(He)—"Is you a flyin' lark, or a settin' dove?"
(She)—"I'se a flyin' lark, my Honey Love."
(He)—"Is you a bird o' one fedder, or a bird o' two?"
(She)—"I'se a bird o' one fedder, w'en it comes to you."
(He)—"Den Mam:
"I has desire an' quick temptation
To jine my fence to yō' plantation."
This is primitive courtship; direct, quick, conclusive. It is the crude call of one heart, and the crude response of another heart. The two answering and blending into one, in the primitive days, made a rhymed couplet—one. It is "call" and "sponse," born to vibrate in complementary unison with two hearts that beat as one. "Did all Negroes carry on courtship in this manner in olden days?" No, not by any means. Only the more primitive by custom, and otherwise used such forms of courtship. The more intelligent of those who came out of slavery had made the white man's customs their own, and laughed at such crudities, quite as much as we of the present day. The writer thinks his ability to
recall from childhood days a clear remembrance of many of these crude things is due to the fact that he belonged to a Negro family that laughed much, early and late, at such things. But the simple forms of "call" and "sponse" were used much in courtship by the more primitive. This points out something of the general origin of "call" and "sponse" in Social Instinct Rhymes, but does not account for their origin in other types of Rhymes. I now turn attention to those.
About eighteen years ago I was making a Sociological investigation for Tuskegee Institute, which carried me into a remote rural district in the Black Belt of Alabama. In the afternoon, when the Negro laborers were going home from the fields and occasionally during the day, these laborers on one plantation would utter loud musical "calls" and the "calls" would be answered by musical responses from the laborers on other plantations. These calls and responses had no peculiar significance. They were only for whatever pleasure these Negroes found in the cries and apparently might be placed in a parallel column alongside of the call of a song bird in the woods being answered by another. Dr. William H. Sheppard, many years a missionary in Congo, Africa, upon inquiry, tells me that similar
calls and responses obtain there, though not so musical. He also tells me that the calls have a meaning there. There are calls and responses for those lost in the forest, for fire, for the approach of enemies, etc. These Alabama Negro calls, however, had no meaning, and yet the calls and responses so fitted into each other as to make a little complete tune.
Now, I had heard "field" calls all during my early childhood in Tennessee, and these also were answered by men in adjoining fields. But the Tennessee calls and responses which I remembered had no kinship which would combine them into a kind of little completed song as was the case with the Alabama calls and responses.
Again, in Tennessee when a musical call was uttered by the laborers in one field, those in the other fields around would often use identically the same call as a response. The Alabama calls and responses were short, while those of Tennessee were long.
I am listing an Alabama "call" and "response." I regret that I cannot recall more of them. I am also recording three Tennessee calls or responses (for they may be called either). Then I am recording a fourth one from Tennessee, not exactly a call, but partly call and partly song. The reason for
this will appear later. By a study of these I think we can pretty reasonably make a final interesting deduction as to the general origin of "call" and "sponse" in the form of the types of Rhyme not already discussed.
In the Alabama Field Call and response one cannot help seeing a counterpart in music of the "call" and "sponse" in the words of the types of Rhymes already discussed.