GILBERT D. SCHNEIDER
Daniel Emmett's
Negro Sermons and Hymns:
An Inventory
Daniel Decatur Emmett, author of the
immortal "Dixie," was born in
Mt. Vernon, Ohio on October 29, 1815,
the oldest child of Abraham and
Sarah Emmett. During the 1840s and
1850s he became a major figure in
the development of Negro minstrelsy.
His natural abilities as singer,
fiddler, banjoist, and black-face
comedian found favor with audiences
across the United States and overseas.
Emmett, if alive today, would be part
of the mass-media mainstream
of the "pop" culture
movement. His earthy humor, found in stump
speeches and plays; his personalized
country lyrics, prevalent in hymns,
songs, round-abouts; his
unsophisticated and unpolished dance routines
enjoyed by all social classes of his
day, would all delight the contempor-
ary "man in the street."
Few details of his early years can can
be documented. He learned the
trade of a printer and probably worked
for short periods on two Ohio
newspapers, the Huron Reflector of
Norwalk and The Western Aurora
of Mt. Vernon. On May 2, 1834, in
Cincinnati, Dan Emmett, claiming to
be a printer and twenty-one years of
age, although only nineteen, joined
the army. When the discrepancy was
discovered he was officially re-
leased on July 8, 1835. During his
fifteen-month stint in the army, he
took advantage of the excellent drum
training provided by John "Juba"
Clark, and at the time of his release
he was the leading fifer with the Sixth
United States Infantry, stationed at
Jefferson Barracks, Missouri.
During the late '30s and early '40s,
Emmett performed with several
travelling circus groups, notably The
Cincinnati Circus Company,
Raymond and Waring's Circus, and
Spalding's North American Circus.
It was during this period that he began
to experiment with black-face
routines. A personal note on one of the
song sheets in the Archives-
Library Division of The Ohio Historical
Society records the fact that
"Bill Crowder" was the first
Negro song he wrote. The song was written
for Frank Whitaker, equestrian and
negro singer, about 1838 or 1839.
In the fall of 1842 Emmett was in New
York City, at the Franklin
Dr. Schneider is Associate Professor of
Linguistics at Ohio University.
68 OHIO HISTORY |
|
Theatre on Chatham Square, working with Francis Marion Brower, a black-face dancer. By the early months of the following year, however, Emmett and Brower had joined with two other stars of the minstrel persuasion in the creation of a new, all-American comedy form. The black-face minstrel as developed by Emmett, Brower, William M. Whit- lock, and Richard Ward Pelham, introduced a new chapter into the history of the popular theater in the United States. Each member of the pioneer minstrel ensemble contributed to the performance by complimenting the particular talents of the other mem- bers in the team. Bill Whitlock could sing and dance, but he achieved his greatest fame through his mastery of the banjo. Beforejoining the group, he had for several seasons been associated with P. T. Barnum of circus fame. Dick Pelham was a dancer of first rank. He had often performed in New York with his brother, Gilbert, in "Negro Peculiarities, Dances, and Extravaganzies." He played the tambourine, danced, and had a major role in the verbal dialogues. Frank Brower, advertised as the "perfect representation of the Southern characters," performed with the bones. Emmett, a superlative fiddler and banjoist, completed the foursome. |
Daniel Emmett 69
The first documented appearance of the
group took place at the
Bowery Amphitheatre, February 6, 1843,
and was billed in the New
York Herald as the "First Night of the novel, grotesque,
original, and
surprisingly melodius Ethiopian band,
entitled the Virginia Minstrels,
being an exclusively musical
entertainment combining the banjo, violin,
bone castanets, and tambourine, and
entirely exempt from the vul-
garities and other objectionable
features which have hitherto charac-
terized extravaganzas."
The Virginia Minstrels, probably more
than any other group, estab-
lished the routines and rituals of the
minstrel show-the swallow-tail
coat, striped calico shirt, pantaloon
costume, and comical hat. Other
dimensions of these performances
included songs interspersed with
rapid word-play, Negro monologues
parodying the preacher, politician,
scholar, and others, short comic
renditions, burlesques, and a great
variety of dances. The original Virginia
Minstrels quartet, after a short
season in New York, Boston, and
surrounding towns, gave several
performances in Liverpool, Manchester,
and London. The acclaim
which the four received, however, was
short-lived since they discon-
tinued their act on July 14, 1843, six
months after they began. Emmett
remained in England until September
1844, playing, singing, and danc-
ing for a variety of groups including
the June and Sand's American
Circus. During the spring of 1844,
Pelham, Brower, Emmett and a
banjoist of first rank, Joseph Sweeney,
revived the Virginia Minstrels
for a few months.
After returning from England, Emmett
broadened his career goals and
ambitions during the '40s and '50s.
Besides performing as solo musician
(fiddle, banjo, and drums) and in
ensemble, he increased his writing and
seriously pursued acting. During this
time he is credited with writing
Hard Times, a Negro Extravaganza, The Rappers, an Ethiopian
burlet-
ta, and German Farmer or The Barber
Shop in an Uproar, another
original Ethiopian burletta. His
reputation as a solo performer grew; his
original musical compositions were
eminently popular. He became a
regular in the New York amusement field,
booked at the entertainment
establishments of the day: Melodeon,
Bowery Theatre, White's New
Ethiopian Opera House, and White's
Theatre of Varieties.
In 1858, Emmett joined the Bryant's
Minstrels, a popular and enter-
prising troupe directed by three
brothers-Dan, Jerry, and Neil Bryant.
For nine uninterrupted years, 1857 to
1866, the Bryants group per-
formed at Mechanics' Hall in New York
City. Dan Emmett joined the
Bryants in late 1858 and stayed until
July 1866, with only a few months in
Chicago during the Civil War.
Two important things influenced Emmett
during his long stay with the
Bryant's Minstrels. He was challenged
and encouraged to compose the
70 OHIO HISTORY
walk-arounds for the troupe, and he
became increasingly more in-
terested in Negro dialect and
impersonation. Dan and Jerry Bryant's
abilities in reviving the old and
original portrayal of plantation life and
language were impressive and considered
superior.
The walk-arounds of minstrel tradition
took on a great variety of
forms and faces. As developed by the
Bryants, with music and lyrics by
Emmett, it was an ensemble act with
instrumental tunes, songs, and
dances, performed alone or in groups.
Their popular walk-around fea-
tured solo-ensemble alternation with
much repetition of melody and
text. Much of their success came from
their attempts to offer musical
and choreographic renditions of a Negro
flavor, trying to include
genuine plantation details and authentic
behavioral dance movements.
In 1888, after some twenty years in the
Chicago area working as a
minstrel performer, leader of orchestra,
part-owner and manager of a
saloon, Emmett retired to Mt. Vernon.
