. She shut up her mouth an' was calling
+from her t'roat:--
+
+[Music:
+
+ Hm hm hm
+ hm hm hm]
+
+Chicken-hawk never give her.
+
+When the big sister see that she won't call for them to see the teet'
+they leave her, an' she become 'fraid an' call out:--
+
+[Music:
+
+ Chicken-hahk oh! Chicken-hahk oh! give me me frock.
+ Chicken-hahk oh! Chicken-hahk oh! Chicken-hahk.]
+
+An' the big sister run come an see the golden teet' an' was so glad.
+
+They go home an' tell their mother that we have gain the battle an'
+have seen the gold teet'.
+
+From that day we see gold teet' until now.
+
+
+NOTES.
+
+=mechanic=, antics.
+
+=so much=, a sum of money.
+
+
+
+
+XXXI. PRETTY POLL.
+
+
+Once a Duke have a sarvant. So this sarvant was courting to a young
+man for a long time.
+
+So one day another friend come to see the Duke. So he love the Duke
+sarvant an' the Duke sarvant love him. So this man ask the Duke for
+her.
+
+The Duke say:--"No, she is courting already."
+
+So the friend was sorry.
+
+The gal tell the young man say:--"Me love you, an' if you going to
+marry me I will lef' my lover an' come."
+
+The young man say:--"How you will manage that the Duke not going to
+allow it?"
+
+The gal say:--"You look out."
+
+So one evening, when the gal lover come home, she ask him to let them
+go for a walk far away. "I am going to show you a very pretty place."
+
+During this time the gal know where a well was, so she is going to
+shub him into the well.
+
+As they reach to the place they see a pretty flowers in the well.
+
+So they was looking at the flowers.
+
+As she see that her lover was gazing at the flowers she just shub him
+right in the well an' said:--"T'ank God! me going to get that pretty
+young man."
+
+During this time there was a Parrot on a tree seeing all that was
+going on, cry out:--
+
+[Music:
+
+ Ha ha! Ha ha!
+ I have a news to take to the Duke at home;
+ you have your dearest lover an' cast him down to the well.]
+
+The gal look up an' see the Parrot.
+
+She get frighten, call to Poll:--
+
+[Music:
+
+ Come, Pretty Poll, come!
+ There is a house of gold an' silver before you sit 'pon tree.]
+
+Poll sing:--
+
+[Music:
+
+ Tree I barn,
+ Tree I must be stay till my time come to die.]
+
+An' Poll commence to fly from tree to tree an' she was following him
+till they get out to a village. Poll was still singing an' she was
+begging.
+
+Poll fly from house to house till he get on the Duke house an' sing.
+
+The gal was crying.
+
+The Duke hear, send out man an' they listen until them hear what Poll
+said, an' them catch the gal an' chop off her head.
+
+An' Poll get good care.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+This is another version of the "King Daniel" story.
+
+=before you sit=, instead of your sitting.
+
+=Tree I barn=, etc. On a tree I was born, on a tree I must stay.
+
+
+
+
+XXXII. ANNANCY AND HOG.
+
+
+One day Annancy an' him grandmamma go to a ground.
+
+Annancy left him fife.
+
+When him coming home, he an' his grandmamma, he said:--"Gran'mumma you
+know I leave my fife at groun'."
+
+Him grandmamma say:--"Me son a know you well. You is a very bad boy.
+Go for it but don't play."
+
+When Annancy coming home he play:--
+
+[Music:
+
+ None a we, none a we commando
+ Sairey gone home commando
+ Yahka Yahky Yak commando,
+ Suck your mother bone commando.]
+
+An' as he play he meet Hog.
+
+Hog say:--"Brother, a you a play da sweet sweet tune."
+
+Annancy say:--"No, Bro'er."
+
+Hog say:--"Play, make me hear."
+
+Annancy play twee, twee, twee, all wrong note.
+
+Hog say:--"Tche! you can't play."
+
+Hog gone round short pass.
+
+As Hog go round short pass, him buck the boy was playing the tune.
+
+Hog say:--"Bro'er Annancy I think a you a play, you beggar, you light
+fe me dinner, you libber fe me dog."
+
+An' Hog carry home Annancy an' goin' to do him up for him dinner.
+
+An' when Hog think him done up Annancy him done up him own mother.
+
+An' that made Hog nasty feeder up to to-day.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=ground=, a provision ground where yams, etc., are grown. They often
+pronounce it =grun=, rhyming to run but even shorter.
+
+=a leave=, I leave.
+
+This tune has a bobbin, see _Digging sings_. Nonsense words of course.
+
+=commando=, pronounced common doe.
+
+=yah=, with French =a=.
+
+=pass=, path. It no doubt should be =gone down short pass=. The paths
+circle round the steep mountain sides and short cuts connect the
+loops.
+
+=buck=, stumbles on, meet.
+
+=you light, etc.= Your lights for my dinner, your liver for my dog.
+
+
+
+
+XXXIII. DRY RIVER.
+
+
+Once a man have t'ree daughter. Dem go go pick wacky.
+
+When dem a come, dem come to a river having no water.
+
+Dem meet a old man beg dem a wacky.
+
+The two biggest one give the old man two wacky, one each, an' the
+little one wouldn' give any.
+
+An' the old man sing:--
+
+[Music:
+
+ You no give me one wacky you can't pass,
+ You no give me one wacky you can't pass,
+ You no give me one wacky you can't pass,
+ Dry River will come an' take you 'way.
+ Draw me nearer,
+ Draw me near,
+ Dry River will come an' take you 'way.]
+
+An' the little one won't give.
+
+An' the two big sister want to give two more of their wacky to the old
+man; but the old man say:--"No, the little one must give me one of fe
+her wacky."
+
+An' she won't give.
+
+So the old man sing the sing again.
+
+An' still the little one won't give, until at last the river come down
+carry him gone.
+
+From that day people drowning.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+In the heavy rains of October and May the rivers rise suddenly, and an
+insignificant stream or dry river-bed becomes a raging torrent.
+Travellers are delayed in the Seasons, as these rainy times are
+called, owing to the fords becoming impassable. This happens now less
+frequently than formerly, not because the rivers do not 'come down'
+but because many of them are bridged.
+
+=wacky= (French =a= with a turn to =o=, almost "wocky"), guava. This fruit
+which makes the well-known jelly is wild. It is the size of a small
+apple, and has a delicious scent when ripe and yellow. Raw, however,
+it is not a good fruit. The flavour is coarse and the pulp is full of
+very hard seeds, which must be swallowed whole.
+
+=when dem a come=, when they reach the place where the wackies are they
+come to a river.
+
+=old man beg, etc.=, old man who asks them for a wacky. Much of the
+conciseness of negro speech is due to the suppression of relatives and
+prepositions.
+
+=you no give=, if you do not give.
+
+
+
+
+XXXIV. YELLOW SNAKE.
+
+
+Once a woman, name Miss Winky, have four children, three son an' one
+daughter. The son them was hunter-man and the youngest son was
+old-witch. This sister never can find her fancy. Everybody come she
+say: "Lard, this one hugly, me no like him at all!"
+
+Till one day she an' the mother an' old-witch boy was at home.
+
+Snake was on a journey, get to a rum-shop. Talking an' talking they
+bring up some talk about this gal, that everybody go for her she
+refuse.
+
+Snake say:--"Is she a pretty gal?"
+
+They say:--"Yes, man, she is a beauty to look at."
+
+Snake said:--"I bet anything I get that gal."
+
+Snake change an' fix up himself an' go to the yard.
+
+When he go he said:--"Good day, Miss Winky, I come to ask you for your
+daughter."
+
+The gal, was in the room, run out to see if it is a pretty man.
+
+As she come out she said:--"Mamma, this is my love, no one else."
+
+So Snake was invite in the house.
+
+The mother said:--"Well, as you get your fancy I am going to married
+you."
+
+So the next day they go an' get marry.
+
+After dinner Snake get ready, an' the gal mother tie up all her
+clothes an' they start.
+
+They travel the whole night until daylight an' never could get, till
+about midday they reach the place. It was a big stone-hole.
+
+Snake carry her under, put her to sit down.
+
+An' after Snake get a good rest he commence to swallow her.
+
+On the meantime the old-witch boy, name of Cawly, know all what was
+going on in the wood, tell his two elder brother to come "an' let us
+go hunting for I hear the voice of my dear beloved sister crying for
+me in the wood."
+
+The two brother said:--"You always goin' on with your foolishness."
+
+He said:--"Never mind, come let us go an' see."
+
+So they start an' they walk like beast, till at last they nearly reach
+where they could hear the sister.
+
+They hear a voice:--
+
+[Music:
+
+ Fe me Cawly Cawly oh!
+ If no hunter-man no come here oh!
+ Yalla Snake will swallow me.]
+
+Snake, fe all him mout' full, get to say:--"Me will swallow you till
+you mumma no fin' piece of you bone."
+
+The brother come close to the place, climb upon the stone.
+
+They hear the voice plainer, come down off the stone an' see that
+Snake leave but the head of their sister.
+
+They go down on Snake an' kill him an' split him an' take out their
+sister an' carry her home.
+
+From that day she never marry again for she feel the hand of marry.
+
+So everybody that pick too much will come off the same way.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Snake=, pronounced in two syllables, Se-nake with the exact value of
+vowels in the French words _ce n'est que_, and of course stopping at
+the _k_ sound of the _q_.
+
+=Tie up all her clothes=, in a bundle which she would carry on her head.
+
+=get=, get to Snake's home.
+
+=beast.= This is the generic name for a beast of burden, horse, mule, or
+donkey.
+
+=fe all=, although.
+
+=get to say=, managed to say.
+
+=fe me=, my.
+
+=feel the hand of marry=, a biblical expression. She felt the hand of
+matrimony, and behold it was heavy.
+
+
+
+
+XXXV. COW AND ANNANCY.
+
+
+One day Annancy was passing Cow pastur', saw the whole of them was
+cleaning their teeth with chewstick.
+
+He was so frighten for Cow, he stay outside the pastur' on a tree an'
+call to Cow, telling them howdy.
+
+Cow never answer him, so he get worser frighten.
+
+He said to himself:--"If I give them piece of cane, fool them say it
+is my chewstick, they might a come friend with me."
+
+So Cow them go out in the night to feed.
+
+An' when them gone Annancy go an' get his side-bag full with cane as
+quick as he can. An' when him come Cow them gone away for the whole
+night, so he climb the tree an' sleep on the tree until daylight.
+
+An' when the sun begin to hot the Cow come under the tree fe throw up
+their food fe eat it back. Same time Cow cleaning him teeth with the
+chewstick.
+
+Presently the papa Cow see a big piece of something drop out of the
+tree.
+
+He look up see Annancy, call to him:--"What you doing de?"
+
+Annancy say:--"Me bring piesh a chewshtick fe you."
+
+Cow take up the cane begin to chew. Instead of cleaning teeth he was
+swallowing both juice an' trash.
+
+Cow say:--"Him sweet; you no hab no more de now?"
+
+Annancy say "Yes."
+
+Cow call him down from the tree.
+
+When he come down he give everybody piece of the cane, tell them that
+it is fe him chewstick.
+
+During this time he have a big bottle of cane-juice, ask Cow if him
+want a taste.
+
+Cow take a taste, he done the whole bottle of it.
+
+So they all get in friend with Annancy.
+
+An' Annancy invite Cow to go home with him, an' he will show him where
+he get such good chewstick.
+
+Cow say:--"You no have nobody a you yard."
+
+Annancy say "Yes."
+
+Cow say:--"Me shame fe go."
+
+Annancy say:--"Make me go home an' sen' dem 'way."
+
+Annancy go home, tell all his friend them must look out, him going to
+fetch Cow, ya.
+
+Them say:--"If you bring Cow you we will never trust you the longest
+day we live."
+
+Annancy say:--"Look out."
+
+He take a rope. When he go back he tell Cow that him no see nobody a
+yard, so Cow must come make dem go.
+
+Cow say, "Yes."
+
+Them 'tart.
+
+Annancy tell Cow that as he is such a coward man him have a piece of
+rope, Cow must make him put it on his neck, afraid a when him a go the
+picny them go see him, go make noise, you go turn back.
+
+Annancy say: "Bro'er Cow, when you go near me yard, if you yerry them
+picny a make noise no frighten, fan you tail with strength."
+
+When them get to where all the friend an' children could see him, him
+call to them:--"A da come, no see me frien' a come tell you howdy." He
+turn to Cow said:--"Fan you tail, no min' dem people."
+
+At last them reach the yard.
+
+Annancy have a big tree at the front of his house. He tell
+Cow:--"Bro'er Cow, stay ya, make me go look after the house; me wife
+no know, say me a bring 'tranger ya, so we can't carry you in so, so
+you can fan you tail as much."
+
+During this time Annancy gone to get all his tool sharpen to kill Cow.
+He left his biggest son to watch Cow but he can't trust the boy. Every
+minute he come to look if Cow is there.
+
+The first time he come an' look he say to Cow:--"Fan you tail."
+
+When the thing them nearly done sharp he come back, see Cow was
+fanning his tail.
+
+He said to Cow:--"You Cow, you no yerry me say 'No fan you tail a me
+yard?'"
+
+Cow fan fe the better.
+
+He come with his bill, said to Cow:--"If you no 'top fan you tail
+either you kill me or me kill you."
+
+Cow won't stop.
+
+He say to one of the friend:--"Now, now, sir, you see how that man a
+frighten me picny a me yard, him mout' so hugly."
+
+Him come up nearer to Cow say:--"If you no 'top fan you tail somet'ing
+mus' done."
+
+Cow won't stop, seeing the fly a trouble him.
+
+Annancy set a run with his bill chop at Cow neck.
+
+Cow draw back his head, the bill catch the rope, set Cow free, so he
+run for his life.
+
+Annancy say:--"Come back, Bro'er Cow, a fun me a make wi' you, simple
+little fun, you run gone home."
+
+But Cow was flying for his home an' never stop.
+
+Annancy take up this song:--
+
+[Music:
+
+ Lard! Lard! hasty kill me dead oh!
+ Poor me boy oh! a whe me a go do?
+ Me put me pot a fire fe boil Cow liver,
+ but hasty kill me dead.]
+
+From that day Annancy never can go where Cow is.
+
+Anywhere Cow see him he reach him down with his mouth.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+We have had this story already in another form (Annancy and Cow, No.
+20).
+
+=chewstick=, a common climber. A piece of the stem about the thickness
+of a pencil is cut and makes a sort of soapy froth as it is chewed. It
+has an agreeable bitter taste and is used to clean the teeth.
+
+=howdy=, how do you do?
+
+=cane=, sugar-cane.
+
+=fool them=, take them in, delude.
+
+=side-bag.= Everybody has his side-bag or namsack (knapsack).
+
+=papa=, pronunciation something between puppa and poppa, with slight
+accent on the first syllable. Cows in Jamaica are of both sexes.
+
+=de there=; the _e_ is that of "debt" lengthened. French "est" gives it
+exactly. Whe has the same _e_.
+
+=trash=, the fibre. Trash is any kind of refuse, such as shells of peas,
+husks of maize, the remains of Cassada after the starch is washed out,
+withered banana leaves, the outside pulp which encloses the coffee
+beans, etc., etc.
+
+=ya= sometimes means _here_, sometimes _do you hear?_
+
+=rope=, pronounced ro-up. So gate becomes ge-ut (French _e_), goat,
+go-ut (Italian _o_), much as in some provincial districts in England.
+
+=a da come=, I am coming.
+
+=carry=, lead.
+
+=as much=, as much as you like.
+
+=a fun me a make=, I was pretending. A man is said to make fun when he
+is only pretending to work, what schoolboys call "sugaring."
+
+=hasty=, haste, _i.e._ your hurrying away.
+
+=hungry kill me= is a common expression meaning "I am very hungry." Here
+_hasty_ is substituted for _hungry_. Your hasting away will leave me
+without food, and hunger will kill me.
+
+
+
+
+XXXVI. LEAH AND TIGER.
+
+
+There was a man an' his wife got one daughter, only the one picny they
+got. An' many a people come for her to courten to her, an' she refuse,
+an' she would stay a world without marry.
+
+An' the father said to the wife:--"Them people usual trouble me with
+my own daughter; we must do something to get her out of them sight."
+
+An' the both of them agree to make up a very big house in the wood to
+lef' the daughter there where nobody wouldn' see him.
+
+An' the father said to the wife:--"When the house done you mus' carry
+him breakfas' every twelve o'clock an' dinner at four."
+
+An mumma say:--"Yes, me dear, I think so better."
+
+An' they take Leah an' walk with her all night an' lodge her into the
+house before daylight.
+
+An' at the meantime Leah got a very valuable ring on one of her
+finger, a very pretty young woman too, though me never see him.
+
+Mumma tell him that when him going to bed he must always say him
+prayers. An' she tell her that, when she re'ch the hillside she sing
+the song, she must know a him honey a come. An' this the song:--
+
+[Music:
+
+ Leah! Leah! tingaling,
+ You no yerry you honey, tingaling?
+ Honey de a door, tingaling,
+ Sugar de a door, tingaling.]
+
+An' this time Tiger was under the house hear all the bargain.
+
+An' Tiger lie down very 'teady. (Some days to come he must get meat fe
+eat a this bush.)
+
+Then mumma go away, next day come back with him daughter breakfas',
+an' 'tart the tune from hillside to the spot of place where the house
+is. An' the door was double double double latch. An' the tune 'tarted.
+
+An' the gal open the door an' mumma come in give her her breakfast,
+an' make very much of each others, an' eat done an' tell goodbye.
+
+When the mumma gone Tiger creep out of the house with a great rolling
+of voice, can't 'tan' him heel. He go down to see Brother Blacksmit'
+if he would do a kind favour for him.
+
+An' Brother Blacksmit' say:--"What sort of favour I can do for you?"
+
+An' Tiger say him see a very nice meat a bush, him want go eat it
+then, so me want sweet voice fe sing like a him mumma.
+
+Then Brother Blacksmit' put the iron a fire, make him red hot, so tell
+him open him mout'. Blacksmit' poke ahm down his t'roat, heap of
+smoke come out a him 'tomach.
+
+When him finish he tell him mus' sing make him hear.
+
+So Tiger sing, an' true him voice sound so good.
+
+Then Blacksmit' say:--"Min' mustn' eat no duckanoo nor guava by the
+way, else you voice turn rough again."
+
+Tiger gone making his way fe go eat the gal fe meat. He was very hard
+on his journey going on. As he get halfway he see guava an' duckanoo,
+an' being him so thirsty he say:--"Make me nyam ahm, nothing goin' to
+do me voice."
+
+He nyam until he unrestful an' come his voice after was like groun'
+t'under.
+
+"Well," he say, "never min'; by the time me re'ch up me voice will
+come good."
+
+So he lay down under the floor waiting for twelve o'clock when the
+mother usual come.
+
+An' when it nearly come 'pon twelve Tiger creep out under the floor
+commence to sing:--
+
+[Music: E2]
+
+ Leah! Leah! tingaling,
+ You no yerry you honey, tingaling?
+ You sugar de a door, tingaling,
+ You honey de a door, tingaling.
+
+An' Leah say:--"He! He! it is not my mother dat."
+
+An' Tiger shame, gone under the house back, voice too coarse.
+
+Presently his mother is up, sing with a very sweet voice:--
+
+ Leah! Leah! tingaling,
+ You no yerry you honey, tingaling?
+ Honey de a door, tingaling,
+ Sugar de a door, tingaling.
+
+An' the door open, an' she go in give her daughter him breakfas'.
+
+An' her daughter hug her up an' kiss her, an' he commence to tell her
+mother that him hear a great rolling like groun' shaking while ago
+outside, an' it make her frighten to deat'. She tell her mumma she
+would like to go home with her back.
+
+The mother refuse from do so, an' lef' an gone home, tell the father
+what happen with Leah in the bush.
+
+An' puppa say:--"What make you lef' me daughter a bush? Go back for
+him to-night."
+
+Mamma say:--"No danger wi' me daughter, me wi' carry him dinner four
+o'clock, lef' him come back."
+
+Next day Tiger 'tart to Blacksmit' fe run iron down him t'roat back.
+Blacksmit' get vex, tell him he going to lick him down with the iron,
+for his ears hard.
+
+Tiger said:--"Do Bro'er Blacksmit', me yerry all whe you tell me this
+time."
+
+An' Blacksmit' put the iron two hour a fire an' shub him down Tiger
+t'roat. Tiger can't take him ground, iron too hot.
+
+When he done with him he tell him to sing make him hear, an' beg him
+anything that him see in the way must make him yeye pass it.
+
+An' Tiger say:--"Yes, so me going do."
+
+Him shut him yeye now, take the whole a road for himself, say:--"Me
+boy never would a nyam nothing more a pass: sweet, sweet meat like a
+that so a bush me could a lef' ahm so?"
+
+He was very hurry to the house, an' just before twelve o'clock he
+commence to sing, an' this time his voice sound well.
+
+Leah open the door, t'ought it was her mother, an' Tiger jump right in
+an' eat the whole of Leah, lef' one finger with the ring.
+
+Him eat done, half shut the door an' go back a him bed under the
+house.
+
+Leah mumma come fe sing now:--
+
+ Leah! Leah! tingaling,
+ Yo no yerry you honey, tingaling?
+ You sugar de a door, tingaling,
+ You honey de a door, tingaling.
+
+An' nobody answer her.
+
+She sing two time more: nobody answer.
+
+An' she shub the door an' go inside to find only one finger of her
+daughter.
+
+An' him put him hand on him head, bahl, then go home to him husband,
+tell him husband him daughter dead, something eat every bit.
+
+Him say:--"Me no min tell you fe bring home me daughter: you will have
+fe find ahm gi' me. Then if you know whe good fe you just bring him
+go," catch up one big junka 'tick an' lick down the wife.
+
+An' after the wife dead the man take to heart an' dead.
+
+That make you see woman ears hard up to to-day. They want mus' man fe
+carry them anywhere they told fe go. A him make them something a
+happen a this world up to to-day day.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=usual=, are wont.
+
+=when she re'ch=, when she (the mother) reaches the hillside and she
+sings the song, she (the girl) will know that his (her) honey has
+come.
+
+=tingaling.= Some tellers of this story have it =tindalinda=.
+
+='teady=, steady, with a peculiar vowel like a dull French _eu_.
+
+=him daughter breakfas'=, came back with her daughter's breakfast and
+began to sing when she reached the hillside overlooking the house, and
+went on singing till she got to the house.
+
+=An' the tune 'tarted.= The reciter sings it here.
+
+=out of the house=, out from under the house. See note to
+"Yung-kyum-pyung."
+
+=rolling=, roaring.
+
+=can't 'tan' him heel=, can't stand on his heel. See, further on, =can't
+take him ground=. Both mean that Tiger cannot stand still.
+
+=a bush=, in the bush.
+
+=ahm=, him, it.
+
+=true him voice=, really his voice sounds very well. Only, =true= means
+what it says, =truly=, and does not imply the reservation at which it
+_really_ hints. Tiger's voice did sound very well.
+
+=duckanoo=, a kind of mango.
+
+=going to do=; eating the fruit is not going to do my voice any harm.
+
+=until he unrestful.= He ate too much.
+
+=groun' t'under=, ground thunder. It is often difficult to distinguish
+between distant thunder and an earthquake.
+
+Tiger growls on a low note, and says the words very fast.
+
+=He! He!= French e as in whe and de.
+
+=groun'shaking=, earthquake.
+
+=from do so=, refuses to do what she asks.
+
+=down him t'roat back=, down his throat again.
+
+Blacksmith was vexed because Tiger had eaten fruit on the previous
+occasion. His ears had been hard, _i.e._ he had acted against orders.
+
+=make him yeye pass it=, let his eye run over it without desiring to eat
+it.
+
+=take the whole a road=, staggering along, first to one side and then to
+the other.
+
+=a pass=, in the path, on the journey.
+
+=put him hand on him head=, an expressive action indicating horror and
+bewilderment.
+
+=bahl=, bawl, cry out.
+
+=me no min tell=, me no been tell, didn't I tell you?
+
+=you will have fe find ahm gi' me=; when anything is lost, they
+say:--You will have to find it and give it to me.
+
+=a him, etc.=, it is that (their ears being so hard) that makes this
+sort of thing happen.
+
+
+
+
+XXXVII. TIMMOLIMMO.
+
+
+Once there was a Bull live in a pastur'. He make a law that every
+young Cow born, if it is a Bull, they must kill it. So the Cow them
+hear what the master said. The Bull name was Timmolimmo.
+
+So one day one of the Cow have baby an' find out that this child was a
+boy. She take him an' go to a deep bush an' hide her child in a
+stone-hole, an' feed him till him was growing an' begun to talk.
+
+The place where the mother was taking water when she was at the
+pastur' was a mile from the hiding hole, an' she has nowhere to take
+water but there.
+
+So every day she go an' fetch water to her son.
+
+One day when the boy was six months old she carry him to the place
+where she taking water, an' hide till the master come drink an' gone.
+Then she give her son water, and after she take him home back.
+
+An' when another six month come she take him back to the place an'
+show him the father footprint, an' commence to tell the son why him
+have to hide in the bush is because the father would kill you if he
+see you.
+
+The boy said to his mother:--"A so all right, when me come big man I
+going to go an' have a fight with him."
+
+The mumma say:--"No, me son, nobody can't fight him."
+
+So the mother take the boy home back till another six months when the
+boy catch a year an' a half.
+
+Then they go again an' the boy ask if he no can fight.
+
+The mother say:--"Come, make me measure you foot."
+
+When he go put his foot in his father footprint it was about two inch
+short.
+
+He go home.
+
+After six month more he come back, he alone, measure his foot in his
+father one. It want half inch to catch.
+
+Him gone home back for six more month.
+
+So one day him get up, tell his mumma that I am going to fight me
+puppa.
+
+The mother say "No," but him rist an' go.
+
+When him go to the place he measure his foot. It was one inch wider.
+
+Him say:--"I am going fe the battle."
+
+Him come back, tell his mumma that him going to fight puppa. So him go
+on till him get where his father can hear him, an' sing out:--
+
+[Music:
+
+ Timmolimmo, man dere,
+ Timmolimmo, man dere,
+ Come down make we battle, man dere.]
+
+One of the Cow call say:--"Master, Master, I hear some one calling
+your name."
+
+"No, no, not a man can call my name."
+
+The son give out again:--
+
+ "Timmolimmo, man dere,
+ Timmolimmo, man dere,
+ Come down, make we battle,
+ Man dere."
+
+Timmolimmo yerry.
+
+Him make one jump, him jump half mile.
+
+The son make one, him go one mile.
+
+So they meet at a cross-pass.
+
+As the father come him lift the son with his horn, send him half mile
+in the air.
+
+The son drop on his four leg.
+
+The son lift the puppa, send him three quarter mile.
