SIMPSON, George E. - Peasant Songs and Dances of Northern Haiti

Peasant Songs and Dances of Northern Haiti
Author(s): George Eaton Simpson

Source: The Journal of Negro History, Vol. 25, No. 2 (Apr., 1940), pp. 203-215
Published by: Association for the Study of African American Life and History
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PEASANT SONGS AND DANCES OF
NORTHERN HAITI*
From birth until death singing is an activity of no small

importance in the lives of Haitian peasants. Men and
women sing while they are at work in the fields. They sing
at Catholic masses, Vodoun ceremonies, funeral wak-es,
and bals. Songs are alternated with tales during an eve-
ning of story-telling, and children often sing as they play
games in the moonlight. There are songs of love, war,
work, injustice, suffering, adventure, scandal, and miracu-
lous events. Some of the songs are satirical, some are
philosophical, and others are a mixture of these and other
elements. Most of the songs, like peasant songs in general,
have a melancholic, plaintive quality.
The songs given here are typical coumbite and bal songs
of northern Haiti. A coumbite is a cooperative enterprise
not unlike the American husking-bee.' A farmer invites
his friends and relatives to help him clear, plant, or weed a
field, harvest a crop, make cassava, or build a house, and
in return he provides food and liquor and obligates himself
to assist them when they call upon him. If he cannot attend
the coumbite of a neighbor to whom he is under obligation
he is expected to send substitute workers or to contribute
food, liquor, or money for the affair. Coumbites ordinarily
do not last more than one day, and sometimes they are for
only a few hours in the early morning. They vary in size
from four or five persons to more than a hundred, depend-
ing on the size of the undertaking. In more prosperous
*The data on which this article is based were obtained during a field trip
to Haiti in 1937. I am indebted to the Social Science Research Council, New
York City, for the post-doctoral fellowship which made this field work pos-
sible, and to Mr. J. B. Cin6as for his assistance in the collection of these songs.
1 For good descriptions of Haitian coumbites see M. J. Herskovits, Life in
a Haitian Valley, 70-73, and J. B. Cin6as, Le Drame de la Terre, 5-26.
203
204 JOURNAL OF NEGRO HISTORY
times food was served at noon and again at five or six

o 'clock, but in the summer of 1937, times were so hard that
ordinarily only one meal was provided for the workers, and
that was in mid-afternoon. Tafia, a cheap alcoholic drink
made from sugar cane, is distributed by the "master" of
the coumbite at half-hour or hourly intervals. The liquor,
together with the songs led by the samba, stimulate the
workers, and the owner often exhorts them to work harder.
Although drums are often used in the southern and western
part of the island during a coumbite they are not used on
such occasions in the north, nor is any other musical instru-
ment, except a lamibi,2 played while work is being done in
the fields. Both men and women may take part in a coum-
bite, or it may be limited to men. At one large rice-weeding
coumbite which I attended the women worked in one row
along the mountainside and the men in another row. On
this occasion eight or ten of the women spent most of their
time preparing food for the afternoon meal. The coumbite,
at least in the northern part of the island, is informal and
loosely organized, and has none of the significance attrib-
uted by Hall to coumbites on the island of La Gonave.3
Some Haitian peasant songs are obscene. This obscenity
is probably not due to sexual repression, because opportu-
nities for sexual expression are plentiful. The explanation
of these songs seems to lie, in part, in their value to make
hard labor less distasteful. While these songs may be sung
sometimes, especially at bals, for the purpose of stimulat-
ing sexual desire, they are unquestionably sung on many oc-
casions simply for amusement.
Songs.and tales which provide an outlet for repressed
hatred, envy, and resentment are not uncommon among
non-literate peoples. Herskovits found songs in Dahomey
2 A conch shell used to summon workers at the beginning of the coumb
It is blown now and then during the coumbite as a kind of trumpet to urge the
workers on.
'R. B. Hall, "The Soci6tb Congo on the Ile a Gonave," lAmerican Ant
pologist, XXIX, 683-700.
PEASANT SONGS AND DANCES OF NORTHERN HAITI 205
which relieve the feelings of wronged persons,4 and Rattray

