CHAPTER VIII: THE WORK SONGS OF THE NEGRO
If the Negro singer in his religious zeal is appealing, the Negro laborer, singing while he works, working while he sings, physically forgetful of routine, is scarcely less characteristic of something indefinable in the Negro's spiritual make-up. The tendency of the
Negro to sing has been observed many times. With
the workman it is intensified, and while he may not
sing as much as of yore, he is still a great singer.
Whoever has seen, in the Spring-time, a score of Negro
laborers chopping cotton in the fields to a chant,
making rhythm, motion and clink of hoe harmonize;
whoever has heard, in the autumn, a company of
cotton pickers singing the morning challenge to the
day and uniting in song and chorus at the setting of
the sun and weighing time, will not soon forget the
scene. The Negroes still work and sing; they sing
while going to and coming from the fields, while driving
teams and performing sundry tasks of the day. And
the plowman has been known to sing again and again
his song until his mule waited for the accustomed voice
before swinging into the steady walk for the day. In
town and country, in the city and at the camps, every
class of workers finds a song a good supplement to work.
The railroad and section gangs, the contractors,
"hands," the mining groups and convict camps all
echo with the sound of shovel and pick and song.
The more efficient the song leader is, the better work
The Work Songs of the Negro 247
will the company do; hence the singer is valued as a
good workman.
As motion and music with the Negro go hand in hand,
so the motion of work calls forth the song, while the
song, in turn, strengthens the movements of the
workers. The roustabout is willing to do almost any
kind of work of short duration; he is likely to sing
through his work. With song and jest these laborers
rush through great feats of labor and appear to enjoy
it. Sometimes the singers seem to set the ship in
motion by the rhythm of their work and song, — songs
of the moment, perhaps. From the woman at the
wash-tub to the leader of a group, from the child to the
older Negroes, song is a natural accompaniment of
work. The kind of song is often determined by the
nature of the work and the number of workmen. Songs
are improvised at will, under the influence of work.
The themes vary with the thoughts of the workmen or
with the suggestions of the occasion. In general,
however, work songs are not unlike the average Negro
song, and are taken at random from the experiences of
everyday life. The Negro sings his flowing con-
sciousness into expression. Like the other songs, the
work-songs give a keen insight into the Negro's real
self.
Obviously, there may be many classes of work
songs. In the first place, when the nature of the work
is such that no rhythmic movements have to be ex-
ecuted, the worker will sing any song that occurs to
him. Often it is a single phrase or verse, perhaps
suggested by the work, which he sings over and over.
Other songs qualify as work songs because their themes
are primarily work themes. Such songs are especially
248 The Negro and His Songs
interesting as portrayals of the relation of the worker
to his work, his fellow-laborers, and his employer.
Still others, because of their rhythmic qualities, are
more suited to work that requires regular or rhythmic
movement on the part of a worker or group of workers.
Strict classification is, of course, impossible, but the
songs will be presented in these three general groups.
The first six songs given below are not primarily work
songs, but they are especially suited to the moods of
the worker. As the Negro goes about his work, think-
ing of his money and of his "baby," it is no wonder
that the following song appeals to him.
BABY'S IN MEMPHIS
Baby's in Memphis layin' around.
Baby's in Memphis layin' around.
Baby's in Memphis layin' around.
Waitin' for de dollah I done found, I done found;
Waitin' for de dollah I done found.
And, very likely, his "baby" gets the dollar. The
Negro says that the woman's face is on the dollar
because she always gets it away from the man. Still
he maintains that there is a limit, and sings further:
I pawn my watch an' I pawn my chain.
Well, I pawn my watch an' I pawn my chain.
I pawn my watch an' I pawn my chain,
An' I pawn ev'ything but my gol' diamon' ring, gol'
diamon' ring;
An' I ain't goin' to pawn it, my baby, my baby!
JAY GOOZE
The Negro's fondness for the railroad has been
noted. "Ridin' de rods" is not only a heroic deed, but
The Work Songs of the Negro
an engaging pastime. The work of the railroad stands
out as one of the most prominent fields of labor for the
Negro. The following verses about Jay Gould are
favorites with Negro railroad workers.