+
+As him drop, one foot gone.
+
+The puppa stand on the t'ree foot send the son up again in the air.
+
+The son drop on four foot.
+
+The son send him up again, him come down on two.
+
+Him stand on the two, send the son.
+
+Him come down on four.
+
+The son send him up again, an' him come down on one.
+
+The puppa stand on the one foot an' send the son, an' the son come
+down on four.
+
+An' the son send him up, an' him come down on him side an' broke him
+neck.
+
+The son go home to his mother an' tell him that he has gain the
+battle, so they must come go in the pastur' an' him reign.
+
+From that two Bull never 'gree in one pastur'.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=rist=, risks it.
+
+=dere=, pronounced day-er, the French vowel quite abandoned.
+
+=cross-pass=, cross-path.
+
+=foot=, leg.
+
+
+
+
+XXXVIII. CALCUTTA MONKEY AND ANNANCY.
+
+
+One day Calcutta Monkey work a very large field of corn, an' when the
+corn commence to ripe Monkey beguns to miss the corn, an' him couldn'
+find out who was tiefing the corn, an' the robbing continually going
+on.
+
+Till one day Monkey went to Annancy yard an' suspish upon Annancy. An'
+Annancy get very short an' ready to fight Calcutta Monkey.
+
+An' Monkey say to Annancy he won't fight him but he will soon know who
+is tiefing the corn.
+
+An' same time Annancy say to Monkey:--"I bet it is that big-voice Mr.
+Tiger."
+
+An' Monkey say he won't judge no one again but will find out.
+
+An' him went home back to his yard an' cut his card. An' when he cut
+the card he sees no man on the card but Mr. Annancy, an' Monkey think
+it very hard to himself that Annancy wouldn' own it.
+
+An' the next day he went to the ground an' he find the robbing was
+going on. An' he met Annancy on the road an' he said to Annancy he
+well know who tiefing the corn.
+
+An' Monkey send a challis to Annancy an' tell him that if him cut the
+card again an' find him in the card he going to give him a terrible
+flogging.
+
+An' when Annancy hear about the flogging he get a little frighten, an'
+him stop off the robbing for about two days. The day to make t'ree
+Annancy couldn' bear no longer an' he beguns again to tief the corn.
+
+An' Monkey made up a drum an' got a hunting-whip.
+
+An' next day when Monkey go back to the ground an' find the corn
+tiefing he goes home to his yard, an' take up his drum an' his
+hunting-whip an' start looking for Annancy.
+
+An' when he going he beguns to knock the drum ribbim-bim-bim, "Annancy
+no dere," ribbim-bim-bim, "Annancy no dere."
+
+An' that time Annancy went an' climb a cullabunka tree.
+
+Annancy hide himself in the heart, an' as Monkey get to the tree he
+sound the drum say:--ribbim-bim-bim, "Annancy dere."
+
+An' he put down the drum an' wrap the whip round his neck an' climb
+the tree an' give Annancy a good flogging, an' Annancy run off the
+tree an' say that he won't do it again.
+
+Till a few days after Annancy broke in the corn-piece again, begun to
+tief the corn like witch.
+
+An' Monkey go into the ground an' see the tiefing. An' he went home
+an' look over his card.
+
+He sees no one again but Mr. Annancy, an' he took up his drum an' his
+whip to look for Annancy again to flog him.
+
+An' this time Tiger have a very large banana-walk.
+
+Annancy wented there an' look for one very large bunch of banana an'
+go in the heart of the bunch an' hide himself.
+
+An' as Monkey 'tart playing the drum again he get to the banana-walk.
+An' as he get to the spot he sound the drum say:--ribbim-bim-bim,
+"Annancy here."
+
+But this time Monkey an' Tiger can't agree, an' this banana is for
+Tiger.
+
+Monkey has to leave Annancy an' goes home back.
+
+An' Tacoma says to Monkey, if him want to catch Mr. Annancy he can
+catch him for him. An' Monkey was very glad.
+
+An' Tacoma made a dance an' send an' invite Mr. Annancy.
+
+An' when Annancy come to the gate Annancy mind tell him that Calcutta
+Monkey is there, an' he only 'tand to the gate an' wave his hand to
+the ladies inside, say:--"Good evening, ladies all"; an' he turn right
+back an' go in the banana heart an' take it for his own dwelling.
+
+An' from that day Annancy live in banana bunch up to now.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=suspish upon=, suspect. They also use =suspish= alone, a delightful word.
+
+=cut his card.= Monkey is clearly an Obeah-man, a dealer in the black
+art.
+
+=ribbim-bim-bim, etc.=, half sung, with strong even rhythm.
+
+=cullabunka=, a kind of Palm.
+
+=banana-walk=, technical name for a banana plantation.
+
+=is for Tiger=, belongs to Tiger.
+
+
+
+
+XXXIX. OPEN SESAME.
+
+
+One day there was a very hard time, an' Annancy an' his family was
+dying for hungry.
+
+An' there was a regiment of soldier find out a silver mine.
+
+An' when they find it out they made a very large house.
+
+An' they move the money an' put it in the house, an' when they are
+moving it they t'ought that nobody see them.
+
+What that smart fellah Mr. Tacoma does.
+
+He hide himself on a tree, seeing them when they passing with the
+money.
+
+An' when they reach to the house, the house work with no key, an' they
+has a certain word to use when they want the door to open. They say
+"Open Sesame."
+
+An' they go in an' t'row in the money, an' when they coming out of the
+house they say "Shut Sesame," and the door lock.
+
+An' Tacoma hear what they say.
+
+An' he go home an' harness up his cart with his mule an' drive to the
+house.
+
+An' when he go him use the same word an' the door open. An' he go in
+an' load the cart, an' when he load done he drive home.
+
+When he come home he want to measure the money an' he couldn' get no
+quart pot, an' he sent to his neighbour Mr. Annancy an' borrow his
+quart pot.
+
+An' continually so he go an' come back, him still borrowing Annancy
+quart pot.
+
+An' Annancy think it very hard, say:--"Somet'ing Bro'er Tacoma is
+measuring." An' Annancy want to know what it is.
+
+A second day when Tacoma sent for the quart pot again Annancy 'tudy a
+plan.
+
+When Tacoma come him give it to him, an' as Tacoma reach his yard
+don't begin measure yet, Annancy tell one of his picny that they must
+go a Bro'er Tacoma yard an' tell him that him really want the quart
+pot, must make haste make haste send it at once.
+
+An' when the picny go he tell him must look an' see what Bro'er Tacoma
+measuring. An' he couldn' find out.
+
+An' a third day him sent to the shop an' buy penny halfpenny white
+flour, an' when him gone home he make it to paste an' piecen the quart
+pot bottom inside, an' said to himself:--"Anyt'ing Bro'er Tacoma
+measure, whether fe rice or gungo or flour, or either money, one must
+fasten in the flour."
+
+An' when Tacoma come back he sent for the quart pot.
+
+An' when Tacoma measure done he send it back. An' as he send it a very
+large two an' sixpence piece fasten in the flour.
+
+An' Annancy say:--"T'ank God I find out what Bro'er Tacoma doing with
+my quart pot."
+
+An' same time he goes to Tacoma yard an' begins to cry upon Tacoma
+that Bro'er Tacoma must carry him an' show him where he get the money.
+
+Tacoma didn' agree.
+
+Annancy cry an' cry till him tell him that he must get a cart an' a
+mule to-morrow evening, an' when him passing he will call to him.
+
+An' Annancy couldn' wait, an' him harness up his cart from morning an'
+watching out for Brother Tacoma.
+
+An' he watch an' watch till Tacoma come.
+
+When Tacoma was coming he lash him whip, an' as he lash, Annancy lash
+his own too.
+
+An' they started.
+
+An' when they get to the house Tacoma say "Open Sesame," an' the door
+open.
+
+An' they run the cart up to the door mout' an' load it, an' they come
+out an' drive home.
+
+An' by the time Tacoma get home to his yard Annancy t'row out his
+money an' turn back again.
+
+An' when he go he use the same very word an' the door open.
+
+Annancy load his cart an' when him coming home he meet Tacoma on the
+road an' through his strongy yeye an' his ungratefulness he want to
+shoot Tacoma cart a gully an' to kill his mule, that him one may be
+the master of the bank.
+
+An' Annancy made a sing when he is coming home:--
+
+[Music:
+
+ Right t'rough, right t'rough de rocky road,
+ oh Charley Marley call you,
+ Mid a rock, mid a rock, mid a rock, me Charley,
+ Charley Marley call you;
+ Oh de han'some gal are no fe you one;
+ Oh Charley Marley call you.]
+
+
+NOTES.
+
+Here is another story founded on Ali Baba, which differs considerably
+from the previous one of "Blackbird and Woss-woss." The chief
+peculiarity of this version is that the entrapping through
+forgetfulness of the password is altogether lost.
+
+=Hard time.= This refers to the months of June and July when provisions
+are scarce. The old yams are done and the new ones are not in yet.
+Subsistence has to be eked out with a few sweet potatoes and the
+mangoes, which are abundant in these months, and go on till the
+October rains bring back a season of plenty.
+
+=so he go=, as he goes.
+
+=piecen=, a nice word. They use it also in speaking of the patching of
+old clothes.
+
+=lash him whip=, crack his whip as a signal.
+
+=strongy yeye=, covetousness. To give the pronunciation a _y_ has to be
+tacked on to strong.
+
+=him one=, he alone.
+
+The exact application of the song is doubtful. The end is pretty
+clear, meaning:--all the good things are not for you alone, Tacoma. It
+will be observed in this and some other stories that Jack Mantora,
+etc., is omitted. That is because they have no tragic termination.
+
+
+
+
+XL. SEA-MAHMY.
+
+
+One day, height a hungry time, Blackbird have a feedin' tree in a sea.
+An' every day Blackbird go an' feed.
+
+Annancy say unto Blackbird:--"Please, Bro'er Blackbird, please carry
+me over a you feedin' tree."
+
+Blackbird say unto Annancy:--"Bro'er Annancy, you so cravin' you goin'
+to eat every bit from me."
+
+He say:--"No, Bro'er Blackbird I won' do it."
+
+Brother Blackbird say unto Annancy:--"A you no have no wing, how you a
+go?"
+
+Well! Blackbird take out two of him tail feather, 'tick upon Annancy.
+He pick out two of him wing feather, 'tick upon Annancy. He take two
+feather out of him back again, 'tick upon Annancy; two feather out of
+him belly feather, 'tick upon Annancy.
+
+Well! Blackbird an' Annancy fly in a the sea upon the feedin' tree.
+
+Every feedin' Blackbird go fe pick, Annancy say that one a fe him.
+
+Blackbird go upon the next limb, Annancy say a fe him.
+
+Blackbird go upon the t'ird limb, Annancy say a fe him.
+
+Till Annancy eat a good tummy-full.
+
+Annancy drop asleep upon the tree.
+
+Well! Blackbird take time, pick out all the feather back, an'
+Blackbird fly away.
+
+When Annancy wake out of sleep he say:--"Make me fly."
+
+He can't fly.
+
+He broke a branch off a the tree, t'row in the sea. The branch swim.
+
+Annancy say if the branch swim him will swim, an' he jump off a the
+tree, drop in the sea an' sink.
+
+An' when he go down a sea bottom he meet Sea-mahmy.
+
+He said to Sea-mahmy:--"Mumma, mother tell me me have a cousin down a
+sea bottom, ya."
+
+Sea-mahmy say:--"I going to see if me and you are cousin."
+
+Sea-mahmy put a pan of sand in the fire for well hot. When him get hot
+he take it off a the fire, give to Brother Annancy for drink it off.
+
+Brother Annancy say:--"Cousin Sea-mahmy, it don' hot enough. Put it
+out a de sun fe make it hot more."
+
+After him put it out a the sun then he say:--"Cousin Sea-mahmy, I
+think it hot now."
+
+An' Sea-mahmy say:--"Well you must drink it off an' make I see if you
+an' me are cousin."
+
+An' Annancy do drink it off.
+
+Annancy spend t'ree day down a sea bottom.
+
+Well! the next day Sea-mahmy said to him:--"Whe you going to come
+out."
+
+Him said:--"Cousin Sea-mahmy, sen' one of you son fe carry me out a
+lan'."
+
+Sea-mahmy give him one of him son, the name of that son call Trapong.
+
+Well! Trapong an' Annancy travel, make middle in a sea.
+
+Sea-mahmy call:--
+
+[Music:
+
+ Trapong, Trapong, fetch back 'tranger man, come back.]
+
+An' Trapong say:--"'Top, Brother Annancy, I think I hear my mother
+calling me back."
+
+Annancy say:--"No, make way! War de 'pon sea!"
+
+An' Trapong sail with Annancy on him back till they reach shore.
+
+When they go to shore he say:--"Bro'er Trapong, take dis bag weigh me,
+see whe me weigh."
+
+Trapong lift him up, say:--"Yes, Brother Annancy you heavy."
+
+So Annancy come back out of the bag.
+
+He say:--"Bro'er Trapong, you come in make I weigh you see."
+
+Trapong went into the bag.
+
+He tie Trapong, tie tight.
+
+Trapong say:--"Brother Annancy you a tie me too 'trong."
+
+He say:--"Me no a tie you fe see if you heavy?"
+
+Trapong say to Brother Annancy:--"Me heavy?"
+
+Annancy say:--"You heavy oh! You light oh! You heavy enough fe me wife
+pot." An' for all the bahl Trapong a bahl he gone back to him house
+an' Annancy eat him.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=height=, in the height of, at the worst of.
+
+=Sea-mahmy=, Mermaid.
+
+=feedin' tree.= It was a duckanoo mango according to some accounts.
+
+Annancy behaves just as he did with Candlefly and the eggs.
+
+The connecting =wells= of this story, which take the place of the =ands=
+and =sos= of other narrators are said with a little upward turn of the
+voice.
+
+=Whe you going.= Whe (what) seems to be doing duty for =how= here.
+
+=Trapong=, tarpon, the famous sporting fish of Florida and Santa
+Catalina, common also in Jamaica.
+
+=make middle in a sea=, get to the middle of the sea.
+
+=No, make way!= Annancy shouts this out.
+
+The outrageous confidence trick which follows necessitates a Jack
+Mantora.
+
+
+
+
+XLI. CRAB AND HIS CORN-PIECE.
+
+
+One day Brother Crab work a lovely field of corn.
+
+An' when the corns beguns to ripe Crab begin to lose the corn, an' he
+couldn' find out who was tiefing it.
+
+An' he get Annancy to be a watchman for tief.
+
+An' this arrangement make between Annancy. Crab tell him that he will
+come in the night and see if he is watching. An' Annancy wasn' agree
+at first.
+
+Him stand for a good time an' study: an when he study he tell Crab yes
+that he can come.
+
+An' when Crab gone he sent an' call his friend Mr. Tacoma an' tell him
+that Bro'er Crab leave him here to watch over the corn, an' say that
+he is going to come back in the night to see if he is watching. An' as
+Crab being 'fraid of Tacoma Annancy tell him that he must set a watch
+in the road for Crab an' catch him.
+
+That time Ratta was hearing Annancy bargain which he is making with
+Tacoma. An' he went home an' tell Crab that he mustn' go to the
+corn-piece in the night for Tacoma going to catch him.
+
+An' so Crab did hear Ratta.
+
+An' him send an' discharge Annancy.
+
+An' Annancy was very sorry, an' same time he goes to Crab an' he ask
+Crab what he done.
+
+Crab tell him that he mustn' mind, he must leave the work, he is going
+to get another man to watch.
+
+An' Annancy did leave, an' Crab give the job to Ratta.
+
+An', as that wicked man Mr. Annancy know that Ratta frighten for Puss,
+he sent an' tell Puss that he must go in Bro'er Crab corn-piece an'
+keep a good watch for Ratta an' catch him an' eat him.
+
+An' that time Candlefly was hearing Annancy what he is telling Puss to
+do Ratta, an' he went an' tell Ratta that he must leave the work, an'
+if he don't leave it he going to lose his life.
+
+At that time Ratta get very 'fraid an' send an' give up his discharge
+to Crab.
+
+When Ratta gone Crab couldn' get no one to watch the corn again, an'
+he consider to himself that he knows two friend very love corn an' the
+meal likewise.
+
+An' the two friend was Mr. Dog an' Mr. Cock.
+
+An' he sent an' call them an' they did come.
+
+When they come he tell them that he have a piece of corn an' he can't
+get none, tief is eating out the whole.
+
+An' he says to Dog that him know he is a very good watchman, an' same
+time Cock say to Crab that him watch as any soldier.
+
+An' Crab was very glad, say:--"You is the two man that I want."
+
+An' they says to Crab that they won't charge no money, but when the
+corn came in Cock is to get his share of dry corn an' Dog get his
+share of meal.
+
+An' Cock ask Crab to give him a gun.
+
+An' Crab didn' have a gun, an' he give Cock a flute an' give Dog a
+drum, an' tell them that anyone catch a tief they must play an' let
+him hear.
+
+An' Cock tell Crab that he can't sleep on the ground, an' he wants to
+know if there is any tree in the corn-piece, an' Crab say "Yes."
+
+So Cock an' Dog started.
+
+An' when they go Cock fly upon the tree an' Dog pick up the corn trash
+which they cut already an' make a very soft bed an' get into it, an'
+Dog lie down until he fall asleep.
+
+An' Cock sing:--
+
+[Music:
+
+ Brether Dog oh!
+ Brether Dog oh!
+ Brether Dog asleep oh! Brether Dog oh!
+ Tief come an' gone oh, Brether Dog oh!
+ Tief come an' gone oh, Brether Dog oh!]
+
+When the tief come Dog didn' know. An' Cock, as he being a brave
+soldier, he caught the tief. An' when he catch the tief he start a
+tune in his flute:--
+
+[Music:
+
+ You Mister Crab oh!
+ You Mister Crab oh!
+ Da me same one catch de tief oh!
+ Bengaday.]
+
+An' as Dog being love sleep an' don't watch to the end he lose his
+reward.
+
+An' Cock by him catch the tief takes the corn.
+
+
+NOTES.
+
+=arrangement between Annancy=; no misprint. =Between= may stand for =with=,
+or there may be an ellipsis of the words =and Crab=.
+
+=he mustn' mind.= This is likely to convey a wrong idea. Crab was not
+trying to soothe his feelings, but was speaking angrily. What he said
+was:--"Never you mind, etc."
+
+
+
+
+XLII. DRY-GRASS AND FIRE.
+
+
+One day Brother Dry-grass an' Fire get in confusion.
+
+So Fire tell his frien' Annancy (not knowing that Annancy an'
+Dry-grass was better friend):--"Brother Annancy I going to burn that
+fellah Dry-grass to-morrow."
+
+Annancy say:--"When you a go you fe call me a yard. I goin' to make
+one shell. When we nearly get to the place we blow, make the fellah
+know that man a come."
+
+During this time Annancy make bargain with Water that any time he hear
+the shell blow him must come down like rain.
+
+So Fire reach up an' as the shell blow he see rain coming down.
+
+So Fire has to go home.
+
+Water tell him say that Annancy tell him that you are going to fight
+Dry-grass, so I must come an' help to see if we can manage you.
+
+Fire say:--"A so! That fellah Annancy I going at his yard."
+
+So Fire walk at Annancy yard an' tell him:--"Brother Annancy I going
+to come an' see you next week."
+
+Annancy say:--"Yes, Bro'er Fire, with all pleasure."
+
+Fire tell him that he must put all his clothes a door to make him find
+out the yard for I don't want to lost the way.
+
+So Fire gone.
+
+Annancy wife said:--"Me husband, send go stop Fire from come a you
+place."
+
+Annancy say:--"No, me wife, a me best frien' so him have free come."
+
+Just before the time Fire was appoint to come, Annancy go to Brother
+Tiger, an' as him walk into the house he saw some clothes.
+
+An' he pick up the clothes an' say:--"See, Bro'er Tiger, how you
+clothes damp, you must have fe put dem a sun."
+
+So Tiger hang out all his clothes on a line before the door mout'.
+
+An' presently Fire was coming like a lion bringing Breeze with him.
+
+When Fire see all the clothes he say to Breeze:--"See that fellah
+Annancy yard."
+
+So Breeze blow harder an' come with a speed. An' Fire make a jump till
+he nearly got to the yard.
+
+Tiger hear the speed Fire was coming, call to him:--"Turn back, you
+red-face fellah, me no want you company."
+
+Fire was coming down more and more.
+
+Tiger bawl fe Fire a stop, but Fire coming for the better.
+
+So Fire get in the yard an' burn all Tiger clothes an' house, an' turn
+right home back.
+
+Annancy laugh, an' sing:--
+
+[Music:
+
+ Me wife say me no fe invite Fire,
+ Brether Fire bring Breeze oh!
+ Fire de 'pon lan' Fire,
+ Fire de 'pon lan' Fire.
+ He burn up all Tiger yard, ha ha!
+ Brether Fire an' Breeze oh!
+ Fire de 'pon lan' Fire,
+ Fire de 'pon lan' Fire.]
+
+_Jack Mantora me no choose any._
+
+
+NOTE.
+
+The shell looks like a very small cowhorn and gives a similar sound
+when blown. It is used as a signal for a variety of purposes. It
+summons to work and marks the hour of release. When a train of mules
+is nearing a sharp turn in the road, the head muleman blows a fanfare
+to give warning of his approach. The shell is in fact to the
+mule-track what the whistle is to the railroad. Imitation shells are
+sometimes made of bamboo. It was perhaps one of these that Annancy
+made.
+
+
+
+
+XLIII. JOHN CROW.
+
+
+One day there was a lady who have but only one daughter, an' Mr.
+Tacoma hear about the gal an' he went to court the gal.
+
+An' when Tacoma go the gal wouldn' receive Tacoma.
+
+An' the mother was really vex.
+
+As the mother being a old lady, when Tacoma going Tacoma carry a brass
+mortar to made it a present to the old lady to beat her fee-fee. An'
+when the old lady see the brass mortar he really want the mortar.
+
+But Tacoma said to her if him don't get the gal he not going to leave
+the mortar.
+
+An' the gal 'treat away himself inside the room an' hide.
+
+An' Tacoma feel very sorry an' he return home back.
+
+When he goes home he tell Annancy about the gal, an' Annancy get a
+concentina he going to carry down make a present to the gal.
+
+An' Annancy say if the gal can only take the concentina from him the
+gal must be his wife.
+
+An' when Annancy go down Annancy was playing.
+
+The gal wouldn' receive Annancy in.
+
+An' when the mumma hear, the music was so sweet she commence to dance;
+an' said to the daughter, this is the son-in-law him want, for he can
+get him own dance any time him ready.
+
+Not for all Mr. Annancy playing the gal wouldn' receive Annancy, until
+Annancy has to go home back.
+
+When that ugly fellah Mr. John Crow hear it he study between himself
+an' get a carriage with his pair of horses an' his coachman, an' the
+carpet in the carriage was a gold carpet.
+
+An' John Crow said between himself when him put on him watch an' chain
+an' his coat an' shoes, if him don't bring that gal home believe him
+no Mr. Goldman.
+
+An' John Crow drive away.
+
+An' when him get to a distant to a look-out, the gal was at his window
+sitting down, an' as him look, him see Mr. Goldman was driving coming.
+
+An' him holloa to him mumma:--"Mumma, mumma, my dear love is coming."
+
+An' as John Crow reach the yard the gal was out an' sling Mr. Goldman
+out the carriage an' escort him right into the house.
+
+An' after John Crow introduce himself to the gal that his name is Mr.
+Goldman.
+
+An' when John Crow tell the gal so, the gal have a old-witch brother
+an' says to his sister that that man is John Crow.
+
+An' the gal get vex an' say:--"Oh no, don't use a word like that; it
+is my dear Mr. Goldman."
+
+An' when the mumma come the gal introduce him to Mr. Goldman, an' tell
+him that his dear love just come now.
+
+An' Mr. Goldman fix a time when to come back an' get married, and the
+mother was agree, an' the gal was very glad too.
+
+An', when they settle that, John Crow drive back to his yard.
+
+An' when he is coming back the next night he brought a old-witch boy
+with him an' hide him half part of the road near the yard, an' tell
+him that as he see day clearing, he must call him that he may got home
+before day clear.
+
+An' he reach the yard an' spend the night in a very joyful dance.
+
+So it getting near day an' the boy sing:--
+
+[Music:
+
+ Mister Goldman oh!
+ Goldman oh!
+ Day da clean oh!]
+
+An' when the boy sing out the people them inside the house hear.
+
+An' when they hear they say:--"Stop! Stop! Stop! some one is calling
+Mr. Goldman."
+
+An' the dance so sweet Mr. Goldman he wouldn' stop to listen. He only
+says:--"Oh don't listen to that foolish boy." An' when him use the
+word him one in the ring wheeling all the gal them.
+
+An' that time him hear a sing:--
+
+[Music:
+
+ Poor mirrybimbim ribbimbybimbim,
+ Goldman a wheel him gal,
+ Goldman a wheel dem.]
+
+An' when him wheel all the gal him look outside the door an' see that
+day catch him; so him cry excuse an' went up'tairs.
+
+An' when he go up he take a piece of meat an' look for a broken sash
+an' 'queeze himself t'rough.
+
+An' as him go t'rough, the sash 'crape off the whole of him back head,
+an' from that day every John Crow born with a peel head.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=fee-fee=, food.
+
+='treat away himself=, retreats, retires.
+
+=concentina=, always with this =n=.
+
+=him ready=, she is ready for it, wants it.
+
+=a look-out=, a place visible from the house.
+
+=sling=, hand, with a notion of vigorous action.
+
+=an' says=, who says.
+
+=a word=, often a sentence of several words.
+
+=tell him=, tell her mother.
+
+=sweet=, pleased.
+
+=when him use the word=, as he said this.
+
+=excuse=, to be excused; pronounce the =s= like =z=.
+
+John Crow is the vulture-like scavenger bird of Jamaica, and has a
+peeled (bald) head.
+
+
+
+
+XLIV. TIGER'S DEATH.
+
+
+One day Mr. Annancy an' Monkey made a bargain to kill Tiger, an' they
+didn' know how to make the confusion for Tiger was Monkey godfather.
+
+An' being Monkey have more strength than Annancy, Annancy try to keep
+close Monkey an' wouldn' leave Monkey company at all by he afraid for
+Tiger.
+
+Until one day Annancy went to river an' catch some fish, an' send an'
+call Brother Monkey to come an' help him enjoy the fish.
+
+An' when the breakfast ready, instead of Mr. Monkey come, it was that
+cravin' man Mr. Tiger who Annancy really hate, an' to every piece of
+the fish Annancy take up to put in his mouth, Tiger take away every
+bit an' never cease till him finish the whole.
+
+An' when Mr. Annancy friend who he invite come, there was none of the
+fish to give him.
