B 1,027,596 lIBRAI OF THE I ~ I MEMOIRS OF VOLUME X. 19I7. panibht merican oII o on e AS SUNG AND PLAYED BY MRS. FRANCISCA DE LA GUERRA DIBBLEE, MISS CARLOTA MANUELA CORELLA, MISS E. A. SEEGER, MRS. GEOFFREY HAMER, MRS. THEODORE BARNES, MRS. KARBE, SENORITA LUZ GONZALES DOSAL, MRS. DANE COOLIDGE, SENORA RAMIREZ, SENORA R. FUENTES, MRS. L. BUHLER, MISS I. BUHLER, SENORA LOBO, MR. WALTER C. RIOTTE, MR. W. FINDLAY, PEDRO DIAZ, MAXIMILIAN SALINAS, FATHER O'SULLIVAN. COLLECTED BY ELEANOR HAGUE. LANCASTER, PA., AND NEW YORK: PUBLISHED BY THE AMERICAN FOLK-LORE SOCIETY. G. E. STECHERT & Co., NEW YORK, Agents: I917. It I I I 4t~I TO ALL THOSE TO WHOM FOLK-SONGS ARE A SOURCE OF JOY THIS BOOK IS DEDICATED. Copyright, I9I7, By the AMERICAN FOLK-LORE SOCIETY. All rights reserved. PRESS OF THE NEW ERA PRINTING COMPANY LANCAbTER, PA. 1917 CONTENTS. PAGE Introductory................ i. Serenata (Southern California).............27 2.' El trobador (Southern California)............28 3. La casita (Central Mexico)...............29 4. Yo no s6 si me quieres (Southern California or Northern Mexico) 31 5. Los ojos' mexicanos (near Mexico City).32 6. Dime, mujer, adorada (Santa Barbara, Cal.)........33 7. Yo te amo, idolatro (Costa Rica)............33 8. Pregilntale a las estrellas (Puebla, Mex.). 34 9. Reir es necesario (Central Mexico)............35 io. Angel de mis amores (Qaxaca,. Mex.)...........37 i i. Un Adios. Cancio'n (Qaxaca, Mex.). 38 12. La paloma blanhca (A rizona and Northern Mexico). 38 13. Que bello es querer (Mexico City)............39 I4. Tiemblo con tus miradas (Northern Sonora). 40 i5. Encantadora Maria (Qaxaca, Mex.)........... 41 i6. Crepiisculo (Southern Mexico)..............42 17. i10 blanca virgen a tu ventana! (Santa Barbara, Cal.).. 42 i8. Tu eres mas bella (Costa Rica)..............44 19. Vuela suspiro (Argentina)...............45 20. Las tristas horas (Puebla, Mex.).............45 2 i. Chula la maniana (Mexico)...............47 22. Los celos de Carolina (Southern California).. 48 23. Carmela (Mexico)...................49 24. Si formas tuvieran mis pensamientos (Los Angeles, Cal.)..50 25. Entr6 un jardin (San Juan Capistrano, Cal.). 26. El sufrimiento (Mexico City).............. 27. Serenata (Southern Qaxaca and Vera Cruz)........ 28. El tormento de amor (Southern California)........ 29. Ni suefio, (Qaxaca, Mex.)................ 30. Baja esos ojos (Coahuila, Mex.)............. 3. Las blancas fibres (Southern California).......... 32. La estrella del norte (Mexico)..............,33. Un pajari-to (Mexico City)............... 34. Noche serena (Northern Mexico)............. 35. Por ti respiro (Mexico). I......... 36. El suspiro (Qaxaca, Mex.)............... 37. Vivo Ilorando la suerte (Mexico City)........... 7 50 5' 52 54 55 56 57 58 58 6o 6i 62 63 8 Memoirs of the American Folk-Lore Society. 38. Yo pienso en ti (Southern California)..... 39. A la luz de la luna (Lower California)..... 40. Como quieres (Oaxaca, Mex.)....... 41. Que no te amo (Mexico City)..... 42. Vivo penando (Santa Barbara, Cal.)... 43. Maria, Maria (California)........ 44. Media noche (Lower California)...... 45. Si vieras, vida mia (Oaxaca, Mex.).... 46. Como naci en la calle (Mexico City)..... 47. Nadie me quiere (Southern California).. 48. La mulata (Cuba and Mexico City)... 49. Mi mama me consejaba (Costa Rica)... 50. No me mates (Costa Rica)......... 5I. Me puse a torear. (Mexico, City)...... 52. Todo tiene su hasta aqui (Southern California) 53. Una negra guachinanga (Cuba)....... 54. Bartolillo (Costa Rica).......... 55. A cantar a una niiia (Costa Rica)...... PAGE..... 64.......65......67...... 68...... 68.....69...... 70...... 72..... 73......74......75......76...... 76......77......78......79......80...... 8i 56. El galan inc6gnito (Spain and Spanish America)... 57. La Guajira (Cuba)............... 58. Aunque ames (Spain and Spanish America)........ 59. En los montes mas remotos (Andes Mountains).... 60. La paloma cuencana (Andes Mountains)........ 6. La jaula de oro (Mexico City)............. 62. Cantares (Mexico City)................. 63. El demonio en la oreja (Cuba).............. 64. Boanerges (Mexico)................. 65. Las mananitas (Oaxaca, Mex.)............ 66. No hay irbol (Costa Rica)............... 67. Hay un marino (Spain and Spanish America)....... 68. Si va el vapor (Mexico and Central America)....... 69. Un lago delicioso (Costa Rica).......... 70. El conde del cruel arano (Mexico City).......... 71. El periquito (Cuba)................. 72. La india (Oaxaca, Mex.)............. 73. Tecolote (Central America)............... 74. Senora, su periquito (Northern Mexico).......... 75. V&monos por Santa Anita (Northern Mexico)....... 76. La Rana (Mexico).................. 77. Ya viene el alba (San Juan Capistrano, Cal.)..... 78. Arrullo (Chili, Argentina, Porto Rico).......... 79 El clavel (Mexico)................ 80. Jarabe mixteca (Oaxaca, Mex.)......... 8i. Levntese nifia (California).............. 82 83 85 86 87 87 88 88 89 90 90 91 92 93 94 95 96 97 97 98 98 99 I00 IOO IO0 IOI Spanish-American Folk-Songs. 9 PAGE 82. La petenera zapoteca (Oaxaca).............. 02 83. Guadalajara Tapatf (Mexico)............ I02 84. Cueca or zamacueca (Chili)............. I03 85. Que gusto me da.0............... 103 86. Sandunga (Tehuantepec)............ 1 03 87. Jarabe (Central Mexico)................. 104 88. La Chilena (Oaxaca, Mex.).............. I04 89. El palomo (Sierra Juarez).............. Io05 9o. La borrachita (Guadalajara).............. 105 9I. La malaguena (Jamiltepec)............... Io6 92. Quieres que te ponga (Southern California)........ Io6 93. Yo soy una chinaquita (Mexico)............ I07 94. Hatuey (Cuba).................... Io8 95. iAy! Vienen los yankees (Southern California)...... I09 Bibliography..................IIO SPANISH-AMERICAN FOLK-SONGS. INTRODUCTORY. PANISH music, both secular and religious, had attained its highest development at the time when the Spanish colonization of America was beginning. The troubador spirit had cast its spell over the nobility of Spain; and there was much popular music as well, born of the Spaniards' inherent desire to sing and dance. Arab musicians and music-teachers were to be found in most of the southern towns of the peninsula, whence came also many of the early settlers of the colonies. There are various records which show that music was considered important in the new country, and that with the soldiers, laborers, and priests, came also musicians; for there is an old document, dating from only twenty years after Columbus' first discovery, which speaks of two musicians who were brought from Spain to a town in Cuba, "to make gaiety for the populace." Another document records that one of the soldiers of Cortez was named Ortiz and was a "tocador de bihuela, y enseinaba a danzar" (teacher of the bihuela, and taught dancing). Thus the folk-music of this people has a longer history on this continent than either that of the French-Canadians or Negroes, and it is just as much true music of the people. Moreover, the best of these songs are more highly developed in type than those of the other races. Early Spanish-American colonial life was very simple, and the settlements were often remote from outside,influences. All this was favorable to the development of folk-song; and therefore it follows not only that the immigrants went on singing their old songs, but that succeeding generations developed new ones. These were as truly the growth of this country as the American-born singers themselves; for as a rule, owing to intermarriage with the Indians II I2 Memoirs of the American Folk-Lore Society. and varying living-conditions, the inheritance was no longer unmixed Spanish. The few families who are still pure Spanish are justly proud of the fact. In the West Indies and a few other regions, Negro blood also became an important element in the racial mixture. The result of all this intermingling is shown in their songs, which are seldom merely importations from the old country or simply primitive Indian. Even those sung by the people in whom the. Indian strain is prominent show Spanish influences of rhythm and style and key; so that, for instance, one finds a "Petenera zapoteca" (No. 82). The peteneras came originally from southern Spain; and this, their counterpart, is sung and danced by the Zapotec Indians of Oaxaca. In the Habaneral one finds Negro influences in the rhythm; or one sees a Malaguena (No. 9I), -a form obviously of Spanish origin, but here sung by the half-breed Indians. In this case, as in some others, the resemblance is not very strong between the original Spanish type and the SpanishAmerican. At times even Moorish influences are discernible, brought from the old country by the early settlers. In fact, the region that came under Spanish dominion was so large, and varied so widely in ancestry and exterior conditions, that the folk-music also grew to have correspondingly differing characteristics. Mexico City developed rapidly; for by 1574 we read of fifteen thousand Spanish inhabitants, besides Indians, with a well-built Spanish residence quarter, and some streets wide enough for six coaches to be driven abreast; also monasteries, churches, schools, public buildings, and four hospitals, of which one was for Indians. In 1697 Coreal says of the town that it had a population of one hundred thousand. He also says, "Les femmes sont spirituelles, agreables, vives, amoureuses, et belles, mais les maris sont en recompense d'un esprit mal fait, vains et entetes de leur I Habanera or danza, a song-form named from Havana, where it originated, and whence it has spread to both sides of the ocean. As a rule, the danza consists of two well-defined sections, differing from each other in key, or phrasing, or emotional quality. Sometimes one finds a danza in three sections; as, for instance, No. 33 ("Un pajarito") or No. 48 ("Paseando una mafiana"). Spanish-American Folk-Songs. I3 merite." Various other writers seem to agree with him about the women, but are less severe on the men. He describes Mexico City as "Sans contredit, la ville de tout l'Amerique ou l'on pouvait depenser, et le plus agreablement." There were theatres and operas as well as other forms of entertainment, and life in the capital must have been full of gay scenes and vivid contrasts. Enormous fortunes were made in the mines, which opened the way to various forms of pleasure and expenditure. Moreover, the rich could get various European luxuries. One reads descriptions in Mme. Calderon de la Barca's letters, and elsewhere, of beautiful dresses and jewels; and in the Museum in Mexico there are wonderful old costumes and pieces of antique furniture. Thomas Gage quotes a by-word of the day: "Four things are fair, -the women, the apparel, the horses, and the streets." He adds, "and the beauty of the coaches, which do exceed in cost the best of the Court of Madrid and other parts of Christendom, for they spare no silver nor gold nor precious stones, nor cloth of gold, nor the best of silk from China, to enrich them." Throughout all the Spanish colonies, and from the earliest times, the things from Europe were always sought after and treasured; for they were hard to get, and, if they were lost, there was never any assurance that they could be replaced. In the country regions there was greater simplicity of life as to physical conditions, and mental as well; for schools were few and far between, and outside of Mexico City and Lima, and one or two other university towns, the standards in education were easy-going. We read that books concerning the Americas could not be delivered there without permission of the proper authorities, and every book had to be registered and described when shipped.l "Profane matter, fabulous matter, and romance" were all forbidden by the Inquisition. Such an attitude on the part of the authorities discouraged many kinds of effort and study; 1 The first printing-press in Mexico was set up in I536 or I537, and all the first publications were religious or linguistic. i 14 Memoirs of the American Folk-Lore Society. and it is a credit to the colonies that scholarship in the universities, within the permitted fields of work, should have reached as high a standard as that found anywhere in Europe during the same period. The missions to the Indians were very important in the early development of the colonies; for, as they were scattered broadcast, in regions both hospitable and inhospitable, many towns sprang into life around them. Music was much used in the effort to convert the Indians, and Remesal describes the doctrine of salvation, translated into native tongue and sung to the accompaniment of native instruments. In many parts of the country Indian labor was used for the ranches, mines, and so forth; while in some sections Negroes were brought over from Africa. Theoretically the Indians were not enslaved, while the Africans were; but in actual fact there was little difference between the position of one and that of the other. In the early days, from four to six slaves made possible a comfortable existence, - one to hunt, one to fish, and the rest for cultivation of the land. Some families acquired as many as two or three hundred. The large estates had to be self-supporting in all the essentials of life; and in the well-to-do families there was great lavishness in all that pertained to the table, and service in the household. In California the better families were very proud of keeping their Castilian blood pure; and, though their life was remote from all European intercourse, it was easy and agreeable, so far as fertile country and kindly climate could make it, and gay because of the nature of the people. They lived to a ripe old age, keeping their faculties and hair and teeth. They were temperate and happy in disposition, not caring about business, but skilled in all forms of bodily exercise, and their horsemanship was extraordinarily fine. The women married young, and were industrious housewives. There were few doctors, and apparently their services were not much needed. There are still alive elderly people who remember the merry visiting back and forth between the various ranches, the ladies going in the big Spanish-American Folk-Songs. I5 family coach, and the gentlemen on horseback. Many stories have come down to us of the gayeties, balls, parties, picnics, and so on. Captain Hall says that in Peru it used to be the general habit, in regard to balls, for ladies who happened not to be invited to go in disguise and stand at the windows, sometimes even entering the room. They were known as tapadas, because of having their faces covered; and their purpose was to observe the proceedings of their unconscious friends, whom they tormented by comments whenever they were within hearing. On the country estates the owners always looked after the passing traveller, as hotels were unheard of; and this had its defects as well as its advantages, for the traveller was dependent upon the good will of his host as well as on the size of his establishment. Most of the reports which have come to us show, however, no lack of good will. It is said that more than one wealthy man used to keep his gold stored in his attic, uncounted, but ready to loan to friends without interest or security. There are descriptions also of early travellers in California being sent off on the best horses belonging to the hacienda where they had stopped for the night;- and apparently it was the fashion for the hacendado to leave a tray of silver coins, covered with a cloth, on a table in his guest-room, from which one might draw, but was not expected to take more than enough for immediate need. Even before the United States took over the government of California, in 1848, this practice had nearly disappeared, because of unscrupulous travellers and promoters from the States who had not hesitated to misuse Spanish hospitality. Such has been the sad fate of many fine old customs. Travelling was difficult and dangerous in every way. Even the journey from Vera Cruz to Mexico City was full of perils; and a longer trip, such as going overland to New Mexico or Arizona, must have been an enormous undertaking. The travelling-carriages are described as having many cushions, a large place for food underneath the body of the vehicle, pockets for guns, and space for baggage, so that they must have been quite cumbersome affairs. 