Jay Gooze said-a befo' he died,
Two mo' roads he wanter ride.
Ef dere's nuthin' else, goin' ride de rods,
Goin' to leave all de coppers in de han's of God.
Jay Gooze said-a befo' he died,
"Fix de cars so de bums can't ride.
Ef dey ride, let 'em ride de rods
An' trust dey lives in de han's o' God."
SATISFIED
The origin of the following jingle is uncertain, but
it is admirably suited to the happy-go-lucky mood of
the laborer when he is pleased with himself and his
work.
Rich folks worries bout trouble,
Po' folks worry 'bout wealth.
I don't worry 'bout nuthin';
All I want's my health.
Six long months have passed
Since I have slept in bed.
I ain't eat a square meal o' vittles in three long weeks,
Money thinks I'm dead.
But I'm satisfied.
O yes! I'm satisfied.
Some one stole a chicken in our neighborhood,
They 'rested me on suspicion, it was understood.
They carried me 'fo' de jury — how guilty I did flee.
'Cause my name was signed at de head, de jury said
was me.
250 The Negro and His Songs
I THOUGHT I HAD A FRIEND
As a lonely worker plods along he sometimes be-
comes philosophical. The Negro often sings his
thoughts in a sort of monotone as he works. Perhaps
that is how this bit of song originated.
I thought I had a friend was true;
Done found out friends wont do.
It seems to me so awful shame,
You git confuse over such small thing.
it's movin' day
For some reason, "Movin' Day" appeals to the
Negro worker. Perhaps it is because the song has a
swing which fits into his movements, or it may be
that the theme is suited to his mood when he is work-
ing.
It breaks my heart to see my baby part,
And then be left behind,
An then be left alone, By-bye, my baby! By-bye!
Pack up my trunk, pack up my trunk an' steal away,
Pack up your trunk, pack up your trunk an' steal away,
Oh, it's me an' my darlin' goin' steal away from home.
It's movin' day, it's movin' day,
I'm natchel-bohn git away,
I spin ev'y cent — go camp in a tent,
Lord, it's movin' day!
Well, I jus' can't help from lovin' that baby o' mine,
I'm crazy 'bout that brown-skin baby o' mine.
I got no use for sleep, I ain't got no use for sleep,
I hate to feel it upon me creep;
When I am sleepy, I goes to bed;
When I am dead, be a long time dead.
The Work Songs of the Negro 251
workmen's jingles
There are many short songs which the workmen
employ. Sometimes they are stanzas from other
songs. It is here that full opportunity is given for
singing a great number of songs. Fragments of song
are easily recalled, and sung again to new circum-
stances or to the regular kind of work. Most of the
rhymes thus sung have their indecent counterpart,
and both versions are often sung. Some of the frag-
ments follow.
Sister Mary, Aunt Jane,
Whyn't you come along? Ain't it a shame?
Rabbit on de main line, Coon turn de switches,
Bull-frog jump from bank to bank.
Look out! You tear yo' britches!
If Johnnie was a tumble-bug an' John wus his brother,
Wouldn't they have a jolly time a-tumblin' together?
That's my brown-skin papa, better leave him alone,
Because I'll kill you befo' day in the morn.
You cause me to weep, you cause me to mourn,
You cause me to leave my happy home.
I lef my home one cold an' rainy day,
God knows if I ever git back again!
I loved the men befo' my man died,
Lord, I loved the men befo' my man died.
The day I lef my mother's house
Is the day I lef my home.
252 The Negro and His Songs
GRADE SONG
The "Grade Song" is one of the most typical of all
Negro songs. Here may be seen the humor and wit
of the Negro workman, and his relation to the "boss."
In this song he epitomizes the events of the camp and
of the day. It breathes the recklessness of the wanton
workman, and shows much of the trend of common
thought. It gives the attitude of the Negro and the
reply of the "captain" as they are conceived by the
workman. No better picture of the Negro workman
can be found than that which is reflected in the verses
that follow.
Well, I tole my captain my feet wus cold,
"Po' water on fire, let wheelers roll!"