+
+An' as Monkey being love fish he began to cuss his godfather Tiger.
+
+An' that time Puss was passing when the confusion occurred.
+
+An' they go on an' go on till Puss laugh. An' as Puss laugh Tiger get
+worser vex an' begun to cuss Puss, an' Puss said to Monkey:--"Come,
+make we beat him off to deat'."
+
+An' Monkey wasn' agree to beat his godfather, but Annancy an' Puss
+force him.
+
+An' Tiger get cross begun to lick, an' the first man him lick was his
+godson. An' then as him lick him godson Puss catch a fire 'tick, an'
+Annancy catch up a mortar 'tick, an' they never cease murder Tiger
+till they kill him.
+
+An' they 'kin Tiger an' just going to share.
+
+An' there comes a singing from the tree:--
+
+[Music:
+
+ You long-tail Mister Monkey,
+ Give me piece of de liver,
+ a no you one tummy fe full.
+ A message me bring fe Tiger
+ say buryin' de a yard;
+ a whe fe do,
+ a whe fe do oh!
+ Tiger dead already.]
+
+An' all the look Monkey an' Annancy look, they never find the person
+that was singing.
+
+So they salt Tiger.
+
+Then Peafowl come down in the yard say:--"Good evening Mr. Annancy an'
+Mr. Monkey, I am very hungry. I was on a long journey bring a message
+to Tiger that him wife dead, but Tiger dead already."
+
+So the whole of them stop an' eat of Tiger.
+
+Peafowl never go back with no answer to report, for Puss an' Monkey
+an' Annancy give Peafowl gold not to talk that they kill Tiger.
+
+So Peafowl never can be a poor man for he keep the t'ree friend
+secret.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=confusion=, quarrel, which was to be made the pretext for killing
+Tiger.
+
+=whe fe do=, what to do? what is to be done? To this question the
+implied answer is "Nothing." So the phrase means:--"It can't be
+helped."
+
+
+
+
+XLV. THE OLD LADY AND THE JAR.
+
+
+A old lady have two son, one name Dory Dunn an' one name Tumpa Toe,
+an' Tumpa Toe an' Dory Dunn is a hunter-man.
+
+Well, they give them mumma enough things an' say:--"Mumma, I am going
+a wood, don' interfere with that Jar in my room."
+
+When them gone old lady say:--"I wonder what my son have in that Jar
+say me no fe touch."
+
+Old lady go an' shub him hand inside in the Jar.
+
+The Jar hold old lady.
+
+Old Lady say:--
+
+[Music:
+
+ Tumpa Toe, Lord!
+ Dory Dunn oh, Lord!]
+
+An' the Jar say:--
+
+[Music:
+
+ Mumma longubelo,
+ tum tullalullalum tum.]
+
+An' the Jar fire him from the room to the hall.
+
+An' when him reach to the hall him say:--
+
+ "Tumpa Toe, Lord!
+ Dory Dunn oh, Lord!"
+
+Jar say:--
+
+ "Mumma longubelo
+ Tum tullalullalum tum."
+
+An' all this time the Jar holding him by the hand an' can't let him
+go.
+
+An' the Jar t'row him outside a door.
+
+When him get out a door old lady say:--
+
+ "Tumpa Toe, Lord!
+ Dory Dunn oh, Lord!"
+
+Jar say:--
+
+ "Mumma longubelo
+ Tum tullalullalum tum."
+
+Jar hold him 'till.
+
+Jar fire him to seaside now.
+
+An' he got one daughter a seaside.
+
+The daughter say:--
+
+[Music:
+
+ Do my Jar,
+ Do my Jar,
+ will you save,
+ will you save my mother life!]
+
+Jar say:--
+
+[Music:
+
+ Old lady touch me,
+ old lady touch me,
+ you never will see him no more.]
+
+The daughter say:--
+
+[Music:
+
+ Do my Jar,
+ Do my Jar!
+ I will give you some silver fe save my mother life.]
+
+Jar say:--
+
+[Music:
+
+ No, my gal,
+ No, my gal,
+ I got silver already;
+ You never will see him no more.]
+
+The Jar fire him in a sea.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Tumpa=, stump. A man who has lost his arm is called a tumpa-hand man.
+
+=enough things=, plenty of things to eat.
+
+In these curiously simple tunes, if tunes they can be called, it is
+most important to mark the time and to pay great attention to the
+lengths of the notes. To hear them sing, or rather say, "Lord!" is the
+most laughable thing. The first one begins on a note rather below the
+=C= of =Toe=, and slides downwards ending with an expiring grunt on a very
+low note of the voice. The second one is done in the same way, but is,
+all the way through, a little lower than the first. The point is to
+let the breath go with the sliding note instead of holding it as in
+singing.
+
+=longubelo.= The first syllable is pronounced as in English, and the
+rest of the vowels are Italian, the =e= being rather more narrowed, but
+never quite reaching to the sound of =bale=.
+
+=tum tullalullalum tum.= Strong accent on the =tull= and clean neatly cut
+syllables. Italian vowels.
+
+=mumma.= The =u= between Italian =u= and Italian =o=.
+
+=fire him=, throws her. Yet not quite "throws," for the Jar never lets
+her hand go. =Fire 'tone= is the usual expression for throwing stones.
+The Jar fires her first from the bedroom to the living-room (hall),
+next from the hall to the yard, then from the yard to the seaside, and
+all the time it holds her by the hand.
+
+
+
+
+XLVI. JOHN CROW AND FOWL-HAWK.
+
+
+One day Fowl-hawk go to John Crow yard an' tell him that him fe come
+have a walk with me to a country for something promise there to me.
+
+"One day I go out an' in my way I pass a river. As I come to the river
+I meet Fowl. Him ask me to help him up, an' the baby any time him born
+I must come for it. Well my dear sir, the baby born; an' when I go,
+Fowl say him never make a promise with me. Look you, sir, if you see
+the picny, nice fresh fe we mouth, an' a no the one, but him hab more.
+So you will get a good bag of fresh, but the country danger home."
+
+John Crow say:--"Me yerry dat place hab bad name, me no want go."
+
+Hawk say:--"You too fool, we a man! we'll get 'way, me son, if them
+want to catch we. When me go de the first time me go slam in a Fowl
+yard. Me an' him stay a whole day a quarrel, an' me no dead. Come, me
+good friend, make we go."
+
+Them start.
+
+Them fly an' fly till them get over the country.
+
+Hawk say:--"Brother John, we get over the place. Look down yonder,
+look fresh!"
+
+John Crow say:--"Me no go down de."
+
+Hawk say:--"A so! you too fool! Come make we go down little more."
+
+Them go down till them pitch on a tree.
+
+Hawk say:--"Brother, you see them better. I da go sing make them know
+say me a come."
+
+John Crow say:--"If them yerry you, dem no will kill we!"
+
+"No, all time me go down me an' Fowl a good friend, no mo' the little
+quarrel we have."
+
+Hawk call out:--"See me ya me da come, me da come to the bargain, me
+da come, come; twillinky twing ping ya, me da come."
+
+Fowl hear, tell him picny dem fe go hide.
+
+So Dog was a gunner man, an' him an' Fowl a good friend, for Fowl
+always give him good treatment.
+
+So Fowl go an' tell Dog say:--"Danger! hawk a come fe me daughter, so
+me a beg you fe come a yard an' shot him fe me when him come."
+
+Dog come, an' him an' Fowl hide.
+
+Hawk said to John Crow:--"Come make we go down."
+
+John Crow say "No."
+
+Hawk say:--"Hungry will burn you back."
+
+John Crow say:--"Me no trust, me wi' wait 'pon God leisure."
+
+Hawk say:--"All time you wait 'pon God fe give you you will never get;
+no see me a man no wait 'pon no man? Me go look what me know me want,
+but me if I get anyt'ing I never give you little piece self, you
+foolish fellow you! I gone."
+
+Hawk start the singing again going down:--"See me ya, me da come,
+twillinky twing ping ya."
+
+By Hawk get down Dog hit him _bam_.
+
+Hawk dead.
+
+John Crow laugh "Ha ha! let me pull me rusty bosom shirt an' put on me
+gown an' go down to see what do that fellah."
+
+John Crow go down.
+
+As him get on Fowl-hawk find that him was dead him say:--"Tank God,
+ha, ha!"
+
+John Crow dig out the two eye and say:--"A this eye the fellah take a
+see," an' put it in his pocket an' turn on eating.
+
+Dog look, an' say to Fowl:--"You finish with that one, so, sister, any
+time them come you send an' call me. I can't stop, I am very vex. I
+send out my son yesterday an' Puss meet him on the road an' beat him
+an' take 'way the money that I give him to give Brother Monkey. Him
+tell me son say him have a old grudge fe me an' him can't get to beat
+me, so him will beat all me picny. So, sister, I ha da go home, will
+be blue fire when I catch Puss."
+
+When Dog go to Puss yard an' call him, Dog ask Puss for a drink of
+water an' a piece of fire.
+
+Puss say:--"Go 'way from me gate, I know whe you come about."
+
+Dog say:--"Ah, me man, will be blue fire!"
+
+Puss gate was lock, for Puss have company the day. This company was
+Rabbit.
+
+Dog say:--"I want to see you."
+
+Puss say:--"Go 'way I tell you, you mout' long like a devil fork."
+
+Dog broke the gate an' go in.
+
+Puss lock up his house, an' stay inside an' cuss Dog till Dog has to
+go home.
+
+An' Monkey say him will get the money from Puss for them is good
+friend.
+
+So Dog go home to his yard an' have a hatred for Puss till death.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=help him up=, with his head-load.
+
+=fresh=, fresh meat.
+
+=a no the one, etc.=, he has not only one, he has several.
+
+=danger home=, is very dangerous.
+
+=over the country=, over the place.
+
+=see me ya, etc.=, see me here, I am coming.
+
+=twillingky twing ping ya=, a good imitation of the Hawk's vengeful
+shriek. Strong accent on the =ya=.
+
+=bam=, French =a=, English =m=, imitating the discharge of the gun.
+
+=what do that fellah=, what has befallen that fellow.
+
+
+
+
+XLVII. FINGER QUASHY.
+
+
+One day Dog invite four Puss to dinner. They were good friend. One of
+the Puss name was Tatafelo, one name Finger Quashy, one name
+Jack-no-me-touch. The last one was Tumpy John because he has no tail.
+
+When them come, all the Puss was in long coat an' burn-pan hat. Dog
+was in trousies an' shirt.
+
+An' Dog tell them all howdy very friendly, for he didn' know what
+Finger Quashy doing him.
+
+An' Finger Quashy quite glad fe see how Dog look friendly an' please,
+an' didn' have no t'ought that him was tiefing fe him pear.
+
+So the whole of them sit down, Dog making a complain to them that, so
+he get a pear an put it to ripe, by the time he ready for it him don't
+see none.
+
+An' Finger Quashy was doing it.
+
+An' Finger Quashy jump up tell Dog:--"Mr. Dog, me no tell you all time
+say you want one watchman? a da' fellow Ratta a tief you pear. Last
+night me dream say me see you put me fe watchman an' me catch the
+fellah, so you better put me fe guard you house from that tiefing Mr.
+Ratta."
+
+Dog was quite agree.
+
+Dog said:--"After dinner I will tell you better."
+
+Quashy said "Yes."
+
+So Dog lef' them gone to get dinner.
+
+By Dog gone, Quashy come out of the house, go into Dog buttery, see
+two green pear, take them out go hide them.
+
+Ratta see him go over the kitchen cry out:--"Why, why, why! Quashy
+take you pear; you no yerry? Quashy take ahm gone."
+
+By Dog get in the house Quashy was in already sitting down look quite
+meek an' christianable.
+
+Dog lef' them go see if his pear was there.
+
+When he go there was none, an' Dog don't like nothing as his pear an'
+bone, an' he get vex, take all the dinner t'row it 'way, go in the
+house take down his 'tick.
+
+By the time Dog fe lick one of the Puss everybody was on a tree on the
+far side of Dog yard.
+
+Dog swear all sort of bad word fe the one that take him green pear.
+
+Everybody say:--"Thank God me no eat green pear."
+
+Finger Quashy said:--"Lard! what a man fe swear!"
+
+Dog see that he couldn' manage to catch Puss, leave and go away.
+
+An' as Dog turn round, his son playing with fire burn his house an'
+all his clothes.
+
+From that day Dog hate Puss till now, for it is Puss cause him to have
+one suit till him dead.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Tatafelo=, Italian =a=, the other vowels English.
+
+=Pear=, _i.e._ the West Indian pear, a delicious vegetable.
+
+=tell you better=, make the final arrangement.
+
+=Why, why, why!= squeaked like a rat.
+
+=by the time Dog fe lick=, as Dog was going to strike.
+
+=everybody=, used also of inanimate objects. They say:--"I going to
+water cabbage, tomato, everybody."
+
+=T'ank God, etc.=, a favourite form of exculpation, which, however, does
+not necessarily imply innocence.
+
+
+
+
+XLVIII. ANNANCY AND HIS FISH-POT.
+
+
+One day Brother Annancy always set him fish-pot in a river ober a
+fallin' fe catch jonga. Tacoma usual to go an' knock it.
+
+An' Annancy set watch into a river corner, an' Tacoma come fe knock
+it; he didn' know Brother Annancy hide there fe watchin' him.
+
+As Tacoma go over de fish-pot Brother Annancy chuck him down, an'
+Tacoma catch in de fish-pot.
+
+Annancy go beg Brother Rabbit say:--"Bro'er Yabbit, me fish-pot catch
+a big fish, come an' help me knock it, me one can't manage it, Bro'er
+Yabbit."
+
+Brother Annancy an' Brother Rabbit went to the river.
+
+Annancy say:--"Bro'er Yabbit, me feel me tummy hurt me dis marnin', no
+able fe put me foot in de cold water, see if you one can manage fe
+take out de fish-pot."
+
+Brother Rabbit go an' take it out till he nearly make shore with the
+fish-pot.
+
+Annancy say:--"Bery well, you kill Brother Tacoma! Bery well, you kill
+Brother Tacoma!"
+
+Then Brother Rabbit commence to cry now, an' the frettenation in a
+Rabbit he say he kill somebody an' he know they going to hang him, an'
+next day Rabbit dead.
+
+Then the case didn' try again.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=fish-pot=, made of bamboo strips and looking like a lobster-pot.
+
+=jonga=, the smallest of the three kinds of crawfish which abound in the
+streams and rivers of Jamaica.
+
+=knock=, empty.
+
+=tummy=; a less pretty word is really used. Annancy squeaks his words
+more than usual here.
+
+=Bery well, etc.=, in 6/8 rhythm [Music] and he claps his hands to the
+measure twice in the bar.
+
+=frettenation=, probably fright, but may have something to do with
+fretting. Owing to Rabbit's fright, he says that he has killed a man.
+Rabbit, through fright, says that he has killed a man. These
+elliptical expressions are hard to understand until one has heard them
+often.
+
+=try again=, try after all.
+
+
+
+
+XLIX. HOG AND DOG.
+
+
+One day Hog was going out to look work, an' Hog name was Cuddy.
+
+An' he got out an' walk all about an' couldn' get no work.
+
+An' when he come home Ratta employ him to keep watch for him when
+Broder Puss is coming.
+
+An' Hog ask Rat how much is his pay.
+
+An' Rat tell him that he will give him t'ree an' sixpence a week but
+he must find himself every t'ing to eat an' drink.
+
+An' Hog didn' agree. But as the time being so hard he says he will
+bear with Ratta till the week out.
+
+An' when the week done Ratta pay Hog, an' Ratta t'ought that Hog was
+still keeping watch for him.
+
+So Ratta go out, an' when he come back he didn' fin' Hog.
+
+An' him say:--Wasn' God, Puss would broke in on him.
+
+An' him cuss Hog that Hog would walk an' never get no work, an' some
+which worse than Hog will laugh after him.
+
+An' Hog start one morning to look work.
+
+What that fellah Mr. Dog done Hog.
+
+As he, being a market-keeper, he set down at the market gate an' see
+Hog was passing, an' he ask Hog where he is going.
+
+Hog tell him that he is going to look a little work.
+
+Same time Dog burst out a laugh. An' as he burst out a laugh he ask
+Hog t'ought he was working with Ratta.
+
+An' Hog feel so shame to himself till he wouldn' answer Dog.
+
+An' Dog laugh after Hog with this sing:--
+
+[Music:
+
+ Time get so hard
+ Hog an' all a look work,
+ Dog sit down a market gate an' go laugh at a Hog distress;
+ me rarabum Cuddy de da door,
+ me rarabum Cuddy de da door,
+ me rarabum Cuddy de da door.]
+
+An' Dog sing an' sing an' sing till Hog get vex an' come home back.
+
+An' from that day that's why Hog must always hate Dog until now.
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=Cuddy=, short for Cordelia.
+
+=wasn' God=, if it wasn't for God.
+
+=rarabum=, nonsense word, Italian vowels.
+
+=de da door=, is at door, is out of doors.
+
+
+
+
+L. DEVIL AND THE PRINCESS.
+
+
+Once a King has a daughter, an' that gal was a pet to her father.
+
+So one day a Prince come to ask for her.
+
+The father love the young man, but the gal say:--"Puppa, me don't like
+him." So the father promise her that anybody she see she like he will
+agree to it.
+
+So one night a good friend of the King made a dance an' invite the
+young Princess to the ball.
+
+This man who made the dance invite all classes of people. So he invite
+Devil too, but they don't know that it was Devil.
+
+When all the guests come everybody give their name. Devil give his
+name Mr. Winkler. So the ball commenced.
+
+Devil see the gal. He went an' ask her if she wish to dance with him.
+
+The gal was so glad say:--"Yes, sir, for I love you the most."
+
+When they dance till daylight the gal don't want to lef' Devil.
+
+She say to Devil:--"Come have a walk home with me."
+
+Devil say:--"Yes, I would go, but I am a man have such a great
+business, I has to go home very soon to seek after it."
+
+The gal say:--"Come go home with me you will get me to marry, for my
+father is a King."
+
+An' as Devil hear about marry he go home with the gal.
+
+When she get to the house she call to her father:--"Puppa, here come
+my lover, I have found him at last."
+
+So the servant-boy was an old-witch, said:--"Young mistress, you know
+that man is Devil?"
+
+The gal get vex, begin to cry.
+
+She go to her father crying, tell him "the servant-boy cuss me most
+shameful."
+
+The father get upstarted, come out to the boy, don't ask the boy
+nothing, catch the boy an' put him in prison.
+
+They take Mr Winkler in the palace, an' the father fix up an' they get
+marry.
+
+After Mr. Winkler get marry he said:--"I am ready to go."
+
+The King say:--"No, I can't send away my one daughter. You must stay
+and I will make you a King too."
+
+Mr. Winkler say "No."
+
+During this time they don't know that it was Devil, for when the boy
+tell them they get vex.
+
+Devil marry ten time an' he eat all his wife, so he was going to eat
+this Princess too.
+
+So, as he was so anxious to go, the gal have to go with him.
+
+When they ready to start the father give them a long bag full with
+money. Devil get a boatman an' they start.
+
+They sail four days before they get to their home.
+
+When the gal get there she go meet a old lady in the house. This lady
+was Devil cook.
+
+As he got in he said to the cook:--"I have got a good fat meat for the
+party."
+
+So Devil go an' lock up the gal in a bar, an' lef' the old lady to
+watch if the gal is going to get 'way. He lef' a Cock that any time
+the old lady say that the gal get 'way he must call, an' him lef' a
+bag of corn to feed the Cock that he may keep good watch.
+
+The old lady say "Yes."
+
+Devil ready to start, order his t'ree-foot horse saddle, for he is
+going to invite his friend to come an' help him eat the gal.
+
+He start, deeble-a-bup, deeble-a-bup.
+
+As he get about a mile the old lady go in to the gal, take her out an'
+tell her that her husband is Devil an' he is going to eat you.
+
+The gal begin to cry.
+
+The old lady say:--"Don't cry, I love you an' I going to let you go,
+but the Cock is a watchman; he will see you, an' if he see you he will
+call for his master, but never min' I will try."
+
+The old lady get ten quart of the corn an' a gallon of rum, soak the
+corn in it for about a hour, an' after give it to the Cock.
+
+An' the Cock eat the whole evening till night, an', after him finish
+eat, him drop asleep.
+
+The old lady get a boatman an' pay him an' he take the gal over the
+sea.
+
+When day nearly light the Cock wake an' go to look if he see the gal
+through a hole. When he look the gal was gone. Him go to the cook an'
+ask.
+
+The lady said:--"Him gone, an' I was calling you an' you never wake."
+
+Then Cock sing out:--
+
+[Music:
+
+ Mister Winkler Winkler oh
+ coocoorico
+ the gal is gone.
+ Awake me wake go look a hole
+ the gal was gone.]
+
+Mr. Winkler hear an' was coming like lighten with his t'ree-foot
+horse, deeble-a-bup, deeble-a-bup.
+
+He call out:--"Me coming", deeble-a-bup, "Me coming", deeble-a-bup.
+
+At last he reach the yard an' see the gal gone. He get a canoe an'
+start after her, an' by next day light he see the gal boat was far
+away.
+
+He call out:--"Sairey de 'pon sea, Sairey de 'pon sea, come back
+darling, you husband de come fe you."
+
+When the gal look he say:--"Shub ahead, boatman, do, to save me life!"
+
+An' by the time they get a land Devil was near them.
+
+An' the boatman shot off a piece of Devil canoe an' water get in, so
+Devil has to go home back.
+
+An' when the gal go home, tell her father what was her life, the
+father say:--"Don't marry again to nobody, not if even the King."
+
+An' the father take her in an' give her servant to look after her.
+
+_Jack Mantora me no choose any._
+
+
+NOTES.
+
+=cuss=, abuse. It does not imply swearing. To swear is to =cuss bad word=.
+
+=in a bar=, a barred-up room.
+
+=deeble-a-bup=, the sound of the three-legged horse's step. Compare the
+itty-itty-hap of "Mr. Bluebeard."
+
+The Cook adopts Annancy's device in "Annancy and Screech-owl."
+
+=coocoorico.= The Cock's crow is excellent. The Negro is very clever in
+his imitation of animals.
+
+=a hole=, at the hole, through the hole.
+
+=canoe=, pronounced with accent on the first syllable and French =a=.
+
+
+
+
+LI. WHEELER.
+
+
+One day Puss was going out on a journey, an' he travel till he reach
+to a river mouth. An' as Puss being afraid for water he couldn' cross
+the river.
+
+An' Puss has to stop for two day an' one night, an' Puss climb a tree
+which hang over the water.
+
+An' Mr. Annancy was fishening.
+
+An' Annancy fishening till him come where Puss was, an' Puss didn'
+call to Annancy.
+
+An' same time Annancy meet up a licking 'tump a river side. Annancy
+lick, him lick, him lick, him lick outside till him sen' him han'
+inside.
+
+An' when Annancy shub him hand him feel something hold him.
+
+An' Annancy get very frighten an' pull fe get him hand out, an' him
+couldn' get 'way.
+
+An' Annancy ask the question:--"Who hold me?"
+
+An' a voice in a the 'tump said:--"Me, Wheeler."
+
+An' Annancy said to him must wheel him make him see.
+
+An' him wheel Mr. Annancy mile an' distant.
+
+An' when Annancy drop he didn' dead, an' he said:--"T'ank God! I met
+with a little accident, but I see it going to be a living for me an'
+me family."
+
+An' Mr. Annancy went home an' get some lovely iron peg, an' when him
+come he plant them in the river course to the very spot which him did
+drop.
+
+That time Puss seeing all what Mr Annancy is doing.
+
+Annancy leave, an' come where Wheeler is, an' keep himself very quiet,
+an' presently Peafowl was passing.
+
+An' Annancy call upon him say:--"Bro'er Peafowl, a living is here for
+me an' you."
+
+An' Peafowl ask him what is it.
+
+An' he take Peafowl an' carry him where Wheeler is, and he
+says:--"Bro'er Peafowl, you see that hole. As you hand is so long,
+don't be afraid, just shub you hand in there now an' you will find
+something grand."
+
+An' as Peafowl shub in him hand Wheeler hold him.
+
+An' Annancy tell him that he must pull.
+
+An' when him pull he couldn' get 'way.
+
+An' Mr. Annancy feel very proud an' happy till he laugh with joy in
+his heart.
+
+An' when him done laugh him tell Peafowl to say:--"Who hold me here?"
+
+An' Wheeler say:--"Me, Wheeler."
+
+Annancy tell him to say:--"Wheel me mile an' distant."
+
+An' him wheel Peafowl an' dash him on the iron peg, an' Mr. Annancy
+went an' pick him up an' put him in his bag.
+
+An' him went back to his old place a bush an' sat quiet.
+
+That time Puss was seeing all this.
+
+Ratta was passing, an' as Annancy see him Annancy said to him:--"I's
+all you deeshent man I like to see."
+
+An' Ratta ask him:--"What for?"
+
+An' Annancy say:--"Don't be afraid; a living is here for you an' me."
+
+An' he carry Ratta an' show him the 'tump.
+
+An' when him show Ratta, Ratta ask him if this is the living.
+
+Annancy say:--"No shub you han', man, in the hole, an' you will fin' a
+living."
+
+An' as Ratta shub him hand Wheeler hold him.
+
+An' Annancy tell him that he must pull.
+
+Him say he can't get 'way.
+
+Annancy tell him to ask:--"Who hold me?"
+
+"Me, Wheeler."
+
+Annancy tell him must say:--"Wheel me mile an' distant."
+
+An' he wheel Ratta an' dash him on the iron peg again.
+
+Annancy went an' pick him up an' put him in his bag, an' go back same
+place.
+
+After, Puss come down off the tree an' walk through the bush an' go
+down the river a little ways an' then turn up back, coming up very
+meek an' poorly.
+
+Annancy so glad to see Bro'er Puss him say:--"Walk up my bold friend
+Mr. Puss. Come an' see the living which is here for me an' you."
+
+An' Puss playing as to say that he didn' know nothing at all about it.
+
+An' Mr. Annancy begin to show Puss the 'tump, an' he tell Puss to shub
+him hand in the hole.
+
+When Annancy show Puss the hole, Puss say that him don' see it.
+
+Annancy get vex and say:--"Shub you han' you so, man! Shub you han'
+you so, man! There, there!"
+
+An' Puss put him hand another way, playing to say he don' see it. An'
+he go on, go on, till Annancy make a flourish with him own hand, an'
+Annancy hand slip in the hole an' Wheeler catch him.
+
+An' Annancy begin to cry as him know the danger which is down below.
+
+An' him cry out:--"Do, me good Bro'er Push, jus' run a river course;
+you will see some iron peg, pull them up for me."
+
+An' Puss begin fe walk in him sinnicky way, an' hide a bush where
+Annancy can't see.
+
+When Puss come, him say him pull them.
