eliminated Rhymes or songs of the connecting link type. They did a good thorough job but the writer believes he sees two connecting links that escaped their sensitive ears and sharp eyes. They are Jubilee songs; one is "Keep inching along like a poor inch worm, Jesus will come by-and-by," the other is "Go chain the lion down before the Heaven doors close."
The reader will recall that I have already shown that the worm and the lion were connected with native African worship. Of course we all know quite well that a "Caddis worm" is not an "Inch worm," but for a man trying to turn from the old to the new, from idolatry to Christianity, a closer relation than this might not be very comfortable neutral ground.
The following Folk Rhymes found in our collection might also pass for connecting links: "Jawbone," "Outrunning the Devil," "How to Get to Glory Land," "The Ark," "Destinies of Good and Bad Children," "How to Keep or Kill the Devil," "Ration Day," and "When My Wife Dies." The superstitions of the Negro Rhymes are possibly only fossils left in one way or another by ancient native African worship.
In a few Rhymes the vice of stealing is either
laughed at, or apparently laughed at. Such Rhymes carry on their face a strictly American slave origin. An example is found in "Christmas Turkey." If one asks how I know its origin to be American, the answer is that the native African had no such thing as Christmas and turkeys are indigenous to America. In explanation of the origin of these "stealing" Rhymes I would say that it was never the Negro slave's viewpoint that his hard-earned productions righteously belonged to another. His whole viewpoint in all such cases, where he sang in this kind of verse, is well summed up in the last two lines of this little Rhyme itself:
"I tuck mysef to my tucky roos',
An' I brung my tucky home."
To the Negro it was his turkey. This was the Negro slave view and accounts for the origin and evolution of such verse. We leave to others a fair discussion of the ethics and a righteous conclusion; only asking them in fairness to conduct the discussion in the light of slave conditions and slave surroundings.
In a few of the Folk Rhymes one stanza will be found to be longer than any of the others. Now as to the origin of this, in the case of those sung whose tunes I happen to know, the long stanza was used
as a kind of chorus, while the other stanzas were used as song "verses." I therefore think this is probably true in all cases. The reader will note that the long stanza is written first in many cases. This is because the Negro habitually begins his song with the Chorus, which is just the opposite to the custom of the Caucasian who begins his ordinary songs with the verse. This appears then to be the possible genesis of stanzas of unequal length.
I have written this little treatise on the use, origin, and evolution of the Negro Rhyme with much hesitation. I finally decided to do it only because I thought a truthful statement of fact concerning Negro Folk Rhymes might prove a help to those who are expert investigators in the field of literature and who are in search of the origin of all Folk literature and finally of all literature. The Negro being the last to come to the bright light of civilization has given or probably will give the last crop of Folk Rhymes. Human processes being largely the same, I hope that my little personal knowledge of the Negro Rhymes may help others in the other larger literary fields.