We have now seen how detached rhymed "calls" made our Negro Folk Rhymes. Next let us consider how and why whole little "poems" arose in a Play Song. One will notice in reading Negro Folk Rhymes that the larger number of them tell a little story or give some little comic description, or some little striking thought. Since all the Rhymes had to be memorized to insure their continued existence,
and since Memory works largely through Association; one readily sees that the putting of the Rhymes into a story, descriptive, or striking thought form, was the only thing that could cause their being kept alive. It was only through their being composed thus that Association was able to assist Memory in recalling them. Those carrying another form carried their death warrant.
Now let us look a little more intimately into how the Rhymes were probably composed. In collecting them, I often had the same Rhyme given to me over and over again by different individuals. Most of the Rhymes were given by different individuals in fragmentary form. In case of all the Rhymes thus received, there would always be a half stanza, or a whole stanza which all contributors' versions held in common. As examples: in "Promises of Freedom," all contributors gave the lines—
"My ole Mistiss promise me
W'en she died, she'd set me free."
In "She Hugged Me and Kissed Me," the second stanza was given by all. In "Old Man Know-All," the first two lines of the last stanza came from all who gave the Rhyme. The writer terms these parts of the individual Rhymes, seemingly known to all
who know the "poems," key verses. The very fact that the key verses, only, are known to all, seems to me to warrant the conclusion that these were probably the first verses made in each individual Rhyme. Now when an individual made such a key verse, one can easily see that various singers of "calls" using it would attempt to associate other verses of their own making with it in order to remember them all for their long "singing Bees." The story, the description, and the striking thought furnished convenient vehicles for this association of verses, so as to make them easy to keep in memory. This is why the verses of many singers of "Calls" finally became blended into little poem-like Rhymes.
I have pointed out "call" and "sponse," in Rhymes, and have shown how, through them, in song, the form of the Negro Rhyme came into existence. But many of the Pastime Rhymes apparently had no connection with the Play or the Dance. I must now endeavor to account for such Rhymes as these.
In order to do this, I must enter upon the task of trying to show how "call" and "sponse" originated.
The origin of "call" and "sponse" is plainly written on the faces of the rhymes of the Social Instinct type. Read once again the following rhyme recorded
in our collection under the caption of "Antebellum Courtship Inquiry"—