16 Memoirs of the American Folk-Lore Society. During many years the authorized commerce of the colonies with the mother country was restricted to two fleets a year. This led to much smuggling, and the custom was discontinued in I748. In 1774 the prohibition against intercolonial commerce was removed. According to Friar Thomas Gage, the stir and excitement occasioned in the town of Progreso on the arrival of the fleet was intense. For days beforehand caravans of mules and donkeys laden with silver, cocoa, and other products, were coming into town. They unloaded on the square by simply dumping their belongings in great heaps, which apparently no one thought of stealing. Then, when the fleet arrived, there followed days of bargaining, and later of celebration, after which Progreso went to sleep till the next fleet was due. The remoteness from European standards led to a tenacity in regard to old customs that exists to the present day. In certain parts of Mexico a young man will still steal his bride; but as a rule they hold to the old Spanish manner of courtship, which, although it has nearly died out in the mother country, still exists in Mexico for all classes. When a young man notices a girl whose looks charm him, either in the street with her duena or at Mass, he follows her home, and then finds out from his friends about her people. Probably she has noticed his attention; and if she likes it, she finds some opportunity to smile at him, or drop a flower; whence begins the part of courtship known as Hacer el oso ("to play the bear"). He comes under her window every evening, and she leans over the balcony and talks with him. In that way she has the opportunity to become acquainted more freely than in her severely chaperoned parlor. He may persuade a servant to take notes to her and bring back her answers, all of which is considered quite comme il faut, and is not necessarily binding. This goes on sometimes for months; and if the poor youth happens to strike the rainy season, it makes no difference: he must "play the bear," rain or shine, even if he has to stand up to his knees in water. If his day-time occupation takes him past her house at regular hours, there is further opportunity for a greeting, Spanish-American Folk-Songs. 17 of which she is sure to take advantage. Finally the suitor makes the acquaintance of the whole family; but in accordance with the tradition of the Latin races, even after a formal engagement, the strict chaperonage by either a dueia or a balcony-rail goes on until marriage. In serenade No. 56, which seems to have originated in the Spanish province of Asturias, the reference is obviously to this custom; for the girl comes to her balcony at the young man's signal, and gives an answering whistle. In the deserts of New Mexico and Arizona, and the arid parts of old Mexico, external conditions of life were harsh, and meant hardship and poverty for the people who settled there, so that there were few families of wealth and distinction and little patriarchal life. One New Mexican custom is worthy of note. The region is essentially good for sheepraising, and not for much else. The first sheep were introduced shortly after the arrival of the Spaniards; and soon most of the land was controlled by a few wealthy sheepowners, while the rest of the population became little more than slaves, spending their lives herding these vast flocks. Thus there were practically only two classes, - the booted and the barefooted. On these big estates the wool'was spun and woven; and once a year, in March, occurred what was known as the conducta.' At that time a representative from each Spanish family took his gun, also a supply of food and the result of the winter's weaving piled on the backs of his burros, and went to the Rendezvous. Because of Apaches and Comanches, safety for the Spaniards lay in numbers; so the band of travellers went together into Sonora, and there exchanged their blankets for cattle, coffee, fruits, silks, and so on. This took from March till September; and then they set off for the annual buffalo-hunt, so as to get the year's supply of buffalo-meat to be dried. After that was over, it was time to go to the salt-lakes for the year's supply of salt; and then the horses needed to be rested before beginning all over again. Each adoring swain, before he could gain his damsel's 1 See The Land of Poco Tiempo, by C. F. Lummis, p. 20 (New York, Scribner's). I8 Memoirs of the American Folk-Lore Society. hand, must perforce join the conducta for his future fatherin-law; and even after he had successfully put that through (a year's work without pay), he must buy or steal an Indian girl who should become the attendant of his bride. As Indian girls cost about five hundred dollars apiece in the market (far more than most young men possessed), stealing was in order. Not till all these things were accomplished could the poor youth really claim his lady-love. During the whole Colonial period one finds quaint European characters scattered through Spanish America, — derelicts washed ashore in some quiet nook after storms of various kinds on the other side of the ocean. Thomas Gage describes a man who had originally been a slave in Seville, who ran away to this country, married an Indian woman, and lived for many years among the Indians. Captain Andrews tells about an ex-Napoleonic general, who had seen many great deeds and exciting times, and who died a husbandman and charcoal-burner in Brazil, living at some distance from one of the large towns, and far from court intrigues and the hatreds of men. In 1855 there was an old, red-headed, hot-tempered Scotch woman living in Panama. She had married a native husband, and made him lead the bull on which it pleased her to ride about the town, - an unbeautiful rebirth of the Europa legend. In i86I a disillusioned, love-sick French count was living entirely alone on an island in the Caribbean Sea. He was at such a distance from the mainland, that only a few times during the year would he leave his retreat, going ashore in his sailboat for the absolute necessities. The rest of the time he spent quite by himself, and it was only through the exigencies of weather that he was discovered by the crew of a vessel which had to seek shelter near by. Tucked away in another remote corner there lived, until quite lately, a man who had been, early in life, principal violinist in one of the important courts in Europe. He had had the temerity to fall in love with a lady way above him in station, and exile and many wanderings were all he got for his pains. In this volume the song called "El trobador" (No. 2) Spanish-American Folk-Songs. I9 comes from southern California, where it is quite familiar. The melody is strikingly similar to the Polish revolutionary song called "Valiant Lagienka;" but it has taken on a more southern mode of expression, and a warmer texture in its melody. The words have been entirely remade. Is it not possible that some tale from the past might be unearthed, of Polish refugees away off in the new country? Even the Spanish words speak of banishment and exile. The early instrument throughout Spanish America was the guitar, or its predecessor the bihuela, a guitar-like instrument of Moorish origin; and although violins and harps were numerous, the guitar was and is really the most beloved. The native Mexican would use this instrument to accompany any of the songs in this book, playing either chords or arpeggios; and as a rule he would make the accompaniment simple, although an occasional guitar-player becomes a virtuoso and performs extraordinary feats. They are especially fond of the very honeyed quality of successive thirds, which they carry to an extreme. In this collection there are several dances, which were played for me while I was in Mexico by a man named Maximilian Salinas, who is big and brown, with a shock of coarse, half-long, black hair, immaculate clothes, the biggest sombrero in the state of Oaxaca, and the manners of a Spanish grandee. He reminded me, though in a more picturesque way, of the men one sometimes sees in city streets, playing three or four different instruments, with their hands, head, and feet; for he played a melody and its second on a mouth-organ, which was fastened to the upper side of a guitar on which he played a really sonorous accompaniment. Harps were formerly often used, especially in South America. Pianos were first imported about I840; and their possession is, as everywhere, a sign of comfortable fortune. In South America, and also among some of the native tribes in Mexico, a drum is used, made of a single piece of hollowed wood covered with rawhide. The true Indian, however, in his white cotton clothes, zarape, and big sombrero, 20 Memoirs of the American Folk-Lore Society. has a very tender spot in his heart for a mouth-organ; and I have spent various diverting hours in the plaza or the market-place, listening to some serenely unconscious, brownskinned mortal tooting busily to himself. Within the last decade, phonographs of all degrees and qualities have become very common, and the result works in both ways. Sometimes songs are preserved by this means, and their radius enlarged; at other times one hears the worst of worn-out, decrepit "Bowery" tunes, with Spanish words replacing the English. ' Among the people who sing, one finds all kinds of voices, good and bad; but uneducated singers usually have a fondness for nasal tone quality, and also for extra-ornamenting a melody with superfluous grace-notes and turns, in the manner of southern Spain. This is a part of their Moorish inheritance, for the Moors carry it to a point where the original melody sometimes becomes unrecognizable. There is one man among the various people who have sung for me, Pedro Diaz, also of Oaxaca, who is a very interesting example of what the untrained, half-breed singer can be. He is a tailor by trade, very delicate and slight in build, with a charming baritone voice. His temperament is really artistic, so that without education or training he instinctively feels the right interpretation of a song. In the melodies which he sang for me, and most of which he said he had learned from his uncle when he was a little boy, he made almost no mistakes in taste. His songs are among the very best that I have found, with flowing phrases which are often long and well balanced, and climaxes that are well developed. Up to the time that I heard him sing, I had felt that the more complicated types of songs were perhaps sung only by people who had at least some training and education, but his music changed this theory of mine. It is interesting also to notice that often, even in the most cultivated families, music is more a matter of instinct and feeling than of much training. People who know little or nothing about the technical side of the art will nevertheless sing a second part to a song by ear, and without blundering. Spanish-American Folk-Songs. 21 A knowledge of the songs of Spanish America usually begins with "La paloma" and "La golondrina,"l both of which are very familiar there; but as they are still comparatively young, there may be a reasonable doubt as to whether they can be classed properly as folk-songs. These are but two examples; and, among many others, certain ones seem to be very generally known throughout Mexico, - as, for instance, "Carmen, Carmela" (No. 23) and "Si va el vapor" (No. 68), -while others are purely local. It is a difficult matter, and often impossible, to trace the history of any folk-song. The result of my effort to learn about these is given each time preceding the music, as a note. I have been able to trace only five of these melodies back to Spain; but I do not like to say positively that more of them might not be found in the mother country, although I have searched diligently through many volumes of Spanish folk-music,2 and have made inquiries in many directions. A few are combinations of parts of older songs that have been brought from Spain; but even in these there seems always to be some new element, either in tune or words. There are three songs (Nos. 3, 5, and 8, " La casita," "Los ojos mexicanos," and "Pregufntale a las estrellas") - all in the very familiar danza or Habanera form -which, for their second section, seem to have had a common ancestor, although I have failed to find it. The songs in danza rhythm are numerous, and include some of the most charming and interesting of those found in Spanish America; as, for instance, No. 33 ("Un pajarito"), No. 4 ("Yo no se si me quieres"), and No. 15 (" Encantadora Maria"), in which 1 These can be bought in any music-store. In addition, Charles F. Lummis of Los Angeles, Cal., has published a little group of Spanish-American songs in his Land of Poco Tiempo, and, with the co-operation of Arthur Farwell, two other songs in sheetmusic form, - Las horas de luto and La cara negra. Mr. Lummis has made a remarkable collection of phonograph records. Some years ago J. F. McCoy published ten songs in sheet-music form in Santa Barbara, Cal., most of which are now out of print. Stimmen der Volker is a book brought out by Albert Friedenthal, which has some good and some questionable statements. Wagner and Levien of Mexico City have also published a pamphlet of songs. H. W. Gray has a volume of twelve Folk-Songs from Mexico and South America. 2 A bibliography will be found at the back of the volume. 22 Memoirs of the American Folk-Lore Society. the melodies are far more original than those of the group that I mentioned above. There are various points that tend to make one believe in the Mexican origin of this music; as, for instance, the relative popularity of the various rhythms. That most ardent student of folk-songs, Carl Engel, has found that in Spain the number of songs in three-part rhythm makes about ninety per cent of the whole, whereas in Mexico three-part rhythms are used much less often. By contrast, the danza rhythm I have found occurring as often as one in five or six, instead of only about one in fifteen, as in Spain. Apart from their special leaning in Mexico towards the danza rhythm, they seem to divide their affection fairly between two-part and three-part rhythms, in all their varieties. The danza tunes which are intended especially for songs are said never to be used for dancing. The reverse is true as well. Engel also says that among a hundred Spanish tunes, he found seventy-eight in major, twenty in minor, and two beginning in major and ending in minor, with none that started in minor and ended in major.' In Mexico I have found the proportion of major tunes about the same, and almost a fifth of the total number of tunes that I have heard there make use of both scales. As a rule, these go from minor into the relative major, contrary to the Spanish form; but one of these songs, No. 4 ("Yo no se si me quieres"), changes from minor into the tonic major, which gives it an unusual character and a charming effect. The texts of the songs differ widely in their range. Many of them are in the form of the old Spanish coplas, with lines of eight or sometimes of seven or six -syllables, four lines making the ordinary length of stanza. Sometimes the first and fourth lines rhyme, often the second and third. Many times one finds only assonance instead of rhyme; but in Spanish, with its musical qualities, this is found to be satisfying. Sometimes the words are very childish in thought I I have found a few Spanish songs beginning in minor and ending in major, but they are rare. Spanish-American Folk-Songs. 23 and expression; and while some of them are delightfully, naive, others have a sense of rustic humor which, to our ears, borders on vulgarity. I have given at least one example of each kind that I could find; although there are a few that I have not translated, as the words seem uninteresting or poor, while the tune has some kind of merit. One of the naive ones deals with food, another with the bull-fight, and so on. A few of the songs are political, and these are grouped by themselves. Occasionally a song tells a story, but the greater number are love-songs of various types. It is in these that one finds the most interesting melodies, and words as well, for the sentiment and expression are often very charming and truly poetic. A few of the lovesongs are happy and joyous, - like No. 3 ("La casita"), with its planning of a little house for the beloved, which is to be a bower of flowers by a rippling stream, - but as a rule the love-songs have some element of pathos or tragedy; such as separation, or forgotten devotion, or hopeless longing. Occasionally one finds cynicism, as in the song called "Aunque ames" (No. 58), which. gives the worldly-wise counsels of an older woman to a young girl; or humor, as in the serenade "El galan inc6gnito" (No. 56). In the folk-songs of other countries one is apt to find a large proportion of work-songs, drinking and war songs, and the like. Is it not possible that the various prohibitions of the Inquisition, and the censorship exercised by the mother country, should have influenced the folk-songs of the colonies by narrowing the range of subjects? There is one characteristic of these texts which they have in common with the songs of all Latin races; that is, they often condense two or more syllables into one beat of the rhythm. A5 a rule, this is done with words that are made up principally of vowel-sounds, which run together easily in singing. In the case where one word ends with a vowel, and another follows immediately with a vowel, but one note f has been placed below, for the native singer would weld the two into one unbroken sound. Singing and dancing are so linked together, both in Latin 24 Memoirs of the American Folk-Lore Society, America and in Spain, that it is often hard to know how to classify their music. Many of the songs in this collection belong with dances; as, for instance, No. 92 (" Quieres que te ponga"), which has a dance for two people, and No. 85 ('iQue gusto me da"), which has a solo dance, hand so forth. The Jarabes, Malagueias, and others, are all to be danced as well as sung. In all of this music I have made my transcription as accurate as possible, taking no liberties with the tune, but giving it just as it was sung for me. Some of the songs were first recorded on a phonograph; and others were taken by dictation, when a phonograph was not available. With a person of small musical intelligence this is a difficult matter, for each repetition will vary; and if one calls attention to that, the singer becomes embarrassed, and loses all the more completely the thread of what he is doing. This little volume stirs but the uppermost surface of the vast sea of charming music lying to the south of us. Unfortunately, these songs are fast dying out; for, as a rule, the younger generation is more apt to indulge in rag-time than in the songs of its parents. This tendency is prevalent to a greater extent here than in Mexico, but, sad to say, it is increasing in both countries. In the last ten years even, many of the old singers have died; and, as a rule, their songs have died with them, unrecorded, and untransmitted by word of mouth. If the prospective song-collector could get away from the towns and centres of civilization in Mexico to some of the big remote ranches, he ought to be able to find whole classes of songs quite different from those in this book, - altbadas long, serious, beautiful songs, sung in the dawn on the way out to work; and ballad-like songs sung about the fire at night, when work is over; and other kinds as well. By those who have been fortunate enough to hear them, these are described as unusually beautiful. For the moment, Mexico is a difficult place to move about in; but if peace could once more be restored to that racked country, a wonderful opportunity would be opened to the song-hunter. Meanwhile all of 5outh America is available. Spanish-American Folk-Songs. 