+
+Annancy wouldn' believe, an' crying still say:--"Bro'er Push, mus' go
+an' fetch one come make me see."
+
+Puss go, an' when him come back him come without it.
+
+Annancy ask him where is it.
+
+Him tell Annancy that it too heavy, an' him roll it 'way.
+
+An' Annancy, still crying, wouldn' believe. An' he begin to call Puss
+Godfather Push, an' beg him hard:--"Do, me good Godfather Push, just
+you jump pull dem."
+
+An' him go on, go on, till him believe Puss, an' him ask the
+question:--"Who hold me?"
+
+"Me, Wheeler."
+
+"Wheel me mile an' distant."
+
+An' Annancy fly by the air an' drop slam on his own trap.
+
+An' Puss walk down an' pick up Annancy, an' put him in the bag with
+Peafowl an' Ratta an' carry off all the living with a jolly song:--
+
+[Music:
+
+ Poor me little Cubba boy, barn day no Cubba?
+ Me da go da Vaylum, barn day no Cubba?]
+
+_Jack Mantora me no choose none._
+
+
+NOTES.
+
+=licking 'tump=, a tree stump with bees in it. The honey trickling out
+makes a licking-stump of it.
+
+=lick, him lick, him lick.= These words are run closely together, then a
+pause, and then =him lick outside=. Pause again, after which the
+sentence finishes.
+
+=wheel=, to cause to turn or spin. I have no clue to =Mr. Wheeler=.
+
+=mile an' distant=, to the distance of a mile.
+
+=I's all you, etc.=, it's all you decent men.
+
+=What for?= Ratta was suspicious of Annancy's flattery.
+
+=poorly=, poor in spirit, meek.
+
+=sinnicky=, sneaky.
+
+=Bro'er Push, must go=, you must go.
+
+=barn day no Cubba?= is not my born-day (birthday) Cubba. Children used
+to be named according to the day of the week on which they were born.
+
+ Day. Boys. Girls.
+
+ Sunday. Quashy. Quashiba.
+ Monday. Cudjo. Jubba.
+ Tuesday. Cubbenna. Cubba.
+ Wednesday. Quaco. Memba.
+ Thursday. Qua. Abba.
+ Friday. Cuffy. Fibba.
+ Saturday. Quamin. Beniba.
+
+According to this list, Cubba is a girl's name, but it is perhaps
+short for Cubbenna.
+
+=me da go da Vaylum=, I am going to Vaylum.
+
+
+
+
+PART II. DIGGING-SINGS.
+
+
+The Negroes when they get together never stop chattering and laughing.
+They have a keen sense of the ludicrous, and give a funny turn to
+their stories as they relate the common incidents of daily life. The
+doings of their neighbours form the chief topic of conversation here
+as in most places, and any local event of special importance is told
+over and over. Presently, after repeated telling, the story, or part
+of it, is set to one of their dance tunes, and tune and words
+henceforth belong to one another. This is the origin of the songs
+which follow. With the explanatory notes attached to them it is hoped
+that they will afford some insight into the peasant life of Jamaica.
+
+The tunes fall into two main divisions, "dancing-tunes" and
+"digging-sings," and besides the formal dances, whose steps are
+thoroughly known, there is an informal kind called "playing in de
+ring." It may be described as dancing mixed with horse-play. It was in
+this kind of romping that Parson Puss took part in the Annancy story
+(No. XXIX.), and perhaps it was hardly the thing for the cloth! Ring
+tunes begin anywhere and anyhow, and do not necessarily conform to the
+eight-bar rhythm of the more regular dance tunes.
+
+To the other class of songs belong the "digging-sings" used, together
+with rum, as an accompaniment to field labour. In March it is time to
+think of getting the land ready for planting. So, having rented a
+piece of hillside from a neighbour, if he has none of his own, the
+Jamaican begins to clear the ground. The biggest of the trees fall to
+the axe, and the brushwood, or bush, as it is called, is chopped down
+with the cutlass, a few rod-like saplings being left here and there to
+serve as supports for the yams, which will by and by climb them like
+hops. After a few days' exposure to the sun, he burns all the top and
+lop that lies on the ground, which is then ready for digging. He now
+calls in some of his friends to help him dig yam-hills--so the phrase
+runs. What they dig is, of course, holes, to begin with. The loose
+soil is then piled up into small mounds in which the yam heads will be
+placed. The object of the mound is to enable the proprietor to see
+easily at any time how the tuber is getting on, by just "gravelling"
+it with his hand. As the hills are being dug, the rum bottle
+circulates, and the digging-sings, which began quietly enough, get
+more and more lively. The Negro is cheery at all times, but when well
+primed with liquor he is hilarious. Nothing more joyous can be
+imagined than a good "digging-sing" from twenty throats, with the
+pickers--so they call their pickaxes--falling in regular beat. The
+pickers work faster and faster to the strains of a rousing "Oh,
+Samwel, oh!" or "The one shirt I have ratta cut ahm." One man starts
+or "raises" the tune and the others come in with the "bobbin," the
+short refrain of one or two words which does duty for chorus. The
+chief singer is usually the wag of the party, and his improvised
+sallies are greeted with laughter and an occasional "hi," which begins
+on a falsetto note and slides downwards, expressing amusement and
+delight very plainly.
+
+
+
+
+LII.
+
+
+Here is a specimen:--
+
+[Music:
+
+ Oh Miss Nancy Ray, Oh hurrah boys!
+ Oh Miss Nancy Ray, Oh hurrah boys!
+ Nancy Banana da broke man heart, Oh hurrah boys!
+ Nancy Banana da broke man heart, Oh hurrah boys!
+ Oh Miss Nancy Ray, Oh hurrah boys!
+ Oh Miss Nancy Ray, Oh hurrah boys!]
+
+The bobbin is "Oh hurrah boys!" and a good swinging one it is. If the
+bobbin is well taken up each sing lasts for about five minutes, and
+the raiser of the tune prides himself on the number of "turnings" or
+slight variations he can give it. He also improvises words as he goes
+on. Such a sally as changing Miss Ray's name to Banana would be met
+with laughter when it was first heard.
+
+("Da broke man heart" means "has broken a man's heart")
+
+
+
+
+LIII.
+
+
+The next example is a type of many of the sings. It turns on a piece
+of local gossip. The "at last" is significant and points to Catherine
+being an old offender. The proffered sympathy is hardly sincere.
+
+[Music:
+
+ Ho biddybye, biddybye
+ me yerry the talk biddybye,
+ say Cat'rine gone a prison
+ biddybye poor me Cat'rine oh biddybye
+ Cat'rine gone at last biddybye.]
+
+Here is the story in plain English, "deep English" as the Negro calls
+it, not understanding it well:--"Oh by the bye I hear a report that
+Catherine has gone to prison. My poor Catherine!"
+
+(For "say" read "which says." "Biddybye" is the bobbin.)
+
+
+
+
+LIV.
+
+
+We come now to one which refers to labouring life:--
+
+[Music:
+
+ Tell Mister Linky me want go, hm! hm!
+ oh Benjiman!
+ Barrarap Barrarap Barrarap me Benjiman
+ oh Benjiman!]
+
+The men are in the field watching the sun which is getting low. They
+begin to think the head-man, Mr. Linky, is forgetting how time goes.
+He should be giving the signal to "knock off work." So one of the
+gang, meaning Mr. Linky to hear, says to his neighbour:--"Benjamin,
+tell Mr. Linky I want to go." "Hm, hm!" with closed lips, means a
+great deal. It is a sort of good-natured remonstrance. Always
+_Benjiman_ for Benjamin and the _Barraraps_ culminate in a sharp final
+staccato _rap_. This has a longer bobbin "Oh Benjiman!"
+
+
+
+
+LV.
+
+
+The next might easily be mistaken for something of the same sort:--
+
+[Music:
+
+ Tell Mister Bell me go plant coco,
+ Tell Mister Bell me go plant coco,
+ Tell Mister Bell me go plant coco,
+ fuppence a quart fe flour!
+ Flour Flour Flour Flour!
+ fuppence a quart fe flour!]
+
+Mr. Bell is, however, the keeper of a country shop. "Tell Mr. Bell I
+am going to plant cocoes. Threepence a quart for shop flour! No, it's
+too much expense." ("Too much expense" is a favourite phrase.)
+
+The accent which the music gives to the word _coco_ is not the right
+one. It should be on the first syllable.
+
+"Fuppence" is fivepence, but means threepence. This is the survival of
+an old coinage in which sixpence was called tenpence. The _u_ in
+"fuppence" is an Italian _u_ with a turn towards an open _o_. It
+sounds more like fourpence than fippence.
+
+"Plant coco" is the bobbin, but a gang who were inspired not to leave
+too much to the raiser of the tune, would take upon themselves to add
+"Fuppence a quart fe flour." ("Fe," sounded "fy," with short _y_ as in
+"very.")
+
+
+
+
+LVI.
+
+
+The next has again a well-defined bobbin in "nyam an' cry," and
+hereafter no reference will be made to this feature, which by now must
+be thoroughly understood. Where it appears to be wanting, the whole
+sing is sung in chorus.
+
+[Music:
+
+ Bad homan oh!
+ bad homan oh!
+ nyam an' cry,
+ me coco no ripe,
+ nyam an' cry,
+ me hafoo no ripe,
+ nyam an' cry.]
+
+The man is "working his provision ground," and his wife is always
+saying she has not got enough to eat. She is a bad woman, who does
+nothing but "nyam an' cry," eat and call for more, and my cocoes are
+not ready to dig and my Afoo (Italian _a_, ahfoo) yam is not ready
+either. (There are as many different kinds of yams as there are of
+potatoes.)
+
+
+
+
+LVII.
+
+
+Continuing with subjects connected with field-work, we come now to a
+sing which must have originated in old slavery days, when ringing a
+bell was the signal for beginning and knocking-off work:--
+
+[Music:
+
+ Bell oh, Bell oh,
+ Bell a ring a yard oh! oh Degay,
+ Bell a ring a yard oh!
+ Baboon roll de drum oh,
+ Monkey rub de fiddle, oh
+ Bell a ring a yard oh!]
+
+The bell is ringing up at the house, says one of the slaves to Degay
+the head-man, and we want our breakfast; and another, seeing Degay
+look cross at anybody presuming to make suggestions to him, tries to
+make him laugh with the piece of nonsense that follows. We shall meet
+with Degay or Deggy, for there is some doubt about his name, again. It
+will be thought that either the word Baboon is misplaced or the
+barring is wrong, but it is not so. The negro is careless of accent,
+as of many things. Here he likes to have it on the first syllable,
+which he lengthens to "bah." "Rubbing" a fiddle conveys the exact idea
+of the way they play it. Holding it not up to the chin but resting on
+the biceps, they rub a short bow backwards and forwards across the
+strings. If one of these is tuned it is considered quite satisfactory,
+and the rest make a sort of mild bagpipe accompaniment. Time is no
+object.
+
+("Bell a ring" may mean either "The bell is ringing" or "The bell has
+rung." "A yard," in the yard. The immediate surroundings of the house
+are called the yard. They seldom speak of going to a friend's house.
+They say they are going to his yard.)
+
+
+
+
+LVIII.
+
+
+Breakfast is at twelve o'clock, and after a short rest work goes on
+again. A shower starts a new train of thought:--
+
+[Music:
+
+ The one shirt I have ratta cut ahm,
+ Same place him patch ratta cut ahm,
+ Rain, rain oh!
+ Rain, rain oh!
+ Rain, rain oh fall down an' wet me up.]
+
+"The rats have cut my only shirt with their teeth. I put in a patch
+and they bit it through again in the same place, so when the rain came
+down it made me very wet."
+
+(The broad "ahm" (for him, it), is more used now by the Coolies than
+the Negroes. "Ratta" is both singular and plural. When I first heard
+the word I thought it referred to a terrier. "Same place him
+patch"--in the same place where it was patched, just where it was
+patched.)
+
+
+
+
+LIX.
+
+
+The kindly sun comes out, the shirts are dry, and an amorous youth,
+with that absence of self-consciousness which is characteristic of the
+race, begins:--
+
+[Music:
+
+ Jessie cut him yoke suit me,
+ Jessie cut him yoke suit me,
+ So-so wahk him wahk suit me,
+ Jessie cut him yoke suit me,
+ oh suit me,
+ oh suit me,
+ oh suit me,
+ Jessie cut him yoke suit me.]
+
+Broadly this means:--"all that Jessie does is right in my eyes. She
+dresses perfectly, but it is enough for me to see her walk to adore
+her. Jessie cuts her yoke"--technical term of modistes and tailors I
+am told--"to suit my taste."
+
+("So-so walk him walk," is literally:--"the mere walk that she walks
+with suits me." They are fond of this repetition of a word, first as
+noun and then as verb. Thus they will say:--Me like the play him
+play:--It sweet me to see the dance him dance:--The talk him talk was
+foolishness:--The ride him ride, him boast about it.)
+
+
+
+
+LX.
+
+
+"Three acres of Coffee" which follows, is more interesting musically.
+
+[Music:
+
+ T'ree acre of Cahffee,
+ Four acre of bare lan',
+ T'ree acre of Cahffee,
+ Why you no come come ask fe me?
+ Mumma ho me love the man,
+ Mumma ho me love the man,
+ Mumma ho me love the man,
+ Why you no come come ask fe me?]
+
+The boy has been telling the girl of his worldly possessions, but has
+not made any offer of marriage. She is thinking it all over. "So you
+have got three acres of coffee and four acres of bare land, then why
+don't you come and ask for me?"
+
+"Bare" land is good land which has not yet been taken into
+cultivation. The first money a poor boy earns he spends in boots,
+which are the outward and visible sign of being well-to-do. They hurt
+him, "burn him" as he says, but no matter. Next he buys a piece of
+land. This is probably in bush, covered that is with the rough growth
+of grass, bushes and trees that so quickly springs up in the tropics.
+He clears and plants it piece by piece, as opportunity offers and
+inclination suggests.
+
+
+
+
+LXI.
+
+
+They are clever at inventing nonsense words to run easily off the
+tongue. For instance:--
+
+[Music:
+
+ Away, away oui oui Madame.
+ I never see the sight of Robart,
+ I never see the sight of F'edrick,
+ Ding dogaraggaway,
+ Ding dogaraggaway,
+ Ding dogaraggaway,
+ Ding dong.]
+
+("Away" is clearly a corruption of _oui oui_.)
+
+
+
+
+LXII.
+
+
+They like to complain of their little ailments, as thus:
+
+[Music:
+
+ Wednesday morning before day,
+ Wednesday morning before day,
+ Wednesday morning before day, me ma'am,
+ me feel me head a hurt me.]
+
+If a man happens to hurt himself, he sends or brings the most
+exaggerated account of the accident. If it is a cut on the hand, he
+"nearly chop him hand off." If there is a trickle of blood, "the whole
+place running in blood." In my early days in Jamaica my boy Robert
+came rushing up with gestures expressing the utmost consternation, and
+gasped out "Rufus hang!" Rufus was the pony. "He dead?" I asked.
+"'Tiff dead!" was the reply. We were doing a piece of important
+planting in the garden, and I said "Well! as he's dead there's nothing
+to be done, and we'll go on with this job." Two or three hours later,
+to my surprise, I saw Robert carrying grass towards the stable. "What
+are you doing with the grass, Robert?"
+
+"It for Rufus."
+
+"But Rufus dead."
+
+"No! he don't dead again," which meant that he was still alive. When I
+went to see, I found him rather exhausted with his struggling--he had
+fallen on the hillside and got entangled in the rope--but not very
+bad, and by next day he had quite recovered.
+
+This kind of exaggeration enters into all their talk. Once, travelling
+in a tram-car, there was a slight accident. The car just touched the
+shaft of a passing carriage and broke it. One man said to his
+neighbour, "See dat? de buggy 'mash to pieces."
+
+"All gone to snuff," replied the other.
+
+
+
+
+LXIII.
+
+
+Here are two different versions of the same sing. The chord of the
+seventh held on by the voices sounds well.
+
+[Music:
+
+ Oh Samwel oh! Oh Samwel oh!
+ Oh Samwel oh! Oh Samwel oh!
+ Samwel, the lie you tell 'pon me
+ turn whole house a me door.]
+
+(They never tell lies _about_ people here, but always _upon_ people.
+"Turn whole house a me door," turns the whole house out of doors,
+upside down as we should say.)
+
+
+
+
+LXIV.
+
+
+[Music:
+
+ Oh 'liza oh!
+ Oh 'liza oh!
+ Oh 'liza oh!
+ Oh 'liza oh!
+ 'liza 'pread you coat make I lie down de
+ under the Bushatahl.]
+
+"Coat" is petticoat. I am told that 'liza could take off a petticoat
+and still be quite properly dressed.
+
+"Make I lie down," etc., _i.e._, let me lie down under the Butcher's
+Stall. This is the name of a precipice just below my house. Horses
+have several times fallen over it and been killed. They then become
+butcher's meat for the John Crows, the vulture-like birds which are so
+useful as scavengers.
+
+
+
+
+LXV.
+
+
+We do not get many songs of the American plantation type like the
+following:--
+
+[Music:
+
+ Aunty Mary oh!
+ Aunty Mary oh!
+ Aunty Mary oh!
+ Aunty Mary oh!
+ Aunty Mary oh!
+ Aunty Mary oh!
+ Aunty Mary Thomas,
+ O meet me a cross road.]
+
+(Cross roads are always a favourite place of meeting, and a rum shop
+is generally to be found there.)
+
+This is a monotonous form, and I am glad the musical bent of our
+people turns in another direction.
+
+
+
+
+LXVI.
+
+
+See how superior this truly Jamaican form is:--
+
+[Music:
+
+ Oh! me yerry news, me yerry,
+ Oh! me yerry news, me yerry,
+ Married homan a pull him ring me yerry
+ Him put ahm a wine-glass me yerry
+ Oh! me yerry news me yerry.]
+
+Local scandal again. "I hear news; a married woman has pulled off her
+wedding ring and put it in a wine-glass," the first convenient
+receptacle she saw.
+
+
+
+
+LXVII.
+
+
+It was some time before an explanation was forthcoming for the next:
+
+[Music:
+
+ Jes' so me barn,
+ jes' so me barn,
+ you can weary long boot,
+ jes' so me barn.]
+
+The words mean:--"I was born just so; you can wear long boots, boots
+that come high up the leg." A girl, who has not money enough to buy
+boots, is envious of a companion who is wearing them. She says:--"I
+was born, just as you were, poor. Yet you have got long boots, while I
+must put up with 'bulldogs,' rope-soled slippers. Where did you get
+the money to pay for your boots? Did you tief it, or what?"
+
+
+
+
+LXVIII.
+
+
+In the example that follows, a girl has been left to look after her
+little brother, and somebody reports that she has been "ill-treating,"
+_i.e._ beating him. So the message is sent back:--
+
+[Music:
+
+ Tell Mary say,
+ no do Johnny so.
+ Oh!
+ Tell Mary say,
+ no do Johnny so.]
+
+"Tell Mary she is not to do Johnny so." "To do a person something" is
+to do them an injury. "He so crahss" (cross), a boy will say of his
+master, "and I done him nothing," or "I never do him one def ting," a
+single thing. "Def" is emphatic, but is not a "swear-word."
+
+"Say" is often added in places where it is not at all wanted. It
+occurs again in:--
+
+
+
+
+LXIX.
+
+
+[Music:
+
+ Me tell them gal a Portlan' Gap
+ Min' Dallas man oh!
+ me amber he!
+ me amber he!
+ me amber ho! tell them say.]
+
+"I tell the girls at Portland Gap 'Mind Dallas men.'" Portland Gap is
+in the Blue Mountains; Dallas in the Port Royal Mountains between the
+Blue Mountains and the sea.
+
+(The exclamatory "he" has the Italian vowel, hard for some English
+ears to catch. It is nearly but not quite "hay.")
+
+The significance of "amber" is lost. This word occurs again in the
+pleasant flowing melody which stands next, and the boy who gave it me
+explained its meaning quite correctly, saying it "stood for yellow."
+
+
+
+
+LXX.
+
+
+[Music:
+
+ Gold oh! Gold oh! Gold amber gold oh!
+ Gold de a me yard oh! Gold amber gold oh!
+ Sell doubloon a joint oh! Gold amber gold oh!
+ fe me gold a sunlight gold! Gold amber gold oh!
+ fe me gold no copper gold! Gold amber gold oh!]
+
+"Gold is in my yard," perhaps buried, but also perhaps in the house,
+yard often including it. "My gold is sunlight gold, none of your
+rascally copper stuff."
+
+The doubloon is a large gold piece worth sixty-four shillings. It has
+long been out of use and few people in Jamaica have seen one.
+
+("Fe me," for me, often does duty for "my." "This a fe me hoe," this
+is my hoe; "take fe you panicle," take your panicle, the tin mug out
+of which the morning sugar-water is drunk.)
+
+
+
+
+LXXI.
+
+
+No. 71, "Gee oh John Tom" is a brisk and vigorous sing till it gets to
+"a me lassie gone" where the little tinge of sadness is given by
+simple means, again the right thing in the right place, good art.
+
+[Music:
+
+ Gee oh Mother Mac,
+ Gee oh John Tom;
+ Gee oh Mother Mac,
+ Gee oh John Tom;
+ a me lassie gone,
+ Gee oh John Tom.]
+
+
+
+
+LXXII.
+
+
+Here is something very short:--
+
+[Music:
+
+ Oh
+ Oh
+ Leah married a Tuesday.]
+
+On asking if that was all, Levi, the contributor, said:--"It no have
+no more corner," it hasn't any more corners, or "turnings" as they
+generally say, what we call variations. Levi likes to cut everything
+short and rattle it through with lightning speed. He it was who gave
+me that little gem of an Annancy story about the rats and their
+trousers (No. XI.), and this is his:--
+
+
+
+
+LXXIII.
+
+
+[Music:
+
+ Cheer me oh!
+ Cheer me oh!
+ Cheer me oh!
+ My will fight fe you.]
+
+
+
+
+LXXIV.
+
+
+In imitating animals the negro is clever. He moos like a cow, grunts
+like a pig, whinnies like a horse, besides the minor accomplishments
+of miauling and barking. Even trammelled by music this cock's crow is
+good:--
+
+[Music:
+
+ Me cock a crow coocoorico,
+ before day him a crow coocoorico,
+ him a crow fe me wake coocoorico.]
+
+(Sound the _i_ short as in rich.)
+
+
+
+
+LXXV.
+
+
+Now we come to a tragedy. Selina is drowned, and they sing smoothly
+and flowingly:--
+
+[Music:
+
+ Oh Selina!
+ Oh Selina!
+ John Crow de a river side a call fe Selina!
+ Oh poor Selina!
+ Duppy an' all a call fe Selina!
+ Oh poor Selina.]
+
+Everybody in Jamaica believes in Duppy, and many women and children
+will not go out at night for fear of meeting one.
+
+A man, they say, has two spirits, one from God and the other not from
+God. The one from God is good, and the one not from God may be either
+good or bad. During sleep, these spirits leave the body and go to
+other people's houses in search of food. Being shadows themselves,
+they feed on the shadow of food and on the smell of food. They are
+seldom far apart, and the heavenly spirit can always prevent the
+earthly spirit from doing harm. At death the God-given spirit flies up
+upon a tree, and goes to heaven the third day. The other spirit
+remains on earth as Duppy. Its abiding place is the grave of the dead
+man, but it wanders about at night as it did when he was alive. A good
+Duppy will watch over and protect the living. A bad Duppy tries to
+frighten and harm people, which it is able to do now that it has lost
+the restraining influence of its former companion, the heavenly
+spirit. It can assume any sort of shape, appearing sometimes as a man,
+sometimes as an animal. If it is a very bad Duppy, it makes the place
+where it is unbearably hot. The Negro believes that he can put a bad
+Duppy upon another person.[48] He proceeds as follows:--Going to the
+grave at midnight, he scoops a small hollow in the ground and puts in
+some rice, sprinkling it with sugar-water, a mixture of water and
+moist cane-sugar. He then directs Duppy to visit the person whose name
+he mentions, and goes away without looking behind him. The person on
+whom Duppy is put becomes "tearing mad," and it requires a ten-pound
+fee to "take the shadow off." How to do this is the Obeah-man's
+secret. A Duppy of one's own family is worse than a stranger's, and
+the "baddest" of all is Coolie Duppy. One of the most dreaded Duppies
+is "Rolling (_i.e._ roaring) Calf." It goes about making a hideous
+noise, and clanking a chain. "If Rolling Calf catch you, give you one
+lick, you dead." Your only chance is to run, and you must keep on
+"cutting ten" (making the sign of the cross), and the pursuing monster
+has to go round that place ten times. "Shop-keeper and butcher," so
+goes local tradition, "tief too much (rob their customers very much)
+and when they dead they turn Rolling Calf."
+
+[Footnote 48: [Cf. Miss Kingsley, _The Fetish View of the Human Soul_,
+in _Folk-Lore_, vol. viii., p. 138; also R.E. Dennett, _Bavili Notes_,
+_ibid._, vol. xvi., p. 371.]]
+
+Those who are born with a caul can see Duppy. So can those who rub
+their faces with the rheum from the eye of a horse or dog, and those
+who cut their eyelashes. Every Duppy walks two feet above the ground,
+floating in the air. If a child is not christened before it is six
+months old, Duppy will carry it away into the bush. To avoid this, a
+Bible and pair of scissors are laid on the child's pillow. The
+scissors are a protection, owing to their cross-like form.
+
+Such are the main beliefs with regard to this remarkable superstition
+of Duppy on earth.[49]
+
+[Footnote 49: [See _Folk-Lore of the Negroes of Jamaica_, in
+_Folk-Lore_, vol. xv., pp. 87, 206, 450, and vol. xvi., p. 68.]]
+
+This, however, is not all. At the day of judgment the two spirits will
+be reunited to the body, and in many cases the God-given spirit will
+go to hell after all. I often ask my boys which of these three is
+themselves? Is it the body? Is it the heavenly spirit? Is it the
+earthly spirit? But they do not understand the question and have no
+sort of reply. When I ask if it is not hard that the heavenly spirit
+after its sojourn in heaven should go to hell, they laugh.
+
+
+
+
+LXXVI.
+
+
+Leaving the religious, we come now to, what Jamaica considers more
+important, the colour question:--
+
+[Music:
+
+ Sambo lady ho! Sambo,
+ Sambo lady ho! Sambo,
+ Sambo no like black man, Sambo,
+ Sambo want white man, Sambo,
+ Sambo no get white man, Sambo,
+ Sambo no want man again, Sambo,
+ Sambo lady oh! Sambo.]
+
+A Sambo is the child of a brown mother and a black father, brown being
+a cross between black and white. The Sambo lady, very proud of the
+strain of white in her blood, turns up her nose at the black man. She
+wants a white man for a husband. Failing to find one, she will not
+marry at all.
