thing to carry, and the Irishman had not gone far before he made
a misstep, and stumbled. The pumpkin fell to the ground, rolled
down the hill into a "brush--heap," and, striking against a
stump, was broken. The story continues in the dialect: "W'en de
punkin roll in de bresh--heap, out jump a rabbit; en soon's de
I'shmuns see dat, he take atter de rabbit en holler: 'Kworp,
colty! kworp, colty!' but de rabbit, he des flew." The point of
this is obvious.

As to the songs, the reader is warned that it will be found
difficult to make them conform to the ordinary rules of
versification, nor is it intended that they should so conform.
They are written, and are intended to be read, solely with
reference to the regular and invariable recurrence of the
caesura, as, for instance, the first stanza of the Revival Hymn:

"Oh, whar / shill we go / w'en de great / day comes
Wid de blow / in' er de trumpits / en de bang / in' er de
drums /
How man / y po' sin / ners'll be kotch'd / out late
En fine / no latch ter de gold / en gate /"

In other words, the songs depend for their melody and rhythm
upon the musical quality of time, and not upon long or short,
accented or unaccented syllables. I am persuaded that this fact
led Mr. Sidney Lanier, who is thoroughly familiar with the
metrical peculiarities of negro songs, into the exhaustive
investigation which has resulted in the publication of his
scholarly treatise on The Science of English Verse.