Told my captain my han's wus cold.
"God damn yo' hands, let the wheelers roll!"
Well, captain, captain, you mus' be blin';
Look at yo' watch! See ain't it quittin' time?
Well, captain, captain, how can it be?
Whistles keep a-blowin', you keep a-workin' me.
Well, captain, captain, you mus' be blin';
Keep a-hollerin' at me, skinners damn nigh flyin'.
Well, I hear mighty rumblin' at water-trough;
Well, it mus' be my captain an' water boss.
Well, de captain an' walker raise Cain all day;
Well, captain take a stick, run walker away.
Wasn't dat ter'ble time — so dey all did say —
When cap'n take hick'ry stick an' run walker away?
The Work Songs of the Negro 253
Well, I hear might rumblin' up in de sky,
Mus' be my Lord go passin' by.
Well, dey makin' dem wheelers on de Western plan,
Dey mos' too heavy for light-weight man.
"Skinner, skinner, you know yo' rule,
Den go to de stable an' curry yo' mule.
"Well, curry yo' mule an' rub yo' hoss,
An' leave yo' trouble wid de stable boss."
Well, if I had my weight in lime,
I'd whip my captain till I went stone-blind.
Well, captain, captain, didn't you say
You wouldn't work me in rain all day?
Well, you can't do me like you do po' Shine,
You take Shine's money, but you can't take mine.
Well, de boats up de river an' dey won't come down,
Well, I believe, on my soul, dat dey's water-boun'.
Well, pay-day comes, and dey done paid off,
I got mo' money dan de walkin' boss.
Well, I got up on level, look as far's I can,
Nuthin' wus a-comin but a big captain.
Well, I went to my dinner at twelve o'clock,
I looked on table; "fohty-fo's" was out.
Get up in mornin' when ding-dong rings,
Look at table — see same damn things.
Oh, Captain Redman, he's mighty damn mean,
I think he come from New Orleans.
The Negro's attitude toward his "captain" is es-
254 The Negro and His Songs
pecially distinct. The song represents the kind of
conversation the Negroes have at the white man's
expense. What does it matter to the "boss" if hands
and feet are cold, or if the laborers must work in the
rain all day? "On with the work!" is the only reply
that the Negro claims is given him. More than any-
thing, the laborer is loath to work a single moment
over time. He waits for the minute and stops in the
midst of his work, if he be free to do so. If he is
restrained, his frown and restlessness show what he is
thinking about. Sometimes he works in silence, then
bursts out
You hurt my feelin's, but I won't let on —
then back to silence, resenting the fact that he is
worked beyond the time when whistles blow. It is
then that he thinks the captain is "mighty damn
mean." But the Negro also thinks his captain has
great powers, and often boasts of him to other workmen.
So in this case his captain gets the better of the fight
and runs the "walker" away; but, according to the
Negro's conception of things, it must have been a
great fight. However, the general tone of the song is
one of complaint. The Negro is complaining of his
victuals, and shows at the same time his humor. By
"forty-fours" he means peas. The combination of
scenes with the characteristic imagery makes an un-
usually typical song.
ain't it hard to be a nigger?
Another favorite of the workman, which reveals
something of the attitude of the Negro toward the
white man, but which the white man rarely has the
privilege of hearing, is as follows:
The Work Songs of the Negro
Ain't it hard, ain't it hard,
Ain't it hard, to be a nigger, nigger, nigger?
Ain't it hard, ain't it hard?
For you can't git yo' money when it's due.
Well, it make no difference,
How you make out yo' time;
White man sho bring a
Nigger out behin'.
Nigger an' white man
Playin' seven-up;
Nigger win de money —
Skeered to pick 'em up.
If a nigger git 'rested,
An' can't pay his fine,
They sho send him out
To the county gang.
A nigger went to a white man,
An' asked him for work;
White man told nigger;
Yes, git out o' yo' shirt.
Nigger got out o' his shirt
An' went to work;
When pay-day come,
White man say he ain't work 'nuf.
If you work all the week,
An' work all the time,
White man sho to bring
Nigger out behin'.