+
+
+
+
+LXXVII.
+
+
+"Oh John Thomas!" is a favourite digging-sing at Goatridge, twenty-two
+miles from Kingston:--
+
+[Music:
+
+ Oh! John Thomas, Oh! John Thomas,
+ Oh! John Thomas, Oh! John Thomas,
+ We all a combolow, John Thomas,
+ Me go da 'leven mile, John Thomas,
+ Me see one gal me love, John Thomas,
+ Me court her all the way, John Thomas,
+ Me come a Bangheson, John Thomas,
+ Me buy one quattie bread, John Thomas,
+ Me part it right in two, John Thomas,
+ Me give her the biggest piece, John Thomas,
+ and a warra more you want, John Thomas?]
+
+"Combolow" is comrade oh!
+
+"Da 'leven mile," to Eleven-miles, the halfway halting place between
+Goatridge and Kingston.
+
+When he gets to Bangheson's shop he buys a quattie (pronounce quotty,
+penny halfpenny, quarter of sixpence) loaf, and what more do you want,
+John Thomas?
+
+The quattie bread weighs eight ounces only. It is therefore a dear and
+much esteemed luxury.
+
+
+
+
+LXXVIII.
+
+
+Sambo, that we had just now, is the shortest of bobbins. Here we have
+a long one of four bars.
+
+[Music:
+
+ Whe mumma de?
+ Whe mumma de oh?
+ Come go da 'tation, you see mumma de;
+ Him take half a day,
+ him a work seven dollar,
+ Come go da 'tation you see mumma de.]
+
+Mamma has got into trouble, owing to a failing unhappily too common in
+Jamaica, inability to distinguish between what is mine and what is
+yours. Her pay for half a day was a "bit" (fourpence halfpenny) and
+she has managed to "work" (sarcastic use of the word, for it means to
+get by working) seven dollars--twenty-eight shillings--and has been
+taken to the police station.
+
+"Whe mumma de," literally, "where mamma is?" This has been already
+noted as the usual form of question. The vowel in whe, de, is the
+French _e_. We have the sound in English in the words, _debt_, _west_
+and many others, but we always make it very short, and when it is
+lengthened, as it should be here, it generally changes in English
+mouths to the _a_ of _date_, _waste_, which is wrong.
+
+The C sharp on the word "de" is peculiar and striking.
+
+The second "de" stands for "there."
+
+
+
+
+LXXIX.
+
+
+There is something pleasantly simple and naive about the
+planting-sing:--
+
+[Music:
+
+ Toady, Toady, min' you'self,
+ min' you'self make I plant me corn;
+ plant me corn fe go plant me peas,
+ plant me peas fe go court me gal,
+ court me gal fe go show mumma,
+ mumma de one a go tell me yes,
+ puppa de one a go tell me no;
+ Toady, Toady, min' you'self,
+ min' you'self make I plant me corn.]
+
+"Mind yourself, little Toad, let me plant my corn." So sings the boy
+as he brings down his digger with a forcible thrust. The digger has
+been described as an earth-chisel, and a very good description it is.
+It makes a long slit in the ground into which the maize grains or peas
+are dropped. Maize is always known as "corn." Peas, which are also
+called Red Peas, are the "beans" of America, familiar at home under
+the name of French beans. We eat them not only green in the usual way,
+but also make excellent soup of the dried ripe beans. The boy is
+thinking of the reward of his labour. "I am planting my corn. Some
+will be eaten green, some left to ripen. That will be sold. Then I
+shall buy peas, plant them, and when they are ready for market get
+sixpence a quart for them, if I am lucky. Then I shall be rich enough
+to walk with a girl. I shall pick out a nice one that mamma will
+approve of. She will be the one to say 'yes, me son,' but puppa always
+crabbed, and him going to tell me no bodder with it, gal too much
+expense."
+
+
+
+
+LXXX.
+
+
+When known details run dry, the following gives full play to the
+inventive faculty:--
+
+[Music:
+
+ Me know the man oh! know the man,
+ Name John Watson, know the man;
+ him come from Bread Lane, know the man;
+ him ride one grey mule, know the man;
+ the mule name Vic oh! know the man;
+ him have one tumpa toe, know the man;
+ him come a Mister Thomson, know the man,
+ fe go sell him grey mule, know the man;
+ he no make no sale oh! know the man,
+ me know the man, know the man.[50]]
+
+[Footnote 50: "The" always tends to the pronunciation "de," but it has
+not been thought advisable to write it so as this might render it
+liable to confusion with "de," meaning "is," with its differently
+sounded vowel. Moreover, it is not quite a true _d_, but has a pretty
+lisping sound intermediate between _th_ and _d_.]
+
+Other bars of this air have an inclination to 2/4 time besides those
+indicated.
+
+It will be observed that repeat marks have only been put to the first
+sing. It was not considered necessary to continue them. The various
+"turnings" of the tunes may be put in any order. The negroes
+themselves never put them twice in the same sequence.
+
+
+
+
+LXXXI.
+
+
+[Music:
+
+ Minnie, Minnie, me los' me boar;
+ Minnie, Minnie, me los' me boar;
+ Minnie, Minnie, him a broke-foot boar;
+ Minnie, Minnie, me los' me boar;
+ Minnie, Minnie, and a blind-eye boar;
+ Minnie, Minnie, go find you boar, Minnie, Minnie.]
+
+"I have lost my boar, Minnie. He's a broken-legged boar and has got a
+blind eye," and so on through all the defects or excellences that a
+boar might, could, should or would have.
+
+There could not be a greater contrast to this sombre "Minnie" than the
+gay:--
+
+
+
+
+LXXXII.
+
+
+[Music:
+
+ You want to yerry Duppy talk oh!
+ Come go da river before day,
+ an' you will yerry them laugh oh!
+ Come go da river before day;
+ You want to yerry Duppy talk oh!
+ Come go da river before day.]
+
+"If you want to hear Duppy talk, go to the river before day."
+
+
+
+
+LXXXIII.
+
+
+Now the colour question crops up again. The Sambo lady, it may be
+remembered, wanted a white man and nothing but a white man. Sarah can
+do with a Sambo man, from which we may infer that Sarah was black.
+
+[Music:
+
+ Oh me know Sarah, me know Sarah;
+ Sarah love white man, me know Sarah;
+ Sarah want Sambo man, me know Sarah;
+ Sarah no want black man, me know Sarah.]
+
+
+
+
+LXXXIV.
+
+
+The pickers fall with slashing strokes to:--
+
+[Music:
+
+ Me donkey want water, rub him down Joe,
+ rub him down Joe,
+ rub him down Joe;
+ Me donkey like a peeny, rub him down Joe,
+ rub him down Joe, Joe,
+ rub him down Joe;
+ Me Jackass gone a pound, bring him come Joe,
+ bring him come Joe,
+ bring him come Joe;
+ Me donkey full of capers, rub him down Joe,
+ rub him down Joe, Joe,
+ rub him down Joe.]
+
+"Peeny" is the Candlefly, which shines like my donkey's coat. "Bring
+come" for "bring" is very common, and in the same way they say "carry
+go," the "come" and "go" indicating the direction of motion.
+
+
+
+
+LXXXV.
+
+
+"Bring dem come" is the title of the next sing. It is in a curious
+minor mode, almost F minor, but wanting the leading note, which is
+replaced by E flat.
+
+[Music:
+
+ A Somerset me barn, bring dem come,
+ bring dem make me batter dem, bring dem come,
+ me would take me picker batter dem, bring dem come.
+ A Woburn Lawn me barn, bring dem come,
+ I will like to see dem batter me, bring dem come,
+ A Goatridge me barn, bring dem come,
+ I want to see dem jostle me, bring dem come.]
+
+This is a digging contest. The Somerset men challenge their
+neighbours. Whoever digs most yam-hills in a given time is to be the
+winner. Every man is confident that he will hold out longer than every
+other, and boasts like Goliath. "I was born at Somerset; bring the
+strangers, bring them, let me beat them; I will take my pickaxe and
+beat them--I was born at Woburn Lawn; I should like to see them beat
+me." Honour and glory is the sole reward, but that counts for a great
+deal. It is so gratifying to hear the others say "Lah! that man dig
+hill, ya."
+
+("Jostle" has the same meaning as "batter." When two ponies race, the
+riders try to jostle and foul each other.)
+
+
+
+
+LXXXVI.
+
+
+The next is really a woodcutter's sing, but it is used also for
+digging:--
+
+[Music:
+
+ Timber lay down 'pon pit, Timber;
+ cut 'im make we go 'way, Timber;
+ me want go 'way ya soon, Timber;
+ timber lay down 'pon pit, Timber;
+ timber, timber oh! Timber;
+ me wanty go 'way ya soon, Timber;
+ me want go home back a yard, Timber;
+ a cedar timber oh! Timber;
+ lash the saw make we go home, Timber;
+ timber lay down 'pon pit, Timber.]
+
+"Lie down on the pit, timber. Cut it, and let us go away. I want to go
+away soon, do you hear? Drive (lash) the saw hard."
+
+The pit is not really a pit. The sawing is done where the tree falls.
+A rough scaffolding is made and the log is rolled up to lie on the top
+of it. The bottom sawyer stands upon the ground.
+
+The West Indian cedar is not a fir but a deciduous tree (_Cedrela
+odorata_), which looks like a hickory or walnut. It grows in the
+hills, and its lightness and durability make it very useful. Most
+people know it in the shape of cigar-boxes.
+
+The rest bars are sort of pauses for breath. It will be seen that they
+break the rhythm. Throwing the accent on "go," in "go 'way," is
+characteristic. We should put it on "'way."
+
+
+
+
+LXXXVII.
+
+
+Listen how restless and unfinished this sounds:--
+
+[Music:
+
+ Me want go home a yard oh!
+ me want go home a yard oh!
+ me want go home a yard oh!
+ me want go home a yard oh!
+ a Guava Ridge me barn oh!
+ me want go home a yard oh!
+ mumma me want come home oh!
+ me want go home a yard oh!
+ poor me boy me want go home,
+ me want go home a yard oh!
+ Teacher Bailey crahss 'pon me,
+ me want go home a yard oh!]
+
+
+
+
+LXXXVIII.
+
+
+The last example refers to the rebellion of 1865. Several whites were
+murdered, and the survivors are of opinion that their lives were saved
+by the prompt action of Governor Eyre, who proclaimed martial law and
+restored order by severe measures:--
+
+[Music:
+
+ War down a Monkland, war down a Morant Bay,
+ war down a Chiggerfoot, the Queen never know.
+ War, war, war oh!
+ War oh! heavy war oh!
+ Soldiers from Newcastle come down a Monkland
+ with gun an' sword fe kill sinner oh!
+ War, war, war oh!
+ War oh! heavy war oh!]
+
+The places mentioned are in the parish (corresponding to English
+county), of St. Thomas, except Newcastle, the hill cantonment of the
+white troops, which is in the next parish of St. Andrew. "Chiggerfoot"
+takes its name from the chigoe, chigger, or jigger, the minute flea
+which burrows into the foot. It is interesting to see that this
+contemporary comment by the blacks describes the rebels as sinners.
+Further on, No. CXXXVII., will be found another view, in which they
+pose as aggrieved persons. It shows that there was a loyal as well as
+a disloyal party.
+
+The reader has now had enough examples of digging-sings to show their
+nature and variety. The Negro is never at a loss for words, and the
+masters and overseers of the estate on which he generally labours,
+Bushas as he calls them--a word said to be derived from Pasha--are
+often satirised. The gangs on private estates are under a head-man,
+who is responsible to the Busha. The Busha is a white or coloured man
+as a rule--coloured in Jamaica meaning mixed white and black--and he
+is responsible to the master or owner. The workers have to be
+carefully looked after, for like other people the Negro will not do
+more work than he can help. Only when he is working for himself will
+he "let out," as he describes it, the whole of his splendid strength.
+It is a mistake to suppose that the black man is either stupid or
+lazy. When he has an incentive to work he is industrious, and will do
+as much in one day in his own field as he will in two for an employer
+who pays him. In selecting land for planting his sagacity is
+remarkable, and he knows just where it will "come," as he says, guinea
+yam or white yam, and where coffee will succeed and where fail. It is
+a pleasure to see their provision-grounds, the miscellaneous crop
+looks so thriving. "Provisions" embrace all eatables, such as yam,
+sweet potato, coco (_colocasia_), sugar cane, beans of various kinds,
+maize (or simply "corn," as we call it, having no other), okra
+(_hibiscus esculentus_), cassada (_manihot utilissima_), plantain,
+banana, arrowroot, pindar (_arachis hypogoea_, a ground-nut),
+pumpkin, tomato and cabbage.
+
+
+
+
+PART III. RING TUNES.
+
+
+That informal kind of dancing, referred to in some of the Annancy
+stories, known as "playing in the ring" or "Sally Water" has its
+origin in English children's games. Sometimes it is merely a case of
+hunting the slipper or of finding a key passed from hand to hand, but
+more often what begins in playing ends in dancing. The nature of this
+playing in the ring will be best understood from examples.
+
+
+
+
+LXXXIX.
+
+
+First, as giving its name to the whole, must stand:--
+
+[Music:
+
+ Little Sally Water sprinkle in the saucer;
+ Rise, Sally, rise an' wipe your weeping eyes.
+ Sally turn to the East,
+ Sally turn to the West,
+ Sally turn to the very one you like the best.
+
+ On the carpet you must be
+ happy as the grass-bird on the tree,
+ Rise an' stand up on your leg
+ an' choose the one that you like the best.
+ Now you married I give you joy,
+ first a gal an' second a boy;
+ Seven year after, seven year to come,
+ give her a kiss an' send her out.]
+
+The boys and girls join hands and form a ring. One--the sex is
+immaterial--crouches in the middle and personates Sally Water. At the
+words "Rise, Sally, rise," he or she slowly rises to an erect
+position, brushing away imaginary tears, turns first one way and then
+another, and chooses a partner out of the ring. Where the _tempo_
+changes, they wheel--a rapid turning dance--and after the wheeling,
+the partner is left inside the ring and becomes Sally Water.[51]
+
+[Footnote 51: For a discussion of this game, perhaps the best-known
+and most widely-spread of all English singing games, see A.B. Gomme,
+_Traditional Games_, vol. ii., p. 149.]
+
+
+
+
+XC.
+
+
+Another form of this Ring tune is:--
+
+[Music:
+
+ Poor little Zeddy they put him in the corner!
+ Rise, Zeddy, rise an' wipe your weeping eyes;
+ Zeddy, turn to the East;
+ Zeddy, turn to the West;
+ Zeddy, turn to the very one you like the best.]
+
+
+
+
+XCI.
+
+
+The negro is a born actor, and to give emphasis to his words by
+appropriate gestures comes naturally to him. The little comedy which
+follows suits him to perfection:--
+
+[Music:
+
+ Whe me lover de?
+ Seemya, seemya.
+ Me lover gone a sea?
+ Seemya, seemya.
+ Me no see me lover ya.
+ Seemya, seemya.
+ Him gone a Colon bay.
+ Seemya, seemya.
+ Go fin' you lover now.
+ Seemya, seemya.
+ No make no 'tupid de.
+ Seemya, seemya.
+ Fool dem let dem go.
+ Seemya, seemya.
+ Me lover come back.
+ Seemya, seemya.
+ Go take you lover now.
+ Seemya, seemya.
+ Wheel him make me see.
+ Seemya, seemya.
+ Throw a kiss to him.
+ Seemya, seemya.
+ Wheel him let him go.
+ Seemya, seemya.[52]]
+
+[Footnote 52: To avoid the tiresomeness of contraction marks, "see him
+ya" has been written in one word. It sounds exactly like _senior_ with
+an m instead of an n.]
+
+A ring is formed, and a girl is put in the middle. She asks:--"Where
+is my lover?" and the ring answers in chorus:--"See him here." "Has my
+lover gone to sea?" and the answer comes again:--"See him here." The
+gal goes on:--"I do not see my lover; has he gone to Colon bay?" and
+then, as though speaking to herself:--"Go, find your lover now. There!
+don't pretend to be stupid." At this point she takes the hand of a boy
+in the ring as if she were going to dance with him, but immediately
+pushes him back, and says, still speaking to herself:--"Fool them, let
+them go." Then simulating contrition and breaking the hitherto even
+rhythm:--"My lover, come back!" At "Go take your lover now" she goes
+again to the same boy, takes him out of the ring-circle and dances
+with him. They _wheel_ at the words "Wheel him make me see," which
+mean, "Let me see you wheel him." Finally at "Wheel him let him go"
+they part hands.
+
+Frequent references will be found to Colon. Jamaica labourers used to
+go there in large numbers to work on the Panama canal.
+
+
+
+
+XCII.
+
+
+To the same class belongs:--
+
+[Music:
+
+ Ring a diamond, ring a diamond,
+ Why oh ring a diamond.
+ Get in the ring you'll find one Sambo boy.
+ Why oh ring a diamond.
+ Me look me da look me no find one Sambo boy.
+ Why oh ring a diamond.
+ Me find me diamond, me find me diamond.
+ Why oh ring a diamond.
+ Wheel you diamond, wheel you diamond.
+ Why oh ring a diamond.
+ Let go diamond, let go diamond.
+ Why oh ring a diamond.]
+
+This tune has a beautiful swing. In many bars it is almost impossible
+to distinguish whether the tune is triple or duple. Much license may
+be allowed in the direction of the latter to a good timist, but the
+general impression of triple time must be kept. The "Sambo boy" bar
+must be sung very smoothly. It is neither quite as it is written the
+first time nor quite as it occurs in the second, but just between the
+two. Three even crotchets with judicious _tempo rubato_ would give it.
+It will be understood that these tunes are sung antiphonally. In this
+one the leaders, who know the tune and words well, sing the first four
+bars and the next four belong to the chorus, after which the leaders
+take it up again, and so on.
+
+There is an opportunity here for a little harmless "chaff" about
+colour. The diamond chosen is a _black_ diamond, the blacker the
+better. The ring forms round him joining hands, and one girl is pushed
+in to look for the Sambo boy. She says:--"I look, I am looking, I
+don't find a Sambo boy" (_i.e._ a quarter black). At last she finds
+her diamond, either the boy inside the ring or one of those who circle
+round him, and they dance together, wheeling and letting go hands at
+the words "wheel," "let go."
+
+"Why" is an ejaculation, probably the same as Hi!
+
+
+
+
+XCIII.
+
+
+Another chorus tune of the same kind is:--
+
+[Music:
+
+ The gal over yonder carry banana,
+ gal oh! gal oh! carry banana.
+ A nine-hand banana, carry banana,
+ a Chiney banana, carry banana.
+ You find the banana? carry banana.
+ You tief the banana? carry banana.]
+
+The girl is supposed to be carrying a bunch of bananas on her head,
+and the singers are commenting upon it and asking the girl questions,
+as they do here at a distance of half-a-mile. "Look! It is a nine-hand
+banana. No, a China banana. Did you find it? Did you steal it?"
+
+Banana bunches are reckoned by the number of hands they contain, the
+separate bananas being called fingers. Nine-hand is a convenient
+market size. The China banana is a stout low kind which withstands
+wind: the fruit is, however, coarse.
+
+The signal for taking a partner is given by the words "You find the
+banana?"
+
+
+
+
+XCIV.
+
+
+In the next there is no dancing. The ring closes up tight, shoulder to
+shoulder. Hands behind the back pass the ball round and round, and the
+girl inside the ring tries to find it. The person with whom it is
+found has to go into the ring and turn seeker.
+
+[Music:
+
+ Pass the ball an' the ball goin' round,
+ the ball goin' round an' the key can't find,
+ Mother, honey, oh! the ball goin' round.
+ Journey, ball, journey, ball, journey, ball, journey,
+ Mother, honey, oh! the ball can't find.]
+
+The conventional "gwine" for "going" hardly represents it, only the
+_o_ is pronounced so short that the word becomes practically one
+syllable. In the dance tunes we shall come across the word "dying"
+shortened in the same way.
+
+
+
+
+XCV.
+
+
+A variation of this is obtained by putting a ring on a cord and
+sliding it along. The tune is:--
+
+[Music:
+
+ Me los' me gold ring fin' an' gi' me,
+ Me los' me gold ring fin' an' gi' me,
+ Me los' me gold ring fin' an' gi' me,
+ A me husband gold ring fin' an' gi' me.]
+
+
+
+
+XCVI.
+
+
+In "Mother Phoebe" again there is no dancing:--
+
+[Music:
+
+ Old moder Phoebe, how happy you be
+ When you sit under the Jinniper tree,
+ oh the Jinniper tree so sweet.
+ Take this old hat an' keep your head warm,
+ Three an' four kisses will do you no harm,
+ It will do a great good fe you.]
+
+Here the girl inside the ring takes a hat or cap and after several
+feints puts it on somebody's head, and that person has then to take
+her place in the ring.
+
+
+
+
+XCVII.
+
+
+More lively is the joyous:--
+
+[Music:
+
+ Do, do, do, do, do,
+ Deggy, Deggy house a go burn down, do, De Gay.
+ Deggy whe you would a do de do, De Gay?
+ Deggy dood an' doodess do, De Gay.
+ Deggy go roun', Deggy do Degay.
+ An' a cutchy fe Deggy do Degay,
+ an' a wheel an' let go do, De Gay.
+ Deggy house a burn down do, De Gay.]
+
+The boy inside the ring "makes all sort of flourish," dancing and
+posturing by himself. The word "cutchy" is accompanied by a deep
+curtsey, on rising from which he takes a girl out of the ring and
+wheels her. Deggy or Degay, has occurred already in No. LVII. Whether
+it is his own house that is burning, or somebody else's, it is
+impossible to conjecture. Observe the varying accent on the name. In
+taking down this song I first wrote "doodan doodess," thinking they
+were nonsense words suggested by the repetition of do, do, do, but on
+asking further about them was told that "dood" is a "risky beau-man,"
+a smart well-dressed young fellow. So it is the American "dude" and
+its female counterpart "dudess" which here take the place of the usual
+"gal and boy."
+
+
+
+
+XCVIII.
+
+
+The latter we find in:
+
+[Music:
+
+ Me go da Galloway road,
+ Gal an' boy them a broke rock stone,
+ Broke them one by one gal an' boy,
+ Broke them two by two gal an' boy,
+ Take up the one that you like gal an' boy,
+ Ah! this here one me like gal an' boy,
+ broke them t'row them down gal an' boy.]
+
+I go to Galloway road (where there is a quarry). Girls and boys are
+breaking stones. They break them one by one. They break them two by
+two, etc. Choosing stones suggests choosing partners.
+
+
+
+
+XCIX.
+
+
+We come across "dude" again in:--
+
+[Music:
+
+ Rosybel oh why oh!
+ Rosybel oh why oh!
+ Rosybel let go Mister Porter son,
+ Rosybel oh why oh!
+ Rosybel cock cock crow da yard,
+ Rosybel oh why oh!
+ Rosybel let go Mister Porter son,
+ Rosybel oh why oh!
+ Rosybel oh why oh!
+ Rosybel oh why oh
+ Rosybel wheel him doodjes' now,
+ Rosybel oh why oh!
+ Rosybel cock cock crow you no know,
+ Rosybel oh why oh!
+ Rosybel wheel him let him go,
+ Rosybel oh why oh!]
+
+
+
+
+C.
+
+
+The play in the next is rough, and the holders of hands in the ring
+must have strong wrists.
+
+[Music:
+
+ Me da le le le, me da le le le,
+ Bull a pen ho! gingerly!
+ the bull a broke pen! gingerly!
+ A Mount Siney bull! gingerly!
+ A Galloway bull! gingerly!
+ bull a broke pen! gingerly!]
+
+Two strong young fellows personate the bulls. One is inside the ring
+and the other outside. They paw the ground and moo at each other but
+must not fight unless they can break the ring. When the ring is broken
+at last by a determined rush, one of the bulls is sometimes seized
+with panic and jumps back into the pen (ring) where he is safe. The
+fight, if it does take place, is not a very serious affair, the cowmen
+soon coming up with their ropes (handkerchiefs) which they throw over
+the bulls' heads and so draw them apart.[53]
+
+[Footnote 53: [Cf. "Bull in the Park," Gomme, _Traditional Games_,
+vol. i. p. 50.]]
+
+(_Me da de_ would mean Me is there, I am there. Le is substituted for
+euphony, being probably suggested by the last syllable of "gingerly.")
+
+
+
+
+CI.
+
+
+Another rough game is:--
+
+[Music:
+
+ Two man a road, Cromanty boy,
+ Two man a road, fight for you lady!
+ Two man a road, down town picny,
+ Two man a road, fight for you lady!
+ Two man a road, Cromanty win oh!
+ Two man a road, Cromanty win.]
+
+A line of girls stretches along each side of the road and in front of
+them stand the two combatants armed with sticks. One is a Coromanti
+(one of the African tribes) and the other a Kingston or down-town boy.
+"Fight for your ladies" cry the respective lines to their champions.
+Whoever can disable the other and snatch one of his girls across the
+road is the winner. A mock doctor comes to bind up the wounds.
+
+
+
+
+CII.
+
+
+"Adina Mona," with its Italian-sounding words, is noisy, but not so
+rough:--
+
+[Music:
+
+ Ho! Adina Mona,
+ Adina Mona,
+ cutchy fe gran'ma;
+ Adina Mona,
+ Me tell Nana marnin'.
+ Adina Mona,
+ Nana no want it;
+ Adina Mona,
+ Me beg Nana wahter;
+ Adina Mona,
+ Him give me dirty wahter,
+ Adina Mona.]
+
+Here they stand face to face in separate couples. At the beginning of
+one bar the boys knock their hands upon their thighs, and at the
+beginning of the next bar clap them against those of their partners,
+as in the first motion of the game of Clip-clap. As they do this the
+boys walk backwards, occasionally wheeling, and making, as they say,
+"all manner of flourish."
+
+
+
+
+CIII.
+
+
+"Palmer" affords an opportunity for individual display:--
+
+[Music:
+
+ Palmer, you just from town, Palmer, oh William Palmer!
+ Palmer, you just from town, Palmer, oh William Palmer!
+ Show me the figure whe you bring, Palmer, oh William Palmer!
+ Dat de no style at ahl, Palmer, oh William Palmer!
+ Palmer, you just from town, Palmer, oh William Palmer!
+ Put on de style now more, Palmer, oh William Palmer!]
+
+Palmer has just come back to his mountain home from Kingston, and is
+urged to show the latest step for a quadrille figure or other dance.
+His companions affect surprise. What! is that all? Oh, Palmer, that's
+not style!
+
+
+
+
+CIV.
+
+
+Very popular is the next one:--
+
+[Music:
+
+ Mother Freeman, a whe me Gungo de?
+ Not a one can sow me Gungo;
+ Fe me Gungo, da precious Gungo,
+ Not a one can sow me Gungo;
+ All the gal them a go dead 'way 'pon me,
+ Not a one can sow me Gungo.
