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Cowboy Songs and Other Frontier Ballads

<h2>COLLECTOR'S NOTE (p. xvii)</h2> Out in the wild, far-away places of the big and still unpeopled west,—in the cañons along the Rocky Mountains, among the mining camps of Nevada and Montana, and on the remote cattle ranches of Texas, New Mexico, and Arizona,—yet survives the Anglo-Saxon ballad spirit that was active in secluded districts in England and Scotland even after the coming of Tennyson and Browning. This spirit is manifested both in the preservation of the English ballad and in the creation of local songs. Illiterate people, and people cut off from newspapers and books, isolated and lonely,—thrown back on primal resources for entertainment and for the expression of emotion,—utter themselves through somewhat the same character of songs as did their forefathers of perhaps a thousand years ago. In some such way have been made and preserved the cowboy songs and other frontier ballads contained in this volume. The songs represent the operation of instinct and tradition. They are chiefly interesting to the present generation, however, because of the light they throw on the conditions of pioneer life, and more particularly because of the information they contain concerning that unique and romantic figure in modern civilization, the American cowboy. The (p. xviii) profession of cow-punching, not yet a lost art in a group of big western states, reached its greatest prominence during the first two decades succeeding the Civil War. In Texas, for example, immense tracts of open range, covered with luxuriant grass, encouraged the raising of cattle. One person in many instances owned thousands. To care for the cattle during the winter season, to round them up in the spring and mark and brand the yearlings, and later to drive from Texas to Fort Dodge, Kansas, those ready for market, required large forces of men. The drive from Texas to Kansas came to be known as "going up the trail," for the cattle really made permanent, deep-cut trails across the otherwise trackless hills and plains of the long way. It also became the custom to take large herds of young steers from Texas as far north as Montana, where grass at certain seasons grew more luxuriant than in the south. Texas was the best breeding ground, while the climate and grass of Montana developed young cattle for the market. A trip up the trail made a distinct break in the monotonous life of the big ranches, often situated hundreds of miles from where the conventions of society were observed. The ranch community consisted usually of the boss, the straw-boss, the cowboys proper, the horse wrangler, and the cook—often a negro. These men lived on terms of practical equality. Except in the case of the boss, there was little difference in the amounts paid each for his services. (p. xix) Society, then, was here reduced to its lowest terms. The work of the men, their daily experiences, their thoughts, their interests, were all in common. Such a community had necessarily to turn to itself for entertainment. Songs sprang up naturally, some of them tender and familiar lays of childhood, others original compositions, all genuine, however crude and unpolished. Whatever the most gifted man could produce must bear the criticism of the entire camp, and agree with the ideas of a group of men. In this sense, therefore, any song that came from such a group would be the joint product of a number of them, telling perhaps the story of some stampede they had all fought to turn, some crime in which they had all shared equally, some comrade's tragic death which they had all witnessed. The song-making did not cease as the men went up the trail. Indeed the songs were here utilized for very practical ends. Not only were sharp, rhythmic yells—sometimes beaten into verse—employed to stir up lagging cattle, but also during the long watches the night-guards, as they rode round and round the herd, improvised cattle lullabies which quieted the animals and soothed them to sleep. Some of the best of the so-called "dogie songs" seem to have been created for the purpose of preventing cattle stampedes,—such songs coming straight from the heart of the cowboy, speaking familiarly to his herd in the stillness of the night. The long drives up the trail occupied months, and called (p. xx) for sleepless vigilance and tireless activity both day and night. When at last a shipping point was reached, the cattle marketed or loaded on the cars, the cowboys were paid off. It is not surprising that the consequent relaxation led to reckless deeds. The music, the dancing, the click of the roulette ball in the saloons, invited; the lure of crimson lights was irresistible. Drunken orgies, reactions from months of toil, deprivation, and loneliness on the ranch and on the trail, brought to death many a temporarily crazed buckaroo. To match this dare-deviltry, a saloon man in one frontier town, as a sign for his business, with psychological ingenuity painted across the broad front of his building in big black letters this challenge to God, man, and the devil: The Road to Ruin. Down this road, with swift and eager footsteps, has trod many a pioneer viking of the West. Quick to resent an insult real or fancied, inflamed by unaccustomed drink, the ready pistol always at his side, the tricks of the professional gambler to provoke his sense of fair play, and finally his own wild recklessness to urge him on,—all these combined forces sometimes brought him into tragic conflict with another spirit equally heedless and daring. Not nearly so often, however, as one might suppose, did he die with his boots on. Many of the most wealthy and respected citizens now living in the border states served as cowboys before settling down to quiet domesticity. A cow-camp in the seventies generally contained several (p. xxi) types of men. It was not unusual to find a negro who, because of his ability to handle wild horses or because of his skill with a lasso, had been promoted from the chuck-wagon to a place in the ranks of the cowboys. Another