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The Tar-Baby is the second of the Uncle Remus stories published in 1881; it is about a doll made of tar and turpentine used by the villainous Br'er Fox to entrap Br'er Rabbit. The more that Br'er Rabbit fights the Tar-Baby, the more entangled he becomes.
The phrase "tar baby" has acquired idiomatic meanings over the years.
Joel Chandler Harris collected the story in its original dialect and included it in his 1881 book, "Uncle Remus, his Songs and his Sayings". [1] His introduction mentions earlier publication of some of his Uncle Remus Stories in the columns of a daily newspaper, The Atlanta Constitution. Harris said these legends had "become a part of the domestic history of every Southern family." Indeed, Theodore Roosevelt (b. 1858), noted in his autobiography that as a young child he heard Br'er Rabbit tales from his Southern aunt, Anna Bulloch, and that his uncle, Robert Roosevelt, transcribed some of her stories from her dictation. [2]
The 'Tar Baby' story comes from the oral tradition of black slaves on the old plantations of the American South, one of many Uncle Remus stories. It features Br'er Fox, who constructs a doll out of a lump of tar and dresses it with some clothes. When Br'er Rabbit comes along he addresses the tar "baby" amiably but receives no response. Br'er Rabbit becomes offended by what he perceives as the tar baby's lack of manners, punches it and, in doing so, becomes stuck. The more Br'er Rabbit punches and kicks the tar baby out of rage, the worse he gets stuck.
Now that Br'er Rabbit is stuck, Br'er Fox ponders how to dispose of him. The helpless but cunning Br'er Rabbit pleads, "Do anything you want with me – roas' me, hang me, skin me, drown me – but please, Br'er Fox, don't fling me in dat brier-patch", prompting the sadistic Br'er Fox to do exactly that because he gullibly believes it will inflict the maximum pain on Br'er Rabbit. However, as rabbits are at home in thickets like the brier-patch, the resourceful Br'er Rabbit escapes.
In folklore studies, the story of the Tar-Baby is classified in the international Aarne-Thompson-Uther Index as tale type ATU 175, "The Tar-Baby and the Rabbit". [3] [4]
Variations on the tar-baby legend are found in the folklore of more than one culture. In the Journal of American Folklore in 1943, Aurelio M. Espinosa discussed various different motifs within 267 versions of the tar-baby story that were ostensibly 'in his possession'. [5] Espinosa used the existence of similar motifs to argue that the tar baby story and hundreds of other myths throughout the world, despite the significant variations between them, originate from a single ancient Indian myth. [6] The next year, Archer Taylor added a list of tar baby stories from more sources around the world, citing scholarly claims of its earliest origins in India and Iran. [7] Espinosa later published documentation on tar baby stories from a variety of language communities around the world. [8]
Anthropologist Elsie Clews Parsons compiled an extensive list of references of the Tar Baby stories, from North American, Latin American and African publications on folklore. [9]
A very similar West African tale is told of the mythical hero Anansi the Spider. In this version, Anansi creates a wooden doll and covers it over with gum, then puts a plate of yams in its lap, in order to capture the she-fairy Mmoatia (sometimes described as an "elf" or "dwarf"). Mmoatia takes the bait and eats the yams, but grows angry when the doll does not respond and strikes it, becoming stuck in the process.[ citation needed ]
From The Bahamas, the Tar-Baby story was published by The Journal of American Folklore in 1891 in Some Tales from Bahama Folk-Lore by Charles Lincoln Edwards. Edwards had collected the stories from Green Turtle Cay, Abaco in the summer of 1888. In the tale, B' Rabby refused to dig for water, and didn't help grow the field. He tricks B' Lizard and B' Bouki while they were standing watch by the water and the field. The other animals got tired of his tricks, got together and created a Tar Baby. B' Rabby was caught by Tar Baby and the other animals who wanted to throw him into the sea but he talked them into throwing him into a bush. They threw B' Rabby into the bush and he got away. [10]