+ All the boy a go dead 'way 'pon me,
+ Not a one can sow me Gungo.]
+
+Mother Freeman, where is my Gungo (a kind of pea)?
+
+No one will sow my Gungo, or perhaps rather:--Will no one sow my
+Gungo? For my Gungo is precious Gungo.
+
+As they sing and dance, the boys pretend to faint, and fall into the
+arms of the girls. When the words change, the girls fall into the arms
+of the boys, who catch them. "Dead 'way 'pon me," besides meaning to
+faint, has a slang interpretation equivalent to: "All the girls are
+death upon me."
+
+
+
+
+CV.
+
+
+The following is perhaps a sly allusion to some dull-witted boy:--
+
+[Music:
+
+ Me have me goosey a me yard,
+ Me no call Barny clever.
+ Go bring me goosey a me yard,
+ Me no call Barny clever.
+ Wheel me goosey make me see oh!
+ Me no call Barny clever.]
+
+Thick sour milk allowed to stand and curdle is called "barnyclebber"
+[Irish word, F.Y.P.].
+
+
+
+
+CVI.
+
+
+Here we have a reference to the too common practice of stealing, which
+is treated more as a joke than a crime:--
+
+[Music:
+
+ Drill him, Constab, drill him;
+ Drill him, Constab, drill him;
+ She tief her mother shilling fe go buy Sapadilla.
+ Buy Sapadilla,
+ buy Sapadilla;
+ You go an' tief the shilling fe go buy Sapadilla.
+ Wheel him, Constab, wheel him;
+ Wheel him, Constab, wheel him;
+ Him tief him mother shilling fe go buy Sapadilla.]
+
+A girl is the delinquent and the "Constab" (constable, pronounce _con_
+as in _constant_) is inside the ring with her, lightly beating her
+with a twig or pocket-handkerchief. When one has been marched round
+and wheeled, he "sends her out" and takes another.
+
+Sapadilla is really a fruit something like a medlar, but the name is
+given to all sorts of fruit, notably Granadilla.
+
+
+
+
+CVII.
+
+
+Another "flogging" tune, but without any dancing, is:--
+
+[Music:
+
+ If you make him come out I will kill you to-night ya,
+ Why do, me Nana, do!]
+
+A girl is in the ring and a boy is flogging her with a whip. The boy
+says to the holders of the ring:--"If you let her come out I will kill
+you to-night, do you hear?" The girl is going round, begging to be
+released, with the appeal to each one:--"Oh do, my Nana!" that is, "Do
+let me out."
+
+
+
+
+CVIII.
+
+
+The most laughable antics, "mechanic" as they call it, are indulged in
+in the next:--
+
+[Music:
+
+ Oh me Toad oh!
+ Come along, Toad-eye;
+ Oh me Toad oh!
+ Come along, me Toady boy;
+ Come along, Toad-eye;
+ Come along, me Toady boy;
+ Oh me Toad oh!
+ Come along, Toad-eye.]
+
+Each girl has a "Toad" in front of her to protect her. The Toads jump
+about, and the one who can get past the other and capture his girl,
+wins. Jamaican toads, or at least the small kind, hop like the frogs
+of cooler countries.
+
+
+
+
+CIX.
+
+
+The first half of the tune which follows occurs in the story of
+Annancy and Screech-owl (No. XIX.):--
+
+[Music:
+
+ There's a black boy in a ring, tra la la la la,
+ There's a black boy in a ring, tra la la la la,
+ There's a black boy in a ring, tra la la la la,
+ He like sugar an' I like plum.
+ Wheel an' take you pardner, jump shamador!
+ Wheel an' take you pardner, jump shamador!
+ Wheel an' take you pardner, jump shamador!
+ For he like sugar an' I like plum.]
+
+The boy inside the ring chooses his partner, whom he leaves there
+after the dance. She obtains release by choosing another partner, whom
+she leaves behind. So there is alternately a boy and a girl in the
+ring.
+
+"Shamador" is possibly a corruption of "camerado."
+
+
+
+
+CX.
+
+
+The next is an old tune which is going out of fashion. It is still
+remembered in my district, but nobody can tell me how it is danced.
+
+[Music:
+
+ Johnny, Johnny, da wharra fe dinner?
+ Three slice a lilly bit a dumpling,
+ Me Johnny come roll the board.]
+
+"Da wharra" literally means "is what." What is there for dinner? Three
+slices and a little bit of dumpling. I tried to find out whether they
+were slices of dumpling or slices of something else, but no one could
+tell me that. The dumplings are plain flour and water, innocent of
+suet. They are very popular, and are eaten with a morsel of salt fish
+or meat. Johnny is invited to come and roll them on the board.
+
+
+
+
+CXI.
+
+
+We all know the next tune:--
+
+[Music:
+
+ Me lover gone a Colon Bay,
+ Colon Bay, Colon Bay,
+ Me lover gone a Colon Bay
+ With a handsome concentina.
+ Oh what is your intention,
+ intention, intention?
+ Oh what is your intention?
+ My intention is to marry you.
+ I will married to you,
+ I will married to you,
+ I will married to you,
+ I will married to you,
+ I will married to you,
+ I will married to you
+ With a handsome concentina.]
+
+(Levi always sings:--"What is your retention, retention, retention?")
+
+In "I will married to you" the wheeling becomes a giddy business, at
+least to the onlooker. The dancers never seem to feel it, nor do they
+appear to mind the heat. They simply stream with perspiration and put
+their handkerchiefs round their necks to save their white collars.
+
+
+
+
+CXII.
+
+
+A little breathing time is given by:--
+
+[Music:
+
+ Good morning to you, mother;
+ Good morning to you, daughter;
+ What is your intention?
+ I want to be a teacher.
+ You shan't be a teacher.
+ I bound to be a teacher.
+ Jump shamador, me darling.
+ What is your intention?
+ I goin' to be a doctor.
+ You shan't be a doctor.
+ I bound to be a doctor.
+ You shan't be a doctor.
+ I will be a doctor.
+ Jump Shamador, me darling.]
+
+There is no dancing here. The mother walks round inside the ring, the
+various members of which she addresses in turn. "You shan't" is
+emphasised by an uplifted arm swept vigorously downwards and a stamp
+of the foot. The answers go through the various professions until it
+is felt that there is a want of something more exciting, which is
+supplied by:--
+
+
+
+
+CXIII.
+
+
+[Music:
+
+ One Johnny Miller he was living Water Lane
+ an' he wheel right roun' an' the ladies drop.
+ One on the right an' the other on the left,
+ an' he wheel right roun' an' the ladies drop.]
+
+The tune is again familiar. A boy takes two girls out of the circle,
+leaves one in the middle and wheels the other. Having dropped her he
+wheels the second one. The wheeling over, she is dropped. These two
+then resume their places in the circle, and the boy takes out two
+more.
+
+"Water Lane." Kingston lies on ground sloping evenly to the sea. It is
+laid out on the American plan in parallel streets. A broad "Street"
+alternates with a narrower "Lane." The lanes pointing to the sea have
+water running down them and are called Water Lanes.
+
+
+
+
+CXIV.
+
+
+The next is used both as a Ring-tune and for the favourite Fifth
+Figure of the Quadrilles:--
+
+[Music:
+
+ Me go to Morant Bay, Bahlimbo.
+ Me see one Coolie gal, Bahlimbo.
+ Lard! me love the gal, Bahlimbo.
+ Me tell her wait fe me, Bahlimbo.
+ The gal no wait at all, Bahlimbo.
+ Me ride, me ride, me ride, Bahlimbo.
+ Me catch her on the way, Bahlimbo.
+ Me bahss her all the way, Bahlimbo.
+ The mumma say me rude, Bahlimbo.
+ But that no rude at all, Bahlimbo.
+ For woman cloth so cheap, Bahlimbo.
+ Two yard fe bit, Bahlimbo.
+ Man cloth so dear, Bahlimbo.
+ One pound a yard, Bahlimbo.]
+
+"Bahlimbo" is a nick-name for a cheap sort of cloth, _i.e._ fabric of
+any kind. In Africa calicoes are called _limbo_. The "two yards fe
+bit" kind is calico print. A "bit" is fourpence halfpenny. "Bahss"
+means buss, kiss.
+
+White people pronounce Morant as it is spelt, but the Blacks always
+put the accent on the first syllable, and usually call it Morrum.
+
+
+
+
+CXV.
+
+
+As the time for dancing approaches (see note on weddings in "Gaulin"
+p. 76) the ring breaks up, and there is a lively marching tune or two,
+such as:--
+
+[Music:
+
+ Oh den Jacky me knee da go ben' a palm palm;
+ oh me knee da go ben' a palm palm.]
+
+The couples with the right arm of one partner locked tightly into the
+left of the other march about bending their knees at rhythmical
+intervals, presenting the most ridiculous appearance. The tune has an
+infectious gaiety about it as its sections are sung over and over and
+interchanged. If you repeat them as often as they do, you will feel
+stealing over you that kind of intoxication which the Dancing
+Dervishes experience.
+
+
+
+
+CXVI.
+
+
+There is a great deal of laughing over "Jacky," which suggests:--
+
+[Music:
+
+ When me get a Mister Walker gate,
+ Me will laugh, ha, ha, ha, ha!
+ Me will laugh he, he, he, he!
+ Me will laugh ha, ha!*
+ Me will laugh qua, qua, qua, qua!
+ Me will laugh ha, ha!*
+ Me will laugh till me bustle drop!
+ Me will laugh ha, ha!*
+ Me will laugh ha, ha, ha, ha!
+ Me will laugh ha, ha!*
+ Me will laugh ha, ha, ha, ha, ha, ha, ha, ha!
+ Me will laugh ha, ha!]
+
+At the marks * a return is made to the first four bars, always
+substituting a new name for Walker, and the tune has many more
+"turnings" besides the ones noted.
+
+A sufficient selection of Ring tunes has now been given to show their
+character. The number might be indefinitely increased. Every district
+has its own, and while some old favourites remain, new ones are
+constantly in process of making. These supply, or more than supply,
+the gaps caused by those which drop out.
+
+
+
+
+PART IV. DANCING TUNES.
+
+
+Turning now to the Dancing tunes, the chief difference to be noted is
+that they show a more marked departure from what may be called the
+Jamaican type of melody. Sailors bring popular songs to the seaports,
+and from there they spread into the country. For a time some of the
+original words are kept, but before long they get changed. The change
+is partly due to that corruption of the text which naturally takes
+place as the songs pass from mouth to mouth, but mainly to the fact
+that the words, referring as they do to English topics, have no
+interest here. So we generally find that the tunes are refitted with a
+complete set of new words, describing some incident which has lately
+happened in the district, or some detail of daily life. When these
+reflect, as they often do, upon the characters of individuals the
+names have been changed and all evidence pointing to the locality
+destroyed. The same course has been pursued where it is thought the
+susceptibilities of persons or their relations might possibly be
+offended, even when there is nothing mentioned to their discredit.
+
+The music consists of three "flutes" (fifes), two tambourines and a
+big drum. This is the professional element, which is reinforced by
+amateurs. One brings a cassada-grater, looking like a bread-grater;
+this, rubbed with the handle of a spoon, makes a very efficient
+crackling accompaniment. Another produces the jawbone of a horse, the
+teeth of which rattle when it is shaken. A third has detached from
+its leather one of his stirrup-irons, and is hanging it on a string to
+do duty as a triangle. The top of the music is not always supplied by
+fifes. Sometimes there will be two fiddles, sometimes a concertina,
+or, what is more approved, because it has "bigger voice," a flutina.
+On asking to see this strange instrument I was shown the familiar
+accordion.
+
+Their chief dances are the Valse, Polka, Schottische, and Quadrilles
+in five figures, of which the fifth figure is the most popular, or as
+they would say "sweet them most." This figure goes either to 6/8 or
+2/4 time. The 2/4 figures of the Quadrilles are often used for Polka,
+and Polka and Schottische tunes are always interchangeable, the only
+difference being that the Schottische requires a slower time.
+
+
+
+
+CXVII.
+
+
+The ball opens with a set of Quadrilles:--
+
+[Music: _1st Figure._
+
+ When I go home I will tell me mumma,
+ When I go home I will tell me mumma,
+ When I go home I will tell me mumma
+ That the gals in Jamaica won't leave me alone.]
+
+This is the production of a white musician to whom the black girls
+were especially attentive.
+
+
+
+
+CXVIII.
+
+
+[Music: _2nd Figure._
+
+ Guava root a medicine,
+ Guava root a medicine,
+ Guava root a medicine fe go cure all the young gal fever.]
+
+A decoction of the root of the Guava is used in cases of fever.
+
+"Medicine" is pronounced so as to rhyme with Edison.
+
+
+
+
+CXIX.
+
+
+[Music: _3rd Figure._
+
+ Crahss-lookin' dog up'tairs,
+ Crahss-lookin' dog up'tairs;
+ I lift up me foot an' I hit him a kick
+ an' him roll up him tail an' run.
+ What you fe do with that?
+ What you fe do with that?
+ I meet him up'tairs an' I hit him a kick
+ an' he roll up him tail an' run.]
+
+See note to "Parson Puss and Parson Dog" (p. 93), also Author's
+Preface.
+
+
+
+
+CXX.
+
+
+[Music: _4th Figure._
+
+ Goatridge have some set a gal
+ So-so shirt them can't wash.
+ Give me back me soap an' blue,
+ Give me back me soap an' blue,
+ Give me back me soap an' 'tarch,
+ So-so shirt them can't wash.]
+
+Goatridge is the name of a neighbouring hamlet. When a boy "gives out
+his shirts to wash" he also provides the girl with soap, blue and
+starch.
+
+So-so means even. It also means only, as:--"I get so-so potato fe
+nyam," I only got potatoes to eat.
+
+"Shirt" is pronounced almost "shut."
+
+
+
+
+CXXI.
+
+
+[Music: _5th Figure._
+
+ Me carry me akee a Linstead market,
+ Not a quatty worth sell.
+ Oh what a losses!
+ Not a quatty worth sell.
+ Me carry me akee a Linstead market.
+ Not a quatty worth sell.
+ Oh not a light, not a bite!
+ Not a quatty worth sell.]
+
+The Akee (_Cupania edulis_), pronounced _acky_, is a handsome tree
+producing something which one hardly knows whether to call a fruit or
+a vegetable. Besides the edible part, the beautiful scarlet capsule
+contains a substance which is poisonous. Deaths by misadventure
+through carelessness in its preparation for table occur every year.
+
+The time of these Quadrille tunes will be pretty accurately judged.
+They would all come under _Allegro_ except the First, which is slower
+than the others, and it might be headed _Allegretto_ or even
+_Andantino_. The Third figure is not much used, and many dancers do
+not know the step. Its place is generally supplied by one of the other
+figures. The most popular of all is the Fifth, of which we have many
+examples to give. The step is regulated by two beats in the bar of
+six, so we find that they dance it also to 2/4 time, as for
+instance:--
+
+
+
+
+CXXII.
+
+
+[Music: _5th Figure._
+
+ Since Dora Logan a wahk with Gallawoss,
+ The man them a beat them wife with junka 'tick.
+ Why, why, why, Amily!
+ Bring back me dumpling, yah? Amily!
+ No dog, no puss, no fowl, Amily.
+ Bring back me dumpling, yah?[54] Amily.
+ No dog, no puss, no fowl, Amily.
+ Fetch back me dumpling, yah? Amily.]
+
+[Footnote 54: "Yah?" = Do you hear?]
+
+This has to go very fast, indeed as fast as the words of the second
+bar can be spoken. It will be found then to correspond to a moderate
+_Allegro_ in six time counted in two.
+
+Two stories are mixed up here. One of the girl who walks with the
+Gallawoss--a Lizard with a gold eye and an undeserved reputation for
+biting--which leads to an age the reverse of golden, when the men beat
+their wives with junka (short) sticks. And the other, of some incident
+connected with breakfast in the field, when Amily ate somebody's
+dumpling and laid the blame on the usual scapegoat, the cat.
+
+
+
+
+CXXIII.
+
+
+The rapid speed necessitated by some forms of 2/4 time just suits the
+following:--
+
+[Music: _5th Figure._
+
+ Fire, Mister Preston, Fire!
+ Fi-er down the lane!
+ Then send the brigade fe go out the fire,
+ The brigade can't out the fire.
+ Fire, Mister Preston! Fire, Mister Preston!
+ Fi-er down the lane!
+ Fire, Mister Preston! Fire, Mister Preston!
+ Fi-er down the lane!]
+
+
+
+
+CXXIV.
+
+
+Where the beat is in crotchets it sounds unduly slow:--
+
+[Music: _5th Figure._
+
+ Tief cahffee,
+ Tief cahffee,
+ Tief cahffee,
+ Benigna Field, fe go buy silk dress,
+ Fe go show them Gardon boy,
+ fe go show them Gardon boy,
+ fe go show them Gardon boy,
+ Benigna Field, you tief cahffee.]
+
+Benigna[55] Field steals some coffee to get money to buy a silk dress
+to show off to the Gardon boys. (Gardon is a place, not a family.)
+
+[Footnote 55: Other unusual girls' names are Ambrogine, Ateline,
+Irene, Melmorine. These rhyme with Queen. The same Italian _i_ is
+found in Elgiva, Seppelita, Barnita, Justina, and the English _i_ in
+Alvira, Marina. The next are all accented, like the last six, on the
+penultimate; Etilda, Iota, Clarista, Pastora, Barzella, Zedilla,
+Amanda, Agarta (evidently a variant of Agatha), Timinetia (like
+Polynesia), Cherryana, Indiana. Then there is Hettybel, and one girl
+has this astonishing combination--Ataria (rhymes with Samaria),
+Azadell (? Isabel).]
+
+
+
+
+CXXV.
+
+
+[Music: _5th Figure._
+
+ Fan me, soldier man, fan me;
+ Fan me, soldier man, fan me;
+ Fan me, soldier man, fan me oh!
+ Gal, you character gone!
+ Sake a ten shilling shahl,
+ Sake a ten shilling shahl,
+ Sake a ten shilling shahl oh!
+ Make me character gone.]
+
+
+
+
+CXXVI.
+
+
+[Music: _Schottische._
+
+ Manny Clark a you da man!
+ Manny Clark a you da man!
+ So so ride you ride a Ginger Piece,
+ All the gal them a dead fe you.
+ Oh you take 'notta boil soup, take salt fish 'tick in it,
+ Gal, you want fe come kill me?
+ Oh you take 'notta a boil soup, take salt fish 'tick in it,
+ Gal, you want fe come kill me?]
+
+Manny Clark, a popular player of dance tunes, goes to Ginger Piece and
+is overwhelmed with attentions by the girls. He addresses himself as
+follows:--"Manny Clark, you are the man! You just ride to Ginger Piece
+and all the girls are dying for you." Then, turning to one of them, he
+adds:--"Oh, you boil the soup with your best, taking Anatto and salt
+fish to stick into it. Do you want to kill me with kindness?"
+
+Anatto gives a rich yellow colour to the soup. Salt fish (stockfish)
+is one of the principal articles of diet of the peasantry.
+
+
+
+
+CXXVII.
+
+
+[Music: _Schottische._
+
+ Bungo Moolatta, Bungo Moolatta,
+ Who de go married you?
+ You hand full a ring an' you can't do a t'ing,
+ Who de go married you?
+ Me give you me shirt fe wash,
+ You burn up me shirt with iron,
+ You hand full a ring an' you can't do a t'ing,
+ Who de go married you?]
+
+"You Bungo Mulatto, who is going to marry you? Your ring-bedecked
+fingers can't do anything. When I gave you my shirt to wash you burned
+it with an over-hot iron."
+
+Bungo (rhymes with Mungo) means a rough uncivilized African.
+
+A Mulatto is the child of two Brown parents, Brown being the offspring
+of Black and White. He has rather a yellow skin.
+
+
+
+
+CXXVIII.
+
+
+[Music: _5th Figure._
+
+ Bahl, Ada you must bahl,
+ Bahl, Ada you must bahl,
+ Bahl, Ada you must bahl,
+ Ada you must bahl till the cock say coocoocoocoory co.]
+
+Ada has been naughty and has been shut up for a night in the dark. The
+poor little thing is "bawling," crying out in terror of the nameless
+horrors of the night.
+
+
+
+
+CXXIX.
+
+
+[Music: _2nd Figure._
+
+ Rise a roof in the morning,
+ Rise a roof in the morning;
+ Tell all the nigger them to come, come, come,
+ Rise a roof in the morning.
+ The Monkey and the Baboon them was sitting on the wall,
+ Rise a roof in the morning;
+ I an' my wife cannot agree,
+ Rise a roof in the morning.
+ She 'pread me bed on the dirty floor,
+ Rise a roof in the morning;
+ For Devil made the woman an' God made man,
+ Rise a roof in the morning.]
+
+"Rise a roof" seems to mean, as far as I can understand the
+explanation, "raise the roof"; as we might say, "row enough to blow
+the roof off."
+
+"Baboon" always has this accent on the first syllable and a French
+_a_.
+
+The Blacks do not mind calling themselves niggers, but a White man
+must not call them so. To say "black nehgher" is an offence not to be
+forgiven. The word is used again quite kindly in the following:--
+
+
+
+
+CXXX.
+
+
+[Music: _Jig._
+
+ Oh we went to the river an' we couldn' get across,
+ We jump on the nigger back we think it was a horse.[56]
+ Then Stephen, Stephen, Stephen boy,
+ Stephen, Stephen, poor Stephen!]
+
+[Footnote 56: A last reminder to pronounce "acrahss," "harse." The
+Negro rejects the sound _aw_ altogether and always changes it to
+_ah_.]
+
+A party get to one of the bends of Four-and-twenty River, so called
+because the road crosses and recrosses it twenty-four times. Stephen
+carries them all over.
+
+
+
+
+CXXXI.
+
+
+[Music: _Polka._
+
+ Aunty Jane a call Minnie,
+ Minnie won't go 'peak to him;
+ Aunty Jane a call Minnie,
+ Minnie won't go 'peak to him.
+ Wrap up in a crocus beig
+ In a Sandy Hill,
+ Wrap up in a crocus beig
+ In a Sandy Hill.]
+
+Aunty Jane does not want Minnie to keep company with the boys at Sandy
+Hill. Of course Minnie wants to go, and she does go. Aunty Jane sets
+off to bring her home. When she reaches Sandy Hill she calls. Minnie
+hears, but will not go and speak to her. She hides in the coffee-store
+by wrapping herself in a crocus bag or sack. "Crocus" is a rough cheap
+material. Coffee ready for market is put in the finer and smaller
+canvas bags.
+
+
+
+
+CXXXII.
+
+
+[Music: _Valse._
+
+ Marty, Marty, me wanty go home,
+ Marty, Marty, me wanty go home,
+ Marty, Marty, me wanty go home,
+ Me wanty go home back a yard.
+ Tell me mumma say me wanty come home,
+ Me wanty come home, Me wanty come home,
+ Tell me mumma say me wanty come home,
+ Me wanty come home back a yard.]
+
+Martin has been flogging his wife--not an unusual condition of
+things--and she wants to go home to her mother. He will take her
+message quite loyally. The matter will be arranged and they will be
+good friends living apart. Before long she will go back to him of her
+own accord. They make up their quarrels as quickly as they fall into
+them.
+
+
+
+
+CXXXIII.
+
+
+[Music: _5th Figure._
+
+ What make you shave old Hall, Rosie Fowler?
+ What make you shave old Hall?
+ What make you shave old Hall, Rosie Fowler?
+ What make you shave old Hall?
+ What make you shave old Hall, Rosie Fowler?
+ What make you shave old Hall?
+ Mister Barber have two teeth a him mout',
+ Them sweet like a sugar-plum.]
+
+Rosie Fowler left old Hall for Mr. Barber, and being remonstrated
+with, shaved him, _i.e._ gave him a good beating.
+
+
+
+
+CXXXIV.
+
+
+[Music: _Mazurka._
+
+ Run, Moses, run,
+ Mister Walker da come;
+ Run, Moses, run,
+ Mister Walker da come.
+ If you buck your right foot, buck your left foot,
+ Never try look back;
+ If you buck your right foot, buck your left foot,
+ Never try look back.]
+
+To "buck" is to strike, and the word is applied to a stumbling horse,
+who is said to buck his foot against a stone, or simply to buck. It
+also means to butt with the head and is most likely a corruption of
+this word. Bucking, or charging stag-fashion with the head, is the
+favourite way for women to fight. Here is an account of such a
+contest:--
+
+
+
+
+CXXXV.
+
+
+[Music: _5th Figure._
+
+ Whe you da do? Whe you da do?
+ Whe you da do make Sarah buck you?
+ Whe you da do? Whe you da do?
+ Whe you da do make Sarah buck you?
+ Adela da jump but Sarah buck him,
+ Adela da jump but Sarah buck him,
+ Adela da jump but Sarah buck him.
+ Whe you da do make Sarah buck you?
+ You Adela ho you ought to shame!
+ You Adela ho you ought to shame!
+ You Adela ho you ought to shame!
+ Whe you da do make Sarah buck you?]
+
+Fights between women are by no means uncommon. This was a case of
+_cherchez l'homme_. The ladies both wanted to marry the same man. The
+"sing" was evidently composed by one of Sarah's partisans for the
+words are:--"What did you do to make Sarah buck you? Adela jumped, but
+Sarah bucked her. You, Adela, oh you ought to be ashamed!" Adela's
+sideway jump was not quick enough to save her from Sarah's head.
+
+"Whe you da do?" literally, What you is do? for What you did do?
+meaning What did you do? So, if they were trying to talk "deep
+English," for "Adela da jump" they would substitute "Adela is jump"
+and think it was quite right.
+
+
+
+
+CXXXVI.
+
+
+[Music: _5th Figure._
+
+ Mother William hold back Leah!
+ Mother William hold back Leah!
+ Me tell you say hold back Leah!
+ Hold back Leah let go Jane Ann!
+ Den a Leah Leah dead 'way,
+ Den a Leah Leah dead 'way,
+ Let go Jane Ann!
+ Let go Jane Ann!
+ Hold back Leah, let go Jane Ann!]
+
+This is sung _agitato_ and pulsates with excitement. We see the
+bustling, restless action--Mother Williams holding Leah, who is
+frantic to get at Jane Ann, and who faints with exhaustion as she
+struggles to escape from the strong arms thrown round her. "Let go
+Jane Ann!" cry the bystanders, which means:--Make Jane Ann go away,
+get her out of Leah's sight.
+
+
+
+
+CXXXVII.
+
+
+This seems a fitting moment to introduce:--
+
+[Music: _4th Figure._
+
+ Oh General Jackson!
+ Oh General Jackson!
+ Oh General Jackson!
+ Oh you kill all the Black man them!