The Chicago years, however,
were marred by tragedy, for here he lost
his personal belongings in the
great fire of 1871 and his first wife,
Katherine, died in 1875.
Dan Emmett's last "farewell
tour" premiered in Newark, Ohio, Au-
gust 21, 1895. It was initiated by the
great Columbus showman Al G.
Field when Emmett was eighty years old.
The company toured the
southern states during late 1895 and
early 1896. "Uncle Dan" sang and
fiddled "Dixie." His
performances were nostalgia personified, and the
applause was reported as thunderous; the
tears flowed freely.
During his long career, Emmett wrote
many songs and composed
hundreds of tunes and short texts.
"Old Dan Tucker" was his first hit
and can still be heard in Ohio at square
dances. Other songs worth
mentioning include "Jordan Is a
Hard Road to Travel," "Jimmie Crack
Corn," "The Boatman's
Dance," "Dandy Jim from Caroline," "Root,
Hog or Die," "Turkey in de
Straw," "Tuckey-Hoe," "Jonny
Roach," "Billie
Patterson," and "Loozyanna Low Grounds."
The song, however, which places Dan
Emmett among the composers
who will be long remembered is his Civil
War classic "Dixie Land."
Bing Crosby, playing the role of Emmett,
immortalized the composer in
the movie version of Dixie in
1943. The song was not written as a war
song, but as a walk-around and performed
by the Bryant's Minstrels
during 1859. Despite the fact that its
author was an Ohioan and that the
song was first performed in New York,
"Dixie" became the South's
own during the crisis of the 1860s. This
identification of his song with the
southern cause during the war subjected
Emmett to considerable abuse
and criticism on the part of the northern
press.
Daniel Emmett died in Mt. Vernon, the
city of his birth, on June 28,
1904. The great minstrel rests under a
modest red granite memorial in the
Mount View Cemetery, Mt. Vernon, bearing
an inscription which reads:
Daniel Emmett
71
EMMETT
Daniel Decature Emmett 1815-1904
Whose song "Dixie Land"
inspired the courage and devotion of
the Southern people and now thrills
the hearts of a reunited nation.1
The Daniel D. Emmett Papers
In the holdings of the Archives-Library
Division of The Ohio Histori-
cal Society are five linear feet of
manuscripts entitled the Daniel D.
Emmett Papers. The major part of this
collection focuses on the several
hundred music scores written by Emmett
during the heyday of
minstrelsy from 1840 to 1880. These
scores have been processed several
different times by musicians and
musicologists since Emmett's death in
1904 and the papers became the property
of the State of Ohio. The Negro
dialect materials-hymns, sermons, and
miscellaneous items-also in-
cluded in the papers have never been
inventoried. It is the intention of
this writer to propose, for the first
time, a coding system for the forty
dialect sermons and fifty-seven hymns
extant in the Emmett Papers.
The miscellaneous items will not be
considered in the coding system
proposed in this presentation.
The sermons-also referred to as Nigger
Sermons and Nigga
Sarmons-are all hand-written. They are
recorded, with a variety of
lead pencils, on a great assortment of
paper materials: brown wrapping,
lined notebook pieces, unlined white
scraps, thin paste-board boxing.
Several sermons are recorded on the
clean side of broadsides and
advertising items. The majority of
sermons, however, are written in
small, home-made booklets that resemble
the dime song books
(songsters or melodists) prevalent
during minstrel show days.
These Negro Sermons are good examples of
the the monologues or
"stump speeches" which
followed the first part of a minstrel show.
Usually comic renditions, they were the
initial number in the second
part of the show which was called the
"olio," meaning a medley of
performances. The performances were
considered the high point of the
show, and the troupe's best black-face
comedian was usually assigned
1. For further information on Emmett's
life and career, see the following sources:
Charles Burleigh Galbreath, Daniel
Decatur Emmett, Author of "Dixie" (Columbus,
1904);Idem, "Song Writers of Ohio," OhioArchaeologicaland
Historical Quarterly, XIII
(1904), 504-550; Raymond Iden, The
Origin of Negro Minstrelsy and the Birth of Emmett's
Dixie's Land (Mt. Vernon, 1938); Robert Huhn Jones, "Uncle Dan
Emmett's Dixie,' "
Illinois State Historical Society Journal,
LVI (Summer 1963), 364-71; Hans Nathan,Dan
Emmett and the Rise of Early Negro
Minstrelsy (Norman, 1962); H. Ogden
Wintermute,
Daniel Decatur Emmett (Mount Vernon, 1953); and Carl Frederick Wittke, Tambo
and
Bones, A History of the American
Minstrel State (New York, 1968).
72 OHIO HISTORY
the spot. Sometimes several such
presentations were given-sermon,
political speech, address on
contemporary issues, parodies of the Ne-
gro, Jew, Irish, German, country
hillbilly type.
The sermons and hymns were meant to be
used together. They are
both directed and addressed to the
"Mefodis Chuch" at Brimstone
Corner. A "Babtis
Congregashum," competing for lost souls, is close
by or across the street. The content of
both sermons and hymns can be
classified as revivalist, focusing on
the consequences of "sins of the
flesh." The old common Negro
stereotypes abound: razor-blade,
watermelon, liquor bottle, fowl-chicken,
turkey, duck and goose-
coon, possum, rabbit, big feet, flat
nose, heavy lips, sticky fingers, lying
tongue, china eyes, gambling tickets,
and many others.
The time has come for a re-assessment of
Daniel Emmett's contribu-
tion to the history and development of
Negro minstrelsy. The preserva-
tion of his personal papers is fortunate
in that it still allows researchers
an opportunity to study the subject
areas neglected in the past. Scholarly
interest and publication of the popular
"folk" culture source materials
prevalent in the Emmett Papers and
revealed by this inventory will
enhance the chance of "Uncle
Dan" being remembered for more than
his song "Dixie."
The remainder of this article will be
divided into three sections. First,
examples will be given of Emmett's
writings. Next a short list of Negro
expressions and idioms is provided which
appear in Emmett's sermons.
Finally, the coding system for both
hymns and sermons is presented.
Examples of A Hymn and Sermon
A NEGRO HYMN
1. De time kum soon, we'se got to die,2
an lay our head so low,
An if de saibyah kotch yoa soul,
de debble got no show.
CHORUS Den rock me brudder, rock me,
rock me fass asleep,
De Saibyah sez: "Kum heah my lamb,
kum heah my wooly sheep."
2. Forty dollars, all in stamps,
an piled up on de plate,
Will make de preacher holler loud,
an keep de meetin late.
CHORUS
2. "De time kum soon ....,"
The Papers of Daniel D. Emmett, The Ohio Historical
Society. Under the proposed coding
system, this hymn is classified as H. DE. 21.
