In "Frog Went a-Courting" we see the Supplement "uh-huh! uh-huh!" It is placed in the midst to keep vividly before the mind of the listener the ardent singing of the frog in Spring during his courtship season, while we hear a recounting of his adventures. It is to this Simple Rhyme what stage scenery is to the Shakespearian play or the Wagnerian opera. It seems to me (however crude his verse) that the Negro has here suggested something new to the field of poetry. He suggests that, while one recounts a story or what not, he could to advantage use words at the same time having no bearing on the story to depict the surroundings or settings of the production. The gifted Negro poet, Paul Laurence Dunbar, has used the supplement in this way in one of his poems. The poem is called "A Negro Love Song." The little sentence, "Jump back, Honey, jump back," is thrown in, in the midst and at the end of each stanza. Explaining it, the following is written by a friend, at the heading of this poem:
"During the World's Fair he (Mr. Dunbar) served for a short time as a hotel waiter. When the Negroes were not busy they had a custom of congregating and talking about their sweethearts. Then a man with a tray would come along and, as the
dining-room was frequently crowded, he would say when in need of passing room, 'Jump back, Honey, jump back.' Out of the commonplace confidences, he wove the musical little composition—'A Negro Love Song.'"
Now, this line, "Jump back, Honey, jump back," was used by Mr. Dunbar to recall and picture before the mind the scurrying hotel waiter as he bragged to his fellows of his sweetheart and told his tales of adventure. It is the "stage scenery" method used by the slave Negro verse maker. Mr. Dunbar uses this style also in "A Lullaby," "Discovered," "Lil' Gal" and "A Plea." Whether he used it knowingly in all cases, or whether he instinctively sang in the measured strains of his benighted ancestors, I do not know.
The Supplement was used in another way in Negro Folk Dance Rhymes. I have already explained how the Rhymes were used in a general way in the Dance. Let us glance at the Dance Rhyme "Juba" with its Supplement, "Juba! Juba!" to illustrate this special use of the Supplement. "Juba" itself was a kind of dance step. Now let us imagine two dancers in a circle of men to be dancing while the following lines are being patted and repeated:
"Juba Circle, raise de latch,
Juba dance dat Long Dog Scratch, Juba! Juba!"
While this was being patted and repeated, the dancers within the circle described a circle with raised foot and ended doing a dance step called "Dog Scratch." Then when the Supplement "Juba! Juba!" was said the whole circle of men joined in the dance step "Juba" for a few moments. Then the next stanza would be repeated and patted with the same general order of procedure.
The Supplement, then, in the Dance Rhyme was used as the signal for all to join in the dance for a while at intervals after they had witnessed the finished foot movements of their most skilled dancers.
The Supplement was used in a third way in Negro Rhymes. This is illustrated by the Rhyme, "Anchor Line" where the Supplement is "Dinah." This was a Play Song and was commonly used as such, but the Negro boy often sang such a song to his sweetheart, the Negro father to his child, etc. When such songs were sung on other occasions than the Play, the name of the person to whom it was being sung was often substituted for the name Dinah. Thus it would be sung