says that some Ashanti folk-tales give an outlet for re-
pressed thoughts.5 While most of the obscene songs sung
by Haitian peasants at coumbites, and on other occasions,
do not seem to be compensatory, there is little doubt but
that some of the songs pertaining to local gossip and scan-
dal do have this element.
All of the following songs were obtained in July, 1937,
from peasants living near the village of Plaisance. Need-
less to say many of them defy translation. Brief explana-
tory notes are included to clear up passages which might
otherwise be obscure.
COUMBITE SONGS
PEOPLE SHOW THEIR BEAUTIFUL TEETH
Moin dit: Belles-dents ... belles I say: People show their beauti-
dents yo gangnin. ful teeth.
Fanmille aque fanmille: belles- Even among relatives they smile
dents yo gangnin. insincerely.
Moin pas gangnin chival pou I have no horse to give thenm.
moin pas ba-yo. I have no saddle to loan them.
Moin pas gangnin selle pou'm Even among relatives they smile
prete yo. insincerely.
Fanmille aque fanmille: belles-
dents yo gangnin.6
This bitter verse needs little explanation. It is a com-

mentary on the hypocritical behavior of humnan beings, and
on pretensions of friendship which have no sincerity. Ac-
cording to this song only the rich are respected.
' M. J. Herskovits, " Freudian Mechanisms in Primitive Negro Psychol-
ogy," in Essays Presented to C. G. Seligman, 76.
5 Ibid., 77.
The Creole of Haiti is made up mainly of French words, but there are
also English, Spanish, Indian and African words in it. According to Hersko-
vits, Life in a Haitian Valley, 22-23, the "languages (of West Africa) were
and are mutually unintelligible, " but " structurally and idiomatically they
were much the same .... The slaves, having mastered a requisite number of
words in the language of their masters, merely poured them into this mold of
their own linguistic patterns, and approximating the phonetic values of such
words in terms of the West African modes of speech, thus established a means
of communication between one another, no matter what their tribal derivation."
206 JOURNAL OF NEGRO HSTORY
MOTHERS, I GIVE YOU SOME ADVICE
Map pale manman pitite-yo! Mothers, I give you some advice!

Con soleil couche, passe ronde When night comes, look around
Alentour caille-yo. In all corners of your house.
Ti di riz-la fini boule The rice is burning
Deux jeunes gens accoste fille- Because two young men are
la ! courting your daughter!
This song tells about a tired mother who was taking a

nap after her day's labor in the fields. Her daughter had
been left to complete the preparations for the evening meal,
the principal one of the day for peasant families. Unfor-
tunately for the family the pot of rice burned because two
young men came to court the girl.
THE FRIZE TRIED TO STEAL THE CHICKEN
Frize-la vole trois plim' ginga. The frize has tried to steal the
Frize-la vole trois plim' ginga. chicken of three colors.
Pale manman, pale papa com- The frize has tried to steal the
ment nous-ye. chicken of three colors.
Riban coton lan pied. Please tell our father and our
Alle la valle'! mother about this
The cotton ribbon is tied to the
chicken's foot.
The frize will return empty-
handed!
The frize is a nocturnal bird whose appearance is a very

bad omen for a family. When its sinister cry is heard dur-
ing the night it is a sign that some misfortune is about to
occur. The peasants believe that sorcerers sometimes take
the form of this malevolent bird while they are engaged in
their hideous deeds. This song is about a frize that tried
to steal a "poule ginga a trois coleurs," that is, a child, but
fortunately for the child he was protected by a powerful
garde. When the frize' saw this charm, a cotton ribbon
around the child's neck, he could do nothing but go away
ashamed of his failure.
I SHALL NOT GO TO PILATE AGAIN
Moin pas pralle Pilate encore, I shall not go to Pilate again

Oue-oh! Oue-oh!
Oua dit yo chimin Pilate b
Oue-oh! closed for us.
Ce pou raison-yo Because of them
Oue-oh! Oue-oh!
Since Plaisance and Pilate are rival communes it is con-

sidered a disloyal act for a peasant from Plaisance to do
any trading in Pilate and vice versa. This is a sarcastic
song directed at some residents of Plaisance who have dis-
graced themselves by going to the Pilate market.
VERSPLA. You ARE NOT ALLOWED TO Go AROUND AT NIGHT
Versela, yo fai'm rapport. Versela, someone has reported