25 Why should we feel that the Americas have nothing to give us in folk-music? l My best thanks are due to those who have sung for me, without whose help these songs might have gone the way of so many others; also to the various kind friends, - Miss Esther Singleton, Mrs. Marguerite Wilkinson, Mrs. Tileston Wells, Mrs. W. W. Rockwell, Mrs. Raleigh Gildersleeve, Miss Edna Thompson, Mr. Edward Kilenyi, and others who have aided me in the translation and helped me with information and advice, for which I am deeply grateful. STOCKBRIDGE, MASS., Oct. 23, I9i6. I I. SERENATA.1 (From southern California. Sung by Mrs. Francisca de la G. Dibblee.) 2b be chaned slowly and softly. i. E - ra la no -che; Ba- jo la G6- ti- ca venDark was the even - ing. Un - der the sculptured Gothic ] OF _ II. ta - na, Deu-naher-mo-sa Cas- te - lla - na, Sus - pi - ra - win - dow Of a deep-eyed Castilian beau - ty, Mourn- ful - ly. 4 A ba un tro - ba - dor,... Y al so - no - ro son del ar - pa, sighed a trou - ba - dor; And on his harp he played with fer-vor, _ P.... 4 - i....., -I..... A - sf can -an n - do de -ci - a,- Vuele a ti, que - ri - da Sing-ing these words with tender meaning: " Darling, to thee my tho'ts are, o, F -,, I I-, ~ ~ - -....l mi - a, wing - ing, Es - te sus - pi - Love's grief up - on the I fr ro de a - mor. 4, air I pour.", 2. i De mi triste desconsuelo Ten piedad, noble seniora! S61o tu piedad implora Tu respetuoso amador. Nunca mi pasi6n quisiste Beldad, que admiro y adoro, Mientras mi postrer suspiro Sera un suspiro de amor. 2. "Take pity on my lamentation! Ah, noble lady, show thy mercy! Thy mercy only I'm imploring. Thy reverent suitor now am I. Never has my passion pleased thee, Beauty much honored, much adored, While my deep sighs of true devotion Float upward toward thee as I die." 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. 27 28 Memoirs of the American Folk-Lore Society. 2. EL TROBADOR.' (From southern California.) Slowly, with deep feeling. i. Yo tro ba-dor, yo po-bre sin for-tu -na, Poor trou- ba dor am 1, with fortune frowning; Si te ad - mi - ro las gra -cias que tu tie -nes; I love thee dearly, thy graces I adore; Yo no te veo, mas be Ilha que la lu. - na, Like moonlight's spell, thy beauty all is crowning; Si te a- do -ro, me per-do-nas o-tra vez. I love thee dearly. Oh, forgive me once more! Pros - eni - to yo, en ex-tran - je -ro sue - lo, No hay pie - dad Banished am I. Ah, show me now thy pity! From foreign lands... de un tris-te tro - ba - dor. Pros-cri-to yo, en ex - tran - je - ro I send my cry to thee; Banished am I. A h, show me now thy sue - lo, No- hay pie - dad de un tris - te tro- ba- dor. pity. From foreign lands I send my cry to thee. 2. Cese el ilorar, amante de amnargura. Cese el gemir, querido trobador. Tu amante fiel se rinde a tu ternura Y lauros mil coronar~n tu amor. CompensarAn los goces y las glorias Todo el rigor de mi anterior desde'n. Y envidiar~n los siglos y las historias Al trobador y a su querido bien. 3. Tu dulce voz, tu citara sonora, Ensalzar~tn la pompa del festin. Te brinda la dama encantadora, Y brindarin todos al paladin. 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. Spanish-Anerican Folk-Songs. Ay! trobador, ven a mis tiernos brazos. Tu amante fiel te los ofrece, i ven! Y estrecharAn indisolubles lazos Al trobador y a su querido bien. 2. Cease now thy tears, thou ever mournful lover; Cease now thy sighs, beloved troubador. Thy tenderness has won this faithful maiden, And laurel wreaths shall crown thee evermore. Glories and joys henceforth shall recompense thee For all my former harshness and disdain, While history and all the future ages Shall envy us, the maid and knight, in vain. 3. Thy sweet guitar, thy dulcet voice resounding In song, shall grace our festal wedding-day; Thy damsel fair shall toast thy long devotion, Yea, all will toast the paladin who may. O troubador! come to my fond embraces, Now offered thee from this adoring heart, And they will forge eternal bonds between us, And ne'er the maid and troubador shall part. 3. LA CASITA. 29 (From Central Mexico.) Moderately. _. v..... -------. _a-.-~ I. A - 11& en el cam - po muya lao - ri - lla, De un a - rroA riv - er with green and sha - dy bor - ders, I al - ways yi ~ to mur-mu - ra - dor; U - na ca - si - ta lie - na de en - see in my fan - cy's dream; Near by a mag - ic house for thee I 18 8 8 i F. F- ' —' ---r=L —. ^ -^.. can- to, Pa - ra ti ha puesto mi co - ra - z6n. Junto a su con-jure, Cast -ing its im - age in the gen-tle stream. A - bout its -4 =. — - 4 1 -_. =-. __. _... puer - ta hay ma-dre - sel - va, por - tal the vines are wreath-ing, A, su de - re - cha And hon - ey s sue - kle 30 Memoirs of the American Folk-Lore Society. I -,.F se ve un jaz - min; Y ha - cia o - tro la - do muchas vioi5i ' -. i. _.,,d.,,. perfumes the air; jes - sa - mine, ro - ses, and mul - ti-tudes of le - tas, Y o-tras mil flo - res se ven a - Iii. bios - soms, Add to its love - li - ness ev - ery - where. 2. El no-me-olvides sirve de alfombra, Alli los lirios se ven lucir, Y las violetas le dan su sombra, Cuando n las tardes va el colibri. Esta sembrada de muchas flores, Que el arroyito bafia, y el sol Cuando en la tarde presta sus rayos, Para alentarlas con su calor. 3. Allf la calma nunca se pierde, Nunca hay tristeza, nunca hay dolor, Alli se goza la paz del alma, Sin mas testigos que el campo y Dios. Si tfi me quieres, con el carino Con que te adora mi coraz6n, V&monos juntos a esa casita, A ser felices, mi bien, tu y yo. 2. Forget-me-nots make an azure carpet, Snow-white lilies grow tall and fair, And violets peep out from mossy shadows, Calling th humming-birds to linger there. The radiant sunlight caresses warmly The blooming flowers, and gives them force; And they are watered by the refreshing river, Which pauses lovingly in its course. 3. Here calm and repose are ever reigning, And grief always shall be unknown. Here thou shalt find, my love, the soul's contentment, In the surrounding peace which is God's own. If thou canst love me with true devotion, And in the measure I thee adore, Come with me, darling, come with me to this cottage! We shall be joyful forevermore. Spanish-American Folk-Songs. 4. YO NO S E SI ME QUIERES. (From southern California or northern Mexico.) AlOwly and with deep feeling. 3' Yo no s6 si me quie - res. Tfi lo sa -brAs.4 I know not if you love me. Th&at you can say. Lo que se' es que yo mue- ro don - de no es -tUs. But I know that I per ish when you are a-way. Yo he ci- fra -do en a- mar- te, mi por v e- nir; All my striv-ing is fu - tile, -nought can life give; A - si es que yo no pue- do sin ti vi- vir. For a-Ilasi dear, with-out you I can- not live. Si tfi ya me ol- vi -das -te, di -me lo lue go, If you do not love me, do not de - ceive me. Que yo es - toy re- si- gna - do si a-sf ha de ser. False hopes nev er can help me, should fate thus decree. I A ll L Y si en tu al -ma ya ex - is ten - tros a - mo - resw If in your bos-om, for an - oth -er love should be hid - den, -N-,A fil No les d~s comno al in! a, mi bien, los sin - sa - bo - res. Do not give to him, as to me, pain with - out its guer - don. ra,. 32 Memoirs of the American Folk-Lore Society. 5. LOS OJOS MEXICANOS. (From the neighborhood of Mexico City.) k I Moderately. z. Dicen que los o - jos a zu - les, los o - jos color de cie -lo, It is said that eyes of as - ure, eyes shining with Heaven's col - or, No di-cen na-dadea-mo-res, y sf, mu -cho de ce - lo. Nothing can tell of love's pleas-ure, but on- ly jeal - Gus fer - vor. r Por e -so yo ja-m.4s he de bus-car a -mor, En [And so for - ev- er- more my search for love I make, In u nos o -Jos que no bni H len como, el Sol. Tus eyes whose som - bre hue Hcav'n's light can nev- er take. Thine o -jos nie - gros son, por e so te amo a ti Porque eyes are black as night, tneref ore I love but thee, For - - - Pk V.- -- W- - los o -jos eyes as black 2. nie - gros son to - do co - ra - z6n. as tisne speak of true love for me. Dicen que los ojos verdes Son emblema del olvido, Pues ellos prometen un alma; Cosa que nunca han tenido. Por eso yo jam~s, etc. 3. Dicen que los, ojos negros, Para platicar de amores, En una mirada de ellos, Le dicen a uno primores. Por eso yo jam~s, etc. 2. It is said that green eyes promise a soul to each beholder. They ne'er fulfil that promise, forgetfulness they figure. And so forevermore, etc. 3. It is said that black-eyed glances show tenderness in loving, Fair days and hopes foretelling, sweet joys and fancies giving. And so forevermore, etc. Spanish-American Folk-Songs. 6. DIME, MUJER ADORADA. (From Santa Barbara. Sung by Mrs. F. de la G. Dibblee.) 33 Moderatey. A _e t t I Di- me, mu- jer a - do - ra- da, por-qu6 me tra- tas a - sf. Tell me, a-dor-a-ble maid-en, why thou shouldst treat me thus coldly. _ & _.... I I I ri Di - me si ya no mequie-res, pa-ra a- le - jarme de ti. Tell me if thou dost not ove me, that I may leave thee at rest. IFir 'I-Z Z- I -c No me a-ban-do-nes, que - ri - dat - ye mi tris - te can- ci6n Do not a - ban - don me, dar-ing / Hear the complaint that I sing / Por-que al hombre que te ado - ra, le de - vo - ra u- na pa - si6n. For to dis-trac-tion I love thee, I am by pas-sion op - pressed. 7. YO TE AMO, IDOLATRO. (From Costa Rica. Sung by W. C. Riotte.) Very slow11y. L. i. _ Yo te a mo, i - do - la - tro, am - bi - Ah! I love thee, i -dol - ize thee, and thy cio no tu bel - dad. Yo no s por- qu6 lain - beau - ty I a - dore. Nor can I tell why thus Faster. gra- ta me cas - ti - ga sin pie - dad. Ay! cu - ruharsh - y thou shouldst scorn me ev - er - more. Ah coo - roo'-.,. -. Ctu, CU - r*, cu - cu, coo, coo - roo, coo - coo, cu - ru - cu, cu - ru, cu - cu. coo - roo- coo) coo- roo, coo - coo. 34 Memoirs of the American Folk-Lore Society. 8. PREGUONTALE A LAS ESTRELLAS.' (From Puebla. Sung by Mrs. Geoffrey Harner.) Rather slowly. Danza rhythm for accompaniment. A UL i. Pre - gfin-tale a las es- tre- Has, Si no de no-che me Go ask of the high stars gleaming, If my tears fall not throughyen lo - rar. Pre - gi'n - ta-les si no bus -co Pa-ra adorout the night. Go ask if I seek not dreaming, For - p ar- te la so- le - dad. Pre - gin-ta -le al man -so ri - o thee till the dawn brings light. Go ask of the murm'ring streamlet Si elllan-to m - o no ve co - rrer. Pre - gfinta - le a to - do el If my pale shadowy form goes by. Go ask of all cre - mun - do Si no es pro -fun -do mi pa- de - cer. Ya nun - ca a- tion If thou art not, love, my soul's one cry. AhI doubt not, du -des, Que yo, te quie -ro, Que por ti mue -ro dear -est, that I a -dore thee; For thee I per -ish Lo -co de a- mor; A na -die a mas, A na -die quie -res, distraught with love; Thou lovest no one, Thy heart beats coldly; Vt V W v v JO - ye las que-jas, o - ye las que-jas De mi a - morn Oh, hear the pleading, oh, hear the pleading, of my fond love! 2. Pregurntale a las fibres, Si mis amores les cuento yo, Cuando la callada noche Cierra su broche, suspiro yo. 1 From Folk-Songs from Mexico and South America, by courtesy of HI. W. Gray Co. Spanish-American Folk-Songs. 35 Preguntale a las aves, Si tu no sabes lo que es amor. Pregfintale a todo el prado, Si no he luchado con mi dolor. Tf bien comprendes, Que yo te quiero, Que por ti muero, Solo por ti; Porque te quiero, Bien de mi vida. S61o en el mundo, S61o en el mundo, Te quiero a ti. 2. Go ask of the sweet flowers blooming If of my sorrows I told not all. Go ask of the wild birds singing If I sigh when the night doth fall. Go ask of the dewy meadows If thy love holds not my heart in thrall. Go ask of all creation If for thee, darling, I pine and call. Ah, hear me, dearest, How well I love thee! For thee I perish Distraught with love. My only solace Is to adore thee. My heart's devotion, My heart's devotion, I offer thee. / 9. REIR ES NECESARIO. (From Central Mexico.) Tragically. I. Re - ir cuando se tie-ne el co - ra - z6n he - ri - do; TeTo laugh though in one's bos-om a wounded heart is hid - den; To ~~~~~~~~~E, R,...:.I,:,,.. ~[,~ ~ ner u - na es - pe - ran - za, love and hope un - bid - den, \I V - --.y e - sa i- lu - si6n per - der. Re - and lose that hope at last. I 36 Memoirs of the American Folk-Lore Society. a 4.ir es ne -ce - sa - rio, el mun-do in-sul -ta -rii a, La ho - force my lips to smil - ing, lest if I showed my sad- ness, Berri- ble pe - na ml - a, mlia-mar-go pa- de- cer. Bien fore my poor heart's mad - ness, the world would stand a -ghast,. I s6 que no me quieres, que nunca me has que- ri - do, Bien know you do not love me, and that my hope-less pas - sion Not F6 que no te in - spi - ro tal vez ni com- pa si6n; Por ev- en sweet com - pas - sion in your breast can in- spire; And e- so ca - da di- a mi ser se va ex-tin -guien- do, Por so through ev - 'ry mo - ment my wounded heart is cry ing, Be - e - so es - tb mu -rien - do, loy - ed, I am dy - ing de a -mor mi co - ra - zon. in love's con-sum - ing fire. 2. Si porque el mundo ignore Mi loco desvari'o, Por eso canto y rio, En medio del dolor. No importa que esta risa Consuma mi existencia, Si al cabo esta dolencia, La sufro por tu amor. Vivir mais, ya no puedo, Mi vida es de dolores, De amargos sinsabores, De angustia y de pesar. Yo llevo aqui en el alma Un mar de acerbo llanto, Sufrir y sufrir tanto, Y sin poder llorar. Spanish-American Folk-Songs. 2. I sing and laugh with madness, my sorrow hiding ever; 'Tis torture past all measure, and the world ne'er can know. It heeds not that my laughter burns to my inmost being, And that my life is fleeing through my love's ceaseless woe. I can exist no longer, I cannot face the morrow. The fulness of my sorrow within my breast I keep. A sea of pain o'erwhelms me, my life is past enduring, My grief beyond the curing, and yet I may not weep. 10. ANGEL DE MIS AMORES. (From Oaxaca, Mex.) 37 Sa'14j. A I a Qu6 quie-res, Angel de mis a - mo - res, Que te d6, en Be - lov - ed, Angel of all my dear-est dreams, What can I of - fer me-dio de mis can- cio - nes? Te da - r6 es- pi-nas por-que las thee in the place of this my song? Thorns must it be, for in my' 841 fibo res, Ya es - t~n muer -tas en mi co- ra z6n. heart are dead All the flow - ers that bloomed so fair ere long. Si tui me a- ma ras, cual yo tea - do -ro, Tal vez tu - If thou but lovedst me, then would'st thou know, dear, How I do vie-ras, I ayl pie-dad de mi. Pe - ro no sa - bes cuanto te a - worship thee, and pit y me. Thou canst not meas - ure my heart's de dto - ro, V cuan -to cu - fro, l ay! vo - tion, And how I suf - fer, ah! I no mas por tit dear one, for thee. 38 Memoirs of the American Folk-Lore Society. II. UN ADIOS. CANCIO6N. (From Qaxaca. Sung by Pedro Diaz.) To be sunlg slowly, and almost as a recitative. I -. Cuan -do me ye-as.., en la de -sier -ta pla -ya, if thou shouldst see me, on o- cean shore de- serf- ed, Con mi tris-te - za, y mi do - lor a so - las, Con With my heart's sadness and my lone - ly sor -row, While el vai - vdn... in-ce - san - te de las o - las, A-cubrdaall the waves... in cessantly are stir -ring, Remember te.. a -cubr -da -te de mi. Y cuando ve -as... u -na met ah, then remember mel And if thou seest, where a a v e so -ii ta -ria, Cru -zar el es-pa-cioen mo-rilone- ly bird is fly- ing Through end - less e- ther with slow bun do vue - lo, Bus-can-do un al - ma en - tre la mar y el meas - ured wing - ing, He seeks a spirit be- tween the earth and J-~i4zt~ 1 -. cie - lo, A- cuer -da -te, a -cu~r -da -te, de mi heaven, Re-mem-ber me! ah, then re mem - ber me! I2. LA PALOMA BLANCA.' (From Arizona and northern Mexico.) i. Yo soy tu pa l- — ma blan -ca, Tu er -es mi piI'm your little dove, my darling, You're my pretty ch6n a - zul, A -rrI - ma - me tu bo - qui - ta Pa -ra ha -cer cu,pigeon blue. Turn your sweet red lips to me, dear; And let's woo and 1From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. Spanish-American Folk-Songs. 