The student of folk-lore who will take into consideration the widely differing peculiarities and characteristics of the negroes and the Indians, will have no difficulty, after making due allowance for the apparent universality of all primitive folk-stories, in distinguishing between the myths or legends of the two races, though it sometimes happens, as in the case of the negro story of the Rabbit, the Wildcat, and the Turkeys, that the stories are built upon until they are made to fit the peculiarities of the race that borrows them. The Creek version of the Rabbit, Wildcat, and Turkey story is to the effect that the Wildcat pretended to be dead, and the Rabbit persuaded the Turkeys to go near him. When they are near enough, the Rabbit exclaims: "Jump up and catch a red-leg! jump up and catch a red-leg!" The Wildcat catches one, and proceeds to eat it, whereupon the Turkeys pursue the Rabbit, and peck and nip him until his tail comes off, and this is the reason the Rabbit has a short tail. The Creeks, as well as other tribes, were long in contact with the negroes, some of them were owners of slaves, and it is perhaps in this way that the animal stories of the two races became in a measure blended. The discussion of this subject cannot be pursued here, but it is an interesting one. It offers a wide field for both speculation and investigation.
The "Cutta Cord-la" story (p. 241) of Daddy Jack is in some respects unique. It was sent to the writer by Mrs. Martha B. Washington, of Charleston, South Carolina, and there seems to be no doubt that it originated in San Domingo or Martinique. The story of how Brother Rabbit drove all the other animals out of the new house they had built, by firing a cannon and pouring a tub of water down the stairway, has its variant in Demerara. Indeed, it was by means of this variant, sent by Mr. Wendell P. Garrison, of "The Nation" (New York), that the negro story was procured.
In the introduction to the first volume of Uncle Remus, a lame apology was made for inflicting a book of dialect upon the public. Perhaps a similar apology should be made here; but the discriminating reader does not need to be told that it would be impossible to separate these stories from the idiom in which they have been recited for generations. The dialect is a part of the legends themselves, and to present them in any other way would be to rob them of everything that gives them vitality. The dialect of Daddy Jack, which is that of the negroes on the Sea Islands and the rice plantations, though it may seem at first glance to be more difficult than that of Uncle Remus, is, in reality, simpler and more direct. It is the negro dialect in its most primitive state—the "Gullah" talk of some of the negroes on the Sea Islands, being merely a confused and untranslatable mixture of English and African words. In the introductory notes to "Slave Songs of the United States" may be found an exposition of Daddy Jack's dialect as complete as any that can be given here. A key to the dialect may be given very briefly. The vocabulary is not an extensive one—more depending upon the manner, the form of expression, and the inflection, than upon the words employed. It is thus an admirable vehicle for story-telling. It recognizes no gender, and scorns the use of the plural number except accidentally. "'E" stands for "he" "she" or "it," and "dem" may allude to one thing, or may include a thousand. The dialect is laconic and yet rambling, full of repetitions, and abounding in curious elisions, that give an unexpected quaintness to the simplest statements. A glance at the following vocabulary will enable the reader to understand Daddy Jack's dialect perfectly, though allowance must be made for inversions and elisions.
B'er, brother.
Beer, bear.
Bittle, victuals.
Bret, breath
Buckra, white man, overseer, boss
Churrah, churray, spill, splash
Da, the, that
Dey, there
Dey-dey, here, down there, right here
Enty, ain't he? an exclamation of astonishment or assent
Gwan, going
Leaf, leave
Lif, live
Lil, lil-a, or lilly, little
Lun, learn
Mek, make
Neat', or nead, underneath, beneath
Oona, you, all of you
Sem, same
Shum, see them, saw them
Tam, time
'Tan', stand
Tankee, thanks, thank you
Tark, or tahlk, talk
Teer, tear
Tek, take
T'ink, or t'ought, think, thought
T'row, throw
Titty, or titter, sissy, sister
Trute, truth
Turrer, or tarrah, the other
Tusty, thirsty
Urrer, other
Wey, where
Wun, when
Wut, what
Y'et or ut, earth
Yeddy, or yerry, heard, hear
Yent, ain't, is n't.
The trick of adding a vowel to sound words is not unpleasing to the ear. Thus: "I bin-a wait fer you; come-a ring-a dem bell. Wut mek-a (or mekky) you stay so?" "Yeddy," "yerry," and probably "churry" are the result of this—heard-a, yeard-a, yeddy; hear-a, year-a, yerry; chur-a, churray. When "eye" is written "y-eye," it is to be pronounced "yi." In such words as "back," "ax," a has the sound of ah. They are written "bahk," "ahx."
Professor J. A. Harrison of the Washington and Lee University, Lexington, Virginia, has recently written a paper on "The Creole Patois of Louisiana,"[21] which is full of interest to those interested in the study of dialects. In the course of his paper, Professor Harrison says: "Many philologists have noted the felicitous [Greek: aithiopizein] of Uncle Remus in the negro dialect of the South. The Creole lends itself no less felicitously to the récit and to the conte, as we may say on good authority. The fables of La Fontaine and Perrin, and the Gospel of St. John have, indeed, been translated into the dialect of San Domingo or Martinique; lately we have had a Greek plenipotentiary turning Dante into the idiom of New Hellas; what next? Any one who has seen the delightful 'Chansons Canadiennes' of M. Ernest Gagnon (Quebec, 1880) knows what pleasant things may spring from the naïve consciousness of the people. The Creole of Louisiana lends itself admirably to those petits poèmes, those simple little dramatic tales, compositions, improvisations, which, shunning the regions of abstraction and metaphysics, recount the experiences of a story-teller, put into striking and pregnant syllabuses the memorabilia of some simple life, or sum up in pointed monosyllables the humor of plantation anecdote." Professor Harrison alludes to interesting examples of the Creole negro dialect that occur in the works of Mr. George W. Cable, and in "L'Habitation Saint-Ybars," by Dr. Alfred Mercier, an accomplished physician and litterateur of New Orleans. In order to show the possibilities of the Creole negro dialect, the following Conte Nègre, after Dr. Mercier, is given. The story is quoted by Professor Harrison, and the literal interlinear version is inserted by him to give a clue to the meaning. The Miss Meadows of the Georgia negro, it will be perceived, becomes Mamzel Calinda, and the story is one with which the readers of the first volume of Uncle Remus are familiar. It is entitled "Mariage Mlle. Calinda."