Ou pas mache lan nuitt' oh! you.
Membre Aimable mette veiller. You are not allowed to walk
Albertis mette veiller. around at night!
Yo fai'm rapport. The Chief of Section is watch-
Ou pas mache lan nuitt! ing you.
His assistant is also watching
you.
Someone has reported you.
You are not allowed to go
around at night!
Versela was the name of a man suspected of theft many

years ago. Today his name is used if no one happens to be
under suspicion, otherwise the name of the suspect is sub-
stituted for Versela's. The chef de section, a rural police-
man, is called "membre." In this case Albertis was the
assistant to the chef de section. Both of these policemen
had been watching Versela's movements closely, and he
was not allowed to roam around the countryside at night.
SOMEONE HAS REPORTED ELIRENE
Yo fai'm rapport Someone has reported

Pou Madam' mariee qui rete On a married woman of Vassere.
Vassere-la. Chief Nathan has received orders
Yo dit Mem' Nathan pou condui To bring her to the village.
li
Monte lan bouque.
Gendarmerie pas capab' jige ca. The police were unable to judge
Yo prend li; yo voye'1 jige de the case.
paix They took her to the Justice of
Jige de paix fait li sermente Peace
Oue si ce reel. Who made her take an oath
Concerning the truth of the ac-
cusation.
Yo fait m'sieu la sermente The Judge administered the oath
Devant Christ oue si ce la verite. Before Christ on the truth of
Yo toutt' dit: "Non!" the charge.
Yo toutt' dit: "Non!" The man said: "No!"
The woman said: "No!"
Fanm' la ap deseendd Ravine- The woman returned to Ravine-
Trompette. Trompette.
Mounes qui soti Pilate-yo join Ii Travellers coming from Pilate
Yo dit la: Cote la pralle'? met her
Li respondd: "La pralle Mar- And asked her where she was
got." going.
She replied that she was going
to Margot.
Mamzelle Elirene oh! Oh Mamlzelle Elirene!
Lalle Margot oh! She is going to Margot!
A la fanm' Bouzin oh! A prostitute woman
Lalle join Lideric oh! Is going to join Lideric!
This song is about a married woman of Vassere who

was arrested on a charge of adultery and taken to the vil-
lage of Plaisance. The police took her to the Justice of the
Peace, and in his office the accused woman and her lover
raised their right hands before the figure of Christ and
swore that they were innocent. The Justice dismissed the
charge, but as Elirene returned to her home she met many
peasants who greeted her with sarcasm about Lideric, her
lover. After the first four verses have been sung the last
stanza is sung again and again.
HELEN! HELEN, WHAT ARE You DOING?
Helene! Helene, ga ou fait con Helen! Helen, what are you

ga ? doing e
Ou quitte "bout' bannanne" You are leaving a "bout ban-
Pou ou repondd' deux virgules. nanne"
Helene! Hel'ele, ea ou fait con To respond to "deux virgules."
ga ? Helen! Helen, what are you
doing?
Helene! Helene, ga ou fait con Helen! Helen, what are you

4a? doing?
L 'ambition pas bon, Helene. Ambition is unwise, Helen.
Quand ou vle monte trop haut When you try to climb too high
Faudre rein ou casse, Hellene. You will break your back, Helen.
Helene! HeJlene, ga ou fait con Helen! Helen, what are you

ga? edoing?
Chaq' pain ganguin fromage-a li. Each kind of bread has its own
Neg-la ville prend fanm' la ville, kind of cheese.
Neg-l'en plaine prend fanm' lan Town men marry town women,
plaine. Country men marry country
women.
Hellene! Helene, ga ou fait con Helen! Helen, what are you

ga? edoing?
Pinga'm tende crie pi ta! Be careful lest later I hear you
Pinga lhe moun passe demain cry!
Moin oue yon ti caca sans savon. Be careful lest when I return
later
I do not find you with a baby
which you cannot sup-
port.
The subject of this song was an attractive peasant girl

who was engaged to a young "bout' bannanne," that is a
farmer who cultivates plantains. When a new "deux vir-
gules" (teacher), a town man, came to the rural school near
her home and made love to her in French, Helen left her
fiance for this man of another social class. This song was
a warning to her that she had better be careful about the
consequences of such an exchange.
PEASANT DANCES
Dancing has always been one of the most popular diver-

sions in Haiti. Like singing it affords release from suffer-
ing, and from the beginning of Haitian history it has been
an indispensable part of the life of all social classes. The