Daniel Emmett
73
3. When we was hardened sinnahs,
we used to cus an swah,
But den we got converted,
six weeks befoa de wah.
CHORUS
4. We sticks like blister plaster,
an libs on faith an hope,
We'se cut de debbles 'quaintens,
jis like a cake ob soap.
CHORUS
A NEGRO SERMON
Bredren in de lamb an sisten in de
church, when a preacherman rises up to
undress de congregashum, he am
conspected to stan right sqarr up an dressed,
and took he texjis soon as he finds it;
an heah am mine, yoa fine it by lookin arter
it, if you look long nuff in de right
place. I run till I got it; picked it up but couldn't
fine it; den froed it down an went away wid it.
Fustlie: I 'gins dis sarmon by commencin
as fur back as de firs part o' de tex,
which am 'titioned off, from de ress ob
it, an arter I git goin, jis watch de
applicashum. I run till I got it. If
dar am any body in dis house, dat don noe what
dat mean, why "shet pan", as
de sogerman say: an if dey duz noe what it means,
dan don whisper it all 'roun foa I get a
chance to tole it myseff. I run till I got it,
what a splenid desertion to go to bed
to; 'dars milliums in it!' 'Twill do to sleep
on: 'twill do to dream on, an will barr
siften clarr to de bottom. When you look at
'um from de 'five pints' ob de compuss;
you bear a little to de leeward, an den luff
right up agin 'um, an if yoa git
shipracked in de lustrification, den you skull
yoaseffashoa wid ajacknife. Den yoa see
de meanin ob de 'postle when he say:
de "archiloozikus winky-wamity, an
de reelderackerus weltigooberous am too
flamity bango, for de crackaboolity ob
its own watchafalarity."
I now got to de middle ob it: picked
it up but could'nt fine it. It offen happens,
in de coas ob ourjurny froo dis
"bale ob steers," dat de "up-hill" ob life, am
down hill all de way; when yoa's ridin a
high hoss, ebry body runin arter yoa, an
dar's whar yoa muchafagoolar
catabrassity am too fass for de sandysackerous,
den yoa "picks it up" an
"goes it alone," yoa pardner he sez nuffin tall, kaze he
flicted wid de gotnostampikus. Arter
'sidirable 'zaminin de ole auffors jis heah
what dey sez 'bout it: "de
cadarooserus loozhonity make yoa feel
techminoticus" moa so kaze, why?
eh! "de catebrasserus barkalingo fail to
spressnicate de saysoibus," an yoa
die in de poa house, den yoa is peyoutabus
and dars whar yoa could'nt fine it. Den
de debble put yoa in de fiah, an when he
froo wid yoa de doctorman bile yoa up
for soap-grease, den he string yoa bones
wid wire so yoa can dance good, an arter
dat hang yoa behine de doah to make de
white foax sick when dey stay to long ....3
3. "Brethren in de lamb .. .,"
Emmett Papers. The sermon this excerpt was taken from
is part of the miscellaneous items in
the collection and thus has not been given a reference
number in the proposed coding system.
74 OHIO HISTORY
Negro Expressions and Idioms
The short list which follows is a number
of common expressions and idioms
found in Emmett's sermons. The letter
and number combination following the
expressions refer to the proposed coding
system and are explained at the
beginning of the next section.
1. like a little nigga pattin juba
(S.DE. 1)
2. sittin on de mornin starr (S.DE.1)
3. waterin troff ob life (S.DE. 1)
4. dont drink too much ob de wine, or
yoa muss put a brick in yoa pocket to
balans de one in yoa hat (S.DE.1)
5. rolled heseff in sack-cloff an lasses
(S.DE.1)
6. she's clum de golden cloas pole
(S.DE.2)
7. right under de zodyzaxes (S.DE.2)
8. pitches right into de sinnah like a
game rooster into a shanghai (S.DE.2)
9. I muss tole you now, dat Ole Joe
libbed so long, dat he shin bone was a good
carvin knife (S.DE.3)
10. he died an was gaddered to he
four-fadders, when ebry body thot he only
hab one fadder (S.DE.3)
11. as it war in de 'ginnin ob 'temp',
an will be so to de end ob 'tashum'
(S.DE.4)
12. some nigga will get took up for,
'salt in de buttery' (S.DE.4)
13. dems mighty big words to kum off a
weak tummak (S.DE. 6)
14. waum de wax in he years an den put a
head on 'im (S.DE.6)
15. he could'nt vote, kaze he head an
feet allers out ob de county: he shoe
maker work out o' doorz, an he put he
trowsellons on ober he head (S.DE.6)
16. dars a 'ginnin an end to ebry ting,
cept de noise roun de doah, an dars no
end to dat (S.DE.6)
17. Simon Peter, son ob Jonas
Lubbesdowmee (S.DE.7)
18. de doctrin ob universal salivation,
am not good for de mouf, yoa cant
swaller it neider can yoa spit it out,
darfoa you slobber all oaber de subjec; like
ole hoss eatin cloaber (S.DE.7)
19. sin, my bredren, struts de earf like
a turkey cock, dressed in de garb ob
ripechusnuts, wid store cloas under 'um
(S.DE.7)
20. nebber put an enemy in yoa house to
took away yoa brains (S.DE.8)
21. I makes no doublejinted arguments,
nockneed supposes, nor bed-ridden
statements (S.DE. 10)
22. de time hab kum when ebry ting look
scaly an de sheenry ob de church
want ilein, kaze de shaff got too hot in
de box (S.DE.11)
23. to lead yoa on to life neberlastin,
wid de allumgany mountin on one side
and de lantern oashum on tudder (S.DE.
11)
24. way to salivashum, an memba dis: dat
in de long ob de shawt, de shawt got
de bess ob it (S.DE.12)
25. by dar own scrutinizashum an dar
portans am glued fass to de tables ob my
memoryrandum (S.DE. 13)
26. I meant to 'stend my 'marks fudder
on, but de ebenin pass ober like a flock
ob wild geese, an 'em done gone 'foa yoa
knoes it (S.DE.15)
27. de brown skeeter in my froat am
berry bad (S.DE.16)
28. now, my bredren, what was dat caff?
was it he culine, she culine, o
Moffer Diate? (S.DE.18)
Daniel Emmett
75
29. I'll go ahead
myseff like a haff sled wid de tung out (S.DE.19)
30. an if de spirits
dont moob yoa, de salts will (S.DE. 19)
31. taint a diff
o'bittance, wheder you am a tuckhoe or cohea (S.DE.21)
32. if de wimmin am de
'bosom o' de church', ob coas de 'bosom' got to be
'tended to (S.DE.23)
Some additional
expressions used by Emmett reveal the common use of word
play. Lucifer becomes
Lucy Fur; Potiphar becomes Potter or Pott; Pharaoh
becomes Faryoh or
Fairyo; Cleopatra becomes Cloe Patter; Shakespeare be-
comes Shakepoke;
Lazarus becomes Lazyram; Gabriel becomes Gabe; Aristot-
le becomes Harry
Stottle; Solomon becomes Sallyman, Mozart becomes Moze
Art or Mose Artt;
Julius Caesar becomes Julycum Sezer or Julyus Sneezer;
Columbus becomes
Caslumpus; Nebuchadnezzar becomes Nabbycudnazerum.
