during the early years of our war, as the sea-coast was taken possession of by the Northern navy—"de Linkum gunboats"—the whites fled, and left the negroes in full possession of the plantations on the shore and islands; and that the word "countryman," as given in the Journal, is really "contraband"—a name given early in the war to coloured men who came into the Union lines, and who were detained there as "contraband of war," so that they need not be returned to their masters. This explains why the "massa," by getting tanned, could hope to be taken for a "contraband." The "moutstatch," which puzzled you in No. 3, is, as you will see, "mufifstach," or "moustache."
Song No. 1 is evidently the introduction of a variety or minstrel show, and No. 6 is also probably of the same brood. I hope to be able later to send you further proof of the correctness of my opinion regarding Nos. 1 to 6.
Song No. 5 has but little resemblance to the negro character, but I am not prepared to say whence it comes. Song No. 2 is the only one which appears to me to have distinctively negro characteristics; and of these characteristics, that of the chorus is one of the most noticeable. This frequent interposition of the chorus is very common in negro songs (as in some of the early English ballads and songs), and is found constantly in those of a religious character. I send you copies of one or two of them, taken down from the mouths of negro boys and men at Hampton College (an industrial institution for the education of negroes and Indians), and published, in 1874, in Hampton and its Students, a volume which I will endeavour to obtain, and to send you for the library of the Society. I copy these, not, perhaps, as belonging to true folk-lore, but as giving an example of what is more nearly the true negro manner of song than anything I know.
Swing Low, Sweet Chariót.
"Oh, swing low, sweet chariot,
Swing low, sweet chariot,
Swing low, sweet chariot,
I don't want to leave me behind.