slaves danced the "calenda" and imitated the dances of the
French colonials. It was Mackandal's7 love of dancing the
"calenda" which led to his capture. Tousaint Louverture
had neither time for nor interest in dancing, but Dessalines
was extremely fond of dancing even though he was not a
graceful dancer. Christophe was a good dancer and during
his reign he gave many balls at Sans Souci.
Country bals are social dances which are ordinarily held
on Saturday night, Sunday afternoon or on holidays, but
they may take place on almost any night. They are given
in the front yard of a habitation or under a tonnelle8 which
has been erected for the occasion. The peasants usually do
not wear their best clothes to these dances. This apparel is
reserved for Sunday morning masses in the Catholic Church
and for First Communion services, weddings, and funerals.
However, those who are fortunate enough to have three sets
of clothes change from their working garments to their sec-
ond-best outfits for these affairs. Not all of them have
shoes, and most of those who have don't wear them to bals.
They dance in their bare feet or in typical Haitian leather
sandals. Women merchants with stocks of candies, liquor,
tobacco, and food are usually on hand, and sometimes men
set up tables where they can gamble with cards and dice.
When they are not dancing, the peasants stand around in
small groups exchanging news and gossip. The atmosphere
is friendly and gay and everyone present seems to enjoy the
sociability which characterizes these gatherings.
During a period of nearly six months I heard of only a
few week-day bals in the Bassin section of the Commune of
Plaisance. The people of this region told me that their
poverty at that time prevented them from having more
bals. The individual or family giving a bal had to pay a
tax of one dollar. Sponsors usually charge an admission of
7Mackandal was a slave who spread terror among the planters in the north
by his skill as a poisoner.
8A shelter made of a framework of boughs which is covered with palm
and banana leaves.
from three to five cents per dance, or of twenty cents (a

day's wage in Haiti) for the whole evening. Going to bals
was too expensive a pleasure for the peasants during the
hard times of 1937.
At a bal in a rural section one sees two types of dances:
those which have been borrowed from the French and from
the Haitian elite, and those which are danced only by the
peasants. In the first group are such dances as Les Lan-
ciers, the Quadrille, the Contre Danse, the Regent (some-
times called the Twelve and One-Half), the Polka, the Ma-
jurka, the Two-Step, the One-Step, the Waltz, the Charles-
ton, and the Meringue (the Haitian national dance).
Naturally, the peasants have modified these dances some-
what, just as they have made adaptations of the tango and
other foreign dances which have been popular for short
periods and have then disappeared. The Meringue remains
the favorite among these dances, but recently the Lopine
and the Bambocha have also been popular.
The dances which are exclusively country dances are dis-
tinguished from the others by their voluptuous rhythm,
their appearance of abandon, and their disregard of eti-
quette and convention. Among these are the Carnaval
dances. These are called Ra-ra or La-ra dances, and they
have come into northern Haiti from the west and the south
only recently. These dances may be observed during Lent,
especially on Good Friday. Several groups of these dancers
visited my house on Good Friday in 1937. In one group a
man wearing a mask and horns performed a dance imitat-
ing a bull. The leader of another group, a cane-thrower,
went through his routine, and several young boys danced
with their bodies while standing on their heads. Some other
peasant dances are the Raboteau, the Djouba or Mar-
tinique, the Scie, the Macaya, the Mousoundi, the Ti-Crip,
the Banda or Malfini, the Zeste, the Mazinga, and the Man-
gouline. Sometimes the same dance has different names in
different localities. Some, like the Mazinga, have practi-
cally disappeared. A few of these dances, like the Djouba,
are charming and gracious, while others, especially the Scie,

are known for their lasciviousness. In the Scie the sexual
act is imitated, and this dance is very stimulating to the
participants. A man and a woman often leave the bal after
this dance to have sexual intercourse. The Mousoundi is
noted for its complicated steps and movements. All of
these dances require extraordinary suppleness of the body
and the peasants execute them gracefully, and seemingly
without effort. Men and women who have spent a full day
in the field think nothing of dancing all night. Even dis-
ease and hunger cannot stop them from dancing.
The music for these bals is provided by instruments
which are used in the Vodoun orchestra, or by other instru-
ments. Vodoun music is played with a set of three Vodoun
drums, gourd rattles (tchatchas), a grage,9 and a triangle.10
If Vodoun instruments are not used at a bal the orchestral
combination may consist of drums (Vodoun or other drums
such as the petite caisse, the tambourin, and the very small
twin drums), rattles, bamboo flutes, and mnarimbas."1 Oc-
casionally, one sees a violin or an accordion in a rural sec-
tion. In the villages and large towns clarinets, flutes, ban-
jos, guitars, mandolins, and brass instruments are not un-
common.
Even if Vodoun instruments are used at an ordinary bal
the music which is played is not Vodoun music, and the
dances are not Vodoun dances. The words of the songs are
entirely different, and the rhythm is not the same. Vodoun
dances, which are not discussed in this article, are never
'A grage is a crude musical instrument which consists of two parts: a
piece of metal with a rough or uneven surface, and a piece of wire. The first
part is often made from a piece of corrugated iron roofing (which has been
perforated so that it looks like a large nutmeg grater. The wire is drawn back
and forth across this rough surface, and this produces rasping sounds.
10 The triangle used in the country is simply a piece of iron, such as an
old hoe head, which is struck with an iron spike. In Cre'ole the triangle is
called l'acon or ogan.
1 A marimba is a medium-sized wooden box with an opening in the center
of one of its sides. Three or four strips of thin metal are fastened at one
end of the opening. The unattached ends are plucked by a musician, and the
musical effect is something like that of a bass viol.
lascivious. The singing, both at Vodoucn ceremonies and at