In a variant recorded in Jamaica, Anansi himself was once similarly trapped with a tar-baby made by the eldest son of Mrs. Anansi, after Anansi pretended to be dead in order to steal her peas. [11] In a Spanish language version told in the mountainous parts of Colombia, an unnamed rabbit is trapped by the Muñeco de Brea (tar doll). A Buddhist myth tells of Prince Five-weapons (the future Buddha) who encounters the ogre Sticky-Hair in a forest. [12] [13] [14]
The tar-baby theme is present in the folklore of various tribes of Meso-America and of South America: it is found in such stories [15] as the Nahuatl (of Mexico) "Lazy Boy and Little Rabbit" (González Casanova 1946, pp. 55–67), Pipil (of El Salvador) "Rabbit and Little Fox" (Schultes 1977, pp. 113–116), and Palenquero (of Colombia) "Rabbit, Toad, and Tiger" (Patiño Rosselli 1983, pp. 224–229). In Mexico, the tar baby story is also found among Mixtec, [16] Zapotec, [17] and Popoluca. [18] [19] In North America, the tale appears in White Mountain Apache lore as "Coyote Fights a Lump of Pitch". [20] In this story, white men are said to have erected the pitch-man that ensnares Coyote.[ citation needed ]
According to James Mooney in "Myths of the Cherokee", [21] the tar-baby story may have been influenced in America by the Cherokee "Tar Wolf" story, considered unlikely to have been derived from similar African stories: "Some of these animal stories are common to widely separated [Native American] tribes among whom there can be no suspicion of [African] influences. Thus the famous "tar baby" story has variants, not only among the Cherokee, but also in New Mexico, Washington [State], and southern Alaska—wherever, in fact, the pine supplies enough gum to be molded into a ball for [Native American] uses".[ citation needed ]
In the Tar Wolf story, the animals were thirsty during a dry spell, and agreed to dig a well. The lazy rabbit refused to help dig, and so had no right to drink from the well. But she was thirsty, and stole from the well at night. The other animals fashioned a wolf out of tar and placed it near the well to scare the thief. The rabbit was scared at first, but when the tar wolf did not respond to her questions, she struck it and was held fast. Then she struggled with it and became so ensnared that she could not move. The next morning, the animals discovered the rabbit and proposed various ways of killing her, such as cutting her head off, and the rabbit responded to each idea saying that it would not harm her. Then an animal suggested throwing the rabbit into the thicket to die. At this, the rabbit protested vigorously and pleaded for her life. The animals threw the rabbit into the thicket. The rabbit then gave a whoop and bounded away, calling out to the other animals "This is where I live!"[ citation needed ]
The story has given rise to two American English idioms. References to Br'er Rabbit's feigned protestations such as "please don't fling me in dat brier-patch" refer to guilefully seeking something by pretending to protest, with a "briar patch" (a thicket of thorny plants) often meaning a more advantageous situation or environment for one of the parties (but not for the other party). [22]
Alluding to Br'er Rabbit becoming entangled in the tar, the term tar baby has been used to refer to a problem that is exacerbated by attempts to struggle with it, or by extension to a situation in which mere contact can lead to becoming inextricably involved. [23]
Pine tar, as meant in the original story and idiomatic usage, varies from golden to brown in color, with a golden color when thinned with turpentine. Bitumen/liquid asphalt has sometimes been called "tar" due to its replacement of pine tar in many uses. Because asphalt is dark brown to black, some who heard the term "tar baby" who were unfamiliar with the original story or established idiom assumed it was a term to disparagingly refer to black people, especially black children, [24] and has become associated with racism in that usage. [25]
Joel Chandler Harris was an American journalist and folklorist best known for his collection of Uncle Remus stories. Born in Eatonton, Georgia, where he served as an apprentice on a plantation during his teenage years, Harris spent most of his adult life in Atlanta working as an associate editor at The Atlanta Constitution.