P1CK-AND-SHOVEL SONG
The "Pick-and-Shovel Song" that follows has many
features of the "Grade Song," and shows the repetition
256 The Negro and His Songs
of form and matter that is so common in all Negro
songs. "Holding his head," "going crazy," "killing him
dead," and "licker" are common themes.
Run here, mama! run here, mama!
Run here an' hold my head, O Lord!
Run here an' hold my head!
This ole hammer, this ole hammer,
Lord, it's 'bout to kill me dead, Lord!
Lord, it's 'bout to kill me dead.
I'm goin' crazy, I'm goin' crazy,
Well, corn whiskey gone an' kill me dead, Lord!
Corn whiskey gone an' kill me dead.
Lord, captain, Lord, captain!
1 don't know what to do, O Lord!
I don't know what to do.
O Lord, captain, Lord, captain!
Well, it's captain, didn't you say, Lord!
You wouldn't work me in the rain all day?
Honey baby, honey baby,
Honey, don't let the bar-room close, O Lord !
Honey, don't let the bar-room close!
Honey mine, honey mine,
If de licker's all gone, let me know, Lord!
If de licker's all gone, let me know.
My honey babe, my honey babe,
If you have any good things, save me some, O Lord!
If you have any good things, save me some.
IF YOU DON'T LIKE THE WAY I WORK
The theme of this song is exactly suited to the sulky
mood of a young Negro laborer.
The Work Songs of the Negro 257
} .
If you don't like the way I work, jus' pay me off.
I want to speak one luvin' word before I go:
I know you think I'm pow'ful easy, but I ain't so sof;
I can git another job an' be my boss.
For they ain't goin' to be no rine,
I'll talk bizness to you some other time,
Watermelon good an' sweet,
Seed's only thing I don't eat,
You can judge from that ain't goin' to be no rine.
LAWDY, LAWDY, LAWDy!
The reckless disposition of the railroad worker is
again reflected in the favorite song of the gang :
Me'n' my pahdner an' two 'r three mo'
Goin' raise hell 'round pay-cah do' — pay-cah do'.
Goin' ter raise hell 'round pay-cah do!
Lawdy, Lawdy, Lawdy!
It is an interesting spectacle to watch a score of Negro
laborers file into the pay-car to receive their pay. The
eager manner in which they wait, the peculiar ex-
pression on each man's face as he enters and returns,
the putting of the money into his pocket and the plans
for spending it, these are all reflected in the typical
scene. In the verse just given, the Negro is repre-
sented as being impatient, and threatens to do violence
to the paymaster; or he is boisterous with the knowl-
edge that he will soon have money, and "raise hell"
among his fellows while the crowd waits. Such a
scene is a common one, although most of the rowdyism
is fun.
A HINT TO THE WISE
The suggestiveness in the following stanza is re-
markable. The singer prides himself on being a "bad
258 The Negro and His Songs
man," and intends that "a hint to the wise" should be
understood as he tells of his former partner. The
"sprawlin' " man and the grave are suggestive of the
common experiences which may arise among the
workmen.
Don't you remember one mornin'
In June, about eight o'clock,
My pahdner fell sprawlin'?
Dey carried him to his grave —
I ain't goin' to say how he died.
WELL, SHE ASK ME IN DE PARLOR 1
While the theme of this song is that of the lover,
it is suited, in its technique, to pulling, striking, dig-
ging, or any work that calls for long and rhythmic
movements of the body. Each line has its regular
csesural pause, at which a stroke is finished and sig-
nified by the undertone of the palatal "whuk." The
scenes presented in the song are graphic in contrast to
the burning sun or the drizzling rain in which the
Negro works. The girl and the parlor, the invitation
inside, the cool fan, and the affections of the woman
for the lover, are vividly portrayed. The dramatic
touch in which the refusal brings forth the despair of
the "dark-eyed man" touches a characteristic chord;
but as usual, the Negro comes out victorious without
giving further details. Happily works the dusky
figure while he and his companion sing:
Well, she ask me — whuk — in de parlor — whuk,
An' she cooled me — whuk — wid her fan — whuk,
Compare "She Hugged Me and Kissed Me," p. 131, Talley, Negro Folk
Rhymes.