39 -I IN 1 JI El% I I cu - cu - cu. A la jo-ta, jo - ta que bai - le Je - su - si - to,1 coo, coo, coo. To the jota, jota that danced the little Jesu, d_ P... k,, __, _,,_, _ A la jo - ta, jo - ta que bai- le Je - su - si - to,l A la jo - ta, To the jota, jota that danced the little Jesu, To the jota, ljf II I' [] wI l jo - taque bai-le Je - su - si - to jota that danced the little Jesu, cu - ru, cu - ru, cu - ru. Coo roo, coo roo, coo roo. 2.,Crsula, qu6 est&s haciendo? - -Mamacita, estoy hilando Para hacer una corbata De las que se estAn usando. 3. La flor de la calabaza, Es una bonita flor, Para dArsela a los hombres, Cuando llega la ocasi6n. 2. "Ursula, what are you doing?""Mother, dear, 'tis a cravat, That I'm making for my lover, It's the kind we all like best." 3. Squashes have a yellow blossom, It's a very pretty flower. To a man one sometimes gives it, If he's not a welcome lover. 13. QUE BELLO ES QUERER. (From Mexico City. Sung by Sefiora Ramirez.) NoTE. -The parenthetical sharp in line 2 indicates that the tone was sometimes sung with voice raised half a tone or less, sometimes natural. Moderately. lZlr ]l _' ' Jl x 'l l t I -- i Qu be - lo es es - tar en los bra - zos de otro amor! How sweet it is to be in the arms of new-found bliss! l- -- - - =... i' - U I CuAn be - llo es que - rer, cuando es li - bre el co - ra - z6n! If light-ly touched by love, how gay it is to kiss! 1 Second stanza, "coquito." 40O Memoirs of the American Folk-Lore Society. Go - zar del pla - cer con ter - nu - ray Ju - ven -tud. Ten - der - ness and youth, a/i, to taste of these the joyI FIN. Cudn be - Ilo es que -rer la pu -re - za y la vir -tud I How bliss-Jul Itis to love Pur - i - ly with-out al - loy Quickly.___ Yo quie- ro ser Iii bre, Li -bre de go - zar. Free, I'd lik e to wan- der, Free to taste the weorld, ____ ________Da capo al fin. Co -mo la pa- lo ma, V el car - de-nal. As the dove has free - dom, Or the hum-ming - bird. 14. TIEMBLO CON TUS MIRADAS. (From northern Sonora.) Not a danza. Rather slowly. Tiem -blo con tus mi-ra- das, Y me con -mue-vo, Thy glance, it makes me tremble, And at thy voice, dear, Si oi -go tu voz. Y tus son-ri -sas Son al -bo - My soul doth start. And oh, thine eyes, love, Bring light of....... ra - das, A -llh en el fon - do, Del co -ra- z6n. morning, To banish darkness from my sad heart. A little faster. ___ V de -ja que de ro -di -Ilas, Mi a -mor ar -dien -te, Oh, hear me! I kneel before thee, How my love is burning! Ven -ga y te di -ga, Dear, 1 must tell to thee, Mis su - fri - mien - tos. I suffer cruelly. V Oh, Spanish-American Folk-Songs. 4'. - de ja Que de un mo -men -to, Mi a -mor ar - hear me! For one brief moment, How my love is dien -te, Ven -ga y te di- ga, Que tea-mo yo. burning! Dear, I must MeU to thee That I love thee. 15. ENCANTADORA MARI'A.' (From Oaxaca, Mex.) Slowly and with feeling. En-can -ta -do - ra Ma - rf - a, yo te a - mo con i - lui - si6n, Ma - ri - a dear, my Pas-sion and great de - spair thou art, j A quien le da - r las que-jas ne - gras de mi co - raTo whom shall. WIel the sor-rows of my de - vot - ed z6n?. Ay!...... ique triste pa -ra 61 que heartAy... Ay!.... how des-per - ate for a 8 8 a -ma No te -ner si -quie - ra nin -gu-na es -pe - lov - er Knowing no sol ace, dis-heartened forran - za I. Ay!...... no mehbagassau-frir a - ev -er!.l. Ay/.....do not jest with my grief, but S — 8 St, Que mu -ri - en -do es - toy de a -mor, s6 - lo por see / I am dy - ing heart-bro-ken,....a - lone for ti. thee. 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. 42 Memoirs of the American Folk-Lore Society. I6. CREPUSCULO. (From southern Mexico.) Moderately. Danza rhythm for accompaniment. iNo has vis - to ni - fia, Co - mo en la tar - de, Su - ben las Hast thou not seen, darling, How after sundown Awake the bri - sas, Del ti - bio mar; Y en los es - pe - jos, breezes From off the sea; And in its bright mirror f' JJ~, 1-. _. Que hay en el cie - lo, Se van her - mo - sas, A re - tra - tar? The starry heavens Repeat their radiance For thee and me? Ih nt#-~- - __ < v y I J I J JC751 lNo has con-tem - pla -do Las a - ve - ci - lias, Que a - le - gres Hast thou not heard, darling, T'he birds that twitter And sing in rr r can - tan, En el zar - zal; Y a -l e - na - mo - ran, springtime From bush and tree? It is love they are voicing, 2, f^ r c -. _^,, f 1 ' f UJ Con sus en- de - chas, A las don - ce - las, Del flo - res - tal? Theirfond plaints making, To feathered sweethearts In uood and lea. I7. j BLANCA VIRGEN A TU VENTANA! (From Santa Barbara. Sung by Mrs. Francisca de la G. Dibblee.) Moderately. He. l: -. - 1 w w..,... -- - I. O blan - ca vir - gen a ta ven - ta - na, A- so ma el O fair - est maid-en ap - proach thy win-dow, Come to the L....- '.- PU.: -n- E --- _........J-_[- I Con~~~~~ su nd-haAlsonc-ls elo fi-estl Thi odpansmknT ethrdsetersI odadla ros - tro pa - ra es - cu - char, rail - ing and turn thy ear, En - tre la brisa blan - day 1l - While gen - te breezes waft of my SPanish-Amerlican Folk-Songs. 43 via - na El e- co e -ter-no de mi can-tar!1 sing- ing The eter - nal ech- oes for thee to hear! -Mur-mu-llos va - nos, j Qu6 importa aun at - ma El e - co eVain are these mur - murs; of all thy sing - ing, The eter - nal ter - no de tu can -tar? Yo habi -to uncie- lo de paz y ech - oes stir not my heart. A nest my heart is, of love and cal -ma, Ni. do de a- mores, ni -do de a-mo -res, mi co -ra - z6n. rap - ture; I live in a heaven, I live in a heaven, of love a - part. 2. El. Aguila entonces SerA mi vida, Hasta tu cielo Podr~ volar.Ella. Pez de colores, Me hare perdida Entre las olas Del hondo mar.El. Entre los mares Te buscaria, Serian las olas Tu pescador. Ella. En ave entonces Me tornaria E irta volando, E in a volando de flor en flor. 3. Ella. Encina negra Ser6 en la roca, El. Yo, yedra tierna Te abrazar6.Ella. Monja blanca, Ceftir6 toca. El. Confesor santo Tu voz oir6.Ella. Si del convento Pasas la puerta, Muerta entre fibres Me encontrarks. - 44 Memoirs of the American Folk-Lore Society. El. Si entre las fib~res Te encuentro muerta, Ser6 yo tierra, Ser6 yo tierra, Y mia serfis. 2. He. Then to an eagle my life I'll alter, Up to thy heaven swift I shall fly. She. Then to a fish of the sea I'll change me, Hidden beneath the waves I'll lie. He. Within the ocean, I'll quickly seek thee, The waves will help me to find thee there. She. Then to a bird I'll turn my being, My flight shall take me, my flight shall take me, from flower to flower. 3. She. A live oak I'll be amid the bowlders. He. As clinging ivy, I'll clasp thee near. She. As a nun, hood and cowl I'll be wearing, He. Saintly confessor, thy voice I'll hear. She. Through convent portal, if thou shouldst enter, Dead thou wilt find me among the flowers. He. Among the flowers, if dead I find thee, To earth I'll turn me, to earth I'll turn me, and mine thou'lt be. i 8. TU ERES MAS BELLA. (From Costa Rica. Sung by Walter C. Riotte.) x. Tu e -res mas be -Ila Que la flor que na- ce Thou art more love- ly Th an the flow. er bloom - ing Ba -jo u- na pe iha. i O vir- gen mon -ta- fie -sa With - in the rock - y glade, 0 vir - gin mountain maid/ Refrain. _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ Di -me, di -me, si el a -mor es uin de l i - to. Tell me, tell me, if to love is real - ly sin - ful1. Pa - ra nun-cea ja - mis, ja - mfis a -mar Ev - er - more, ev - er - more, shall I love TO~. Spanish-American Folk-Songs. 2. Yo te adore, Con esplendida belleza. Cual los cristianos Adoran a su Di6s. Dime, dime, etc. 2. I must adore thee For thy radiant loveliness, E'en as the Christians Adore the 6od they bless. Tell me, tell me, etc. I9. VUELA SUSPIRO. (From Argentina. Sung by Mrs. Leopold Buhler.) Moderately. 45 iVue-la, sus- pi - ro!... d6 es-tA mi ama - da,... Y de lleGo now, my sigh - ings,.. seek my be - lov - ed!... Surprise her _r- i,- _ ' rL,'l_ " ' 1..... ga - da, sor-pren-de - la. Di - le que au- sen - te, pe - nas pa - gen - tly, where she may be. Tell her I lan -guish when we are dez - co. Si se entris -te ce,... con-su - a la la... part - ed; And should that grieve her, con-sole her ten.der- ly... 20. LAS TRISTAS HORAS. (From Puebla. Sung by Mrs. Geoffrey Hamer.) Rather slowly. Danza rhythm. i. Que tris-tes son las ho - ras, De la fa- tal au - sen - cia, Oh, sadly pass the hours, For I shall see thee never; Que tris- tes los re - cuer - dos, De a-mores que se van. Oh, sadly glow the mem'ries Of our departed joys. / uti-tyes J la - da. Se q d I ' ---- ''',d,",!: c...L,-::-. Que tris- te y de - so - la - da, Oh, sadly do I wander, Se que-da la exis - ten - cia, With grief my bosom laden; 46 Memoirs of the American Folk-Lore Society. Si la f - ni -ca es -pe- ran -za, Del co -ra -z6n se va. For my poor heart is broken, And all my hope is gone. A -di6s, cuando ma- fia - na, Es - ts ba -jo o -tro cie - lo, Good-by, dear love! To-morrow, When thou art far away, Ba - joo-tro cie - lo ex - tra - fio A nues -tro cie -lo a - zul. I must live with my sort ow, Re-mem-bering yes - ter - day. Re-cuer-da que no en - cuen - tro Ni glo - ria ni ven- tu - ra, Good -by, dear love! I borrow My solace from the past; M Idw 7-i Ni di -cha ni con - sue - lo, For joy has gone, and glory, A-don - de no es - tas Uf. When thou art far away. 2. Irdtn a visitarte Las brisas que han besado Mi frente pensativa, Cont~rndote mi af5in. En tanto que recuerda Mi pecho enamorado Las dichas, que pasaron Y nunca volver~tn. Y cuando al caer la tarde, Las p~lidas neblinas Adornan de los cielos El filtimo fulgor; Jugar~n con tus rizos Las auras vespertinas, Fingi~ndote mis besos Cont~ndote mi amor. 2. Oh, quickly fly the breezes Greetings to bring thee, dearest! They've kissed my pallid forehead, And know my bitter grief. Oh, truly they will tell thee Of my heart's heavy aching, Spanish-American Folk-Songs. And sweet joys that have vanished, Ah, never to return! And when the night is falling, And clouds the skies are draping, List to the breezes calling, They call my name to thee; They toy with thy dark ringlets, And hide my kisses in them; They tell thee all my passion; They bring my heart to thee. 2I. CHULA LA MA-NANA. (From Mexico. Sung by Mrs. Karbe.) 47 Gaylyt. MS Chu-la la ma fi~a -n~a, Chu -la la ma-fia -na, Gay ly dawns the morn- ing, Gay - ly dawns the morn-ing, Co mo que te ql ro. Da -me tus a -mo - res, Ah, how much I louvee thee I Give me thy a! -fjec. -ion, Da -me tus a -mo -res, No me des -di ne - ro. Di - Give me thy af-jfec. tion. Dear - est, do not scorn me. See - - - cho -sa la chu -pa-ro - sa, Que chu -pa la flor del where humming-b~irds are flit. t ing, And tast - ing the flow - ers' cam -pop Pe ro mas di cho- so yo, sweet - ness; But hap pier than all am I Que has -ta la ma - ti - ta If for - ev - er mine le a -rran - co. thou wilt be. 48 Memoirs of the American Folk-Lore Society. 22. LOS CELOS DE CAROLINA. (From southern California. Sung by Mrs. Francisca de la G. Dibblee.) Slowely. Danza rhythm. i. Ne - gros y tris- tes son los pen - sa - mien - tos, ue atorSom-ber and drear -y are the thoughts torment-ing 9dd mnen - tan a es -tanil- ma que te a - do- ra. La pa - zvour - ing this bo, - scm that a - dores thee... Jeal - ous - si6n y el ce - l me de -vo,- ra, V vi -vo sin ce - y and black de-s.Pair surround me, Mourn-ful I live, with sar pen - san -do en ti. El u - ni - ver so en -ter- o thoughts of thee al - way. The u - ni - verse en - tire be - an - te tus plan -tas, Te rna de a ti su a- do- ra - fore thy foot - steps Bows in de -vo - tion, which ci6n y yo, en-tre tan- to. Der. ra - mo a so - las m~i an - gusI..al-so ren -der. My des-per -a-tion I tell to, wIF ~ tin - do Ilan - to, thee for - ev - er, Tan s6 - lo por tu a- mor y mi ilu - si6n. Be-reft of thy true love, which is my dream. 2. jTriste de mi! tu me has robado el alma, Y con ella mi honor y mi destino, Tan solo por tu amor, amor divino, Tan s6lo por tu amor, triste de mi. Vuelve a mi esos ojos que me encantan, A darme un rayo de su luz divina, Y volverds la dicha, 0 Carolina, A este pobre y amante coraz6n. Spanish-American Folk-Songs. 2. Ah! I am sad, for thou hast robbed my bosom Of all joy in life, and of all hope and honor, Through love of thee, divine love past all measure. Through love of thee, Ah! sad is now my heart. Turn to me now those eyes that always charm me, And swiftly give me a welcome ray of light divine. Come, bring good fortune, 0 dearest Carolina! To this unhappy tragic life of mine. 23. CARMELA. (Sung generally throughout Mexico.) Moderately. Danza rhythm for accompanimrnt.,. '8 49 [..:.. f_ _i:^ A - si cual mue - ren en oc - ci Swift - ly the day - light is fad - ing, _[~T: ', ^., r I -...... * den - te los ti - bios ra - yos del as - tro rey. To dark - ness shad - ing. Westward the sun sinks low, A - si mu - rie - ron mis i - lu - sio - nes, a - si ex - tinAnd the illusions I cherish All quick-ly per-ish, t: Slower. _ guien-do se va mi fe. Car-men, Car - me - la, Luz de mis My faith and hope must go. Car-men, Car-me-la, Light of my ~I ' o - jos, 'Si luz no hu - bie - ra, Ha-bias de dark-ness, If night sur - round me, Still wouldst thou r- Lb- - -- A - - --. ser. Her- mo - so fa - ro, De ven - tu - be A ra - diant bea - con of hap - py 1J -T — - U ran - za, Dul-cees-pe - ran - za, for - tune, Hope's fair-est to - ken, Be - lo pla - cer. ' " Shining for me. *'. ' *^ e 4 50 Memoirs of the American Folk-Lore Society. 24. SI FORMAS TUVIERAN MIS PENSAMIENTOS. (From Los Angeles. Sung by Miss C. M. Corella, who learned it from a young Yaqui girl. Words found in early Spanish literature.) Slowly and with feeling. Danza rhythm for accompaniment. Si for -mas tu -vie -ran mis pen -sa -mien - tos, if I had the art, dear, To shape my thoughts of thee, Los ten -dr!-as siem- pre en tu a- p0- sen -to. They would seek thy heart, dear, And there at rest would be. Tfi f uiste mi pri - mer a - mor, T me ensefiaste a que - Thou wert my first and on- ly love, I learned the whole of love from rer, Y a - ho - ra me voy a que-dar, Sin Dios, sin glo-ra y sin ti; thee, And now thou'rt leaving me to grieve, No God nor glory for me; I-Is - Por ti me ol - vi - db6 de Dios, Por ti la glo-na per - di, My God for love of thee I lost, And glory too I lost for thee, Y a -ho -ra me voy a que - dar, Sin Dios, sin glo-na y sin ti. And now thou'st left me with-out hope Of God or glory or thee. 25. ENTR E UN JARD'IN.' (From San Juan Capistrano. Sung by Romalda Esperanza Robles Lobo.) Mod eraidly.I IA En -tr6 un jar - din a - don-de ha -bfa di.- ver - sas fBo- res, With -in a gar -den which held ma ny a flow - er, lAhill en -con - tr6 a la jo -ven a quien yoa -ma -ba. AhI there it was I gave my heart to a sweet maid- en. Spanish evidently garbled. Spanish-American Folk-Songs. 5' Me re - ga - 16 sn i - ma-gen re - tra - ta - da, i Has - With ten - der- ness sie gave me her own pic l ture, My ta no ver-te! IO! lin - da de mi a - mor.- Pero jo-yen - ci - ta own true love! Ah, ne'erto see her more! Butyouth should al-ways o - be de- ce a tus pa dres, Se - ris felearn o - be dience to its el - ders, They will be liz pa-ra to - da tu vi - da. De mf se-rfis la jo-yen hap -py till their days are o'er, Betrothed am I to her whom con sen - ti - da. Has- ta no ver-te, IO! lin-da de ml a - -mor. I a - dore. My own true love! Ah, ne'er to see her morel 26. EL SUFRIMIENTO. (From Mexico City. Sung by Seftora Ramirez.) Nowtly. Pa - dez co, sA, pa. dez - co por tu a - mor.... TeaDeep is the pain I suf - fer in my lovefor thee. With do - ra ml al- ma con fue- goy fre ne - sf. Y sin sa. pas - sion - ate fire my soul a-dores but thee. I do not ber si me a - mas. Hay de ml com - pa si6n. Te know if thou lov'st me. Have com-pas- sion on my woe. Take mue-vami do. -lr. Vo ya no pue-do su - frir elmar-ti-ri- o pi - ty on my grief. Nolon-ger can I a - bide this mar-tyr-dom 52 Memoirs of the American Folk-Lore Society. _- - -tQue a-tor-men-ta mi fiel co - ra - z6n. For pie - dad, por pieWhich torments my ten - der, faith-ful heart. Pi - ty me! for I 'T '- ' e -,, l- -. dad, S6-lo te pi - do un re-cuer-do, un sus - pi - ro de a - mor. die, On- ly I beg thy re-mem-brance and a sigh of ten-der love. An -gel be - llo, yo te a-do -ro. or ti - r t o sin ce - sar. Pur-est an - gel, I a-dore thee. Stoop withpi - ty to my tears.. I. _. Sin pie - dad de mi que - bran - to. Ven mi llan- to a con - so - lar. Now be -hold my poi-gnant sor- row. Come, console my trag- ic fears! ortu a - morhas - ta la tu - ba, En - tu siasta ba - ja - r6.,For thy love I'd glad-tly go, dear, to the un - re-spon-sive tomb. My hertsloeto f-r - ~.-.- - rL, Sin pie- dad de mi que-bran-to, Ven mi lanto a con - so lar. Now be- hold my poignant sor-row. Come, console my tragic fears! 27. SERENATA.1 (From Southern Oaxaca and Vera Cruz. Very familiar.) Briskly. La ni - fia que a mi me quie - - - ra, My heart's love to gain for - ev -. er, La ni - fia que a mi me quie - - - ra, My heart's love to gain for - ev - - er, 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. Spanish-American Folk-Songs. 