+ Oh what a wrongful judgment!
+ Oh what a wrongful judgment!
+ Oh what a wrongful judgment!
+ You kill all the Black man them.
+ Oh what a awful mourning!
+ Oh what a awful mourning!
+ Oh what a awful mourning
+ You bring on St. Thomas people!]
+
+This is the other side of the question, referred to in the Digging
+Sing, No. 88. It is the rebellion of 1865 again, from the point of
+view of that section of the Blacks who considered themselves aggrieved
+at the measures taken for its suppression.
+
+
+
+
+CXXXVIII.
+
+
+We get a glimpse of the doings of the soldiery in peaceable times
+in:--
+
+[Music: _5th Figure._
+
+ Soldier da go 'way,
+ Married woman let go your bull-dog to-morrow;
+ Soldier da go way to-morrow,
+ The last of the ring ding to-morrow,
+ Soldier da go 'way,
+ Married woman let go your bull-dog to-morrow;
+ Soldier da go 'way,
+ Married woman let go your bull-dog.]
+
+The soldiers are shifting their quarters. As they are apt to be rather
+riotous on the night before departure, the owner of the bull-dog is
+advised to unchain him so that he may guard her property more
+effectually.
+
+
+
+
+CXXXIX.
+
+
+There is also a tender side to the parting:--
+
+[Music: _4th Figure._
+
+ Don't cry too much, Jamaica gal,
+ First West will soon come back again.
+ Don't cry too much, Jamaica gal,
+ Second West is gone to the war.
+ Don't cry too much, don't cry too much,
+ First West will come and cheer you up.
+ Don't cry too much, Jamaica gal,
+ Second West is gone to the war.]
+
+
+
+
+CXL.
+
+
+A few years ago Jamaica boasted of water as efficacious as that of
+Mecca in the opinion of some people. It seems to have lost its repute
+in these sceptical days:--
+
+[Music: _4th Figure._
+
+ Dip them, Mister Bedward, dip them,
+ Dip them in the healing stream;
+ Some come with jackass, some come with bus,
+ Dip them in the healing stream.]
+
+
+
+
+CXLI.
+
+
+It says much for the expertness of the dancers that they can fit the
+same steps to tunes of such varying accent as the two last examples
+present. Here is another which differs again:--
+
+[Music: _4th Figure._
+
+ Very well, very well, Mister Collin now,
+ An' him leave an' join Sabbatarian bands,
+ An' him lose the whole of his members now,
+ Oh then poor Sabbatarian bands!]
+
+Mr. Collin was a minister who told his flock that he had made a
+mistake in keeping Sunday holy, and that for the future he would have
+service on Saturday and the people were to come to church on that day
+and work on Sunday. The "sing" suggests that his congregation was not
+persuaded by his arguments.
+
+
+
+
+CXLII.
+
+
+The light-hearted way in which the Negro turns serious things into fun
+is well illustrated by:--
+
+[Music: _4th Figure._
+
+ Oh trial! Great trevelation children ho!
+ Trial! We're bound to leave this world.
+ Baptis', Baptis', Baptis' till I die.
+ I been grown up in the Baptis' side
+ an' die under Baptis' rule.
+ Oh trial! Great trevelation children ho!
+ Trial! We're bound to leave this world.
+ Church-light, Church-light, Church-light till I die,
+ I been grown up in the Church-light side
+ an' die under Church-light rule.
+ Oh! trial! Great trevelation children ho!
+ Trial! We're bound to leave this world.]
+
+And so on through all the sects and persuasions, Wesleyan, etc., etc.,
+among them Mettetis (Methodist).
+
+There is no doubt about the word being _trevelation_ a mixture of
+Revelation, one of their favourite books in the Bible, and
+tribulation, for which it is intended. The wrong phrasing of two notes
+to "bound" is as they give it. We should allow only one.
+
+
+
+
+CXLIII.
+
+
+Every district has its rival churches and the various ministers have
+to humour their congregations, and not preach too hard things to them,
+so as to keep them from deserting to the enemy.
+
+[Music: _2nd Figure._
+
+ Father, I goin' to join the confirmation.
+ No, me son, you must have a little patien',
+ Why I tell you to have a little patien',
+ You must go an' read the Revelation.
+ I heard from my old generation
+ That they never go an' join the confirmation,
+ For they didn' have that great occasion
+ To leave an' go an' join the confirmation.]
+
+It will have been observed that rhyming is the last thing sought
+after. Here, however, we have a genius who has set his mind upon it
+with some success. Patience, as pronounced by the Jamaican without the
+final letters, is a good and new rhyme to the rest. In the old days of
+slavery, says the father, they did not have the occasion (_i.e._
+opportunity) to leave their work to go and be confirmed.
+
+The Black man is such an accomplished actor that he can assume any
+character. In these sings he throws off the stage trappings and shows
+his real attitude towards religion, his indifference and levity. He
+does not take it as a serious matter at all, and it has no effect upon
+his daily life. To go to church is a mark of respectability. To obtain
+that mark is one of his reasons for going. The other reason is to show
+his clothes and his boots. He will talk like a saint for the mere
+pleasure of rolling out words, and the ministers have to pretend to
+believe something of what he says. They are not, however, really
+deceived, and will tell you in private with a sigh that Christianity
+makes no progress; it is profession without practice. Of the Negro's
+real religion, which is bound up with Obeah, we get hardly a hint in
+the sings. This is what we should expect. Some things lie too deep for
+words and a man's religion is one of them. One general reference I
+have been able to find, and one particular one, and that is all. Here
+is the first:--
+
+
+
+
+CXLIV.
+
+
+[Music: _5th Figure._
+
+ Obeah down de why oh! Obeah down de,
+ Obeah down de why oh! Obeah down de.
+ Giberaltar is a well fine place but Obeah down de,
+ Giberaltar is a well fine place but Obeah down de.]
+
+
+
+
+CXLV.
+
+
+And here the second:--
+
+[Music: _5th Figure._
+
+ The other day me waistcoat cut,
+ The other day me waistcoat cut,
+ The other day me waistcoat cut,
+ What a pain an' grief to me.
+ I spend me money but the beggar don't dead,
+ I spend me money but the beggar don't dead,
+ I spend me money but the beggar don't dead,
+ What a pain an' grief to me.
+ All me money gone like butter 'gainst sun,
+ All me money gone like butter 'gainst sun,
+ All me money gone like butter 'gainst sun,
+ What a pain an' grief to me!
+ Sake of the man me live 'pon tree,
+ Sake of the man me live 'pon tree,
+ Sake of the man me live 'pon tree,
+ What a pain an' grief to me!]
+
+Obeah (pronounced in two syllables, Ob-ya, with short Italian vowels)
+is the dark blot upon this fair island of Jamaica. In every district
+there is an Obeah-man, or Bush-doctor, as he is often called, from his
+supposed knowledge of herb simples. He is by no means the innocent
+person which this latter designation would seem to imply. He deals in
+magic and sorcery of all descriptions, and there is not a Black man
+who does not believe in his powers. They consult him on every
+conceivable business and he gets heavy fees. He will secure a man the
+favour of his master so that he shall not lose his place, or help him
+to revenge a wrong, real or fancied. And herein lies the danger. The
+puerilities of inefficacious charms and mysterious ceremonies with
+which he deludes his clients are not all. He keeps poison in his bag,
+and for sufficient reward arsenic has been obtained to put in the
+liqueur, or ground glass for the coffee. The Government attempts in
+vain to stamp out the evil.
+
+The story of the last sing is briefly this. A has a friend who is an
+Obeah-man. From him he gets Obeah to injure an enemy B. The enemy does
+not suffer. So A says his waistcoat is torn, a figurative way of
+expressing the fact that he is beaten, B's Obeah turning out to be
+stronger than A's and able to repel it. Having indiscreetly talked
+about what he meant to do to B, B reports him to the police, and he
+has to abscond and seek shelter in the bush till the matter blows
+over.
+
+
+
+
+CXLVI.
+
+
+It is a pleasure to be able to leave the hypocrisy of Negro
+Christianity, and the lurid atmosphere of Obeah and to return to
+everyday amusements.
+
+[Music: _5th Figure._
+
+ All them gal a ride merry-go-round,
+ Me no see no gal like a dem ya.
+ Ride him, ride him, ride him, ride him,
+ Ride him round the town,
+ Ride him, ride him, ride him, ride him,
+ Ride him round the town.]
+
+The merry-go-round is popular. "I never saw such girls," says an
+admiring bystander. Literally, "I have not seen any girls like those
+(here) girls." A neighbour of mine used to be made very angry when he
+first came to Jamaica because when he asked "Have you seen so-and-so?"
+the answer always was "I don't see him." This is good negro English
+for "I haven't seen him." It does not mean, as he thought, "I don't
+see him now," and the poor boy could not understand why his master got
+so "crahss."
+
+
+
+
+CXLVII.
+
+
+[Music: _5th Figure._
+
+ Merry-go-round a go fall down, fall down, fall down,
+ Merry-go-round a go fall down,
+ Sake a de worthless rider.
+ Rider, rider, try to sit down good;
+ Rider, rider, try to sit down good;
+ Rider, rider, try to sit down good,
+ Merry-go-round a go fall down.]
+
+Grammar nowhere as usual. It was not the Merry-go-round that was going
+to fall down, but the worthless (_i.e._ bad) rider who was going to
+fall off. "Try to sit down good" is an exhortation to hold on well.
+This curious use of "try" is found again in:--
+
+
+
+
+CXLVIII.
+
+
+[Music: _Mazurka._
+
+ Try, dear, don't tell a lie,
+ Try, dear, don't tell a lie,
+ Try, dear, don't tell a lie,
+ For I will never marry you.
+ Try an' 'peak the truth me dear,
+ Try an' 'peak the truth me dear,
+ Try an' 'peak the truth me dear,
+ An' you shall get the ring me dear.]
+
+
+
+
+CXLIX.
+
+
+Here are two more references to the colour question:
+
+[Music: _1st Figure._
+
+ Look how you mout',
+ Look how you mout',
+ Look how you mout' fe go kiss moolatta.
+ Look how you mout',
+ Look how you mout',
+ Look how you mout' like a pan.]
+
+
+
+
+CL.
+
+
+[Music: _Valse._
+
+ Breezy say him no want Brown lady,
+ Breezy say him no want Brown lady,
+ Breezy say him no want Brown lady,
+ Afterward him go take Brown lady.
+ Why! Why! Why, Breezy!
+ Why! Why! Why, Breezy!
+ Why! Why! Why, Breezy!
+ Think you say you no want Brown lady.]
+
+
+
+
+CLI.
+
+
+Here are three sings referring to Colon, the port of disembarkation
+for labourers on the Panama Canal:--
+
+[Music: _5th Figure._
+
+ Isaac Park gone a Colon,
+ Isaac Park gone a Colon,
+ Isaac Park gone a Colon,
+ Colon boat a go kill them boy.
+ Colon bolow[57] gone a Colon,
+ Colon bolow gone a Colon,
+ Colon bolow gone a Colon,
+ Colon boat a go kill them boy.]
+
+[Footnote 57: _Bolow_, comrade.]
+
+It was not the boat from Kingston to Colon that killed the boys; the
+deaths took place on the other side. Many were due to fever, but
+more, if the stories current here are true, to organised
+assassination. The wages were very large, and when a Jamaica boy has
+money in his pocket he gets "boastify." This annoyed the low-class
+mongrels. A Coolie who was there described to me the proceedings of
+one night, when the 'panish (by which is meant any straight-haired
+people) went out in a band and murdered every woolly-haired man they
+met. They began at one end of the camp, a straight line of barrack
+huts. Some of the victims were shot through the windows, others
+slashed with cutlasses. Where there were no lights the assassins
+passed their hands over the strangers' heads, and if they felt wool,
+revolver or cutlass did its work. Straight-haired Coolies, that is to
+say, East Indians, were allowed to go unharmed.
+
+
+
+
+CLII.
+
+
+[Music: _5th Figure._
+
+ Matilda de 'pon dyin' bed,
+ Matilda de 'pon dyin' bed,
+ Matilda de 'pon dyin' bed,
+ Matilda de 'pon dyin' bed,
+ Me want go Colabra,
+ Me want go Colabra,
+ Me want go Colabra,
+ Matilda, de 'pon dyin' bed.]
+
+When anybody is very ill all the members of the family, including
+quite distant relatives, think it incumbent upon them to go to the
+sick person's yard. They crowd into the house and sick-room and pour
+out a clatter of talk.
+
+Colabra (Culebra) is a place near Colon. Matilda must have been an old
+Jamaica acquaintance who had gone over to settle there.
+
+
+
+
+CLIII.
+
+
+[Music: _5th Figure._
+
+ Mas' Charley say want kiss Matty,
+ Kiss with a willing mind,
+ Me rarabum why! Colon money done,
+ Me rarabum why! Colon money done.]
+
+"Me rarabum" is a nonsense phrase equivalent to "my boy." "My boy, hi!
+the money I made at Colon is done!"
+
+
+
+
+CLIV.
+
+
+Here is the lament of an out-of-work cabdriver:--
+
+[Music: _5th Figure._
+
+ Me buggy a sell fe eight an' sixpence
+ Whe me a go get fe drive?
+ Me buggy a sell fe eight an' sixpence,
+ Whe me a go get fe drive?
+ Me buggy sell at last, poor me boy!
+ Whe me a go get fe drive?
+ Me buggy sell at last, poor me boy!
+ Whe me a go get fe drive?]
+
+
+
+
+CLV.
+
+
+The words of the next dance have a certain interest, but the tune is
+poor:--
+
+[Music: _Polka._
+
+ Oh 'zetta Ford, gal, you name no worth a cuss!
+ Tief big big hog,
+ Put ahm in a jar.
+ Piccany da cry,
+ Sit down whole a day,
+ You tief big big hog,
+ Nyam ahm out a door.]
+
+The girl stole the pig, killed it, cut it up and put the meat into a
+jar. This was done out in the bush, far away from her yard, and took
+the whole day. Meanwhile her poor little babies were starving at home,
+having been left without any one to look after them.
+
+
+
+
+CLVI.
+
+
+There is an idyllic simplicity about the following:--
+
+[Music: _5th Figure._
+
+ Birdyzeena, Birdyzeena,
+ Come make we go da Champong market,
+ Come make we go, dear,
+ Come make we go, dear,
+ Come make we go da Champong market.]
+
+
+
+
+CLVII.
+
+
+[Music: _5th Figure._
+
+ Me an' Katie no 'gree,
+ Katie wash me shirt in a sea.
+ If you t'ink a lie,
+ If you t'ink a lie,
+ Look in a Katie yeye.]
+
+
+
+
+CLVIII.
+
+
+Water seems formerly to have been scarce in Kingston, judging by the
+following:--
+
+[Music: _5th Figure._
+
+ Down town gal no have no water to wash them head
+ to keep them clean.
+ Down town gal no have no water to wash them head
+ to keep them clean.
+ Why! Why! Why! Take them gal in charge.
+ Why! Why! Why! policeman,
+ Take them gal in charge.]
+
+
+
+
+CLIX.
+
+
+The policeman is not always on the spot when he is wanted:--
+
+[Music: _4th Figure._
+
+ Sal you ought to been ashame!
+ You tief Mister Dixon Brahma,
+ You nyam ahm a Yaws-house[58] level,
+ Sally ought to been ashame.]
+
+[Footnote 58: _Yaws_, see p. 57.]
+
+In this country any plot of ground that is moderately flat is called a
+level.
+
+
+
+
+CLX.
+
+
+[Music: _4th Figure._
+
+ Good morning, Mister Harman,
+ How are you this morning?
+ I brought a serious complain about the old Barbadian.
+ What about the 'badian?
+ Him shirt has no border,
+ Him face favour marlan,
+ Come give me me one an' ninepence.]
+
+The singer goes to Mr. Harman, who is employing the Barbadian (whom he
+accuses of wearing a ragged shirt and having a face like a
+marlingspike), to try and get some money which the latter owes the
+complainant. This is an excellent example in short of an interview
+between two Black men. Of the sixteen bars four are occupied with
+salutation, four with complaint, and four with abuse. Two are given to
+a question as to the cause of complaint which receives no answer, and
+two to a demand for money owed by another person. So we have
+three-quarters of the interview devoted in equal parts to compliment,
+complaint, and abuse; one-eighth to an attempt on the part of the
+person interviewed to discover what is amiss; and one-eighth to a
+demand for money from the wrong man.
+
+
+
+
+CLXI.
+
+
+The lovers' quarrel which comes next is evidently not serious:--
+
+[Music: _5th Figure._
+
+ Hullo me honey!
+ Hullo me sugar!
+ Hullo me old time gal!
+ Oh den, gal, if you love me,
+ Why don't you write me?
+ Hullo me old time gal!
+ Hullo me honey!
+ Hullo me sugar!
+ Hullo me old time boy!
+ Oh den, boy, I wouldn' married you,
+ Not for a fardin',
+ Hullo me old time boy!]
+
+
+
+
+CLXII.
+
+
+[Music: _5th Figure._
+
+ When mumma dere you say you sick,
+ Dis mumma gone you get better,
+ 'tan' 'teady till him come 'tan' 'teady,
+ 'tan' 'teady till him come 'tan' 'teady.]
+
+When mamma tells her daughter to take her hoe and come out into the
+field she feigns sickness. Her brother comes in and finds her quite
+well. "All right," he says, "just (dis) you stand steady ('teudy,
+French _eu_), just you wait till she comes home and you will get a
+flogging."
+
+
+
+
+CLXIII.
+
+
+We never go far without meeting some story about petty thieving:--
+
+[Music: _5th Figure._
+
+ Oh Jilly oh! how you manage a jump the window?
+ Oh Jilly oh! how you manage a jump the window?
+ Doctor Clark a one an' tanner,
+ Major Black a two an' six,
+ Mister Nelson three an' six,
+ How you manage a jump the window?]
+
+Jilly had been "tiefing" money and made her escape by jumping out of
+window. "Tanner," for sixpence, is common in English slang but not
+here. It seems to have been derived in this case from the White
+soldiers at Newcastle.
+
+
+
+
+CLXIV.
+
+
+[Music: _5th Figure._
+
+ James Brown, you mahmy call you.
+ James Brown a shake him shoulder.
+ Sake a the young gal butterdore,
+ James Brown a shake him shoulder.]
+
+To express dissent they do not shake their heads but wriggle the whole
+of their bodies. It is a most expressive action.
+
+A butterdore, more properly butter-dough, is a kind of cake.
+
+
+
+
+CLXV.
+
+
+The next repeats the idea of No. CXVIII., but in the mouth of a girl.
+
+[Music: _4th Figure._
+
+ When I go home I will tell me mumma say,
+ When I go home I will tell me mumma say,
+ When I go home I will tell me mumma say
+ That the boy in the country love me very much.]
+
+
+
+
+CLXVI.
+
+
+The next is the only example of pure fiction that I have met with:--
+
+[Music: _5th Figure._
+
+ Feather, feather, feather,
+ Baby da born with feather.
+ You cut off the fowl head an' boil it in a 'tew-pan,
+ Baby da born with feather.
+ Feather, feather oh!
+ Baby da born with feather.
+ Feather, feather oh!
+ Baby da born with feather.
+ You cut off the fowl head an' boil it with the feather,
+ So the baby go born with feather.
+ I hear the news as I re'ch to Hagley Gap,
+ Say baby da born with feather.
+ Something me never hear,
+ Something me never hear that Baby can born with feather.
+ Something me never hear,
+ Something me never hear that Baby can born with feather.]
+
+All the other sings are chronicles of true events, and it is an
+exceptional case to find one purely the offspring of imagination like
+this one. The compiler of the words could not get quite free of
+actuality; he puts in Hagley Gap, which is the name of a pass through
+the hills. I once asked why it was so called and was told because it
+was a hugly place. The cooking described savours of Obeah.
+
+
+
+
+CLXVII.
+
+
+[Music: _2nd Figure._
+
+ When the rain an' the breeze an' the storm an' the sun
+ I never see a man like Quaco Sam,
+ He live in the sun as well as the rain,
+ I never see a man like Quaco Sam.
+ Quaco Sam was a little bit a man,
+ I never see a man like a Quaco Sam,
+ For he never build a house but he live as any man,
+ I never see a funny man as Quaco Sam.]
+
+
+
+
+CLXVIII.
+
+
+[Music: _5th Figure._
+
+ Anch a bite me a me back gully, gully;
+ Anch a bite me a me back gully, gully;
+ Anch a bite me a me back gully, gully;
+ 'cratch me back, me will make one shirt fe you fe you.
+ Anch a bite me,
+ Anch a bite me,
+ Anch a bite me,
+ Anch a bite me,
+ Anch a bite me a me back gully, gully;
+ 'cratch me back me will make one shirt fe you.]
+
+Small black ants often swarm on the orange-trees, and the pickers, who
+do not use ladders but climb the branches, get covered with them. We
+all know that place in the "gully" or furrow of the back which we
+cannot reach ourselves.
+
+
+
+
+CLXIX.
+
+
+[Music: _4th Figure._
+
+ Me know one gal a Cross Road,
+ Name of Lucy Banker,
+ Him boil the long long cabbage bush,
+ Him go long like a sailor nanchor.
+ Follow me, follow me,
+ You no see whe the gal a follow me,
+ Follow me, then follow me,
+ You no see whe the gal a follow me.]
+
+The story of the foregoing sing is this:--Lucy asked a fiddler and his
+friend to breakfast. The cooking was bad. The boiled bananas, which
+should have been light brown, were black, and the cabbage was not done
+enough, so that it was ropy or "long," as they aptly describe it. For
+these shortcomings the fiddler "put her a sing," _i.e._ put her into a
+sing.
+
+
+
+
+CLXX.
+
+
+[Music: _Schottische._
+
+ Moonshine baby, don't you cry,
+ Mumma will bring somet'ing fe you,
+ Some fe you,
+ Some fe me,
+ Fe we go boil wi' dirty pot.]
+
+This is a hit at another careless cook who had disregarded the
+time-honoured rule, "First wash your pot."
+
+A moonshine baby is a pretty baby.
+
+
+
+
+CLXXI.
+
+
+[Music: _2nd Figure._
+
+ I have a news to tell you all about the Mowitahl men,[59]
+ Time is harder ev'ry day an' harder yet to come.
+ They made a dance on Friday night an' failed to pay the drummer,
+ Say that they all was need of money to buy up their August pork.
+ Don't let them go free, drummer!
+ Don't let them go free, drummer!
+ For your finger cost money to tickle the poor goat-'kin.
+ Not if the pork even purchase self
+ Take it away for your labour,
+ For your finger cost money to tickle the poor goat-'kin.]
+
+[Footnote 59: Mowitahl = Mowatt Hall.]
+
+The first of August (Ahgust as they call it) is the anniversary of
+Emancipation Day, and is a time of feasting and rejoicing. As in the
+case of wedding festivities, they do not limit themselves to one day,
+and holiday-making goes on for a week or longer.
+
+The goat-skin drum is pitied for the thumping it gets. So a man will
+often stroke his picker (pickaxe) and say:--"He no a come out if he
+t'ought him face would a jam so a dirty," he would not have come out
+if he had thought his face was going to be thrust so hard into the
+ground.
+
+"Self" is a redundant word. It strengthens "even if."
+
+
+
+
+CLXXII.
+
+
+[Music: _2nd Figure._
+
+ Once I was a trav'ller,
+ trav'ller over the mountain,
+ I nearly dead for water
+ but a young gal show me the fountain.
+ Why, why me picny!
+ You shall be me wife.
+ Show me you mammy an' you daddy,
+ An' you shall be me wife.
+ I have another sister,
+ she blind she cannot see,
+ But, if you wish to court her,
+ you can come with me.
+ Why, why me picny!
+ you shall be me wife.
+ Show me you mammy an' you daddy,
+ An' you shall be me wife.]
+
+When a Black man says he is nearly dead for water he only means that
+he is rather thirsty.
+
+This sing is of an unusual form and suggests a foreign origin.
+
+
+
+
+CLXXIII.
+
+
+Here, on the contrary, is something typically Jamaican:--
+
+[Music: _5th Figure._
+
+ Oh! me wouldn' bawl at all,
+ Oh! me wouldn' bawl at all,
+ Oh! me wouldn' bawl at all,
+ For the policeman come tell a lie 'pon me.]
+
+A boy who has been arrested, conscious of his innocence, does not go
+through the usual pantomime of shrieks and tears. The policeman
+(observe the accent on the word) told a lie about me, he says.
+
+
+
+
+CLXXIV.
+
+
+Thoroughly Jamaican too, as to its words at least, is:--
+
+[Music: _Jig._
+
+ You take junka 'tick fe go lick maugre dog,
+ You take junka 'tick fe go lick maugre dog;
+ When maugre dog dead a whe you a go do?
+ Whe you a go do, Birdie?
+ Whe you a go do?]
+
+This is a remonstrance addressed by a mother to her daughter who has
+taken up a short stick to beat her. "It is true," she says, "that I am
+but a lean dog, but when the lean dog is dead what are you going to
+do?" (_Maugre_, French _maigre_, pronounced _mahgher_.)
+
+
+
+
+CLXXV.
+
+
+[Music: _John Canoe dance._
+
+ Yellow fever come in,
+ Me can't walk again;
+ Him broke me hand, him broke me foot,
+ Me can't walk again.]
+
+The "John Canoe" are masked dancers very agile in their movements.
+Yellow fever is now happily rare in Jamaica. "It has come and caught
+me," says the patient, "and broken my arms and legs so that I really
+can't walk."
+
+"Again" has a curious use here, which is perhaps better shown by the
+following illustration. A man was reported to be dead. Next day came
+the intelligence:--"He don't dead again," he is not dead after all, he
+is not really dead. Compare No. LXII.
+
+
+
+
+CLXXVI.
+
+
+[Music: _Schottische._
+
+ Jimmy Rampy a come oh, Sal oh!
+ Jimmy Rampy a come oh, Sal oh!
+ Some a wash him foot, some a comb him hair,
+ Some a put him to bed, put him to bed oh, Sal oh!
+ Jimmy Rampy a come oh! Sal oh!
+ Jimmy Rampy a come oh, Sal oh!
+ Some a wash him foot, some a comb him hair,
+ Some a put him to bed, put him to bed oh, Sal oh!]
+
+"Sal oh!" is perhaps a corruption of _Salut_. Tradition associates a
+curtsey with the word.
+
+
+
+
+CLXXVII.
+
+
+The next calls to mind the Ring tune (No. XCIX.), "Rosybel oh, why oh!"
+
+[Music: _5th Figure._
+
+ Susan very well, why oh!
+ Susan very well, why oh!
+ Susan chop bolow with tumbler,
+ Susan chop bolow with tumbler,
+ Susan go chop bolow with tumbler,
+ Susan go chop bolow with tumbler.]
