Remus” and “Brer Rabbit” for white America; but he was simply the deft and singularly successful translator—the material was Negroid and appears repeatedly among the black peasants and various forms and versions. Take for instance the versions of the celebrated tar-baby story of Joel Chandler Harris. C. C. Jones took down a striking version apparently direct from Negro lips early in the 19th century:
“ ‘Do Buh Wolf, bun me: broke me neck, but don’t trow me in de brier patch. Lemme dead one time. Don’t tarrify me no mo.’ Buh Wolf yet bin know wuh Buh Rabbit up teh. Eh tink eh bin guine tare Bur Rabbit hide off. So, wuh eh do? Eh loose Buh Rabbit from de spakleberry bush, an eh tek um by de hine leg, an eh swing um roun’, en eh trow um way in de tick brier patch fuh tare eh hide and cratch eh yeye out. De minnit Buh Rabbit drap in de brier patch, eh cock up eh tail, eh jump, an holler back to Buh Wolf: ‘Good bye, Budder! Dis de place me mammy fotch me up,—dis de place me mammy fotch me up.’ An eh gone before Buh Wolf kin ketch um. Buh Rabbit too scheemy.”
The Harris version shows the literary touch added by the white man. But the Negro version told by Jones has all the meat of the primitive tale.