53 0% U I I I ot% Da capo. Ha de ser con con - di - ci6n, Y ha de ser con con - di ci6n. High spirit a maid must show, High spirit a maid must show. 6 (Spoken) Que vol- vien - do - le ha- cer la se- fta, —I Pst, pstl —Que To her window I'll call from be - low, "Pst, pst!" To, -~ -,,,(Spoken.) vol. - vien - do - le ha - cer la se - fia,-l Pst, psti-Ha de sa - lir her window I'll call from be low, "Pst, pstl" At her bal- co - ny al bal - c6n. VY ha de sa -lhr al bal -c6n. rail she'll hov- er, At her bal- co ny rail she'll hover, 6 Que vol -vi~n -do le ha-cer ha se -fia, Que She must sig - nal like this from a - bove, She LT — dr 7 - vol - vi~n-do le ha - cer la se - fla, Ha de con - tes - tar... must signal like this from a - bove, And thus will she prove, Whistled.............................Sung. Ha And whistled..............Sung. AEi t I I I I de con -tes -tar,. thus will she prove,.. A - mor. Her love! 54 Memoirs of the American Folk-Lore Society. 28. EL TORMENTO DE AMOR. (From southern California. Sung by Mrs. Francisca de la G. Dibblee.) i. El tor - men - to de a - mor que me a- bra- - - In my bireast I find no hope of as- sua — - sa, En mi pe - cho no en-cuen- tin con -sue l o. Que me imging This con - sum - ing tor - ment of love for thee. Of what por - ta la vi - da que an- he- lo, Si a tu la - do no use is this life fullt of crav - ing, If fo r- ev- er at thy pue -do Ai vir. 1 Ay de nl1iP Qu6 infe - liz es ml side I can-not lbe P AhM my for - tune is hope - less past suer — - te!... Yo te quie - ro, yde - seo ser tu ameas — - ure. -- I a- dore thee, and long thy man - - te. -- Es p - si - blequeniun so -lo in - stan - lyo - er to be... Is it true that for nev -er one in - te, Ni un mo - men - to tea - cuer - das de stant, Dearest, thou couldst think~ more kind - ly of mi. me P 2. Es feliz el mortal que te adora, Las estrellas brillan refulgentes. Es felliz el que bebe las fuentes, Los cristales del agua de amor. Pero yo que con gran sentimiento Bebo siempre la hiel del dolor, Por piedad, ya no tanto tormento, No seas cruel, corresponde a mi amor. 2. Ah, how happy the mortal who loves thee! As the stars for him will shine more refulgently above. Spanish-American Folk-Songs. Ah, how happy is he, who, enchanted, Tastes the crystal water of the spring of love! While I with deepest devotion Drink always of sorrow apart, Now have pity, and cease to repulse me! Ah, return the true devotion of my heart! 29. MI SUENO.1 (From Oaxaca, Mex.) ragically. 55 A.,!. E v AJ11 ' I -_,f,. [- r. F_ I [- I.: I Ay!. sin tu a- mor, mo - ri - r6, sf, mu - jer! Por - que Love, I must die, with-out thee, all my life Is i - ES-tr -^ 4 * ^ -<5^^. ra^ tt * -< J td e - res i -lu - si6n. T le...'.. das al.... 1l - sion and de - spair. Thou, on - ly thou, canst give.,.1 -~j -!, -,,.I|,,...., __,. * ~-5 co - ra - z6n, La ven tu - ra que so - fi6. hope to my soul, For in thee lies all that's fair. No me mi -res a - sf, Por- que voy a mo - rir, Leave me not here to sigh, Nor my long-ing dis - dain, Pues no pue - do vi - vir, Con des - pre- cio de ti. Scorn me not, or I die, Life with -out thee is vain. iAyl....... vuel - ve tf a mi - rar, Que es mi Ah!......turn toward me thy sweet face, Fix thy ) ils,, - -;- t- I,- _ --- i - i -1 X~~- I __ IiJ = a - do - ra - ci6n, dear eyes on mine, Te - ner te corn - pa - si6n, Let my heart rest by thine, 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. 56 Memoirs of the American Folk-Lore Society. An -gel de a.mor...e..... a -quil yen -go a pe - Grant me this grace. My....yearn-ing I can not di,.. A im -plo -rar el per -d6n, tell,... Grant me _Par - don, I cry!.. Por si fue- se a mo- rir, A.- di6s, A di6s. But to clasp thee and die! Fare-well! Fare - weill! 30. BAJA ESOS OJOS. (From State of Coahuila, Mexico. Sung by Mrs. Karbe.) Ba - jae -sos o - jos tan se -duc - to -res, No me los Low.- er your eyes, dear, ere you en - thrall me! Turn them not vuel - vas, no me los vuel - vas. Por - que con e - Ilos au toward me, turn them not toward me! For with their glan- ces the men - tas mis do - lo res, Y yo ya no que-ro eter - nal pain sweeps o'er me, And I would notsf- fe r, ya no pue- do... su - frir mfis. Cuan.- do me nay, I could not suf - fer more. When you re - mi- ras, y yo te ye -o, Sien -to par-tir se gard me, my gaze re turn- ing, I feelI my bo- som Vj - *t -W mi co - ra -z6n j Ayl tu no sa - bes, No sa -bes lo melt at the sight. If' you could see the tor - ture 1 que am Spanish-American Folk-Songs. 57 su - fro, Tu se - ris siem- pre mi bien, mi a - do ra - ci6n. suffer-ing, You wouldfor - ev - er be mine, my heart's de - light. 31. LAS BLANCAS FLORES. (From southern California. Sung by Mrs. Francisca de la G. Dibblee.) Moderatekl and woith srong accente. Las blan- cas fl - res na - cen tan be - Has, Que yo por White-pet- ailedflow- ers Are born so love — ly, That for their FIN. e H has mue ro dea-mpr. iTen com-pa - si6n de mi abeau - ty Of love Pdglad-ly die. My heart's a-flame with morl i Ten pie - dad! Yes - cu - cha mis la - men - tos. love, Pi - ty me! Hear now my lam en - ta - tion. Mue - ro por ti. Mue - ro de amor, En tan gran -de su - fri. For love I die, I die for thee, I die in des - permien - to. - - Mi di -, cha, mi bien, ni en - can - to, Yo a iton... My tal - is - man, my en - chan - tress, For - A -A --- --— ~ siem - pre, tea - do - rai r6, Por- que te a- moy te a - ev er I must love thee, For thou art my dream, my Da capo atifin. do - o y siem - pre te a do ra r6.... life, my all, And al - ways I must love thee... 58 Memoirs of the American Folk-Lore Society. 32. LA ESTRELLA DEL NORTE. (From Mexico.) A -Gayly. I I V6 -me,ve y- me con es -os tus o -jos, Son ma's Oh, your eyes, dear, your eyes, dear, they pierce me, A s they lin - dos qua el sol en el cie - lo de qua me mi - ran, Me shine on me, bright - er and more potent than the Sun's rays. One que -dan un con -sue - - - - lo, Que me ma -ta, que me thought, love, doth console.... me, They will kill me, they will ma-ta tu mi -rar. Son tus o-jos la eskill me, with their flame. Your eyes are a tre - la del nor - te, Que guilan en el guide to the mariner, And con - stant like mar al ma -ri- ne - ro. Son tus o - jos, los o -jos que rays of the North Star. Oh, your eyes, love, your eyes, love, they gul an, Y sin a - los no pue -do vi- vir. guide.-. me, For I die, love, I die, without thee. 33. UN PAJARITO. (From Mexico City.) f rgca.,~ dP Im. v i. Un pa -ija - ri - to yo te - A lit - Ile bird I held, and, nfa, Se me vo - 16,... Y to/ It fled one day... A Spanish-American Folk-Songs. 59 u - namu-cha - cha queyo que - rfa, Se me ca - s6. maid - en that I trust-ed long a - go, She ran a - way... A Sadl4y, but more quiet.y. -NN — N __ p L —4 --- — A -s son to-dos en es -ta vi - da, a sf son A/i! she is faith - less just like all oth - ers, and all are to - dos co - mo estos dos, Se a-man, sea - do- ran, lue - go se ol - like her, I know that well; They love with fer-vor, then love'sforvi - dan yel hom-bre se di - ce,-I'Vayan con Di - os! got - ten, and man's left sigh - ing, " Fare-well,fare - well! -- A-sf son to - dos en es-ta vi - da, a- sf son Ah/ she is faith- less, just like all oth - ers, and all are to - dos co - mo es - tos dos, Se a-man, sea - do-ran, lue - go se ollike her, I know that well, They love with fer- vor, then love'sforvi - dan yel hom-bre se di - ce,-IVa-yan con D; got - ten, and man's left sighh-inf "Fare-well,fare - 2. Un blanco lirio yo tenia Se marchit6. Y de esta vida, el amigo mio, Desapareci6 - Asi son todos, etc. 3. Una mafiana de primavera Yo te ador6, Me amaste mucho, luego dijiste, 1Ya te olvid6! Asi son todos. etc. 60 Memoirs of the American Folk-Lore Society. 2. I held a lily white as snow, It drooped its head; My love has disappeared from out my life, My love is dead. Ah! she is faithless, etc. 3. One blissful morning of tender spring I loved you, dear, And you returned my love; but then you said, "Now all is o'er." Ah! she is faithless, etc. 34. NOCHE SERENA.1 (From northern Mexico.) Slowly, with deep feeling. No - che se - re- na de pri-ma - ve - ra, Blan -ca pa - lo- ma del 0 peaceful night of the budding springtime! 0 snow-white dove of the A little quicker. al - ba luz; No - che se - re - na de pri - ma - ve - ra, wak-ing day! 0 peaceful night of the budding springtime! As at first. -r - Il iI \ I,,..! I __: _.... *.. Blan - ca a - zu - ce - na e - sa e- res tu. Y al ha - 0 thou radiant lily! — all these are like thee. Light of my _ ' t i _ j- - - - i,T t:: =.- -,, -t --- ber yo lie - ga - do a - qui, To- do lie-no de em -be-le - so, dawn and of twi-light my starl I come to thy presence with wonder; Quicker. As at first. I' Qierr. Re - ci - be e - se tier- no be - so, Que te man-do, pa - ra ti. Ten-der - ly this one kiss I send thee, Take it, lovel Ah, turn to me! Broader......... I I I -1 ' ~- I 1,,' ', Cam - po en in - vier - no, Flor - mar-chi - ta - da, No - che sin Winter's chill doth come too soon, I am but a withered flower, Night without 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. Spanish-American Folk-Songs. lu - na Ne - gro tur- bi - 6n. Flor sin a - ro — ma, ray of moon, Wild storm's raging hour. Flower with its perfume spent, ' I J I I! J J IJ t1,. I i i Mar - chi - ta - da, Ar - bol tron-cha - - do, E - se soy yo. Tree -tossed and torn and bent, Love's storm hath swept o'er me so cru - el - ly. 35- POR TI RESPIRA. (From Mexico. Sung by Miss Elsie A. Seeger.) Slowly. -.. — -- Por ti res - pi - ra mi pe-cho en cal - ma, Por ti susMy soul be-seech-es Thy deepest blessing; My heart seeks pi - ra de a-mor mi al - ma. Da-me, que - ri - da, thy side, Its love confessing. Give me, be - lov - ed, da-me tu a - mor.., Sin ti no hay di - cha, No hay iluThy true devotion, For thou art ever My whole il - si6n. - Yo quiero ver la luz, tus o- jos a mi - rar, ml-ra-me, lusion. One glance from thy clear eyes Fills my day with delight. Give me thy t -A__ 8 _ ~ -~~ —'""~, ni - fa, s, m - ra-me, por pie - dad; Sin tinohaydi-cha, no, pity, too, So shall my years be bright; Ahl without thee content, ni vi-da, ni pla - cer, Mi-ra-me, o mue-ro yo, por falta de que * rer. Ever must distant be, Life is of no a-vail If I'm bereft of thee. 62 Memoirs of the American Folk-Lore Society. 36. EL SUSPIRO. (From Oaxaca, Mex. Sung by Pedro Diaz.) S Sllowly, with strong accents. Cuan - do al bri - liar la au-ro - ra, En el o - rien - te te mi When all the east is ro - sy, I see thee in the dawn - U, J.... ro, Tris- ti - si- mo sus- pi - ro, Ex- a - la el co - ra-z6n. ing, A sigh of love and long-ing My heart sends out to thee. Y en la tar-de a de - cli- nar, Mi-ra mi al - ma.. sus- pi - When the sun drops in the west, See how my bo - som. longsor _. - dI rar...... Y sus- pi - ra con do - lor, En la no - che rest.... And I moan when night is here, In my sor - row t J-I Itj.:s ~, _ I.... del so - por... Yo..... que a la au-ro- ra pre-gun - to, mu-.... and de - spair. I...... al-ways ask of the dawn ev - 'ry i- ],__ I I,. tn -; 11 *:1. 1 H-.1 [_.i -- * -- I --- t- -: jer, Si.... has visto mi a-ma-da en el mun - do co - rrer, day, If...... it has seen my love pass on her way. Y...... el ce - fi - ro que me - ce un cla - vel. IAy! te manLook.....where the breeze stirs theflowers on the lea! List to the B=iF 1- T.- I -s -- Ir D E~ < _T^^..^ do un sus - pi - ro, Y mi al- ma con sigh I am send;,w with my whole soul, to 61..... thee!.. Spanish-American Folk-Songs. 37. VIVO LLORANDO LA SUERTE. (From Mexico City. Sung by Seffora Ramirez.) Blowly. Not a dansa accompanimnad. 63 Vi- vo lo - ran -do la suer - - - te Que de I live for - ev - er weep.ing the fate Which is L-P IL V - -o * - -" ti me ha se - pa - ra - do; Que-dan-do el pe -cho a-bruhee6-ing, me from thee a - tart; O' erwhelmed it leaves my poor ma-do, Se - co que - da, se - co bo $ om, It1 shriv - els up my heart, it burns and que - da el co -ra -z6n... Y en tan - to que yo shriv. els up my heart.. And while I suf - er this LO rS~i 1, ---.F0 Su f ro Tan... a troz que - wrench. - - ing, And sunder -ing, of all1 my brn. to YI d- ra- maI om ir o be- - - ing, I cry a loud in my tor ment, Se co quoe da, se co que-da el co - ra- z6n... It shriv-els up my heart, it burns and shriv-els uP my heart.. 64 Memoirs of the American Folk-Lore Society. 38. YO PIENSO EN TI. (From southern California. Sung by Mrs. Francisca de la G. Dibblee.).Moderately. I I I. Yo pin soie con ar -do -ro-so em — pe -fib, I thnk f the wth dep st d vo lion, Yo siem -pre ad -mi -ro, tu di - vi -na Wa. Thy fa ce to me is ra -diant - ly di -vine. Pro - nun - cio yo tu nom -bre cuan - do sue- fib, Thy name I whis -fper when at night Pm dream - ing, Pro -nun -cio yo, tu nom -bre al des per -tar. Thy name I whis - per at my wak - ing time.. La -te por ti, mi co -ra- z6n de fue -go. My loy - -ing heart for -e7, - er hun - gers for thee, Te ne -ce -si - to co -moun al.Ma a Di - os. I need thy pre; - ence as my soul needs God.. Td e- res el fin - gel que am -bi - cio - no tan - to, Thou art the an - gel of my fond de vo - tion. Repeat from,:.- to close. Tue- res l Thou art the glo - ra que am - bi - cio - no yo. glo - ry of my love di - vine.... 2. Mi coraz6n por ti siempre palpita, Palpita por ti, apacible flor, Flor que Yb anhelo, y que me da la vida, Vida que anhelo, s6lo por tu amor. Late por ti, mi coraz6n de fuego, etc. Spanish-American Folk-Songs. 2. My heart eternally for thee is beating, It throbs for thee, thou fragile tender flower,Flower that I'm seeking, nourishing my being, Life that I long for, holding thee fore' er. My loving heart forever hungers for thee, I need thy presence as my soul needs God. Thou art the angel of my fond devotion, Thou art the glory of my love divine. 39. A LA LUZ DE LA LUNA. (From Lower California. Sung by Mrs. Theodore Barnes.) 65 Bather elt4,not a danza accompaniment. iA. A la lux de la lui na, Yo te mi-r6, By the guim mer - ing, moon - light First I saw thee, I0 te ml r6. Y al ver -te tan her -mo- sa, r~st I saw thee. And thy beau - ty en - thrall - ing Yo de timeen-a- mo r6, Yo de ti nmeen -a -mo - r6. Made me love thee ten- der ly, Made me love thee ten. der - ly. Ten. gomi ha-ma ca ten -di- da, En la oClose be-side the o - cean shore my ham -mock Is slung, to ri Ilha del mar, Y ml ea-ba-fia es-con - catch the whis-fi'ring breeze; My cab -in hid with - in the di-da De~-bA-j enafaD-aj shad - ows, That lie be - neath the cal-fee - trees, That lie be - Danza accom. A. ft Pk L- - I I - - Oh, I I -- — A- L —A'% 13 I - - I I I I. 11 11 i 11% -— ] i4 I I I. i io -I,,- i m w Loy= -v de un ca - fe - tal. Som-bra me da el bos - que, Bri-sas me da el neath the cof-fee -trees. Cool shades theforest gives me,Fresh breezesfrorn Ire 66 Memoirs of the American Folk-Lore Society. mar, Tri - nos el cen - son - tli.1 j Qu6 be - lo es asea, Mu- sic, the birds that car - ol. Deep is my love for Lin!.1 _ I u 1-; I I 1 ' - mar!. Som- bra me da el bos - que, Bri-sas me da el mar, thee... Cool shades thefor-est gives me, Fresh breez-esfrom the sea,! -1I/- 7 j Ptl '. - is 1K ". ' i, I %- f Tri - nos el cen - son - tli.... i Que be - lo es a- marl Mu-sic, the birds that car - ol... Deep is my love for thee. 2. Tu con- ta - rs las go tl - tas... Del a - gua Wilt thou count the lit - tie drops of wa - tet.. Which help to iFf -l'" - I- ~ -' E J -. '! que hay en el mar. Pe- ro no con - ta-rfs las camake the o - cean deep? Canst thou not count the sweet ca I.... 1':,|: s v1 J- 4 ri - cias, Que yo te pue- do pro - di- gar, Que ress- es Which at thy feet my love would heap, Which yo te pue-do pro-di - gar. A - ma-me, ni - fia, he- chiat thy feet my love would heap P Love me, dear en-chan-tress, ah, I - I -A _J t- * J...... ce - ra,.. A - ma - me, porcom-pa - si6n. Mi - ra love me.. Turn thy com-pas- sion un - to me! Be-hold the zI_......, I.I[ ^, I J |J J I J I__ ''que por vez pri - me - ra, Tea - do - - ra mi co- ra - jre of my de - vo- ion, That burns in - ces - sant — 1 Nahuatl name of colibri (humming-bird). Spanish-American Folk-Songs. 67, ~Danza accom. z6n. Te a do ra ml co. - r- z6n. Som-bra me da el, etc. yThat burns in ces sant - ly! Cootlshades, etc. 40. COMO QUIERtES. (From Oaxaca, Mex.) With intesu feeling. JC6 mo quie -res que tan pron - to, 01 - vi - de el Wouldst thou that my heart so soon, dear, Shouldfor -get the I& lot.ii i~ 1 mal que me has he - cho?.. Si -- cuan -do me to -co e wrong that thou hast done me?.. Since when-e'er I touch my pe cho, La he-ri-dame due -le,.. La he-ri-da me breast here, A-fresh the wound is o - Pened, And al-ways it re - due-le mis. Y en -tre el perminds........me of thee. Im-meas- ur - a le d6n y el ol - vi -do, Hay u -na dis -tan - clinin-men -sa.... dis - lance lies, be - lovi ed, 'Twixt Par-don and for - get - ting.. VO. per -do -na - r6 la o- fen-sa,.. Pe - ro olviFree ly nw Icnfrgv he. But ne'erfor. Li44 dar - la, Pe-ro ol -vi -day-ia, ja - mfis. get thee, But ne'er for - get-0.thee more. 68 Memoirs of the American Folk-Lore Society. 41. QUE NO TE AMO. (From Mexico City. Sung by Sefiora Ramirez.) _ -4.. -1-!_ I +' — " 1 *..:i-t- '.......al.,1 "-' Que no tea - mo, mi bien,.. que no tea - mo. if I do not love thee,.. love thee on - ly. Pre- gun- ta a las flo - res, Si no a-man al sol. Pre- gun-ta a las Doflow'rs love the sun-shine f Ask theflow-ers and see. Ask the birds to t, l 7 1|_J!i,.