The Work Songs of the Negro 259
An' she whispered — whuk — to her mother — whuk,
"Mamma, I love that — whuk — dark-eyed man — whuk."
Well, I ask her — whuk — mother for her — whuk,
An' she said she — whuk — was too young — whuk.
Lord, I wish'd I — whuk — never had seen her, — whuk
An' I wish'd she — whuk — never been bohn — whuk.
Well, I led her — whuk — to the altar — whuk,
An' de preacher — whuk — give his comman' — whuk.
w . , w J w
An' she swore by — whuk — God that made her, — whuk
That she never — whuk — love 'nuther man — whuk.
The rhythm of the workers may easily be seen from
the metrical scheme of the lines. The csesural pause
is long enough for the laborer to begin a new stroke,
and may well be represented by the triseme. There
is much freedom in the use of syllables and words in
harmony with a single motion. The meter is a common
one for the work-song. Sometimes the expression is
varied from "whuk" to various kinds of grunts. Some-
times the sound in inarticulate, while again it is only a
breath.
THE DAY I LEF' MY HOME
!n the next song "huh" is pronounced with a nasal
twang, and has almost the sound of "huch." It
serves its purpose, and is no more than the expression
of the Negro's surplus breath. Here the labor per-
haps suggests the home and mother. A spider is seen.
And the Negro immediately puts it into his song,
260 The Negro and His Songs
then goes gack to his musings on the routine of his
daily work.
The day I lef — huh — my mother's hous' — huh
Was the day I lef — huh — my home — huh.
O bitin' spider, — huh — don't bite me — huh!
O bitin' spider, — huh — lawdy, don't bite me!
EARLY IN DE MORNIN'
The next song is that of the mining or railroad
camp laborer. Sometimes the pause in the lines is
one of silence, and the thought works out the rhythm.
Early in de mornin', — honey, I'm goin' rise,
Yes, early in de mornin', — honey, I'm goin' rise,
Goin' have pick an' shovel — right by my side.
Goin' take my pick an' shovel — goin' deep down in mine.
I'm goin' where de sun — don't never shine.
Well, I woke up this mornin' — couldn't keep from cryin',
For thinkin' about — that babe o' mine.
Well, I woke up this mornin', — grindin' on my mind.
Goin' to grind, honey, — if I go stone-blind.
UNDER THE RAIL
"Under the Rail" expresses the sentiment of the
worker, at the same time that it makes a rhythmical
work-song. "Lawdy, lawdy, lawdy!" sings the section-
hand.
Under the rail, under the tie,
Under the rail, under the tie,
Under the rail, under the tie,
Whar' yo' dollah lie,
Whar' yo' dollah lie, whar' yo' dollah lie.
The Work Songs of the Negro 261
HO-HO
Often the work song is little more than a collection
and combination of words and phrases for regular
rhythm. A single reference will likely constitute each
stanza. Dinner and quitting-time, coming and going
and the work of the moment, are the thoughts of the
following song. In this case the pause is toward the
end of the line, and of longer duration. It may be
filled with a word of exclamation, but ordinarily is
indicated by the closing of the lips only.
Ain't it dinner? — ho, ho!
Ain't it dinner? — tell me so!
Goin' to leave you! Let's go!
Won't you tell me? Why so!
If I leave you — ho, ho!
Please don't leave me! Why so?
Well, let's go! I'm right.
Well, let's go! I'm right.
Good-bye! I'm gone.
Good-bye! I'm gone.
To the bottom, — ho, ho!
To the bottom, — ho, ho!
BABY MINE
In the next song, instead of the usual two parts of
the line with successive repetitions, there are three, in
which the third part almost equals in time the full
length of the other two. The designations "baby,"
"woman," "gal," "girl," are but the ordinary names
used in songs and conversation.
262 The Negro and His Songs
If I had it — you could get it,
B-a-b-y m-i-n-e.
I ain't got it, — an' you can't git it.
Woman o' mine.