Further, anecdote
becomes nannygoat; elucidate becomes Lucy Date; Epis-
copalian becomes
pesky-paylons; antediluvian becomes Ole Aunty D'Luvian;
Methodist becomes
Meffodiss; Baptist becomes Babtiss; Philadelphia becomes
Fillamadelfa; Jericho
becomes Jerry Coe; polygamous becomes pollybigamus.
A Coding System for
Emmett's Sermons and Hymns
THE NEGRO SERMONS
Key to Coding System
S. Sermon
DE. Daniel Emmett
# Number of the sermon
1. Title of sermon
2. Complete or incomplete sermon
3. Approximate word count
4. Physical measurement of manuscript
5. Material(s)
comprising the manuscript
6. Pagination of manuscript
7. Single or multiple sermons on manuscript
8. Remarks, notes
Coding System
S.DE.1. 1. Aint y'e
mighty glad yoa day's work's done?; 2. complete; 3.
1300+; 4. 4 1/2 x 5
inches; 5. white unlined paper; 6. 32 pages; 7. single sermon; 8.
preacher Brudder Guess.
S.DE.2. 1. An de
chillum ob Isreal crossed oaber on de ice, but ole Potter
broke froo an was
drowned; 2. complete; 3. 1400+; 4. 5 x
7 inches; 5. brown
unlined paper; 6. 50
pages; 7. the first of four sermons; 8. preacher Brudder
Guess, usher Brudder
Gum, song leader Brudder Mose Art.
S.DE.3. 1. An de man
sed to de gall, "go-way frum me! Temtashum touch
me not!" den
she conseab it was all O.K.; 2.
complete; 3. 700+; 4. 8 x 12 inches;
5. white lined paper;
6. 2 pages; 7 single sermon; 8. preacher not listed, usher
Brudder Gum.
S.DE.4. 1. An de man
sed to de gall: "Temtashum, tech me not!" den she
'conseab' it all
O.K.; 2. complete; 3. 900+; 4. 31/2 x
4 inches; 5. white unlined
paper; 6. 24 pages; 7.
one of two sermons; 8. preacher Brudder Guess, usher
Brudder Gum.
76 OHIO HISTORY
S.DE.5. 1. An dey shall eat 'yoke
steak' dat rubbed de oxes shoulder, an
drink salt wattah till de oashum dry;
2. incomplete; 3. 400+; 4. assorted
sizes of
paper (small); 5. white lined and
unlined; 6. 12 pages; 7. single sermon; 8.
characters uncertain.
S.DE.6. 1. An Goliar say unto Davy
Crocket: "go-way frum me chile! I
fights wid men: I duz!"; 2. complete; 3. 1400+; 4. 4 x 6 inches; 5. white lined
paper; 6. 16 pages; 7. single sermon; 8.
preacher Brudder Guess.
S.DE.7. 1. Berrily I sez so:-dat
it'sjiss 'as easy as rollin off a log,' if ye noes
which side y'e rolls off on; 2. complete; 3. 800+; 4. 7 3/4 x 9 1/2 inches; 5. white
lined
paper; 6. 4 pages; 7. single sermon; 8.
preacher Brudder Guess, usher Brudder
Gum.
S.DE.8. 1. Bressed am de man dats got
no muddenlaw; 2. complete; 3.
900+; 4.4 x 6 inches; 5. heavy
brown unlined paper; 6.60 pages; 7. second of five
sermons; 8. preacher Brudder Guess, he
warns his congregation against the
preacher Dats Sartin.
S.DE.9. 1. By de tree, you can tell
what de fruits gwine to be; 2. complete; 3.
1100+; 4. 4 x 6 inches; 5. heavy brown
unlined paper; 6. 60 pages; 7. fourth of
five sermons; 8. an anti-Guess sermon by
preacher Dats Sartin, usher Brudder
Gum.
S.DE.10. 1. Can dese tings be, an we
lookin right squarr at 'em?; 2. com-
plete; 3. 1200+; 4. 4 x 6 inches; 5.
heavy brown paper; 6. 60 pages; 7. fifth of five
sermons; 8. anti-Guess sermon by Brudder
Dats Sartin.
S.DE. 11. 1. Dar's a heap ob trubble
on de ole man's mine.; 2. complete; 3.
1100+; 4. 4 x 6 inches; 5. white lined
paper (badly water-stained); 6. 14 pages; 7.
single sermon; 8. preacher Brudder
Guess, song leader Brudder Mozart.
S.DE.12. 1. De lium an de lamb shall
lay down togedder an a little chile
shall ride de hoss to water; 2. complete; 3. 1400+; 4.4 x 5 inches; 5. white lined
paper; 6. 24 pages; 7. single sermon; 8.
preacher Brudder Guess, song leader
Brudder Gum.
S.DE.13. 1. Den Adam sed: "Ebe
let me kiss you;" an Ebe sed: "I don care
A-dam if you do"; 2. complete; 3. 1000+; 4. 3 3/4 x 4 1/2 inches; 5. brown wrapping
and butcher paper; 6. 24 pages; 7.
single sermon; 8. preacher Brudder Guess,
usher Brudder Gum, song leader Brudder
Moze Artt, corners torn away.
S.DE. 14. 1. Den Massa Noar
kumfoaffrum de yark, kazefree udderfellers
got ahead ob 'im; 2. complete; 3. 700+; 4. 7 1/2 x 9 inches; 5. white
lined notebook
paper; 6. 4 pages; 7. single sermon; 8.
preacher a visiting man.
S.DE. 15. 1. Dey stick a needle in de
cammel's eye, den de rich man goes to
hebben; 2. complete; 3. 1400+; 4. 5 x 7 inches; 5. brown
unlined wrapping paper;
6. 50 pages; 7. one of four sermons; 8.
preacher Brudder Guess, usher Brudder
Gum, song leader Brudder Moze Artt.
S.DE. 16. 1. De yearf shall gib up de
dead, an de sea belch foaf cat-fish; 2.
complete; 3. 1200+; 4. 4 x 6 inches; 5.
white lined paper; 6. 16 pages; 7. single
sermon; 8 preacher Brudder Guess, usher
Brudder Gum.