- % —ta - ves, Si no a- manal vien - to, Pre-gun-ta alos antell thee if they love the breez - es, Ask a - dor-ing anIraL J z __, ~ _l o,=l geles, Si no a-man a Dios. Yo te a - mo, Cual a - ma la gels if they love their God. I love thee as the ten - der I -. f... ma - dre a sus hi - jos, Cual a- man los cie - gos moth - er loves her chil - dren, As of light and sun - shine i, J J.... —, — El cam-po y la luz,... Cual a - ma la vir - gen Su clau-stro somblind men mourn the loss,.. As the saint-ly vir - gin loves her clois-ter l| lt I - I I tr 1 brf - o, Cual ama el cris - tia - no Cual a - ma su cruz. d^m, As the oy - at Chris - tian loves his Ho - ly Cross. 42. VIVO PENANDO. (From Santa Barbara, Cal. Sung by Mrs. F. de la G. Dibblee.) Rather slowly. Danza rhythm. _. Vi - vo pe - nan - do, mientras que ti..... di - cho - sa, Grievous my fate, dear, while thou art gay..... and hap - py, Spanish-American Folk-Songs. 69?Pik Deu-na pa.- si6n que me de-vo-rael at - ma. Keen jeal- ous - y de - vours my soul corn - Ple f-ey. Jh Mientras que tfi, dis - fru - tas de la cal - ma, sfI Thy days are pass. ing now in glad se - ren - i - ty, De mf no te a - cuer - des... ni. re-cuer-des ya. Thou hast no memo - ry or thought.for me, a- lasCuan-do es- t~s... con tu que ri -do al la - do, When thou pass - est with thy a dor- ing lov - er, Dis - fru - tan - do de di- chas y pla - ce res. Both ab - sorbed in good for - tune and fresh pleas ure. _ _ _ L = El te da - rA los gus-tos que qui-sie - res, Isf! He'll give to thee the joys that thou art seek - ing. De mi no te a - cuer - des ni. re-cuer- des ya. Thou hast no mer-o - ry or thought... for me, a - las!. 43. MARIA, MARIA. (From California. Sung by Mrs. F. de la G. Dibblee.) With feeling. Ma- rfa, Ma-ria, mu-jer en - can - ta - do - ra, Ma - rna, Ma - ria, thou maid- en of en - chant - ment, De mis pe - sa - res ti e - res el con - sue- lo in all my sor - row, thou art con - so - la - lion. 70 Memoirs of the American Folk-Lore Society. T' e - res el an gel que ba -jo del cie lo, Thou art the an- gel who, from Heaven de - scend- ing, A con - so -lar a es -te homn- bre en su af- fli - ci6n. Hast come to corn -fort me in my af -li th ion. E -res, Ma-rf a, un bal-sa -mo di - Thou art, Ma- ri a, a bal- sam sent divi- no, Tfi me di-ri-jes por ca -mi-no vine - y, The straight-est piath - way thou dost al - ways rec - to. Tti e- res el fa -ro que i - lu -mi -na el show me. Thou art the b~ea,- co4 my dark har - bor puer -to, Por ti da-ria mi e -ter -na sal -va -ci6n. light - ing, I'd give all hope of sal - va l ion for thee. 44. MEDIA NOCHE. (From Lower California. Sung by Mrs. Theodore Barnes.) 8lowly and with quiet feeling. Not a dansa. Al si len -cio de la me -dia no - che, Of u-na In the si- lent hours, the hour of mid - night, I heard a voz que tris - te me de - cf a,. Ya nohay pla - cer voice which murmured to me sad - y, "Joys are there none, POP V V - if pa -Ta la vi -da m - a; Que -do yo tris - te my drea - ry life to light - en, Black is my vis - ion Spanish-American Folk-Songs. 7' sin po -der te ver. En es - te tris -te y so - li -ta-dno when Pm farfrom. thee." rfound thee, dar-ling, an ea - ger soul imSi -tio, Don-&een -con - tr,6 un al -ma a -pa -sio -na - da. pas - soned, Sol -i l a -ry, by lone -li -ness sur -round -ed. Di-rf- je-me u-na de tus mi -ra-das, Yield me one glance from thy Pure eyes of can -dor, Con e - sos o Iolie - no de can -dor. Tfi e- res la Bring me new lease of hope for - ev - er - more!l huar h jo - e qini e cho a-do -ra, maid - - en for whom my heart is ez'v er long - ing. Y s6 - la tui, dis -fru -tas de mi a- mor. No me aban - And thou a - lone re - ceiv - est all my lov'e. Ahi do not do -nes, Jo -yen que -ri -da, Si tfi tea - le -Jas, scorn me, my well -be - byo- ed! When thou art dis - tant, tris - te de mif. No me a-ban - do -nes, Jo. y en que - be -reft am I. AhI do not -scorn me, my well -be - ti. ri - da, Yo por ti mue - ro, mue - ro por loy - edi For thee I Ian - guish, for thee I die.... 72 Memoirs of the American Folk-Lore Society. 45. SI VIERAS, VIDA MIA. (From Oaxaca, Mex. Sung by Pedro Diaz.) Slowly and very freely. Si1 vie - ras, vi -da mi a, cuan -to te a mo!. Couldst thou.... see, my be lyov ed, how I love thee! *... iSi vie~ ras... que mi pe - cho en -a mo - *... Couldst thou see.... how my deep en - am - oured ra - do!.... Le Jos de ti,.. yo vi vo des -pre - bo- som,. A.far from thee.. dis.- con- so - late is cia do,. S6 lo en ti pien SO, S6 -lo en ti liv- ing,. I think of thee... I think qf pien -so,.Y s6.la -men -te en ti. thee.,A Idls! Of thee..... a Z one. Si vie- ras,.. que en la no- che si -len.Couldst thou see... that in the dis- mal si lent cio -sa,.. Pa -so las ho -ras... en ho - rr - ble -mid - night, In grim de - shair.. IPass the end - less cal - ma. Mi - ra, mu - jer,. que ten - go muxer -to el hours... Look now and see,.. my soul is dead, be. - T-. a- I I a-AOI- - - I "O.. 40 -— j- - C. ff 691 -- i IW=p.- I V al - ma. loy - ed! 6 -bloen ti pien - so,... I think of thee.... 56. b oen ti I think of Spanish-American Folk-Songs. 73 \0 ' — " '" *-a. - J ----. Apien- so,... Y s6 - la - men - te en ti. thee,...A - las! of thee... a- lone. 46. COMO NACI EN LA CALLE.1 (From Mexico City.) Gayly. 1 A3 A i J'! ] -:I~. ' _I - CL II i _i. Co - mo na-cfen a ca - lie de la pa - lo- ma, jay, ay! When in the street called Dove Street my life was dawning, ay, ay! \?"- 2, _JI.....~ ~'*J '"\g J _ Es - te nom-bre me die- ron de ni-fiaen bro- ma, jay, ay! This name the chil-dren called me, both night and mon- ing, ay, ayl Y co - mo sal- to a - le - gre de ca-lleen ca - lie, lay, ayl Since there I flit- ted gay - ly through streets and gardens, ay, ayl Es - te nom-bre me die - ron de ni - fia en bro- ma, jay, ayl Dove was the name they called me, both night and morn-ing, ay, ay! Fi^ ^r J i-H" ir *i Y co - mo a- rru- llo, pa - lo - ma soy, Que brin -co y I'm soft - ly call - ing to find my love, Complain - ing can- to, por don - de voy, Con mi nom-bre de pa lo " ma sad - ly, "Oh, where is he.? Till my love shall come, I wan-der i0 - -~.- _- -.,._ f.._, siem * pre, Bus -coun pa - lo - mo, bus - co un palone ly, Seek - ing my mate,.... seek - ing my lo - mo, bus-coun pa - lo - mo, qui6n se - r 61? mate,... seek - ing my mate.... Where can he be? 1 From Folk-Songs from Mexico and South America, by courtesy of H. W. Gray Co. 74 Memoirs of the American Folk-Lore Society. 2. Como, estoy en mi ventana Cerca del cielo, jay, ay! Y por 61 las palomas Tienden el vuelo, jay, ay! Cuando veo por mi vidrio Que el alba asoma, j ay, ay! Tender quisliera el vuelo Cual la paloma, j ay, ay! Y como arrullo, etc. 2. When in my little window I sit a-spying, ay, ay! Skyward I look, and see that the doves are flying, ay, ay! And when the dawn comes softly, I sigh, "My dear love, ay, ay! Would I could fly and seek you like yonder white dove, ay, ay!" I'm softly calling, etc. 47. NADIE ME QUIERE. (F~rom southern California. Old maid's song.) Briskly. V -3 Na -die me quie -re, No se' por -que, De sol te - ri -ta, No - hod - y loves me, I don't know why. Old maid, I fear me, Me que -da -re'. Pe -ro an-tes que me suI'll have to die. Dear boy, ere this fate should ce -da, Vie-ji-to mi-o, da.-me tu a -mor... Pe-ro take me, I beg you turn your love quick to me;... For ere an - tes que cai-ga en tus bra-zos He - cho pe - da. - zos mi co - ra - z6n. I would fall in your arms un-bid-den, Broken my heart should be. Quieh- re -me, qui6-re -me, si, Y ja - ms te ol -vi -da -reh, Vie - Care for me, care for me, do! And your love I'll nev - er for - get; For _ _ _ _ SN jii to del al -ma mi -a, Lo que me pa -sa te con -ta- re'. you are my darling, I'll not forget you, And I could die for you. Spanish-American Folk-Songs. 48. LA MULATA. (From Cuba and Mexico City.) 75 Rather fast. Danza rhythm for accompaniment. I. Pa - se - an - do una ma - fia - na, Por las ca - lies de la Haba - na, La mo - re - na Tri - ni-dad, La mo - re - na Tri - ni-dad; Pa - se - L....., _ k __ an - do una ma - fia - na, Porlas ca-lles delaHa - ba- na, En -tre [i, I- l_ 0 -^ if[,, v. _ W.r iI _,, I ] dos la su- je- ta- ron, En-tre dos la su - je - ta - ron. Y _ — -T' — 1jiE pre - sa se la lie - va - ron, De or - den de la au - to - ri - dad, La mo - re - na lo-ra-bay de - ci - a, IEs-taa-_ b'LX'.., _J -?9....-_ __a sil qu6 es la gran pi - car di - a, Sefor Juez, no me tra - te tan - -E -d --.; ~:'l 131 - TTJ_, du - ro, que yo.lea-se-gu - ro que no he he - cho nada. 2. Pero el juez que la miraba, Y en sus ojos se recreaba, Sin poderlo remediar (bis) Le decia a la mulata No te perdono la pena. Ni por amor ni caridad (bis). Porque si que a robar corazones Se dedican tus ojos gachones, Ellos son los que a ti te delatan (bi Con ellos me matas, eso es la verdad. 76 Memoirs of the American Folk-Lore Society. 49. MI MAMA ME CONSEJABA. (From Costa Rica. Sung by W. C. Riotte.) -AL-t Qusickly. — I Mi ma - m me con - se - ja - ba, que no fue - ra en -a- mo - Oh, my moth - er counselled tru - ly Of all woo - ing to be - ra do. Cuan -do veo u na mu -cha -cha, me le ware me, When I see an ap-proach-ing mai - den, To the voy de me- dio la - do Co -mo el ga - llo a la ga - Ili na, oth- er side I has - ten. Like the roos - ter with his Pul - let) Co -mo la gar - za al pes- ca - do, Co -mo la Like the her - on with the fish - es, Like the t6r - to -la al tri-i-go, Co -mo la vie -ja al ca -ca-o. wild dove with the wheat-ear, Like the old wo-man with her co - cca. 50. NO ME MATES. (From Costa Rica. Sung by Walter C. Riotte. Tune nearly identical with, and words similar to, a song from southern Spain.) i.No me ma -tes, no me ma -tes Con es-pa - da Ah, don't kill me! Ah, don't kill me With your dag - ger ni.. pu -fial. Mg -ta-me con un be -si -to or with your sword!I Kill m e rath - er with a kiss, dear, De tus labi - os de... co - ral. From your lips of cor - al red. Con el ca - pu - With a ea -pu - Spanish-A merican Folk-Songs. 77 tfn -tfn-tin, Es -ta no - che Va a Ilo ver. tin - tin- tsn', it will sure - ly rain through the night, Con el ca -pu -tfn -tf n- tn, Y ya va a a-ma - ne- cer. With a ca -Pu - tin - tin -ftin, Once a - gain the dawn brings light. 2. jAy que trabajos! pasa un hombre Cuando quiere a una mujer. Se emborracha, se desvela, Y se queda sin corner. Con el caputin-ti n-tin, etc. 2. Ah, what suffering for a lover When he seeks a maiden to wed! He gets drinking, wants no dinner, And completely loses his head. With a caputin-tin-tin, etc. 51. ME PUSE A TOREAR. (From Mexico City.) U With hu mo Me Pa se a to-re -ar un to -ro, En They want - ed me to go in - to, the bull - fight, And mi ca - ba-lHo a -la- zfin; Y el to - ro es-ta-ba en Coride my poor old chestnut screw; And the bull, he was raging in Co - li - ma, Yo es-ta -ba en Za -po ti t1~n. Y a - li - ma, And A was off in Mav ca u i~ He's ti- je - be! I Va - td - je - le! af -ter me! He's af -ter me! Y a - t&- je - be! i Que me He's af - ter me!I Oh, 78 Memoirs of the American Folk-Lore Society. a ga - rra!.Si es- te to ri to me hold him well! If this fear- ful bull should m a - ta, QuiCbn 'man - tie - ne kill me, WhXo will care.for a So - le -dad? MY Is - a -bel? 52. TODO TIENE SU HASTA AQUf1. (From southern California. Sung by Mrs. Francisca de la G. Dibblee.) Moderately. LI x. To - do tie -ne su has-ta a - qu.... Ya se Ilie- g6 e - se There's a lim - it to my pa - tience, And that lim- it's reached to - I I I I di a. Me ro -bas-te laa- le - grf - a, To-do es day... You have robbed my life of pleas - ure, TYil it's tV F~4~ - - _ _ tris - te pa -ra mf.... Y si no di -ga -lo yo.... grown for-torn and gray... Why, then, should I hes - i - tate...... nu I I Lo que ha pa sa -do por min. To - do es tris -te pa - ra All to tell that me be - fell? Life is all for-loin and mi!.To - do pa - ra min aca W b.... gray,...- Ev' - 'ry lim - il's reached to -day. 2. Ingrata, escucha, un momento, Las quejas de quien te amaba, Del hombre que te adoraba Con locura y frenesi. Burlaste tu, mis amnores, Mujer ingrata, perjura, Bien puedes estar segura, Todo para mi acab6. Spanish-American Folk-Songs. 2. Stop, ungrateful one, and listen! Hear the wail of your sad lover! He who used to love you fondly, From his mad love will recover. My love you mocked and laughed at, So assurance now I send, You ungrateful lying woman, Everything has come to end. 53. UNA NEGRA GUACHINANGA. (From Cuba.) 79 Quickly. U-na. ne -gra gua -chi nan -ga y un ne gri - to j - gue - A firet - ty black-skinned maid-en and a play -ful black bocy, t6n, Se Pu - sie - ron, los muy pi. ls A ju - toot On a sum- mer's day were play- ing. One would gar el mos -car -d6n. La ne gra co. rrfa, run, and one Pur- sue. The maid light - ly fled, Y el ne - gro de trfis; La ne - gra de- cfa, J'Ayl The b oy fol-lowed fast; He cried as he spe, Oh, No me pi Ilha -ras. VA -nmo -nos a la cam - P ll catch you at last! Let us go out to the pa- fia, Porque a - quf ha -ce ca-lor. Y el coun - tty, Fa r a way from this hot sun! In the -v ne -gro la suje - ta - ba, de ver - la tan se -duc -tor. sha- dy groves and mead-ows we can romp and play and run." 80 Memoirs of the American Folk-Lore Society. 54. BARTOLILLO. (From Costa Rica. Sung by W. C. Riotte.) With spirit. x. Ya no voy al mon- te a ver mis car - ne - ros, No, I will not take my sheep up on the moun - ain, Por- que Bar - to- li - lo es tan tra - vi - e - so. For I can't a bide Bar - to - ii - o's be - hav - ior. I7-r - * r - I - ^- F.[-;'.... x - N —m ~.... H Me di- ceu -nas co - sas que no le en - tien - do, He tells end- less tales that I nev - er can fath om, Me cuen - ta unas co - sas i Je - sus! no com - pren - do. Lots of sto - ries, way be - yond my corn pre - hen - sion. Refrain. lb -j| i 2 I x j' j | Co- mo yo soy don - ce- lli - ta Yo no He says I'm a fine young la - dy, I don't LAs6 lo que me da. El co - rra z6n me palknow why he says that, It makes my heart beat too pi - ta Me ha ce ti - pi - ti- pa. Ay! quick - ly. Hear it beat - ing pit - a - pat! Oh, _ i.... _.._: _" ti pi - ti- pi- ti - pi - ti - pf, Ti - pi ti - pa. Ay! pi - ti- pa ti -pi ti - pat, Pi - ti pat Tihe -$W=F4 --, r -. | -* = ma - dre del al - ma, saints now pre - serve me no voy mAs a - 11i. I'll nev * er go a - gain. Spanish-American Folk-Songs. 8I 2. Cuando voy al rio, me sale al camino, Por entre la brefia tan lindo y tan bello. Me coje del brazo, me rompe el cantarillo, Y si le enojo, me da un besillo. Como yo soy doncellita, etc. 2. He follows in my pathway when I go for water, Till I reach the bushes, where we both are hidden; Then he takes my arm and he breaks my nice pitcher, And when I chide, he kisses me gayly, with laughter, He says I'm a fine'young lady, etc. 55. A CANTAR A UNA NINA. (From Costa Rica. Sung by W. C. Riotte.) Moderately. i. Ya can-tar au- na ni fia Yo leen * se - a - ba, Les - sons I gave a maid- en, Sing - ing I taught her; Yun be-so en ca - da no - ta, Siem - pre le da. ba. With cv 'ry note of mu * sic, Kiss es I brought her. thing Ex-cept to sing, E. cept to sing. 2. El nombre de cada estrella Saber queria, Y un beso en cada nombre Le repetia. AAy noche aquella! iAy noche aquella! Que invent6 mil nombres Par' cada estrella, par' cada estrella. 3. Por fin pas6 la noche, Vino la aurora. Se fueron las estrellas Y qued6 sola. 82 Memoirs of the American Folk-Lore Society. Y ella decfa, Y ella decia, Lastima que no hay estrellas, Tambi6n de dia, tambi~n de difa. 2. A name for every planet She would be learning, Kisses for every answer Gayly returning; Oh, night of wonder! Far-away planets! Thousands of names I gave her For every star, for every star. 3. Dawn came for us too quickly, Night softly vanished; Bright stars of night departed, By daylight banished; And then she left me, Murmuring sweetly, "It is sad that there are no stars In daylight hours, in daylight hours!1" 56. EL GALAN INCO'GNITO.1 (A variant of a Spanish song. Very familiar in all parts of Spanish America.) WAit/A humtor. i. En no -che 16 -bre -ga, ga -lIn in-c6g-ni -top One cloud - y ev'n. - ing a gal - lant in- cog.- ni - to Las ca -les c~n -tri-cas a- tra.- ve- s6, Passed through the crowd - ed streets and pub - tic square, Y al pi6 la clfi-si-ca ven-ta-na d6-ri-ca, Then at the base of the carved Dor -ic win - dow He Po- s6 su cf-te-ra, ya-si can-t6: —.... leaned and play'd his gui - tar, and sang this air.6 - ye me, sf1 - fi -de, la lu-na pf- Ii-da Oh, hear me, love - ly sylph! the moon so pale and wan 1From Folk-Songs from Mexico and South America. by courtesy of H. W. Gray Co. Spanish-A merican Folk-Songs. 8 83 Su ful gor ni16 ga - me, que no se Vt. Sen ds down no rays to me through veils of mist. Yes - tn las b6 ve -das ver - tien -do l1A gri -nmas, Now from the face of Heav'n rain falls in tears like mine, Y has -ta los tu6 - ta -nos, me ca-Ila I am drench'd through and through, singing to thee."... 2. Pero la silfide, que oy6 este c~tntico, Entre las s~banas se ref ugi6, Y dijo: - CAscara, que son murci~lagos, Canto rom6~ntico, no te abro yo. Pero es l6brega, la noche hablar6, Se van las silfides a constipar. - -Y est~n las b6vedas vertiendo ligrimas, Y hasta los tu~tanos me calar6. 