Lord, I'm goin' — away to leave,
Gal o' mine.
If you mus' go an' leave me, — don't go now,
My man.
Well, I goin' cross the water, — to my long happy home,
Poor girl!
I aint got no money, — but will have some,
Pay-day.
RAISE THE IRON
The foreman of the gang cries out,"Can't you line
'em a little bit?" The leader replies in the affirmative.
He then sets the standard, and they all pull together
for the desired work. The formula is a good one.
Brother Rabbit, Brother Bear,
Can't you line them just a hair?
Shake the iron, um-uh!
Down the railroad, um-uh!
Well, raise the iron, um-uh!
Raise the iron, um-uh!
Well, is you got it, um-uh!
Well, raise the iron, um-uh!
Raise the iron, um-uh!
Throw the iron, um-uh!
Throw the iron — throw it away!
The Work Songs of the Negro 263
The real work-song, and that from which many of
the Negro songs originally sprang, is the work-song
phrase. The formulas by which they "pull together"
are often simple expressions of word or phrase orig-
inated in communal work. The inventiveness of the
Negro working in concert with his fellows is unusually
marked. Consequently there is an unlimited number
of "heave-a-horas" in his song vocabulary. The
"yo-ho" theory may well be applied to the origin of
the work-song phrase. Each group of workmen has
its leader: the signals are given by him, and the leading
part is always sung by him. In the majority of the
work-phrase)s he is the sole singer. Sometimes he
resigns to another member of the group, or the several
members are designated as leaders in a particular
kind of work. A leader ordinarily has at his command
several score of appropriate phrases. Not infrequently
the act of the moment is put into sound and becomes
the work-song; again the natural sound arising from
the work may often become the rhythmic force.
GANG-SONGS
Before giving examples that are typical of the ex-
clamations of song in general, the prevalent method
of work may be illustrated by typical verses. The
rhythm may be obtained from the scansion. A leader
waits for the company to pull or push. He says,
"Is you ready?" After a slight pause, a second man
answers, "Ready!" and the leader continues,
Joe — pick 'em up — he — heavy, pick 'em up,
Joe — he — heavy, pick 'em up,
and so on until the work is finished. Again, he and
264 The Negro and His Songs
his companions are expected to pull a large weight on
the rope. They line up with hands holding, ready for
the pull. The leader then shouts, "Willie!" they pull
out on the first syllable and on the second syllable get
the new hold. The leader repeats "Willie" with the
same process. He then finishes the rhythm for the
hardest pull of the three with "Willie — bully — Willie,"
in which the double pull is given with one hold on the
first "Willie," the new hold on the "bully," and the
second pull on the last "Willie." The leader then
continues with as many of the periodic phrases as is
necessary, using various names to suit his fancy.
Willie! Willie! Willie— bully— Willie!
Mandy! Mandy! Mandy— bully— Mandy!
Janie! Janie! Janie — bully — Janie!
Haul it! haul it! haul it — bully — haul it!
Tear 'em up! tear 'em up! tear 'em up, — bully — tear
em up
Thus he sings "Susie," "Patty," "Lizzie," and other
names which come to mind. Again, a very similar
method, and one that may represent the general
habit of using the shorter phrases, is the following.
The work may be pulling, pushing, or lifting. The
first half of the line serves to give the signal and impetus
to the pull; the second is the return stroke.
Won't you pick 'em up — in heaven?
Won't you haul 'em — in heaven?
The Work Songs of the Negro 265
HEAVE-A-HORAS
The shorter phrases are used in exactly the same way.
They will be repeated more often. The tendency is
to use the longer expressions when they are more
suited to the task at hand, though long and short are
freely interchanged. The Negro easily makes a long
one out of several short ones. One line may illustrate
the time rhythm that is characteristic of them all. In
general, the long foot or syllable corresponds to a
high note, and the short foot to a lower one. While
they pull or work, the leader cries out "Come on,
menses!" And while the "menses" come, they work
as a machine. The leader repeats this as often as he
works, or until he likes another phrase better. As a
rule, the leader will use a single phrase an average of
ten or fifteen times before passing to another. The
examples that follow will indicate the free range which
they cover and the ease with which the Negro com-
poses them. It will be seen that there are no strict
essentials which must belong to the song: the fitting
words may be the invention of the moment. The
harmony of the group of the Negroes working on the
bridge, the house, the railroad, at the warehouse, or
in the mine, is typified by the union of the many simple
work-song phrases. They may be studied for them-
selves. Each line constitutes an entire work-song
phrase, complete in itself.