S.DE. 17. 1. Doa de scales on yoa
eyes am like scales on a mackrel, an yoa
sins am higher den de wabes o' de
oashum, go heah Brudder Guess preach an all
am forgibben; 2. complete; 3. 1000+; 4. 3 3/4 x 5 inches; 5.
white lined note paper
6.32 pages; 7. one of two sermons; 8.
preacher Brudder Guess, usher Brud
der Gum.
S.DE.18. 1. Dont holler 'foa you gets
out o' de woods; 2. complete; 3
1200+; 4. 3 1/4 x 3 1/2 inches;
5. brown unlined paper; 6. 24 pages; 7. single sermon
8. preacher Brudder Guess, usher Brudder
Gum.
Daniel Emmett
77
S.DE. 19. 1. For de weddin feast am
prepared, an de bride am gone to bed
an blowed de candle out; 2. complete; 3. 900+; 4.3 3/4 x 5 inches; 5. white
unlined
paper; 6. 16 pages; 7. single sermon; 8.
preacher not known, usher Brudder
Stebinson.
S.DE.20. 1. For inasmuch as de white
hoss rode de clouds, he tail kum
foller'n arter; 2. complete; 3.800+; 4. 4x4 3/4 inches; 5. white lined
paper; 6. 14
pages; 7. single sermon; 8. preacher
Brudder Guess, usher Brudder Gum.
S.DE.21. 1. For Simon sed, 'wig-wag'
my bredren, de cawn am ripe, whar-
foa fill yoa belly wid roasen-yeahs; 2. incomplete; 3. 300+; 4. 5 x 11 inches; 5.
white lined paper (ragged); 6. 2 pages;
7. single sermon; 8. participants un-
known.
S.DE.22. 1. For whoebber sez, 'taint
so, am a fool in he heart, an got no
edguficashum; 2. complete; 3. 1200+; 4. 4 x 6 1/2 inches; 5. white
lined paper; 6.
16 pages; 7. single sermon; 8. preacher
Brudder Guess, song leader Brudder
Moze Art.
S.DE.23. 1. Go in Sail, dad pays as
much as any ob 'em; 2. complete; 3.
1200+; 4. 5 x 7 inches; 5. brown unlined
paper; 6. 50 pages; 7. one of four
sermons; 8. preacher Brudder Guess,
usher Brudder Gum, song leader Brudder
Moze Art.
S.DE.24. 1. Ifyou's gwine to do it, I
like 'um welldun, an de quicker he dun:
de better; 2. complete; 3. 1100+; 4. 2 3/4 x 5 inches; 5. on back
of broadside; 6. 36
pages; 7. single sermon; 8. anti-Guess
sermon by preacher Dats Sartin.
S.DE.25. 1. In Adam's fall, we built
'tone wall; but ebber sence, we build
'tone fence; 2. complete; 3. 1200+; 4. 4 1/2 x 6 1/2 inches; 5.
white lined note paper
(leather imitation cover); 6. 36 pages;
7. single sermon (does not take entire
notebook); 8. preacher Brudder Guess,
usher Brudder Gum. This notebook
includes an accounting of Dan Emmett's
beer expenses May through October,
1873.
S.DE.26. 1. Jonar he was fond ob
whale, an swaller'd a whole one down.
De udderfish dey all got mad an chase
him off de groun; 2. complete; 3.
1200+;
4. 3 3/4 x 5 inches; 5. brown wrapping
paper; 6. 32 pages; 7. one of two sermons; 8.
preacher Brudder Guess, usher Brudder
Gum.
S.DE.27. 1. Man spring up like a
hoppergrass, he cut down like a sparro-
grass, and die like gympson weed; 2. complete; 3. 800+; 4. 6 x 8 inches; 5. white
lined paper; 6. 16 pages; 7. one of five
sermons; 8. preacher Brudder Guess,
usher Brudder Gum, song leader Brudder
Moze Art.
S.DE.28. 1. Nabbycudnazerum king ob
de Jews, he wore slippers-he wife
wore shoes; 2. complete; 3. 1000+; 4. 4 x 6 inches; 5. heavy brown
unlined
paper; 6. 60 pages; 7. third of five
sermons; 8. preacher Brudder Dats Sartin,
another anti-Guess sermon.
S.DE.29. 1. O.O.Oh! sistah Mary's
darr!; 2. complete; 3. 900+; 4. 3 1/2 x 5
inches; 5. back of broadside; 6. 16
pages; 7. single sermon; 8. preacher Brudder
Guess, song leader Brudder Gum.
S.DE.30. 1. Rich man, poa man, beggar
man, thief!; 2. complete; 3. 1100+;
4. 3 1/2 x 4 1/2 inches; 5. back of
broadside; 6. 28 pages; 7. single sermon; 8.
preacher Brudder Guess.
S.DE.31. 1. Rise Peter an snuff de
moon; 2. complete; 3. 1500+; 4. 4 x 6
inches; 5. white lined paper; 6. 16
pages; 7. single sermon; 8. preacher Brudder
Guess, song leader Brudder Moze Art.
S.DE.32. 1. See de cat, he chase de
rat, from defodder, to de stack; a peck
ob meal upon him back; a bushel ob
oats on top o' dat; 2. complete; 3.
1100+; 4.
78
OHIO HISTORY
variety of paper
sizes; 5. white lined paper; 6. 6 pages; 7. single sermon; 8.
preacher Brudder
Guess.
S.DE.33. 1. Sollyman
hab moa wibes dan ebber he could carry, he muss
been 'long time
coaxen 'em to marry, I wish I was ole Sollyman by de Lawd,
Harry!; 2. complete; 3. 800+; 4. 3 1/2 x 4 inches; 5. white
unlined paper; 6. 24
pages; 7. single
sermon; 8. preacher Brudder Guess, usher Brudder Gum.
S.DE.34. 1. Sumbody
been heah, for I smell wool; 2. complete; 3. 800+; 4.
6 x 8 inches; 5. white
unlined paper; 6. 16 pages; 7. one of five sermons; 8.
preacher Brudder
Guess, usher Brudder Gum, song leader Brudder Mose Art.
S.DE.35. 1. Sumbody
spoke, but I sed nuffin; 2. complete; 3.900+; 4.6 x 8
inches; 5. white
unlined paper; 6. 16 pages; 7. one of five sermons; 8. preacher
Brudder Guess, usher
Brudder Gum.
S.DE.36. 1. Taukamcheap,
butmoneybuyslann;2.complete;3. 1300+;4.
4 x 4 inches; 5. white
lined paper; 6. 22 pages; 7. single sermon; 8. participants
unknown.
S.DE.37. 1. We'll
all cross oaber Jordan, an lann on tudder shoa; 2. com-
plete; 3. 900+; 4.
assorted sizes; 5. white lined paper; 6. 6 pages; 7 single sermon;
8. preacher Brudder
Guess (?), usher Brudder Gum.