+
+A case of assault with a broken piece of glass. Here is something more
+serious:--
+
+
+
+
+CLXXVIII.
+
+
+[Music: _1st Figure._
+
+ Bahss, Bahss, you married you wife;
+ Bahss, Bahss, you married you wife;
+ Bahss, Bahss, you married you wife,
+ You married you wife an' kill him again.
+ You take up you wife an' carry him to church,
+ You take up you wife an' carry him to church,
+ You take up you wife an' carry him to church,
+ An' afterward you kill her again.[60]]
+
+[Footnote 60: _Bahss_, Boss. "Carry him" is in two syllables, sounding
+like _ca-yim_.]
+
+
+
+
+CLXXIX.
+
+
+The next is a pretty lullaby, which they call a Nursing sing:--
+
+[Music:
+
+ Blackbird a eat puppa corn, oh!
+ Blackbird a eat puppa corn, oh!
+ Come go da mountain, go drive them,
+ Blackbird a eat puppa corn, oh!
+ Blackbird a eat puppa corn.]
+
+
+
+
+CLXXX.
+
+
+[Music: _Schottische._
+
+ Me da Coolie sleep on piazza with me wrapper round me shoulder,
+ Me da Coolie sleep on piazza with me wrapper round me shoulder.]
+
+"Me da," literally, "I is," I am.
+
+The piazza, which is not pronounced in the Italian way but nearly
+rhymes with razor, is the long narrow entrance-room of Jamaican
+houses. A wrapper is a large piece of linen which serves all sorts of
+purposes. It is used as an article of clothing both by day and night,
+and also makes a convenient bag for rice.
+
+Many of the East Indian Coolies, originally brought over to work on
+plantations, have now settled in Jamaica.
+
+
+
+
+CLXXXI.
+
+
+[Music: _Schottische._
+
+ Notty Shaw, you better go home;
+ Notty Shaw, you better go home;
+ Notty, run in the garden an' pick a bunch of flowers;
+ Notty Shaw, you better go home;
+ Notty Shaw, you mother want you service;
+ Notty Shaw, you mother want you service;
+ Notty, go in the garden you see a bunch of rose;
+ Notty Shaw, you better go home.]
+
+"Notty" is short for Nathaniel.
+
+"Rose" means any kind of flowers. When they want to indicate what we
+call roses they say "sweet-rose."
+
+
+
+
+CLXXXII.
+
+
+[Music: _1st Figure._
+
+ You worthless Becca Watson,
+ You worthless Becca Watson,
+ You worthless Becca Watson,
+ You ought to been ashame.
+ Them write you name an' t'row it a pass,
+ Them write you name an' t'row it a pass,
+ Them write you name an' t'row it a pass,
+ you ought to been ashame.]
+
+A familiar tune, I think a mixture of two.
+
+To write disparaging remarks on paper, which is then thrown in the
+"pass" (path, road), for anybody to pick up and read, is a common
+trick. The epithet "worthless" seems to imply that Becca was not
+altogether free from blame. They seldom say "bad." It is almost always
+"worthless."
+
+
+
+
+CLXXXIII.
+
+
+[Music: _5th Figure._
+
+ Since the waggonette come in
+ Parker take to heart dead,
+ Since the waggonette come in
+ Parker take to heart dead.
+ Never mind conductor,
+ Parker take to heart dead.
+ Never mind conductor,
+ Parker take to heart dead.]
+
+The reference is to a local enterprise, the Waggonette Company. It
+unfortunately failed, and the death of a person interested in its
+success, happening immediately after, is attributed to the failure.
+For "come in" we should say "were taken off."
+
+
+
+
+CLXXXIV.
+
+
+[Music: _Schottische or 4th Figure._
+
+ Them Gar'n Town people them call me follow-line,
+ Them Gar'n Town people them call me follow-line,
+ Them Gar'n Town people them call me follow-line,
+ Somebody dying here ev'ry day.
+ A ten pound order him kill me pardner,
+ A ten pound order him kill me pardner,
+ A ten pound order him kill me pardner
+ For somebody dying here ev'ry day.
+ Den number nine tunnel I would not work de,
+ Den number nine tunnel I would not work de,
+ Den number nine tunnel I would not work de
+ For somebody dying here ev'ry day.]
+
+An incident, or perhaps it were better to say an accident, in the
+making of the road to Newcastle. A man who undertook a piece of
+contract work for L10 was killed by a falling stone. The so-called
+tunnels are cuttings. Number nine had a very bad reputation.
+
+Gordon Town is a hamlet nine miles from Kingston. The driving road
+ends there, and access to the mountain district beyond is obtained
+only by mule tracks.
+
+Strangers are called "follow-line" because, as they come down from
+their homes in the higher hills, they walk in strings. No Black man or
+woman ever goes alone if he can help it. He always hitches on to
+somebody else, and the string increases in length as it passes along.
+This walking in Indian file is necessitated by the narrowness of the
+track, which is seldom wide enough for two to walk abreast.
+
+The tune has the character of a march rather than of a dance, but I am
+assured it is used for a Schottische, which has a somewhat slower
+measure than a Polka, and for Fourth Figure. Their cleverness in
+adapting the same steps to different rhythms has been already
+commented on.
+
+
+
+
+CLXXXV.
+
+
+The last of our tragedies, a murder this time, is chronicled in:--
+
+[Music: _2nd Figure._
+
+ Young gal in Jamaica take warning,
+ Never leave your mother house alone,
+ For that was the cause why Alice get her death while
+ driving in the May Pen cyar.]
+
+"The May Pen cyar" is a tramway which runs to May Pen, the cemetery of
+Kingston.
+
+
+
+
+CLXXXVI.
+
+
+[Music: _4th Figure._
+
+ Me no min de a concert the night
+ When Martha an' Pompey catch a fight.
+ Da Martha da Pompey,
+ Da Martha da Pompey catch a fight.]
+
+"Me no min de," literally, "I not been there," I was not there. Nobody
+hearing these words for the first time would ever suspect that they
+were English. People are always said to "catch fight" when they come
+to blows.
+
+Few of the old classical slave names like Pompey now survive.
+
+
+
+
+CLXXXVII.
+
+
+[Music: _1st Figure._
+
+ Complain complain complain,
+ Complain about me one,
+ Me daddy complain,
+ me mahmy complain,
+ Complain about me one.]
+
+"Me one," _i.e._ "only me." Everlasting complaints, always about me!
+(What child does not suffer in this way?) In Negro speech _complain_
+stands for complaint as well as for the verb.
+
+
+
+
+CLXXXVIII.
+
+
+Elderly readers will recognise a popular song of thirty years ago in
+the following:--
+
+[Music: _2nd Figure._
+
+ I can't walk on the bare road, cyart man,
+ I can't walk at all;
+ When I remember,
+ When I remember,
+ When I remember them.
+ Oh Captain Baker, I never can walk again,
+ For when I remember the cyart man, cyart man,
+ When I remember them.]
+
+These words taken as a whole refer to the carts of the United Fruit
+Company of which Captain Baker is the manager. In defiance of rules
+girls may be seen perched on top of the bunches of bananas in the
+laden carts.
+
+
+
+
+CLXXXIX.
+
+
+[Music: _5th Figure._
+
+ Come go da mountain,
+ Come go da mountain,
+ Come go da mountain go pick coco finger,
+ Busha Webb an' all a pick coco finger,
+ Busha Webb an' all a pick coco finger;
+ Pick coco finger,
+ Pick coco finger,
+ Come go da mountain go pick coco finger.]
+
+"Come let us go to the mountain and dig cocoes. Overseer Webb and
+everybody is digging them." A plan often adopted is to dig round the
+root, search for the tubers, pick them off and then push back the
+soil. This may be the picking referred to, only the tubers do not look
+like fingers. They are the shape of a peg-top.
+
+Another suggestion is that the fingers are the young rolled-up leaves
+which are picked before they expand for spinach. This variety of
+interpretation, coupled with the fact that the word _finger_, always
+applied to bananas, is never used in speaking of cocoes, points to
+this being a very old sing.
+
+
+
+
+CXC.
+
+
+[Music: _Valse._
+
+ Amanda Grant, me yerry your name,
+ yerry your name a bamboo root.
+ Why! Why! me yerry your name,
+ Why! Why! yerry your name,
+ Me yerry your name a bamboo root.]
+
+Amanda stole some money and hid it at the foot of a bamboo.
+
+
+
+
+CXCI.
+
+
+[Music: _2nd Figure._
+
+ Last night I was lying on me number,
+ An' a foolish man come wake me out of slumber,
+ Say Why oh! Why oh!
+ I never see a woman dancing with a wooden leg.
+ Bammerlichy, bammerlichy, bamby,
+ Bammerlichy, bammerlichy, bamby,
+ Bammerlichy, bammerlichy, bamby,
+ I never see a woman dancing with a wooden leg.]
+
+The scene is laid in the People's Shelter at Kingston which has
+numbered sleeping-berths.
+
+At "Bammerlichy" etc. the dancers imitate the stiff action of a wooden
+leg.
+
+
+
+
+CXCII.
+
+
+[Music: _5th Figure._
+
+ Me lassie me dundooze,
+ me dundooze come kiss me,
+ The kiss that you give me it rest on me mind
+ till it give me the aygo.
+ When we married an' settled down we have no cause to say,
+ For as soon as the parson pass up the sentence
+ nothing to part us.]
+
+"Dundooze" (or dundoze, for it is rather hard to catch the vowel) is a
+term of endearment. Others are, honey, lover, sugar, sweety, marvel,
+bolow, bahzoon.
+
+"Aygo" is ague; "say," perhaps, sunder.
+
+
+
+
+CXCIII.
+
+
+The next conveys an appreciative reference to a proprietor who is a
+large employer of labour.
+
+[Music: _Polka._
+
+ Mister Davis bring somet'ing fe we all,
+ Mister Davis bring somet'ing fe we all.
+ Oh him bring black gal,
+ An' him bring brown gal,
+ An' him bring yaller gal an' all.]
+
+
+
+
+CXCIV.
+
+
+[Music: _5th Figure._
+
+ A whe the use you da hang da me neck-back,
+ Married man me no want you.
+ Turn back, married man, turn back, you brute,
+ Turn back married man, married man a dog.]
+
+
+
+
+CXCV.
+
+
+[Music: _4th Figure._
+
+ Quattywort' of this!
+ Quattywort' of that!
+ till him come up to a shilling oh!
+ Why Brown man!
+ Why Brown man!
+ you have a nasty way, Robson.]
+
+The boy has run up a score at the shop and professes astonishment at
+the items and the total. Black trusts White more than Brown.
+
+
+
+
+CXCVI.
+
+
+We end with the pretty flowing melody:--
+
+[Music: _Schottische._
+
+ Mahngoose a come, Dory,
+ Mahngoose a come.
+ All them gal are dead fe Dory,
+ Mahngoose a come.
+ Come back me dear Dory,
+ Come back me dear.
+ All them gal are dead fe Dory,
+ Mahngoose a come.]
+
+The mongoose was introduced into Jamaica to kill the rats.
+Unfortunately rats sleep in the day and the mongoose sleeps at night,
+so they never met. How the mongoose took instead to killing chickens
+has been often told. Dory is having a private interview with a girl
+who has another admirer. This man has announced his intention of
+chastising Dory. "Mongoose has come" is a preconcerted formula which
+means, "the other man has come, Dory, look out!" When a gang of
+labourers is working and one of them catches sight of his master in
+the distance, he will sing this song and the others understand that
+they must pretend to be busy.
+
+
+THE END.
+
+
+NOTE.--(_Accidentally omitted on page 77_: _Cf._ Nos. 56, 67, 132,
+133).
+
+Marriage is, unhappily, often a failure. The woman, in marrying, has
+attained the goal of her ambition. Now that she is Mrs. Smith she
+"sits down" and refuses to help her husband, provision-ground food is
+not good enough for her, and she is always calling out for a new
+frock. In a few years the couple separate and the home is broken up,
+with disastrous consequences to the children. In the old days the
+custom was to defer the ceremony (as Constantine deferred his baptism)
+to a very late period. This plan worked very well. The couple did not
+marry till they knew for certain that they suited each other, and
+often their well-brought-up children and grandchildren danced at the
+wedding.
+
+
+
+
+_APPENDIX._
+
+
+_A._ TRACES OF AFRICAN MELODY IN JAMAICA.
+
+I have been asked to read through this book in proof, with the object
+of ascertaining whether the Jamaican songs bear any traces of an
+African origin.
+
+Unfortunately, it must be confessed at the outset that our knowledge
+of African music is scantier than that of almost any other kind of
+primitive music. In other regions of the globe the phonograph has been
+effectively utilised in acquiring accurate records of songs and
+dances. These records have been brought back to Europe, where they
+have been studied at leisure and their peculiarities of interval and
+rhythm have been precisely determined.
+
+But in the case of African music (apart from a few imperfectly studied
+records in my own possession) we have to rely entirely on the versions
+which travellers have taken down for us in the field. We have to
+assume, in the first place, the correctness of their 'musical ear,'
+and in the second place, the possibility of expressing in European
+notation those delicate shades of pitch and time in which the
+characteristics of primitive music so essentially consist. And both
+these are unwarrantable assumptions.
+
+However, from our study of comparative music elsewhere, we may make
+one statement with certainty, namely, that _an_ African music does not
+exist. There must be almost as many styles of native music in Africa
+as in Europe--varieties differing not only broadly in general form and
+structure, but also more minutely in the intervals and rhythms which
+are employed.
+
+I have been informed by travellers in West Africa that surprising
+differences occur in the degree of development of musical art even in
+closely neighbouring regions. In one district hardly any music is to
+be heard at all; in another the music is most uncouth; in a third it
+is highly agreeable to the European ear; while some parts of West
+Africa have advanced to the stage of part-singing.
+
+The most erroneous notions have been expressed as to the nature of
+African music. I have seen it stated that African songs consist in a
+gradual descent from a higher to a lower pitched note. That this is
+far from being usually the case is shown in the following specimens,
+which I have gathered from various narratives of African travel.
+
+I.
+
+[Music: _Boat Song. Congo District._]
+
+II.
+
+[Music: _Boat Song. Congo District._]
+
+III.
+
+[Music: _Song of Bawili Women._]
+
+IV.
+
+[Music: _Funeral Song. Angola._]
+
+V.
+
+[Music: _Song. Angola._]
+
+VI.
+
+[Music: _Song. M. Balunda._]
+
+VII.
+
+[Music: _Dance-Song. M. Balunda._]
+
+VIII.
+
+[Music: _Boat Song. Guinea Coast._]
+
+IX.
+
+[Music: _Song. I. of Bimbia._]
+
+ Songs I. and II. from _La route du Tchad_. Jean Dybowski.
+ Paris. 1893. pp. 198-9.
+
+ Songs III.-VII. from _Aus West-Afrika_. Hermann Soyaux.
+ Leipzig. 1879.
+
+ Song VIII. from _Einige Notizen ueber Bonny_. Goettingen.
+ 1848.
+
+ Song IX. from _A Narrative of the Expedition ... to the
+ River Niger_. London. 1848.
+
+A great deal might be said about the general character of these songs,
+_e.g._ the simplicity and brevity of the phrases, and the fondness for
+triple measure.
+
+But I pass on to consider three very interesting examples of Jamaican
+music which, thanks to my friend Mr. N.W. Thomas, I have found
+recorded in 1688 in Sir Hans Sloane's _Voyage to Jamaica_. "Upon one
+of the Festivals where a great many of the Negro Musicians were
+gathered together," he writes, "I desired Mr. Baptiste, the best
+musician there, to take the words they sung and set them to Musick
+which follows."
+
+X.
+
+[Music: _Angola Song._
+
+ Hobaognion
+ Hobaognion
+ Hoba
+ Hobaognion ognion.]
+
+XI.
+
+[Music: _Papa Song._]
+
+XII.
+
+[Music: _Koromanti Songs._
+
+ Meri Bonbo mich langa meri wa langa.]
+
+ From _A Voyage to ... Jamaica ..._ by Hans Sloane, M.D.
+ London. 1707. Vol. i. pp. l, li.
+
+The words of these songs are _Hobaognion, ognion_ and _Meri Bonbo mich
+langa meri wa langa._ Sir Hans Sloane observes that the Jamaican
+negroes of that time had their native instruments: (i) gourds with
+necks and strung with horsehair, (ii) a "hollow'd Timber covered with
+Parchment," having a bow for its neck, the strings tied longer or
+shorter.
+
+These songs, however inaccurately recorded, are of the greatest value
+for the hint they give us of Jamaican music as it existed over two
+centuries ago. It will be observed that the songs are named 'Angola'
+and 'Koromanti,' according to their African _provenance_. In the
+present collection of modern songs, reference is made in Song CI. to
+Koromanti ('Cromanty'). So, too, the word 'Bungo' in Song CXXVI. no
+doubt refers to the large Bongo district of Africa (cf. 'Bungo talk,'
+p. 12, _n._).
+
+We can hardly expect to find considerable traces of this aboriginal
+African music after two centuries of missionary and of trade
+influence. African travellers have repeatedly told us how prone the
+negro is to introduce fresh tunes from other villages and to adapt
+them to his own purposes. Indeed, the contaminating influence which
+the Arabs and Portuguese have exercised upon primitive African music
+makes the study of the latter especially difficult.
+
+But a community does not adopt exotic music without at the same time
+exercising selection. Those melodies have the greatest chance of
+success which, to some degree at least, follow the current canons of
+public taste. Revolutionary innovations are rare. The gradual changes
+in taste which take place are the result of such selective adoption of
+foreign music as we have indicated.
+
+There is one feature in the above-quoted 'Angola' song which is also
+shared by the modern songs of this collection, namely, the presence of
+'bobbins' or short refrains.
+
+The simplicity in structure of the songs is still a feature of
+Jamaican music. I may be allowed to call attention to the repetition
+of single phrases in Song XVIII. and to the building up of simple
+phrases in Songs LXXVII. and LXXIX.
+
+I had hoped that some light might be thrown on the antiquity of
+certain songs by the presence of nonsense words; but in this I was
+disappointed.
+
+I quite agree with Miss Broadwood (see next page) that the majority of
+the songs are of European origin. The negroes have learnt them from
+hearing sailors' chanties or they have adopted hymn tunes.
+
+But adoption always involves adaptation. A song is modified to suit
+the current canons of taste. In Song L. I observe 'Home, Sweet Home'
+and (in the latter half) a hymn tune which I frequently heard in the
+Torres Straits. Song CXXXIX. is doubtless 'The British Grenadiers.'
+But it, again, has not been adopted without modification.
+
+Needless to say, a detailed study of these modifications would throw
+light on the characteristics of modern Jamaican music.
+
+In Song XXXI. a typical non-European modification is the insertion of
+an extra (the fifth) bar, so that the phrase consists of nine bars.
+The five time in Song XI., the change of accent at the close of Song
+XXIV. and in Song XLI., are no doubt the expression of African delight
+in the complexities of rhythm.
+
+In the already-quoted 'Koromanti song,' we may observe the curious
+temporary change of rhythm in the second air, and the characteristic
+measure which prevails throughout the third air with its syncopation
+and almost baffling changes. Such features are precisely what we
+should expect to meet with among a primitive people who more than two
+centuries ago doubtless possessed in a still higher degree that
+delight in complication of rhythm which according to Mr. Jekyll (p.
+6) persists among their descendants of to-day. For a more detailed
+study of this aspect of the subject I may perhaps refer enquirers to
+my "Study of Rhythm in Primitive People" (_British Journal of
+Psychology_, vol. i. pp. 397-406).
+
+The present taste and preferences of the Jamaican negroes may perhaps
+be gauged by the similarities and differences in the first bars of
+Songs LXIII., LXIV., and LXXVIII., by the similarity of Songs I. and
+VIII., XV. and XXVII., and of the bobbins in LIV. and LXVIII.
+
+But it is not my intention to make a detailed analysis of the songs of
+the present volume. My object has been rather to emphasize our present
+ignorance of African music, and to indicate the lines along which a
+more intimate acquaintance with African and Jamaican songs may be
+expected to lead to conclusions as to their relation to one another.
+
+C.S. MYERS.
+
+
+_B._ ENGLISH AIRS AND MOTIFS IN JAMAICA.
+
+By far the greater part of these Jamaican tunes and song-words seem to
+be reminiscences, or imitations, of European sailors' "chanties" of
+the modern class; or of trivial British nursery-jingles adapted, as
+all such jingles become adapted.
+
+Except in the cases specified below, I have not found one Jamaican
+tune which is _entirely_ like any one English or European tune that I
+happen to know. But unrecorded folk-tunes are essentially fluid, and
+pass through endless transformations. In all countries any one
+traditional ballad may be sung to dozens of distinct traditional
+tunes, each of these again having variants. It is therefore quite
+possible that versions of some of the older-sounding Jamaican airs are
+being sung unrecorded at this moment in the British Islands or
+elsewhere.
+
+I note below such instances of modal tunes as occur in this
+collection. I should perhaps explain that by "Modes" are meant those
+ancient scales (other than our major and minor scales) which amongst
+European composers fell into disuse at the beginning of the 17th
+century, but which survive still in the ancient Church Music
+(popularly called "Gregorian"), and in the Folk Music of most European
+countries, and notably that of the British Isles.
+
+III. =King Daniel=, p. 14.
+
+Cf. the old ballads "May Colvin" and "Young Hunting." In the latter
+the parrot reveals a murder. In both ballads the lady makes the same
+promises to the bird (see Child's _English and Scottish Popular
+Ballads_).
+
+VII. =The Three Sisters=, p. 26.
+
+Although the story of the monster outwitted by the maiden he tries to
+carry off is an almost world-wide _motif_, and is found in Africa
+among other countries, this particular version has evidently been in
+contact with European (English or Scottish) sources. This is shown not
+only by the fact that the suitor proves to be the Devil, but by the
+question and answer (misplaced by the story-teller):
+
+ "What is roguer than a womankind?"
+ "The Devil is roguer than a womankind."
+
+This riddle appears in three versions of the ballad of "The Three
+Sisters," otherwise "The Elfin Knight," or "Riddles wisely Expounded"
+(Child, _English and Scottish Popular Ballads_, vol. i. pp. 1-6), as:
+
+ "O what is greener than the grass?
+ Or what is worse than e'er woman was?"
+
+ "O poison's greener than the grass,
+ And the Devil's worse than e'er woman was...."
+
+ "As soon as she the fiend did name,
+ He flew away in a blazing flame,"
+
+says one version, but in the rest there is no disenchantment, and the
+youngest sister wins the visitor as her husband by her ready wit in
+replying, which Professor Child (_Additions and Corrections_, vol. v.
+p. 283), thinks a modernization of the original story. He quotes a
+manuscript version taken from a book of Henry VI.'s time, wherein the
+"Elfin Knight" is the foul fiend himself _undisguised_.
+
+For similar survivals of Riddle Songs and Tales see "There was a Lady
+in the West" and "Scarborough Fair" in _English County Songs_, and
+Kidson's _Traditional Tunes_, and "The Lover's Task" in _Songs of the
+West_, etc.
+
+The tune is evidently an old ballad air. It is in the Aeolian Mode.
+
+XVII. =Man Crow=, p. 54.
+
+The tune is the same as that sung in Worcestershire by children to "A
+finger and thumb keep moving."
+
+XVIII. =Saylan=, p. 59.
+
+This is a version of "The Maid freed from the Gallows," "The Golden
+Ball," or "The Prickly Bush." For the latter see _English County
+Songs_. Child gives very exhaustive notes on the story and its
+variants; also a tune, noted in North Carolina, "The Prickly Bush" has
+a tune quite unlike Child's, and the Jamaican air is quite distinct
+from both.
+
+XXI. =Tacoma and the Old Witch Girl=, p. 65.
+
+Cf. "The Keys of Heaven" in _English County Songs_, "Blue Muslin" in
+_Songs of the West_, and "Madam I will gi'e you," etc., in _Journal of
+the Folk-Song Society_, No. 7. All these airs are distinct from each
+other, and from the Jamaican tune.
+
+XXIX. =Parson Puss and Parson Dog=, p. 91.
+
+This tune is the first half of the old French air "Ah, vous dirai-je,
+Maman?" used so often by English children in their games. See note in
+Moffat and Kidson's _Children's Songs and Games of Long Ago_, p. 42.
+Other adaptations of the same tune are CXVI. (p. 215), CLXXVII. (p.
+264), and CLXXXIX. (p. 272).
+
+XXXI. =Pretty Poll=, p. 96.
+
+Cf. "King Daniel." This is again the story of "May Colvin" or "The
+Outlandish Knight." The tune "Come, pretty Poll" here given is rather
+reminiscent of one traditional air to the ballad sung still in
+different parts of England (where numerous tunes to the favourite
+story have been noted). See "The Outlandish Knight" in _Songs of
+Northern England_ (Stokoe and Reay) for the type of tune referred to,
+but plentiful variants from Hertfordshire, the West of England,
+Yorkshire, etc., exist in MS.
+
+XXXVI. =Leah and Tiger=, p. 108.
+
+The tune is in the Aeolian Mode.
+
+LXIII. =Oh, Samuel, oh=, p. 168.
+
+This tune is in the Mixolydian Mode.
+
+LXXXVIII. =War down a Monkland=, p. 187.
+
+The tune is in the Dorian Mode. By far the most interesting tune in
+this collection. It is a fine Dorian air, I should think an old
+traditional tune imported by English or Irish.
+
+There are slight modal influences in other tunes, viz.: "Bad homan
+oh," "Bell oh," "A Somerset me barn," "Whe me loon de," "Me da li,"
+and "Since Dora Logan a wahk with Gallawoss" (Nos. 56, 57, 85, 91,
+100, 122).
+
+CXI., p. 209.
+
+This tune is a variant of the well-known children's game-song, "Here
+come three Dukes a-riding."
+
+CXIX., p. 218.
+
+The tune is a variant of one commonly sung in the North of England and
+in various parts of Scotland, to a children's game, "Hullaballoo
+ballie," in which reference is made to lifting the right foot and the
+left foot.
+
+CXXVII., p. 225.
+
+This air is the first part of the tune of "O dem Golden Slippers," the
+negro revival song of some twenty years ago.
+
+CXXX., p. 227.
+
+This is a reminiscence of the Scotch dance-tune usually sung to the
+words "There's nae luck aboot the hoose."
+
+CLXXVIII., p. 264.
+
+This is a well-known old English dance-tune, known also in Scotland.
+
+CLXXXII., p. 267.
+
+The second part of this tune is merely a reminiscence of "We won't go
+home till morning."
+
+CLXXXVII., p. 271.
+
+This tune is the first part of a very commonplace modern Italian
+popular composition called "La Mandolinata," played on every
+conceivable instrument, and sung also, about the year 1876 and for
+some years afterwards.
+
+L.E. BROADWOOD.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Jamaican Song and Story, by Walter Jekyll
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