Hey — slip- 2 — slide him — a — slip — slide him.
Ev'ybody bow down an' put yo' han's to it.
Come an' go wid me — come an' go wid me.
Heavy — heavy— heavy — heavy — hank — back.
All right — all right.
Draw — back-a — draw — back.
266 The Negro and His Songs
Tear 'em up-a — tear 'em up.
Come hard agin it so.
Break it, boys, break it.
Hike, hike, hike — back.
Come on here.
What's a matter — fagged out?
What's a matter' — white-eyed?
What's a matter — monkey got you ?
Haul it — haul it back.
Here — yeah — here, you.
Turn — turn it — turn her on.
Let's turn 'em over.
Turn it one mo' time.
How about it?
Knock down on it.
Up high wid it, men.
Get up — get it up — any way to git it up.
Yonder she go.
Put yo' nugs on it.
Lay yo' hands on it.
Put 'im up on it.
Get up, Mary,
Hello— hello— hello!
Yang 'em — Yang 'em.
Hy, Captain, too heavy here.
Hold it, boys, till I come.
Now, let's go, bullies.
Hold— hold— hold.
Once — more — boys .
Little — lower — down.
'Way — up — 'way — up.
Go ahead — go ahead.
H-e-y — h-e-y — h-e-y.
Draw — back — on it.
Do — fare — you — well.
Here — you — tight — white — eye.
Jump — up — jump — now.
Get — up — dere — last — down.
Ev'y — quack — d-o-w-n.
The Work Songs of the Negro 267
Bow — down — back — up — back — off.
Whack — man — a-1-1.
P-r-i-z-e — em.
Hit — 'em — hit — 'em — high.
Whoa — Reuben.
Whoa — head — pull 'em — a — little — over — there.
Git back on de right side now.
Drive — d r i ve — d r i ve .
Pull 'em over jus' a hair.
Jack 'em up, men.
Many of these exclamations in time become con-
nected, and make more distinct songs. The songs
that are given in couplets are of this type. Each
couplet represents, as a rule, four parts, each line two
divisions, each division a single phrase like those just
given. The process is a natural one. The technique
is often not as clearly noticeable as in the following
railroad phrase:
Ole aunt Dinah — has a garden —
On one side — is sweet pertaters —
On other side — good ripe termaters,
H-o-l-d— h-o-l-d!
A single glance, however, shows that each line is
naturally divided into two periods, each of which
makes an effective work-phrase. So in the following:
H-i-g-h-t, red bird flyin' 'round here,
Monkey sho gwine git somebody;
See 'im wid his tail turned up.
H-o-l-d— h-o-l-d!
I broke down on de beam so long,
Till I done lost de use o' my right arm.
Come on menses, let's pick up the iron,
Ain't it heavy all de time?
268 The Negro and His Songs
Up to my lips, down let her slips,
Where many quarts an' gallons go.
In the same way each particular kind of work may
suggest a special form of the phrase or verse. The
Negroes loading the vessels, as they rush past each
other with the freight and jeer at each other, sing,
"Git out of de way dere!" "Git 'cross de way!" "Git
to yo' place!" "Talk to me-e!" "Oh, yes! time ain't
long!" "0-o-h cross over, young man!" "O-o me-
babe!" and other exclamations differing only slightly
from the common laborer's phrases. The Negro
specializes his songs whenever he desires. Their
flexibility and his imagery and taste are not discordant.
With the Negro, then, song helps work and work
helps song. Whether he sings to unburden his soul
of feelings which threaten to overwhelm him, whether
he sings to keep his mind off his work, or whether he
sings to "help him with his work," his creations are
evidence enough that he is a real artist.