S.DE.38. 1. Whardidy'ekum
frum, brudder?;2. complete;3.800+;4.4x6
inches; 5. heavy brown
unlined paper; 6. 60 pages; 7. one of five sermons; 8. an
anti-Guess sermon
preached by Brudder Dats Sartin.
S.DE.39. 1. Whar
did yoa kum frum? knock a nigga down!; 2. complete; 3.
1200+; 4. 5 x 7 1/2
inches; 5. brown unlined wrapping paper; 6. 60 pages; 7. the
third of four sermons;
8. preacher Brudder Guess, usher Brudder Gum, song
leader Brudder Moze
Art.
S.DE.40. 1. When he
kum, he kum; but when he kum, he no kum; 2.
complete; 3. 1300+; 4.
4 x 6 1/2 inches; 5. white lined paper; 6. 16 pages; 7. single
sermon; 8. preacher
Brudder Guess (?).
THE NEGRO HYMNS
Key to Coding
System
H. Hymn
DE. Daniel Emmett
# Number of the hymn
1. First line of first verse
2. Number of verses
3. Chorus
4. Remarks, notes
Coding System
H.DE. 1. 1. All
roun about-abub, below, De angels guard us, dat we know
2. 4 verses; 3. I
cannot beleab dat de lamb, will forsake me, If I backslide, de
may de debble take me;
4. number 13 in notebook marked Negro Hymns.
H.DE.2. 1. Baalam
rode de rasseljack all seated 'in de saddle'; 2.4 verses
3. Den walk along ole
Bellzebub, I tink I heah you scratchin, For when yoa kur
to froin stamps, yoa
is'nt haff-a-patchin; 4. number 11 in notebook marke
Negro Hymns, after the
tune Blister Plaster.
H.DE.3. 1. Brudder
Guess he am de salt, Dat sabes yoa soulfrom spilin;
4 verses; 3. De carrs
are waitin on de track, An dat dars no disputin; Come ebr
Daniel Emmett
79
sinnah let's be off, Tis time to be a
scootin; 4. number 3 in notebook marked
Negro Hymns, after the tune Blister
Plaster.
H.DE.4. 1. Dar am a track de lamb hab
laid, Angels bid yoafor to come; 2.
4 verses; 3. Wont you kum chillen
(repeat), De Angels bid you for to kum, De
lambs de enjine-him breffs de steam,
He's de cow-catcher-draws de train; 4.
single sheet.
H.DE.5. 1. Dars a rattlin on de drum,
Inoes by deflam; 2.4 verses; 3. Dars
been no sinnahs widin Satans reach,
Since ole Brudder Guess begin for to
preach; 4. number 30 in notebook marked
Negro Hymns.
H.DE.6. 1. Dar's a ringin ob de bell,
An it souns de debble's knell; 2. 12
verses; 3. Hide away (echo), hide away
(echo), An De Captin sails dezackly to de
day, Yoa keep yoa baggage checks, An yoa
sleep between de decks, But its no
use yoa tryin to hide away. (each chorus
different-except hide away (echo); 4.
number 25 in notebook marked Negro
Hymns, after the tune Hide Away.
H.DE.7. 1. Dars a warnin kum den all
took heed, Tis a warnin we am much
in need; 2. 4 verses; 3. Den weep an wait, an smash yoa teef out
(3 times), An no
cole wattah is at hann; 4. number 1 in
notebook marked Negro Hymns, after the
tune Angels Meet Me.
H.DE.8. 1. Dar's a weepin an a wailin
an a mashin ob de teef; 2. 4 verses; 3.
Den high, low, Jack and Jame, Counts
four for de sinner; You holds fass to de
lamb, An you comes out de winner; 4.
single sheet.
H.DE.9. 1. De angel he am kummin; 2.
3 verses; 3. Soft and low-
after line one, two, and five of each
verse; 4. single sheet
H.DE.10. 1. De bible raff, de bible
raff, She am de ship to sail in; 2. 4
verses; 3. Let go, cut 'er loose, I heah
de wind a risin, When she gets a gwine
fass-I tole y'e she am pysin; 4. number
26 in notebook marked Negro Hymns,
after the tune Blister Plaster.
H.DE. 11. 1. De debble an me
we boof fell out, I'll tole you what it was
about; 2. 4 verses; 3. I trust de lamb de lamb trust me, From
time clarr to
eternity; 4. single sheet.
H.DE. 12. 1. De debble got a fishin
pole, He tink he kotch poa sinnahs soul;
2. 4 verses; 3. Den whisper saftly
bruders, Whisper saft and low, De angels
comin down heah, To see whose fust to
go; 4. number 24 in notebook marked
Negro Hymns, after the tune Aint Got
Time to Tarry.
H.DE. 13. 1. De debble he goes foolin
roun, he am an ole deceaber; 2. 4
verses; 3. Den kneel down my honey, De
lamb he will forgit, You nebber will
regret it, De longest day you lib; 4.
single sheet.
H.DE. 14. 1. De higher up yoa clum a
tree, De nearer to de top yoa'l be; 2.4
verses; 3. It no use taukin for we am de
berry boys, To skeer away de debble by
de snakin ob a noise; 4. number 15 in
notebook marked Negro Hymns.
H.DE. 15. 1. De hoss will eat
defodder, de mule will eat de hay; 2. 3 verses;
3. Tis a good ting, tis a good ting, tis
good to hab in de house, Look out de debble
kotch you, like tom cat cotch a mouse;
4. found at end of sermon.
H.DE. 16. 1. De meffodiss church,
will all drap to nuffin; De preachermans
pocket wants moa stuffin; 2. 4 verses; 3. We'be 'ligion in de heart, we'be
'ligion
on de brain; We loss a little piece-but
we git 'um back agin; Dars a sinnah in de
nett, an we kotch 'im berry shoa, An we
scale de sin all off 'im, den he lib
forebber moa; 4. in notebook marked
Negro Hymns but not numbered.