bals, is almost as important as the instrumental music.
The musical tastes of the village and town people, and
to a slight extent of the peasants living in rural districts,
have been modified in recent years by foreign music, es-
pecially Cuban music. This influence can be traced to radio
programs which are broadcast from Havana and other cities
in Latin America, and to workers who have returned to
Haiti after sojourns in Cuba or the Dominion Republic.
In the village of Plaisance, which is about one hundred and
fifty miles from Port au Prince, and some thirty miles from
Cap Haitien, one often hears Cuban expressions in songs
which are otherwise distinctly Haitian. The instrumental
accompaniment for such songs often has a very noticeable
Spanish character. The principal contributions of the
American Occupation along musical lines seem to have been
the collection of battered brass, reed, and string instru-
ments, and a few phonographs, which were left behind by
the marines, and American jazz. Both the instruments and
the jazz were deposited for the most part in the towns, and
they have affected the musical habits of the peasants hardly
at all.
BAL SONGS
YOUNG GIRLS ARE HYPOCRITES
lfesdames-yo qui dit yo fideles! Young girls who pretend to be

Alle oue yo pas demoiselles! virtuous!
Yo mette yo lan pose yo pas We are going to see if you are
mange cabrites. virgins!
Ya pe rh6le moin vini fermain They say that they don't eat
barrie. goats.
And when they see a goat they
tell me to close the gate.
Messie Jeunes-gens, na oue si ce Young men, let us see if it is

vre'! true!
Na cotise pou fait yon ti-jazz. Let us contribute and give a
Mesdames-yo qui dit yo fideles. dance.
Ce la pou nou oue si yo demoi- Young girls who say that you
selles. virtuous,
We shall see if you are virgins.
Moin leve alle embrasser yo. I am going to embrace them.

L 'odere cabritt-la ban moin lan The odor of goat struck me in
nain. the nose.
Moin leve alle embrasser yo. I am going to embrace them.
L 'odere cabritt-la ban moin lan The odor of goat struck me in
nain. the nose.
Goat meat is a luxury, and the reference here to young

women who say that they don't eat goats means that they
pretend that they don't have sex relations. The meaning of
the line about closing the gate when they see a goat is that
these young women become very shy when they see a man.
The odor of the goat refers to the odor of the male.
You ARE NOT So BEAUTIFUL
Ou pas si belle et ou pas si plai You are not so beautiful, and

Et ni ou pas en beaute, you are not so attractive,
Ah! sippose, manman, moin tap And you do not wear pretty
fait yon affe, clothes,
Ce espoi tap ba ou! Suppose, friend, that I were
making an affair,12
You hope that I would take you!
Heureux pou rou, ou veille zo ou Happily for you, you have been
Pou fai finesse. careful
Manman, qui erreur ou fai, To keep your finesse.
Pasqu' ou travaille, ou pas Friend, what an error you would
mange'! make,
Because you would work, but
you would not eat!1-3
MARRIED WOMAN, LISTEN!
Madame mariee, coutez: Married woman, listen:

Ou pas, tande alliance pedi? Don 't you know that your wed-
Oui fre, moin chache, moin pas ding ring is lost ?14
join li. Yes, my friend, I looked for it,
Moin bosque, moin pas join li. but I did not find it.
Mare paquett ! Monte lan morne I hunted, but I did not find it.
Vini join nhomme-la! Prepare your belongings! Climb
the mountain
And join your lover !
U That is, taking a wife or a plac6e (concubine).

