Ohio History Journal

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.

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

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.