H.DE. 17. 1. Den hole yoa hosses
willy'e-de church am nearly busted; 2. 4
verses; 3. No one knows de trubble dats
a brewin, I werrily beleab dat we'se on
80 OHIO HISTORY |
|
de brink ob ruin; 4. number 10 in notebook marked Negro Hymns, after the tune Bull Dog an Baby. H.DE.18. 2. De sinner hangs about de.doa, An peepin at de girls; 2. 4 verses; 3. We'se on de road to glory an dont tarry by de way, For we'se de blood-washed army, an we got no time to stay; 4. in notebook marked Negro Hymns but not numbered. H.DE.19. 1. De sinner nigg sits in de dark, He got no light, not one small spark; 2. 4 verses; 3. Come out'en de shawt grass into de tall, an hide away from Satan, He's gwine to fish for sinners dis fall, an wants a niggar for baiten; 4 number 2 in notebook marked Negro Hymns. H.DE.20. 1. De stars dey shine up yaunder, Come view de hebbenly light, 2. 3 verses; 3. Den gib me de angels wings, Quick about it, quick about it, Den git me de angels wings, Wid de fedders tipped wid gold; 4. single sheet. H.DE.21. 1. De time kum soon-we'se got to die, an lay our head so low; 2. verses; 3. Den rock me brudder, rock me, rock me fass asleep, De saibyah sez "Kum heah my lamb, kum heah my wooly sheep"; 4. number 8 in notebool marked Negro Hymns, after the tune Sally am de Gall for Me. H.DE.22. 1. Dey hab a camp meetin down in de swamp, de night was so dark dat dey burned de lamp; 2. 2 verses (some missing); 3. I'm moanin, an groanin-dar's shoutin roun about, Hallyloojar to de lamb, we's cleaned d debble out; 4. single sheet. H.DE.23. 1. Do hand me down-do hand me down, A live coal ob fish from de middle ob de altar; 2. 3 verses; 3. no chorus; 4. single sheet. H.DE.24. 1. Do kum along, do kum along, For de harvest am ripe an d lamb wants to gadder 'em; 2. 3 verses; 3. no chours; 4. single sheet. H.DE.25. 1. Gib us yoa hann we'll not deseab you, We am ready to resea yoa; 2. 4 verses; 3. Walk ole Nick-walk ole Nick, Walk ole Nick de debble |
Daniel Emmett
81
son, We'll tenn to yoa 'foa we gets
done; 4. number 23 in notebook marked
Negro Hymns, after the tune Walk
Along John.
H.DE.26. 1. Heabben am way up in de
sky, Upon dat spot I'll keep my eye;
2. 4 verses; 3. Moses go down-way down
in Egyp lann, Tell ole king Phario to
let my people go. 4. single sheet.
H.DE.27. 1. If ebber we'se gwine to
'cend to de skies, It's time to be off, for
how de time flies; 2. 4 verses; 3. De neberlastin fountain it nebber runs dry, We'll
drink at de trough or know de reason
why? 4. number 14 in notebook marked
Negro Hymns.
H.DE.28. 1. If we wait tilljadgment
day, Befoa we gins to pray; 2. 4 verses;
3. In de short ob de long-or de long ob
de short; It's jis as long one way as de
tudder; For de lamb he lookin downjis to
see what's gwine on, kaze de law sez:
we mus lub one-anudder; 4. number 4 in
notebook marked Negro Hymns, after
the tune Jorden.
H.DE.29. 1. I'll tole you who I am,
I'm de culled son ob Ham; 2.4 verses; 3.
Den sing de praise ob Manuell, On de
hallymaloojar day, For de hinges broke to
de gates of h-1l, An de debble will be
to pay; 4. single sheet.
H.DE.30. 1. I'm red hot an a bylin,
I'll shed my coat ob sin; 2. 3 verses; 3.
I'm gwine, yes I'm gwine, to be an angel
dar, Wid skinjis like a white man, an
wool all turn'd to harr; 4. end of
sermon.
H.DE.31. 1. I shake de duss
from off my feet, An walks barefoot on de
golden street; 2. 3 verses; 3. Shake ole sinnah shake, Shake ole
sinnah shake,
Why dont you 'pent, Dont cost one cent,
De debble's wide awake; 4. end of
sermon.
H.DE.32. 1. I tink I heah de angels
speak; "Come heah de strong-also de
weak"; 2. 4 verses; 3. For de lamb he on our side, he is; What
I tole y'e-what I
tole y'e? Wid 'im we'se gwine to reside,
An pay no rent at 'tall; 4. number 28 in
notebook marked Negro Hymns.
H.DE.33. 1. I wish we was in Caanan's
lann, I wish we was dar ebry man; 2.
4 verses; 3. We'se a gwine (repeat)
we'se a gwine, shoa's yu bawn, De sisten dey
will kum dar too, An wear dar high-heel
rocker shoe; 4. number 16 in notebook
marked Negro Hymns, after the tune Dixie.
H.DE.34. 1. Kum brudders all took
warnin an harken to my voice; 2. 4
verses; 3. Den roll in de Jordan stream,
whar de wattah's puah an clear, We'll
swim clar cross an reach dry lann, Den
hebbenwards we'll steer; 4. single sheet.
H.DE.35. 1. Kum brudders stan up to
you work, Your journey will be endin
soon; 2. 4 verses; 3. All hail de bressed Mary-de vargin maid
dat bore de lamb,
We'se gwine to de lann ob promise, To
see fadder Abramham; 4. single sheet.
H.DE.36. 1. Make hase and jine de
'boom', For dars lotts an gobbs ob
room; 2. 2 long verses; 3. Behine de barn (echo) behine de
barn (echo), An be
careful how you 'gin to spin yoa yarn,
Yoa talk about de wedder, An eat possam
fat togedder, But its no use to sneak
behine de barn; 4. number 29 in notebook
marked Negro Hymns, after the tune Hide
Away.
H.DE.37. 1. On de top ob de hill in
de horizium cloud, Whar de sun an de
moon keep shinin; 2. 4 verses; 3. missing; 4. single sheet.
H.DE.38. 1. O whar, tell me whar, hab
de lubbin saibyah gone, Dont get
weary; 2. 4 verses; 3. Den nebber mine de wedder, Dont get
weary brudder,
We'll all go up togedder, Like sheep-one
arter tudder; 4. single sheet.
H.DE.39. 1. Poa sinnah why look sad,
When y'l orter feel so glad; 2. 4
verses; 3. Den a long pull-a-strong
pull, and pull all togedder, It's rainin grace
82 OHIO HISTORY
upon yoa, and its lubly kine o' wedder.
4. in notebook marked Negro Hymns,
not numbered.
H.DE.40. 1. See de clouds a risin, de
storm am comin ....; 2. 3 verses (1
missing); 3. But I aint gone yet-no! no!
Yet a little while to tarry; My troubles
here below, Am a heaby load to carry; 4.
single sheet.
H.DE.41. 1. Stan back, Satan! clarr
de track!for we'se a gittin warm; 2. 4
verses; 3. Den roll in de gospel train,
soun dejubilo; Heah's de wattahs, kum an
drink, to hebben we shall go; 4. number
7 in notebook marked Negro Hymns,
after the tune Sally am de Gall for
Me.
H.DE.42. 1. The hipperkrit he pray in
vain, De lamb he will no lissen; 2. 4
verses; 3. Den listen to de music, how
sweet de angel sings, He plays upon de
jewsharp, de harp ob tousan strings; 4.
number 18 in notebook marked Negro
Hymns.