I " You would not eat, " means " you would not succeed."
I That is, "Don 't you know that people know about your adultery "
OH, NACILIA!
Oh! Nacilia, ce 1 'anmou! Oh, Nacilia, it is love !
Viens done, cherie. Come then, dearest.
A la un an six mois, manman, For a year and a half, darling,
Ou ap fai'm casse pointe sou- You would have made me wear
liers'm! out my shoes in vain!
Si pas te Bon Dieu, la Vierge If God and Virgin Mary
Fait miracle sou nous! Had not performed a miracle
for us!
Ou maitt' tende six cord Even if you heard Mayardl5

Mayard frappe, play his guitar,
Yon jou ou va songe Some day you would remember
Moin connain caresse. me.
Moin connain mignonnain. I know how to caress,
Oh! Nacilia, si'm mette pied'm I know how to caress lovingly.
lan panneau Oh! Nacilia, if I put my foot
Dormi lan ge' m, moin pas ga against the wall
dormi! Sleep should come to me, but I
cannot sleep!
HYPPOLITE
Hyppolite qui ap machel ac 1 'ai- Hyppolite walks along with a

ment. magnet.
Hyppolite qui ap mache ac 1 'ai- Hyppolite walks along with a
ment. magnet.
En passant li con ga, lap ba When he passes he attracts the
Mesdames-yo coup de barre. women.
Hyppolite qui ap machel ac lai- Hyppolite walks along with a

ment. magnet.
Hyppolite qui ap mache ac lai- Hyppolite walks along with a
ment. magnet.
En promenant Ii con ga lap ba When he promenades he attracts
Mesdames-yo coup de barre. the women.
GEORGE EATON SIMPSON

Pennsylvania State College
' A famous country guitarist. When he played the young men and young
women forgot everything and ran to the dance.

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Peasant Songs and Dances of Northern Haiti

Author(s): George Eaton Simpson

From birth until death singing is an activity of no small

times food was served at noon and again at five or six

which relieve the feelings of wronged persons,4 and Rattray

This bitter verse needs little explanation. It is a com-

MOTHERS, I GIVE YOU SOME ADVICE

Map pale manman pitite-yo! Mothers, I give you some advice!

This song tells about a tired mother who was taking a

THE FRIZE TRIED TO STEAL THE CHICKEN

The frize is a nocturnal bird whose appearance is a very

I SHALL NOT GO TO PILATE AGAIN

Moin pas pralle Pilate encore, I shall not go to Pilate again

Since Plaisance and Pilate are rival communes it is con-

VERSPLA. You ARE NOT ALLOWED TO Go AROUND AT NIGHT

Versela, yo fai'm rapport. Versela, someone has reported

Versela was the name of a man suspected of theft many

SOMEONE HAS REPORTED ELIRENE

Yo fai'm rapport Someone has reported

This song is about a married woman of Vassere who

HELEN! HELEN, WHAT ARE You DOING?

Helene! Helene, ga ou fait con Helen! Helen, what are you

Helene! Helene, ga ou fait con Helen! Helen, what are you

Helene! HeJlene, ga ou fait con Helen! Helen, what are you

Hellene! Helene, ga ou fait con Helen! Helen, what are you

The subject of this song was an attractive peasant girl

Dancing has always been one of the most popular diver-

an indispensable part of the life of all social classes. The

from three to five cents per dance, or of twenty cents (a

are charming and gracious, while others, especially the Scie,

lascivious. The singing, both at Vodoucn ceremonies and at

YOUNG GIRLS ARE HYPOCRITES

lfesdames-yo qui dit yo fideles! Young girls who pretend to be

Messie Jeunes-gens, na oue si ce Young men, let us see if it is

Moin leve alle embrasser yo. I am going to embrace them.

Goat meat is a luxury, and the reference here to young

You ARE NOT So BEAUTIFUL

Ou pas si belle et ou pas si plai You are not so beautiful, and

MARRIED WOMAN, LISTEN!

Madame mariee, coutez: Married woman, listen:

U That is, taking a wife or a plac6e (concubine).

Ou maitt' tende six cord Even if you heard Mayardl5

Hyppolite qui ap machel ac 1 'ai- Hyppolite walks along with a

Hyppolite qui ap machel ac lai- Hyppolite walks along with a

GEORGE EATON SIMPSON

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