It holds good in the animal and plant worlds. Looking at the ancestors of the horse in geological history we find that the first kind of horse to appear upon the earth was the Œohippus. He had
four toes on the hind foot and three on the front one. Through a long period of development, the present day one-toed horse descended from this many-toed primitive horse. There is certainty of the line of descent of the horse because all the connecting links have been discovered in fossil form, between the primitive horse and the present day horse. Plants in like manner show all kinds of connecting links.
The law holds sway in the world of language; and that is the world with which we are concerned here. The state of Louisiana once belonged to the French; now it belongs to an English-speaking people. If one goes among the Creoles in Louisiana he will find a very few who speak almost Parisian French and very poor English. Then he will find a very large number who speak a pure English and a very poor French. Between these classes he will find those speaking all grades of French and English. These last mentioned are the connecting links, and the connecting links bespeak a line of evolution where those of French descent are gradually passing over to a class which will finally speak the English language exclusively.
Now let us turn our attention again directly to the discussion of the evolution of Negro Folk
Rhymes. One can judge whether or not he has discovered the correct line of descent of the Rhymes by seeing whether or not he has all the connecting links requisite to the line of evolution. I think it must be agreed that I have given every type of connecting link between common Field "calls" and "sponses," and incipient crude Negro Rhymes. They set the mold for the other general Negro Rhymes not hitherto discussed.
If the reader will be kind enough to apply the test of connecting links to the Play and other Rhymes already discussed, he will find that the reactions will indicate that we have traced their correct lines of origin and descent.
The spirit of "call" and "sponse" hovers ghost-like over the very thought of many Negro Rhymes. In "Jaybird," the first two lines of each stanza are a call in thought, while the last two lines are a "sponse" in thought to it. The same is true of "He Is My Horse," "Stand Back, Black Man," "Bob-White's Song," "Promises of Freedom," "The Town and the Country Bird," and many others.
Then "call" and "sponse" looms up in the midst in thought between stanza and stanza in many Rhymes. Good examples are found in "The Great Owl's Song," "Sheep and Goat," "The Snail's Reply,"
"Let's Marry—Courtship," "Shoo! Shoo!" "When I Go to Marry," and many others.
"Call" and "sponse" even runs, at least in one case, between whole Rhymes. "I Wouldn't Marry a Black Girl" as a "call" has for its "sponse": "I Wouldn't Marry a Yellow or a White Negro Girl." The Rhyme "I'd Rather Be a Negro Than a Poor White Man" is a "sponse" to an imaginary "call" that the Negro is inferior by nature.