familiar figure was the adventurous younger son of some British family, through whom perhaps became current the English ballads found in the West. Furthermore, so considerable was the number of men who had fled from the States because of grave imprudence or crime, it was bad form to inquire too closely about a person's real name or where he came from. Most cowboys, however, were bold young spirits who emigrated to the West for the same reason that their ancestors had come across the seas. They loved roving; they loved freedom; they were pioneers by instinct; an impulse set their faces from the East, put the tang for roaming in their veins, and sent them ever, ever westward. That the cowboy was brave has come to be axiomatic. If his life of isolation made him taciturn, it at the same time created a spirit of hospitality, primitive and hearty as that found in the mead-halls of Beowulf. He faced the wind and the rain, the snow of winter, the fearful dust-storms of alkali desert wastes, with the same uncomplaining quiet. Not all his work was on the ranch and the trail. To the cowboy, more than to the goldseekers, more than to Uncle Sam's soldiers, is due the conquest of the West. Along his winding cattle trails the Forty-Niners (p. xxii) found their way to California. The cowboy has fought back the Indians ever since ranching became a business and as long as Indians remained to be fought. He played his part in winning the great slice of territory that the United States took away from Mexico. He has always been on the skirmish line of civilization. Restless, fearless, chivalric, elemental, he lived hard, shot quick and true, and died with his face to his foe. Still much misunderstood, he is often slandered, nearly always caricatured, both by the press and by the stage. Perhaps these songs, coming direct from the cowboy's experience, giving vent to his careless and his tender emotions, will afford future generations a truer conception of what he really was than is now possessed by those who know him only through highly colored romances. The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo, the Indian warwhoop, the free grass of the open plain;—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The (p. xxiii) changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a pure woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song: Whoopee ti yi, git along, little dogies; It's my misfortune and none of your own. Whoopee ti yi, git along, little dogies; For you know Wyoming will be your new home. As for the songs of this collection, I have violated the ethics of ballad-gatherers, in a few instances, by selecting and putting together what seemed to be the best lines from different versions, all telling the same story. Frankly, the volume is meant to be popular. The songs have been arranged in some such haphazard way (p. xxiv) as they were collected,—jotted down on a table in the rear of saloons, scrawled on an envelope while squatting about a campfire, caught behind the scenes of a broncho-busting outfit. Later, it is hoped that enough interest will be aroused to justify printing all the variants of these songs, accompanied by the music and such explanatory notes as may be useful; the negro folk-songs, the songs of the lumber jacks, the songs of the mountaineers, and the songs of the sea, already partially collected, being included in the final publication. The songs of this collection, never before in print, as a rule have been taken down from oral recitation. In only a few instances have I been able to discover the authorship of any song. They seem to have sprung up as quietly and mysteriously as does the grass on the plains. All have been popular with the range riders, several being current all the way from Texas to Montana, and quite as long as the old Chisholm Trail stretching between these states. Some of the songs the cowboy certainly composed; all of them he sang. Obviously, a number of the most characteristic cannot be printed for general circulation. To paraphrase slightly what Sidney Lanier said of Walt Whitman's poetry, they are raw collops slashed from the rump of Nature, and never mind the gristle. Likewise some of the strong adjectives and nouns have been softened,—Jonahed, as George Meredith would have said. There is, however, a (p. xxv) Homeric quality about the cowboy's profanity and vulgarity that pleases rather than repulses. The broad sky under which he slept, the limitless plains over which he rode, the big, open, free life he lived near to Nature's breast, taught him simplicity, calm, directness. He spoke out plainly the impulses of his heart. But as yet so-called polite society is not quite willing to hear. It is entirely impossible to acknowledge the assistance I have received from many persons. To Professors Barrett Wendell and G.L. Kittredge, of Harvard, I must gratefully acknowledge constant and generous encouragement. Messrs. Jeff Hanna, of Meridian, Texas; John B. Jones, a student of the Agricultural and Mechanical College of Texas; H. Knight, Sterling City, Texas; John Lang Sinclair, San Antonio; A.H. Belo & Co., Dallas; Tom Hight, of Mangum, Oklahoma; R. Bedichek, of Deming, N.M.; Benjamin Wyche, Librarian of the Carnegie Library, San Antonio; Mrs. M.B. Wight, of Ft. Thomas, Arizona; Dr. L.W. Payne, Jr., and Dr. Morgan Callaway, Jr., of the University of Texas; and my brother, R.C. Lomax, Austin;—have rendered me especially helpful service in furnishing material, for which I also render grateful thanks. Among the negroes, rivermen, miners, soldiers, seamen, lumbermen, railroad men, and ranchmen of the United States and Canada there are many indigenous folk-songs not included in this volume. Of some (p. xxvi) of them I have traces, and I shall surely run them down. I beg the co-operation of all who are interested in this vital, however humble, expression of American literature. J.A.L. Deming, New Mexico, August 8, 1910. <h1>COWBOY SONGS (p. 001) AND OTHER FRONTIER BALLADS</h1> <div style="break-after:column;"></div>

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