2. The sylph who heard this song, from the 'incognito, Pulled down the blinds so tight! (Ah, cruel she!) Then she cried, "Gracious me! how the bats fly to-night! Singer romantic, I ope not to thee. My window shows no light, Sefior, I go to bed. Sing to the rain instead, sing not to me." " Now from the face of Heav'n rain falls in tears like mine, I am drenched through and through singing to thee." 57. LA GUAJIRA.' (From Cuba.) Mfoderate4i i. YO soy gua -i ra, Na - cfen Me - le -na, En I'm a nice gua - jis ra, Born in Me - le - na, Near the el in ge - nio de Cu-. ru -jey. Quin -ce a- flos ten -go, Me su - gar - mill of Cu - ru - jey. Of fif - teen sum-mers, I'm I Guajiro, a white person inhabiting country districts in Cuba. 84 Memoirs of the American Folk-Lore Society. Ila- mo E l e - na, Soy ri - ca y bue -na co -mo el ma - my. Me called He le - na, And I'm de- lect- a tile like ma - mey. The de - Spier- tan las to Jo- sas, Sal - go al cam po con el birds ev - 'ry morn- ing wake me, To the fields with the sun I Sol. Y voy a co -ger las ro - sas, Que a-le -gre lyV. I wan - der and gath - er ros es, And for my guar -do pa - ra mi mor. Sina mi - sa alpue -blo love keep them hap-pi - ly. When I go in -to voy, Monta - di - ta en mi - a la z~n, TO - town TO Mass, on my chest - nut mare, Then tV dos me di -cen que soy La mfis bo - nii - ta del ma - ni - gual. ev - 'ry one says that I'm the belle, the fair- est of all the fair. 2. Tengo un novio, De faz morena, Q ue me da citas En el cocal. Y como, siempre Viene risuefiio, Dice que pronto Se va a casarEl es el mejor montero En los, campos del marques, Y sabe que yo le quiero, Y que deseo ser su mujer. Y casaditos ya, Juntitos 61 y yo, Nos haremos envidiar De todo el mundo que nos vea. 2. My handsome lover Is dark of feature. Spanish-American Folk-Songs. We like to meet By the cocoa-tree, He meets me smiling, And then murmurs softly That we must marry Without delay. Best horseman of all the district, On the marquis' whole estate, He knows now how much I love him, And that I'm eager to be his bride. So when I'm safely wed To this man whom I adore, The wide world around will look on us, With envy forevermore. 58. AUNQUE AMES. (Very familiar in Spain and Spanish America.) 85 Danza rhythm. Moderately. i. Aunque a - mes mu-cho a un hombre ma's que a tu vi - da. Al - though you en - joy a lov - er, learn to your sor -row, Ni4 W 4.N No se lo ma - ni -fiestes que e- res per -di -da.... IAyI Nev - er to let him know or he's gone to- mor row... Ayl Mo - re - ni- ta ml - a, por -que los hom - bres,. CuanMo - re - ni -ta mine, for that's their fash - ion,. Once do se yen a - ma-dos, No co - rres - pon - den. Tienen a they have won the bat - tie, Then good-by pas - sion. They hold one u -na, y ados y atres, Jay, ayl YVa u -na do -ce-na, mai- den, or two or three, ay, ayl Or e - ven a doz en, sin ca - ri -dad; Y cuan-do al -gu -na re -cla -ma el all for their good; But should one ask... for high - er or - den, La qui - tan lue - go fa s or, They cast her out Of de la her - man - dad. the sis - ter - hood. 86 Memoirs of the American Folk-Lore Society. 2. Yo amaba mucho a un hombre y 61 me decia Que si yo le olvidaba, se moriria. jAy! Morenita mia, eso no es cierto, Pues yo le he olvidado, y 61 no se ha muerto. Si son los hombres tan insufribles Que nunca dicen lo que es verdad. Suspiran, Iloran, prometen, j uran, Y nada de eso es realidad. 2. I once fell deep in love with a man who told me That if I could forget him, he would die surely. Ay! Morenita mine, that's not so certain, Since he continues living, although forgotten. But men are always so egotistical That they believe all the things they say; They sigh and groan and weep and promise, But change their minds on the self-same day. 59. EN LOS MONTES MAS REMOTOS. (From the Andes Mountains. Sung by J. R. Findlay.) Slowly~. i. En los mon - tes m~s re - mo,- tos, Y en las mds in - In, the wil - der - ness un - tram-melled, In the high- est cut — tas bre - fas Me re ti - ro. Don -de me moun fain - crags, I'll hide my - se!/, Where none Will know I was guilt-y, For my great love of thee, Of such a crime. 2. 0 tirana, tu clemencia Tu me has demostrado Con rigor! Amor con amor se paga, Mas t0, amor mino, has pagado Con traici6n. 2. Thou art cruel, and the mercy Thou hast shown, alas! toward me, Is rigor harsh. Always should love be by love repaid, But thy love has killed mine With treason. Spanish-American Folk-Songs. 60. LA PALOMA CUENCANA. (From the Andes Mountains. Sung by J. R. Findlay.) 87 Moderately. I, 1 I. jAy! se fu mi Pa - lo- mi - ta, Ay! se fu6 roAh, it was Pa - lo - ma, lit - tie dove, Stole a - way my ban - do mi al-ma, En cor - pe - ta paz y rea - son zith her love, From its calm and peace ac l$__ 7 d 1 '- r J i 3 I,J ~ li cal - ma, Ay! se fuE, se fu6, se fu6..... cus - tomed! Ah, 'twas she, 'twas she, 'twas she. 2. Cuando el sol sus campos dora, Alumbrando el horizonte, Por las faldas de aquel monte Vive en calma mi paloma. 2. When the sun gilds fields with golden light, Gleaming on the clear horizon bright, Far upon the mountain's height, Lives in peace my Palomita. 61. LA JAULA DE ORO. (From Mexico City. Sung by Seflora Fuentes.) Moderately. En u - na jau-la de o - ro, Pen - dien - te deun balA cage all of gold was hang - ing From a sun - ny bal coc6n, Se pa - sea - ba u-na ca - lan - dria La - men - ny, And held a poor lark who mourned in song Her rilc -rlr _: 1., 1!1 V N- W if- ' tan - do su pri- si6n. sad cap-tiv - i - ty. -0 -Cuan-do un pi- chon - ci - llo A beau- ti - ful lit -. te 88 Memoirs of the American Folk-Lore Society. lin - do Se fu6y lea - ban - do - n6,- Yo te pig eon Came near and mur-mured low, "I will l= R sa - co de pri - sio- nes, Aun-que muer - to que - de loose you from your pris- on, E- ven though I die for yo. - Con el pi - qui - to y las u - fas, Cua-troayou." With his claws and his beak he did it, He lam -bres le rum - pi6. - Yo te sa - co de pribroke the wires in two. "I will loose you from your sio - nes, Aun - que muer * to que - de yo... pris - on, E 2 ven though I die for you."... 62. CANTARES.1 (From Mexico City. Sung by Sefiora Rabke.)....... d W W ~ 1 63. EL DEMONIO EN LA OREJA.2 (From Cuba.) N.:; "' " '=.'. _ i,: "I El de-mo - nioen la ore- ja, Te es-t di cien - do, -De-ja1 Impromptu verses are often sung to this tune and others similar in type. 2 This song cannot be translated without becoming sacrilegious. Spanish-American Folk-Songs. 89 J.J 2 1; d I J IJ I J _ I JI!nLLmee-sa ro - sa - rio, Si- ga dur-mien-do. —Vi - va Ma - ri - a,!.-'nJ ' " '" ' J - ' J ' Mue-rael pe-ca-do, Y Je- ss vi- va, vi- va, sa-cra-men-ta-do! 64. BOANERGES. (From Mexico. Sung by Mrs. Dane Coolidge.) I. Na - ci en la cum - bra de u - na mon - ta - Ha, Born on the sum - mit of a of - ty moun - tain, [? --- [.I_Vi-bando ral - yo..- de-vas- ta - dor, Cre-c enel The hot sun scorch. ing alZ waysfrom a * bove, I grew to fon - do...de u-na ca ba - na, Y hoy que soy ho - bre, man-hood in my hum-ble cab in And hope-less now 'm REF. mue - ro de a-mor. Mi po - bre ma - dre llo - ra mis dy - ing for my love. My weep-ing moth - er murmured words of I J pe nas,. Y cuan - do quie re cal mar mi com - fort,.. Hop - ing there - by to stem my pas - sion's mal,.. lo- ran - do di - ce... que por mis flood,... She told me sad - ly that through my veins ve - nas, Co-rreun to - rren - te.., de san-gre re-al. throb bing Coursed a swift tor rent.. of roy - al blood. 90 Memoirs of the American Folk-Lore Society. 2. Mas si no sales a tu ventana, Perla del oriente, nitida flor, Cabe tus muros, verAs ruaffana, Rota la lira, muerto el cantor. Mi pobre madre, etc. 2. But 'if thou come not to thy open window, Pearl of the Orient, shining flower sweet, Beneath thy casement my lyre will be broken, And thy fond singer dead before thy feet. My weeping mother, etc. 65. LAS MAN-ANITAS.' (From Oaxaca, Mex. Sung by M. Salinas.) Moderately. A-quli esta' la pie - dra ii sa En don - de yo me resHere's the stone that is slippery, Against which I lost my ba 16~. A -qui no hay quien me le -van -te.... ni footing; But here I can find none to give me.. The An I je j quien la ma - no me d6.. helping hand that I'm needing. Bpa 8 eto. Scn nig 66. NO HAY AkRBOL. (From Costa Rica. Sung by W. C. Riotte.) Moderately. A__ t. No hay fir.bol que no ten - ga som -bra en ve - ra -no, There's no tree but casts its shad.- ow dur - ing the sum - mer, This song is one of the type sung by groups of young people going home after an evening's entertainment. Spanish-American Folk-Songs. I I 9i li i- - -_^ IJ J! -J J IJ d No hay ni - ha que no quie-ra tar - de o tem-pra - no. There's no maid- en but is lov ing, now and for ev - er. REF. 1. Pe - ro los hornm bres, Pe - ro los horn - bres, But men are differ - ent, But men are differ ent; Cuan - do se ven que- ri dos, No co- rres- pon-den, When theyfind their pas - sion an - swered, a-way flies their fer - vor. 2. No hay casa que no tenga Su pi6 de esquina,' No hay nifia que no sea Constante y fina. Pero los hombres, Pero los hombres, Cuando se ven queridos, No corresponden. 2. There's no house without a corner-stone in its foundation. There's no maiden but is faithful in her devotion. But men are different, But men are different; When they find their fervor answered, Away flies their passion. 67. HAY UN MARINO. (From Costa Rica. Sung by W. C. Riotte. Variants are found in the northern part of South America.) Moderately. - --....... -.,, 7-" r __, _ -i1 i. Hay un ma - ri - no, Queal mar se lan - za, Lle-vau-naes-tre - la Whene'er the sail - or Sails o'er the o - cean, Ris - es be -fore him Que es la es - pe - ran - za. Y si laes-pe - ran-za De'- jadeex-isA star of good for- tune. And if hap-py for-tune Ceas es to ex1 Pi de esquina, "corner-stone." 92 Memoirs of the American Folk-Lore Society. - A. - - _-, 11 u I I i I I = A-0-7 nh & 94.. i 3L - - I I — i id A r_ PN I'%NU,! I. I ___ ___ b - i, - a ti tir, I Ay! es -tre -Ila tnt a, Va- le mis nio -rir. isi, Star of all my be ing, Bet ter then were deaths. 2. Cuando un cadaver Sale a la playa,,~Y ese cadAver De quien serA? Es, de un marino, Nai'ifrago y triste, Que hall6 su tumba Dentro del mar. 2. If a dead body To the shore is driven, Ah! this dead body, Whose might it be? 'Tis a lonely sailor, Dead and cold is he. He has found his ending Deep within the sea. 68. SI VA EL VAPOR. (From Mexico and Central America.) A Briskly. Si va el va -por, Yo voy con 61, Si va mi aIf my lover starts, With his boat I'll sail, To go with my man -te, Si va mi a -man -te, Yo voy tam Wni~. En es te lover, To go with my lover, I shall not fail. In this dull pun -to No pue-do es -tar, Por-que mi aplace I can -not stay, Be -cause my AII lot,,.1F %I ~ 1 P ~ ~ r va... aU - sen - tar. go - - ing away. man - te, Por -que mi a -man -te Se v usntr 1ov-er, Because my byv-er, is g n wy Spanish-American Folk-Songs. 93 69. UN LAGO DELICIOSO. (Costa Rica plantation song. Sung by Walter C. Riotte. This i's a variant of a melody from the Province of Asturias, Spain. The words are the same.) i. En un de -Ii cio so la got.. De On a lake de Ui- cious -ly star Miung. I em - ver-de y fron -do sa o -ri Ila,.. En u -na barked one brzght sun - ny day..* The edge was frA - gil bar -qui- Ila.. U -na tar- de me em - bar - qu6. fringed withgreen bor-ders,. As Ir pushed my bark a way. Ba. te- le- rat suel - ta el re -mo,.. Que me al -te ra' B6oat -maid.- en, leave your oars a while, Come to me and tu. ma-ne-ra de bo gar.,. Suet-ta el renmo y shipO them in the fra. gile boat. These gay hours in U I F1. ven a mnis bra - zos,... my arms be-guile..... Y no te - mas nau - fra -gar. Have no fear, for we shallftoat. 2. Con muchisimo abandono, Su mano puso en la mfa, La de ella sentfia yo fria, Y mi pecho palpitar. Batelera, etc. 2. With a movement of sweet abandon She laid her hand in mine gently. Cold, cold it was, as I touched it, And I felt my bosom stir. Boat maiden, etc. 94 Memoirs of the American Folk-Lore Society. 70. EL CONDE DEL CRUEL ARANO. (From Mexico City.) Moderately. x. El Con - de del Cru - el A - ra - fio, Se The Count of the Cru el A -ra - o, He 1, L.......1 da - ba con la len - - gua:un ba - flo. nev - er washed him- self but wih his tongue, 0/ ll J Ln -.-I Un dia muy tris - te i - ba, PorThere came a drea ry morn - ing, When Ie sA le ilk Ti ---- - que se le a - ba la sa - li - va. his sa - i - va end - ed with- out warn - ing. t * I I I 4 - W W_, Ft; - -----------— | --------- En- ton - ces corn -pr6 un ga - to, Que So then he bought a puss - cat, ho lo la - mie - raa ca - da ra - to. scru pu - lous ly licked him ev - 'ry min - ute. El ga - to lo a - ra - f6, Y The Puss - cat took to scratch - ing, And i I sic ta t th I- e"Coun des - deen - ton - ces ya no se ba - fi6. since that time the Count has stopped his wash. ing. Spanish-American Folk-Songs. 7 1. EL PERIQUITO. (From Cuba.) 95 Ten -go, se - AlO- res, un pe - ii -qui - to, Lo mfis gra -cio,- so, Lis - len, kin dfrien ds, I own a smallfpar - rot, He is the piret - liest, ~ J i Wi _ _ _ _ _ io mfls bo - ni- to. Sa -be elBen- di - to, Sa -be el Ro- sa - rio, he is the gay - est. He says his beads and the ben - e - dic - lion, To- das las vo- ces del dic -cdo- na - rio. Lie -ga mi mo - zo Knows in the dic-tion-ary ev - 'ry in -_flec - lion. Of - ten my lov - er a in ven -ta - na, Di - ce pe - ri -co, —A-quf es-tA Ca - ta - na.comes to my win - do w, My clev - er par - rot says," Here's Ca-tla -nal" Mien-tras yo, char - lo con mi mo - ci- to, Co - MOse en -gri - fa And while Pm jok - ing, with my ad - mir - er, My par- rot drobwns it min pe - ri - qui - to. Ma - mA sor -pren -da ln con - fe - ren - cla, all with his chat - ter. Moth- er sur- Pris - es the con - ver - sa - lion, Y me pre - gun - ta, con in - dul - gen-cia,-jCon quibn con-veinr sas Andasks me hind - ly, with sweet in - duI- gen ce, " Who is there, talk - ing I I r1 tan a - pa -ci- to?- Na -da ma-mi- ta, mi per- i-qui - to,with such de - vo - lion'? "-"Nobod-y, moth - er, my lit - tie par - rot." Por e- so vuel - vo, di -go y re -pi - to, No tie - ne pre - cio There-fore I say it o * v.er and o - v er, My Par -o - quet is 96 Memoirs of the American Folk-Lore Society. nil pe -ri -qu - to; For e -so vuel -vo di -go y re -pi- to, al - ways a treas - ure;- Therefore I say it now and for - ev -er, Va -le un te - so - ro ml Pe- ri qui to. MY bar o -quet is rare be yond meas -ure. 72. LA INDIA. (From Oaxaca, Mex. Sung by Pedro Diaz.) Mod~eratelyj. i.Po -bre -ci -ta de la In - di - ta, Que vie -ne des-de laHa -ba -na, pe I-i 4 41i-JI A -ma-san -do el re - que-so'n, iAy! y ex - pri-mien - do la - cua - ja - da. Ta - rna- ga fa -chi -ru -ma -ga, tu. - tu ri - Ila, gran-ma -ma ca - je,' A EriL~Uzj gran-ma-ni - lBo ~t - i - ti ti - Ila gran-ma - ni- Ilo 2. i Alma mia! de mis corrales, Cuando el indio los vendi6, No tuvo la culpa el indio, Sino quien se las compr6. Taringa, etc. 3. Una indita Chinaltepa Estaba cortando fibres, Y el indito Quatro Orejas Gozando de sus amores. Taringa, etc. ti - ri -sia -deL. I The Spanish j of this word is pronounced like English sh. Spanish-American Folk-Songs. 97 73. TECOLOTE.' (Sung by Seflorita Luz Gonzilez Dosal.) Slowly. ITe -co -lo- te de Gua -da - fia, Pa'- ja -ro ma-dru -ga- dort Listen to the Te co, - lo - te, Bir-die of the ro- sy dawn. n Fa.8t. IMe pres-ta- r~s tus a -Ii - tas, Me pres - ta - rfis tus a - Take me on your feathery winglets, Take me on your feathery ii tas, Me pres-ta - ra's tus a -ii tas, Pa-rn ir a ver mi a.winglets, Take me on your feathery winglets, To my dearest love far aI Vey fast. e% mor, Pa -ra ir a ver mi a - morl J Ti-cu-ri -cu - ay - cu - ayway, To my dearest love far away. cu -ayl ITi-cu-ri- cu -ay-cu -ay -cu -nyl ITi-cu -ri -cu -ay - cu-ay - cu - ay!I Po -bre - ci -to te -co -lo -te ya se can -sa de ilo -rar. The little Te- co - lo- te wea-ries of its cry - ing now. 74. SEN~ORA, SUY PERIQUITO. (From northern Mexico. Sung by Mrs. Karbe.) with epirit. Se - fib- ra, su pe-ri-qul- to Me quie - re Ile -var al 0 Se - no- ra /your little parr-ot To the stream wantsme to r".0; Y yo le di -go que no,.. Por -que gpo;... But I1 told him that I could not, As with 1Tecolote, a species of little owl, supposed in parts of Central America to have miraculous powers. 98 Memoirs of the American Folk-Lore Society. C__.L J...... j j _.N;. me mue-ro de fri - o. Pi - ca, pi - ca, pi - ca, pe ri - co, cold I'm like to die.... Pick,pick, with yourbeak,pick, pero - quel! J 1I J. l I. - _ IJ Pi - ca, pi - ca, pi - ca la ra- na, Pi - ca, pi- ca, Pick, pick, withyour beak, pick at the frog- gy! Pick, pick, withyour beak,.n ~ 1 h -,,.. - —, -I J.I. __. _ pi - ca, pe ri - co, Pi ca, pi - ca, pi - ca tu na- na. pick, pe-ro - quet! Pick, pick, with your beak, pick atyourmam- my 75. VAMONOS POR SANTA ANITA. (From northern Mexico. Sung by Mrs. Karbe.) U Gayly.,I E2t-,........ I. ~_ -rr. —, - J Va - mo-nos por San-taA- ni - ta, V - mo-nos y lo ve-ras; Come, let's go to San- ta A- ni - ta/ Come, let'sgo!forthereyou'llfind Las ca - rre- tas por de- lan - te, Y los bue - yes por de-tras. In the lead the wag -ons harnessed, And the ox - en on be-hind. 76. LA RANA. (From Mexico. Sung by Mrs. Dane Coolidge.) I. De que A-ra -fia se sa - lea pase - ar, Vie - ne la When the spi - der goes out for a walk, Then comes the [|5 1 2 - - 1 -J - i ' j Ra - na y lo se tri - na. La Ra- na, LaA - ra - ia, La frog,and he sings with a croak. The frog and the spi- der, the 4-h__- - - 1 Ra- na, LaA - ra - fia, Can- tan - do de - ba-joen 'la a- gua. frog and the spi- der, Are sing-ing be - neath the green wa - ter. - _ '". i. ' i - -. "" Ga - ra, ga * ra, ga - ra, ga - ra, ga - ra, ga - ra, etc., ad lib. (The last one to be held a long time.) Spanish-American Folk-Songs. 