Uncle Remus: His Songs and Sayings | Page 4

on land, and I will run ten mile on de water!'
"So B'er Cooter went an' git nine er his fam'ly, an' put one at ebery mile-pos', and he hisse'f, what was to run wid B'er Deer, he was right in front of de young lady's do', in de broom-grass.
"Dat mornin' at nine o'clock, B'er Deer he did met B'er Cooter at de fus mile-pos', wey dey was to start fum. So he call: 'Well, B'er Cooter, is you ready? Co long!' As he git on to de nex' mile-pos', he say: 'B'er Cooter!' B'er Cooter say: 'Hullo!' B'er Deer say: 'You dere?' B'er Cooter say: 'Yes, B'er Deer, I dere too.'
"Nex' mile-pos' he jump, B'er Deer say: 'Hullo, B'er Cooter!' B'er Cooter say: 'Hullo, B'er Deer! you dere too?' B'er Deer say: 'Ki! it look like you gwine fer tie me; it look like we gwine fer de gal tie!'
"W'en he git to de nine-mile pos' he tought he git dere fus, 'cause he mek two jump; so he holler: 'B'er Cooter!' B'er Cooter answer: 'You dere too?' B'er Deer say: 'It look like you gwine tie me.' B'er Cooter say: 'Go long, B'er Deer. I git dere in due season time,' which he does, and wins de race."
The story of the Rabbit and the Fox, as told by the Southern negroes, is artistically dramatic in this: it progresses in an orderly way from a beginning to a well-defined conclusion, and is full of striking episodes that suggest the culmination. It seems to me to be to a certain extent allegorical, albeit such an interpretation may be unreasonable. At least it is a fable thoroughly characteristic of the negro; and it needs no scientific investigation to show why he selects as his hero the weakest and most harmless of all animals, and brings him out victorious in contests with the bear, the wolf, and the fox. It is not virtue that triumphs, but helplessness; it is not malice, but mischievousness. It would be presumptuous in me to offer an opinion as to the origin of these curious myth-stories; but, if ethnologists should discover that they did not originate with the African, the proof to that effect should be accompanied with a good deal of persuasive eloquence.
Curiously enough, I have found few negroes who will acknowledge to a stranger that they know anything of these legends; and yet to relate one of the stories is the surest road to their confidence and esteem. In this way, and in this way only, I have been enabled to collect and verify the folklore included in this volume. There is an anecdote about the Irishman and the rabbit which a number of negroes have told to me with great unction, and which is both funny and characteristic, though I will not undertake to say that it has its origin with the blacks. One day an Irishman who had heard people talking about "mares' nests" was going along the big road--it is always the big road in contradistinction to neighborhood paths and by-paths, called in the vernacular "nigh-cuts"--when he came to a pumpkin--patch. The Irishman had never seen any of this fruit before, and he at once concluded that he had discovered a veritable mare's nest. Making the most of his opportunity, he gathered one of the pumpkins in his arms and went on his way. A pumpkin is an exceedingly awkward thing to carry, and the Irishman had not gone far before he made a misstep, and stumbled. The pumpkin fell to the ground, rolled down the hill into a "brush--heap," and, striking against a stump, was broken. The story continues in the dialect: "W'en de punkin roll in de bresh--heap, out jump a rabbit; en soon's de I'shmuns see dat, he take atter de rabbit en holler: 'Kworp, colty! kworp, colty!' but de rabbit, he des flew." The point of this is obvious.
As to the songs, the reader is warned that it will be found difficult to make them conform to the ordinary rules of versification, nor is it intended that they should so conform. They are written, and are intended to be read, solely with reference to the regular and invariable recurrence of the caesura, as, for instance, the first stanza of the Revival Hymn:
"Oh, whar / shill we go / w'en de great / day comes Wid de blow / in' er de trumpits / en de bang / in' er de drums / How man / y po' sin / ners'll be kotch'd / out late En fine / no latch ter de gold / en gate /"
In other words, the songs depend for their melody and rhythm upon the musical quality of time, and not upon long or short, accented or unaccented syllables. I am persuaded that this fact