H.DE.43. 1. Took a warnin Mr.
Sinnahman an come widin de fold, We'se
gwine to hab a 'freshin time to
night; 2. 4 verses; 3. Behine de
fire,...; 4. number
31 in notebook marked Negro Hymns.
H.DE.44. 1. We all get chrischumised,
Our 'tentions we'll declare; 2. 4
verses; 3. When dar's an end to all dis
moanin, We'll all feel good when we gets
done groanin; 4. number 6 in notebook
marked Negro Hymns.
H.DE.45. 1. We'llget on board ole
Zion-ship, To kingdom-kum we'll took a
trip; 2. 4 verses; 3. Dont yoa hear de Captin say; "Cut
her loose an sail away, I'll
beat de debble froo de shute, For him an
me cant go 'cahoot"; 4. number 22 in
notebook marked Negro Hymns.
H.DE.46. 1. We'se gwine to sing de
hymn, dat wefotchfrom ole Warginny;
2. 4 verses; 3. Kum heah sinnah man, Now
mine what I tole y'e; Kum, go to
Cainiann-dont let de debble hole y'e; 4.
number 9 in notebook marked Negro
Hymns, after the tune Bull Dog an
Baby.
H.DE.47. 1. We'se marchin outen Egyp
lann, no sooner dan we arter; 2. 4
verses; 3. See de stormy cloud, ahead de
fiahry pillar's burnin; It's oilers right
befoa yoa eyes, Jis which-a-way yoa's
turnin; 4. number 20 in notebook marked
Negro Hymns.
H.DE.48. 1. We tell's yoa alljus who
we am; We'se miffodis bawn an lubs
de lamb; 2. 4 verses; 3. For we'se de chosen culled
chillen, (3 times), An we're all
on our longjourney home; 4. in notebook
marked Negro Hymns, not numbered.
H.DE.49. 1. What's dat scratchin on
de roof?; 2. 4 verses; 3. I'm gwine to
get religion, I'm gwine to get it on de
brain; An if a piece gets knock'd off, I'll
stick it on again; 4. number 27 in
notebook marked Negro Hymns, after the tune
Let My People Go.
H.DE.50. 1. When de debble got yoa
fass, You got no time to gib 'em sass,
2. 4 verses; 3. Leab de hebbenly gates
wide open (3 times), An let de Meffodis
pass in; 4. number 12 in notebook marked
Negro Hymns, after the tune Angels
Meet Me.
H.DE.51. 1. When firm in de faif, a
nigga coon no falter; 2.4 verses; 3. In de
'ginnin-in de 'ginnin, De debble libbed
in clober; Ole Ebe she libbed in
paradise, But Adam libbed all oaber; 4.
number 5 in notebook marked Negro
Hymns.
H.DE.52. 1. When I die jis put dis
chile, in a silber kibber'd casket; 2.
verses; 3. De lamb he lookin down to
see; What's gwine on? what's gwine on
De lamb he lookin down to see-What's
gwine on heah among y'e; 4. number 2
in notebook marked Negro Hymns, after
the tune What's Gwine On?
H.DE.53. 1. When I'm dead jiss lay me
straight, Wid my face turn'd to d
Daniel Emmett
83
golden gate; 2. 4 verses; 3. Den jine de band for de time am
a comin, Jine de band
for de time am a comin (repeat) When
yoa'l wish dat you was me; 4. single sheet.
H.DE.54. 1. When Satan fusst
kum in dis worl, he hab a parr ob hawns; 2.4
verses; 3. Kum day-go day-I wish to lawd
'twas Mondy, We 'buse de debble
all de week, an serve de lamb on Sundy;
4. number 18 in notebook marked Negro
Hymns, after the tune Kum Day, Go
day.
H.DE.55. 1. When yoa sail for 'happy
lann,' Yoa stop at Pugetory; 2. 4
verses; 3. Hoe cawn-dig it up-den yoa
hill de tayter, Dont get done befoa de
time, dey work y'e little later; 4.
number 17 in notebook marked Negro Hymns,
after the tune Blister Plaster.
H.DE.56. 1. Why do you moan, Dont ax
me-dont ax me; 2. 2 verses; 3. Den
walk along for de gate is open, An de
lamb he welcomes ebery one, Den walk
along for de gate is open, An was on de
day dat time begun; 4. single sheet.
H.DE.57. 1. You see de clouds a
rysin, A rysin in de air; 2.3 verses; 3. Den I
meet my brudder darr (repeat) Den I meet
my brudder on de Islam, Across on
tudder shoa; 4. single sheet.
GILBERT D. SCHNEIDER
Daniel Emmett's
Negro Sermons and Hymns:
An Inventory
Daniel Decatur Emmett, author of the
immortal "Dixie," was born in
Mt. Vernon, Ohio on October 29, 1815,
the oldest child of Abraham and
Sarah Emmett. During the 1840s and
1850s he became a major figure in
the development of Negro minstrelsy.
His natural abilities as singer,
fiddler, banjoist, and black-face
comedian found favor with audiences
across the United States and overseas.
Emmett, if alive today, would be part
of the mass-media mainstream
of the "pop" culture
movement. His earthy humor, found in stump
speeches and plays; his personalized
country lyrics, prevalent in hymns,
songs, round-abouts; his
unsophisticated and unpolished dance routines
enjoyed by all social classes of his
day, would all delight the contempor-
ary "man in the street."
Few details of his early years can can
be documented. He learned the
trade of a printer and probably worked
for short periods on two Ohio
newspapers, the Huron Reflector of
Norwalk and The Western Aurora
of Mt. Vernon. On May 2, 1834, in
Cincinnati, Dan Emmett, claiming to
be a printer and twenty-one years of
age, although only nineteen, joined
the army. When the discrepancy was
discovered he was officially re-
leased on July 8, 1835. During his
fifteen-month stint in the army, he
took advantage of the excellent drum
training provided by John "Juba"
Clark, and at the time of his release
he was the leading fifer with the Sixth
United States Infantry, stationed at
Jefferson Barracks, Missouri.
During the late '30s and early '40s,
Emmett performed with several
travelling circus groups, notably The
Cincinnati Circus Company,
Raymond and Waring's Circus, and
Spalding's North American Circus.
It was during this period that he began
to experiment with black-face
routines. A personal note on one of the
song sheets in the Archives-
Library Division of The Ohio Historical
Society records the fact that
"Bill Crowder" was the first
Negro song he wrote. The song was written
for Frank Whitaker, equestrian and
negro singer, about 1838 or 1839.
In the fall of 1842 Emmett was in New
York City, at the Franklin
Dr. Schneider is Associate Professor of
Linguistics at Ohio University.