9 99 2. La Rana se sale a pasear Viene el Raton y se trina, El Raton, la Rana, la Arafia, la Rana, Cantando debajo del agua. [Each verse adds an animal, and the whole list is repeated.] La Arafia, La Rana, La Rana, el Raton, El Raton, el Gato, El Gato, el Perro, El Perro, el Palo, El Palo, la Lumbre, La Lumbre, el Agua, El Agua, el Buey, El Buey, el Cochino, El Cochino, el Herrero, El Herrero, la Muerte, La Muerte - Dios. 2. When the frog goes out for a walk, Then comes the rat and he sings with a squawk, The rat and the frog, the spider and the frog, Are singing beneath the green water. The spider and the frog, A The frog and the rat, The rat and the cat, The cat and the dog, The dog and the stick, The stick and the light, The light and the water, The water and the ox, The ox and the pig, The pig and the blacksmith, The blacksmith and Death, Death -and God. 77. YA VIENE EL ALBA. (From San Juan Capistrano, Cal. Sung by Father O'Sullivan.) Slowly. - Ya vie - ne el al ba, Rom -pien -do el di a, Now dawn is cornm ing, Clear glows 1/he morn.- ing, Di. ga.- mos to Now let us all dos, A - ve Ma. rl - a. u. sile, A y e Mwa r(' al 100 Memoirs of the American Folk-Lore Society. 78. ARRULLO. (Chilian version. Sung by Miss Irma Buhier.) Se - flo- ra Santa A- na, Z Por -quC- lb - ra el ni - flo? Dear - est San-tla An- na, Why is ba - by cry -ingP Por u - na man -za - na, Qe se le ha per - di - do. For a nice red ap - file, Hi somewhere, it's l - ing. 2. Decidle que no ilore Que yo tengo dos; Una para el niiio Y otra para vos.' (Argentine version. Sung by Mrs. Leopold lBuhler.) A ro ro ml ne - na, A ro -ro mi Sol. Lul -la by, my ba by, Dar -ling, hush - a -byl1 A =_____ w wU A ro -ro pe - da - zo You've a vier - y big Part De mi co - ra - z6n. Of my byv - ing heart. 79. EL CLAVEL.' (The words of this song I was only able to get in a garbled form from Seflora Rufugio Fuentes. Mexico. They were therefore not recorded.) Bri8klyj. 1 Thsscn tnawssupidb!isLcl Mraooqot io Spanish-American Folk-Songs. ^ I 3 I IOI I~ AM LA v 'V: I & i_[iq.,j. [!,".i~t l_' ~ 1..J,~ I ~ ---~ I F; I IfiN[ l/ l'Z~ [ F F~ __ol -..I ] I p- l| I '' - 80. JARABE MIXTECA. (From Oaxaca, Mex. Played by M. Salinas on a mouth-organ, with guitar accompaniment.) Rather slonly. v Minor. LP-" '. l I I. Ii _L:f, I I i I 1 81. LEV'NTESE NINA. lf" —V- Il - 1; O U z. Le-van - te- se ni - fla, Ba-rra la co - ci- na. Get up, I - zy beau - ty,. Go and sweep the kitch - en. The fire needs at - ten - tion, You know it is your du. ty. I. Le - van te - se ni -. Ba - rra la co -ci - na. A -m. - _, 'l u b.:, Co -...es '. co - bre. 102 Memoirs of the American Folk-Lore Society. 2. Yo no s6 barrer, Yo no s6 atizar. Yo no me case, Para trabaj ar. 2. I will do no sweeping, I will light no fire, I wed you not for drudging, Oh, how you rouse my ire! 82. LA PETENERA ZAPOTECA.' (From Oaxaca. Played by Maximilian Salinas.) Moderately. Minor. - -, 8 3. K G U D A A J R T P A i ( F r omH uM e x i c o. S u g bIel r u n e. Not in three rhinth. aJ-, l n -v 1 Spanish evidently garbled, so not recorded. Spanish-American Folk-Songs. 84. CUECA OR ZAMACUECA. (From Chile. Sung by Mrs. Leopold Buhler.) I03 9. _11 IJ-.... Tus o - jos son vi - va a - ma.... Tu Liv- ing fire in your eyes is flam - ing,.... Like bo -ca fi - no co - ral,..... Tu son-ri-saos-ten - ta cor - als, your lips are ro - sy,... And in your smile pearls are rrIM j. i_ r, i.. r. i rL. I I per -las,.. Las mAs pre cio- sas del mar. sas del mar. gleam-ing,.. Most precious of all the sea. all the sea. 85. QUE GUSTO ME DA. Gayly. Que. gus - to, que gus - to, que gus - to me da, Vi - Vir en el How joyful, how joyful, how joyful for me, In fresh peaceful cam - po con tran-qui - li - dad. Yo can - to, yo brin - co a country for ever to be! I sing and I ca - per, conSing twice over. - - - E ' z.............V r-' — mi li - ber - tad, Por - que no hay ti - je - ras de la so - cie - dad. tented and free, A - way from the city's dull gossip I flee. 86. SANDUNGA. (From Tehuantepec.) Moderately. te\ d fr _- — fr- 'f86 -wU (n o e unee. '-=. --- ]..-'....,..I:__ -... ' 104 Memoirs of the American Folk-Lore Society. With snirit. - I; I. - -- I I- I.I 87. JARABE. (From central Mexico. Very familiar. Sung by Indians to a shuffling dance.) IBpiried. 'A i/,, _r i- I l F..~. Ya el pa - to se es-tA co - cien - do, En los her- vo - res de la Now the duck is in the stew-pot, The bubbles show that it is o - lla, Sa - ca la ca-be-za y di - ce, Por-que no me e-chan ce - I~ & ' r- ' -! rw - --- _ bo - l a. Ven - gan por to-mar a - to - e, fla - hvo. All the neigh - bors, hungry - look - ing, to eat it, But it's bad, they say, and leave it. 88. LA CHILENA. (From Oaxaca.) To Ila. den p san - to, - mr a t - -l-e La a wti w All It ni cooki, Ihungy look like so... With frpe /A - rFur I-! bue - no. El a - tole se est, a grian do. to eat it, But it's bad theey say, and leave it. 1R Inn _I.. r. - '-, - - Come~~ an ac twie i scok,Thywudiksomh _ u - n o la oes sf ra o toetiBti' a, hysy n ev t Spanish-American Folk-Songs. 105 89. EL PALOMO. (From Sierra Juarez.) A~ Moderately. - Repeat from beginning ad tibitm., _i _ h kr: ' _I I_ I I. i I I I,' _! I I * 0. LA BORRACHITA. (From Guadalajara.) xN..... --,,l m '.i I.. — I -m l _:.....__ - A A. Slenzo, sefiores, cierra puertae. _, _ __ Y ora de ese sen-ti-mien to, VA - mo-nos a em bo - rra.. chart 1 The words of this song were not recorded, because they were garbled. io6 Memoirs of the American Folk-Lore Society. 9I. LA MALAGUENA. (From Jamiltepec.) _~ Pfk. I. With fire. _~Ti~ f dl. _ r |l- '. I_ r,...' -- I _ _'I l l l ~T v,1 ' w,: III. 1.ii rE lF i: I iK J 1 2," I Iti] / I I; I _I I V. ^ ^ Repeat IJ, I, IV, once each. TO C108G0 - 1 r t. -- (From southern California. Tune similar to an old Spanish one.) Moderately. Quieres que te pon - ga mi som - bre - ro blan - co? IQuie- res que te pon - ga mi som- bre - roa - zul? 92. QQuieIERes que te sien G te, mi vi da,en u tr no, 1 This song is supposed to have had some political meaning during the period of the transfer of California from Mexico to the United States. Possibly the blue hat and the -Jwhite hat symbolized different political parties. On its surface the song makes so little real sense, that it does not bear translating. SPanish-American Folk..Songs. I I I I I07 N j ~ ~ I -A I I I Pa -ra, que te can-te Ml tu-run -tfin, tu -run -tfin, ~FiN. Wil iW Nil I tu- run- ttfia - tfin? Si... quieres que yo.. te quie - ra, Ha de ser con con di d ci6n, Y el ml.o Birat section to be sung again to point.narlced Fin. -4_ - F o ha de ser tu - yo, y el tu yo, Mt - o, jano! 93. YO SOY UJNA CHINAQUITA. (From Mexico. Song dating from the Maximilian period. Very familiar.) Moderatedj. I. Yo SOY 11u na chi -na - qui - ta, que ven - I'm a lit - tk chi -na -qui - ta,' and I go de Nue - va Le6n. De pe -le -ar' con los Fran - come from Nue - ve Leon. I shall fight the F-rench ince ses, de fen - den -do mi na e i6n. va,- det- to de fend my na - lion's home. CHORUS. P& se -le a quien le pe- se, j ay, ay, ay!I Y que Now, come on and hit 'em one, ay, ay, ay/ Now, come le pe - se otra vez, Jay,. ay, ay I Soy pu-ri - ta on -and hit'lem a- gain, ay, ay, ay/ I'mt full -blood - ed 1Chinaquita, a cross between Indian and Negro blood, sometimes called Zambo. io8 Memoirs of the American Folk-Lore Society. -1 0-011- - - I I F - -. -1 I I I I. so A ft 116 v 61 -W% a - 40 i , x i- -- 1 1 i -12L -- - JE - - L — - - -- -- I- I --- t j -- r.14, v I Me - xi - ca- na, Mex -i -can), Na -da tenl-go0 There's no French at del Fran - c6s. all in me. 2. Mi padre es de Zacatecas, Mi madre es de Nueva Le6n. Por herencia me dejaron La nueva constituci6n. N~sele a quien le pese, etc. 2. My father comes from Zacatecas, My mother comes from Nueva Leon, For inheritance they left me The new constitution. Now, come on and hit 'em one, etc. 94. HATUEY.' (From Cuba.) -4 — I i 4 o 4 q-11 t-,,VIj 1 Om W.L Hatuey no pe-le-a-baa ga -Rios, Ni tam-po0- co CO- senHatuey would not standfor cock-fights, And would not give his apgm-. -. — ti a, Ni tam -po-co con -sen-ti a, LOS Prov' at, And would not give his aO. - rov- at, TO I _~~-! I SpIoIketJ -4I - jue-gos de lo - te i-rf -a, Ni Ca - rre-ras a ca - ba - lb. j Entra!I an - y game of lot.- tery, Nor to an -y kind of horse-race. Come ont 2. Cuando yo me meto en fuego, Es porque tengo el poder, Es porque tengo el poder, A tornar hasta caer Y no ofender donde Ilego. IHatuey was a native of Hispaniola who emigrated to the east end of Cuba when he wanted to escape from the Spanish conquerors. After the Spaniards reached Cuba, he was finally conquered and burned alive. Spanish-A merican Folk-Songs.10 iog 95. i AY! VIENEN LOS YANKEES. (From southern California. Variant of tune of Las Margaritas as sung in Mexico. Words date from I848 or about that time.) 1Ay! vien - en los, Yan - kees, j Ay!1 Los tien - en ya. Ak!1 here come the Yan - kees. See!I They're corn- ing by. I W Vien -en a qui. tar -les, Now let's all go ea Sy), 1 -, 2p 1 - 9 La for - ma. li -dad. On for -mal - i - tyl 7 — 2. Ya las sefioritas Que hablan el ingl~s, Los Yankees dicen, " Kiss me!" Y ellas dicen, "Yes." 2. See how the young ladies Rush English to learn! " Kiss me! " say the Yankees. The ladies answer, " Yes." BIBLIOGRAPHY. HISTORICAL WORKS. ANDREWS, JOSEPH. Journey from Buenos Ayres, through the provinces of Cordova, Tucuman, and Salta, to Potosi, etc. London, 1827. 2 vols. BLACKMAR, F. W. Spanish Colonization in the Southwest. Baltimore, Johns Hopkins University, I890. BOLTON, H. E. Spanish Exploration in the Southwest. New York, Charles Scribner's Sons, 1916. BOURNE, E. G. Spain in America. New York, Harper Brothers, 1904. BRYCE, J. South America, Observations and Impressions. New York, The Macmillan Company, 1912. CALDERON DE LA BARCA, Mme. Life in Mexico. London, I843. COREAL, F. Voyages aux Indes Occidentales. Paris, 1722. DANA, R. H. Two Years Before the Mast. Boston, Houghton, Mifflin & Co. (reprinted), I9II. GAGE, FRIAR THOMAS. The English American, or a New Survey of the West Indies. London, I648. GARCIA ICAZBALCETA, J. Colecci6n de Documentos para la Historia de Mexico. Andrade, Mexico, 1858. HALL, CAPT. BASIL. Extracts from a Journal Written on the Coasts of Chili, Peru, and Mexico. Edinburgh, Constable & Co., I824. HELPS, A. The Spanish Conquest in America. London, Parker & Sons, I855. HUMBOLDT, A. VON. Political Essay on the Kingdom of New Spain. London, I9II. KOTZEBUE, O. VON. Voyage of Discovery in the South Sea and Behring Strait. London, I830. LOPEZ DE VELASCO, J. Geografia y Descripci6n Universal de las Indias (reprinted). Madrid, I894. LOWERY, W. The Spanish Settlements within the Borders of the United States. New York, G. P. Putnam's Sons, I90o. LUMMIS, C. F. The Land of Poco Tiempo. New York, Scribner's, I906. MORELET, A. Travels in Central America. New York, 1871. MOSES, B. The Establishment of Spanish Rule in America. New York, G. P. Putnam's Sons, I898. NORTH, A. W. The Mother of California. San Francisco, P. Elder & Co., 1908. REMESAL, A DE. Historia de la Provincia de San Vicente, de Chiapa y Guatemala. Madrid, I619. RICHMAN, I. B. California Under Spain and Mexico. Boston, Houghton, Mifflin & Co., I911. RUSCHENBERGER, WM. S. Narrative of a Voyage Around the World, I835-7. Philadelphia. IIO Spanish-American Folk-Songs. I I SPENCE. The Myths of Mexico and Peru. New York, Crowell & Co., I913. TERNAUX-COMPANS. Voyages, Relations, et Memoires Originaux. Paris, I837. SPANISH Music. ALl6, F. Cansons Populars Catalanas. Madrid, Casa Dotesio. FRIEDENTHAL, A. Stimmen der V6lker. Berlin, Schlesinger. FUENTES, E. Souvenir de Sevilla, Cantos y Bailes de Andalucia. Lerate. Sevilla. HERNANDEZ, I. Flores de Espafa. Madrid, Casa Dotesio. HURTADO, J. I00 Cantos Populares Asturianos. Madrid, Casa Romero, I889. INZENGA, J. Cantos y Bailes Populares de Espafia. Madrid, Casa Romero, I888. Cantos y Bailes de Galicia. Madrid, Casa Romero, 1888. Cantos y Bailes de Valencia. Madrid, Casa Romero, i888. LEDESMA, D. Folk-Lore 6 Cancionero Salmantino. Imprenta Alemana. Madrid, I907. LACOME et PUIG Y ALSUBIDE. Echos d'Espagne. Paris, Durand et Fils. OLMEDA, F. Folk-Lore de Castilla 6 Cancionero Popular de Burgos. Sevilla, Libreria Auxiliadora, 1903. STURGIS AND BLAKE. Songs of the Pyrenees. Boston and New York, A. P. Schmidt. VILLAR, I. M. Album de Cantos Vascongadas. Also many songs published singly as sheet music. Subscribers TO THE Publication Fund OF THE American Folk-Lore Society. Dr. I. Adler, New York, N.Y. Mr. F. N. Balch, Boston, Mass. Mr. Phillips Barry, Cambridge, Mass. Professor H. M. Belden, Columbia, Mo. Mr. Eugene F. Bliss, Cincinnati, O. Mr. Charles P. Bowditch, Boston, Mass. Professor H. C. G. Brandt, Clinton, N.Y. Mr. Philip Greely Brown, Portland, Me. Mr. John Caldwell, Edgewood Park, Pa. Miss Mary Chapman, Springfield, Mass. Miss Ellen Chase, Brookline, Mass. Mrs. Alice M. Childs, Boston, Mass. Mr. C. H. Clarke, Jr., Philadelphia, Pa. Mrs. Otto B. Cole, Boston, Mass. Mr. William G. Davies, New York, N.Y. Mr. Charles F. Daymond, New York, N.Y. Mr. George E. Dimock, Elizabeth, N.J. Professor R. B. Dixon, Cambridge, Mass. Mr. Edward B. Drew, Cambridge, Mass. Mr. F. P. Fish, Boston, Mass. Mr. Fletcher Gardner, Bloomington, Ind. Mr. S. W. Gisriel, Baltimore, Md. Mr. Marshall H. Gould, Boston, Mass. Mrs. J. M. Graham, Boston, Mass. Mrs. John C. Gray, Boston, Mass. Mr. Stansbury Hagar, New York, N.Y. Miss Eleanor Hague, New York, N.Y. E. Sidney Hartland, Esq., Gloucester, England. Mrs. D. B. Heard, Phoenix, Ariz. Miss A. B. Hollenback, Brooklyn, N.Y. (112) Dr. George P. Howe, Boston, Mass. Mr. Clarence M. Hyde, New York, N.Y. Dr. A. Jacobi, New York, N.Y. Mr. A. Marshall Jones, Boston, Mass. Miss Louise Kennedy, Concord, Mass. Mrs. D. P. Kimball, Boston, Mass. Professor G. L. Kittredge, Cambridge, Mass. Mr. Edward Lindsey, Warren, Pa. Mr. C. A. Loveland, Milwaukee, Wis. Mrs. John Lloyd McNeil, Durango, Col. Mr. Mark Mason, Chicago, Ill. Mr. Albert Matthews, Boston, Mass. Miss S. E. Miller, Brookline, Mass. Miss Sophie Moen, Boston, Mass. Mrs. J. N. Moore, Cambridge, Mass. Professor W. A. Neilson, Cambridge, Mass. Rev. Dr. James B. Nies, Brooklyn, N.Y. Dr. Charles Peabody, Cambridge, Mass. Mr. Harold Peirce, Philadelphia, Pa. Mrs. J. F. Perry, Boston, Mass. Mr. E. K. Putnam, Davenport, Io. Mrs. F. W. Putnam, Wellesley Farms, Mass. Miss Helen Leah Reed, Cambridge, Mass. Mr. D. M. Riordan, Tucson, Ariz. Mrs. Thomas Roberts, Philadelphia, Pa. Mr. Jacob H. Schiff, New York, N.Y. Mr. J. B. Shea, Pittsburgh, Pa. Mr. E. Ruel Smith, New York, N.Y. Mr. Leon B. Smith, San Francisco, Cal. Mr. S. G. Stein, Muscatine, Io. Mr. J. B. Stetson, Ashbourne, Pa. Dr. Brandreth Symonds, New York, N.Y. Mr. Benjamin Thaw, Pittsburgh, Pa. Mr. Henry N. Vail, New York, N.Y. Mr. A. C. Vroman, Pasadena, Cal. Mr. Paul Warburg, New York, N.Y. Professor K. G. T. Webster, Cambridge, Mass. (I 3) Publications OF THE American Folk-Lore Society. JOURNAL OF AMERICAN FOLK-LORE, VOLS. I-XXX (x888 -I917). MEMOIRS OF THE AMERICAN FOLK-LORE SOCIETY: Vol. I. HELI CHATELAIN, Folk-Tales of Angola. Fifty Tales with Ki-mbundu text, literal English Translation, Introduction, and Notes. i894. xii + 315 p. (With two maps.) II. ALCEE FORTIER, Louisiana Folk-Tales. In French Dialect and English Translation. I895. xi + 122 p. III. CHARLES L. EDWARDS, Bahama Songs and Stories. With Music, Introduction, Appendix, and Notes. Six Illustrations. I895. xiii + III p. IV. FANNY D. BERGEN, Current Superstitions. Collected from the Oral Tradition of English-Speaking Folk. With Notes, and an Introduction by WILLIAM WELLS NEWELL. 1896. vi + I6I p. V. WASHINGTON MATTHEWS, Navaho Legends. With Introduction, Notes, Illustrations, Texts, Interlinear Translations, and Melodies. I897. viii + 299 p. VI. JAMES TEIT, Traditions of the Thompson River Indians of British Columbia. With Introduction by FRANZ BOAS, and Notes. I898. x + 137 p. VII. FANNY D. BERGEN, Animal and Plant Lore. Collected from the Oral Tradition of English-Speaking Folk. With Introduction by J. Y. BERGEN. I899. I80 p. (Second Part to Vol. IV., with common Index.) VIII. GEORGE A. DORSEY, Traditions of the Skidi Pawnee. With Introduction, Notes, and Illustrations. I904. xxvi + 366 p. (I14) IX. M.- R. COLE, Los Pastores. A Mexican Miracle Play. Translation, Introduction, and Notes. With Illustrations and Music. 1907. xxxiv + 234 P. X. ELEANOR HAGUE, Spanish-American Folk-Songs. Text and Music. 1917. 115 P. XI. JAMES A. TEIT, MARIAN K. GOULD, LIVINGSTON FARRAND, HERBERT J. SPINDEN, Folk-Tales of Salishan and Sahaptin Tribes. Edited by FRANZ BoAs: 1917. X + 205 P. XII. Filipino Popular Tales. Collected and edited, with Comparative Notes, by DEAN S. FANSLER. In preparation. XIII. ELSIE CLEWS PARSONS, The Folk-Tales of Andros Island, Bahamas. In preparation. XIV. MERCIE L. TAYLOR, Index to Volumes I-XXV (i888-iqI2) of the Journal of American Folk-Lore. WILLIAM WELLS NEWELL MEMORIAL VOLUME. In preparation. AUG 7 1918 (" 5) 1H UNIVRSTY O MIIC AN GRADUATE ULAEY DATE DUE -gC12W97 UNIVERSITY OF MICHIGAN 3 9015 03474 6290 BOOK CARD DO NOT REMOVE A Charge will be made if this card is mutilated ] or not returned with the book GRADUATE LIBRARY THE UNIVERSITY OF MICHIGAN ANN ARBOR, MICHIGAN J I I i,I I i — 11 I: Ia i 4. III I, I 11 I I.fl illm ce DO NOT REMOVE OR MUTILATE CARD I I9