Song of the South is a 1946 American live-action/animated musical comedy-drama film directed by Harve Foster and Wilfred Jackson, produced by Walt Disney, and released by RKO Radio Pictures. It is based on the Uncle Remus stories as adapted by Joel Chandler Harris, and stars James Baskett as Uncle Remus in his final film role. The film takes place in the U.S. state of Georgia during the Reconstruction era, a period of American history after the end of the American Civil War and the abolition of slavery. The story follows seven-year-old Johnny who is visiting his grandmother's plantation for an extended stay. Johnny befriends Uncle Remus, an elderly worker on the plantation, and takes joy in hearing his tales about the adventures of Br'er Rabbit, Br'er Fox, and Br'er Bear. Johnny learns from the stories how to cope with the challenges he is experiencing while living on the plantation.
Anansi or Ananse is an Akan folktale character associated with stories, wisdom, knowledge, and trickery, most commonly depicted as a spider, in Akan folklore. Taking the role of a trickster, he is also one of the most important characters of West African, African American and West Indian folklore. Originating in Ghana, these spider tales were transmitted to the Caribbean by way of the transatlantic slave trade.
Uncle Remus is the fictional title character and narrator of a collection of African American folktales compiled and adapted by Joel Chandler Harris and published in book form in 1881. Harris was a journalist in post–Reconstruction era Atlanta, and he produced seven Uncle Remus books. He did so by introducing tales that he had heard and framing them in the plantation context. He wrote his stories in a dialect which was his interpretation of the Deep South African-American language of the time. For these framing and stylistic choices, Harris's collection has garnered controversy since its publication. Many of these stories are believed to have Creek Indian influence too.
"Henny Penny", more commonly known in the United States as "Chicken Little" and sometimes as "Chicken Licken", is a European folk tale with a moral in the form of a cumulative tale about a chicken who believes that the world is coming to an end. The phrase "The sky is falling!" features prominently in the story, and has passed into the English language as a common idiom indicating a hysterical or mistaken belief that disaster is imminent. Similar stories go back more than 25 centuries and "Henny Penny" continues to be referred to in a variety of media.
Coyote is a mythological character common to many cultures of the Indigenous peoples of North America, based on the coyote animal. This character is usually male and is generally anthropomorphic, although he may have some coyote-like physical features such as fur, pointed ears, yellow eyes, a tail and blunt claws. The myths and legends which include Coyote vary widely from culture to culture.
Cuento is a Spanish word meaning literally "story" or "tale". Cuento may specifically refer to folk tales, a category of folklore that includes stories passed down through oral tradition. The word cuento may also be used as a verb to say "tell", as if you are "telling" a story ("Cuento").
The Laughing Place is a traditional African American folktale, featuring Br'er Rabbit, Br'er Fox and Br'er Bear. It is famous for its inclusion among Joel Chandler Harris' Uncle Remus stories.
African-American folktales are the storytelling and oral history of enslaved African Americans during the 1700s-1900s. Prevalent themes in African-American folktales include tricksters, life lessons, heartwarming tales, and slavery. African Americans created folktales that spoke about the hardships of slavery and told stories of folk spirits that could outwit their slaveholders and defeat their enemies. These folk stories gave hope to enslaved people that folk spirits would liberate them from slavery. Folktales have been used to perpetuate negative stereotypes about the African American community. From Minstrel shows to academic journals. One of these heroes that they looked up to was the charming High John the Conqueror, who was a cunning trickster against his slave masters. He often empowered newly freed slaves, saying that if they needed him, his spirit would be in a local root. Other common figures in African-American folktales include Anansi, Brer Rabbit, and Uncle Monday. Many folktales are unique to African-American culture, while others are influenced by African, European, and Native American tales. Even today in Hip-Hop, we see the effects of African American Folklore. Tropes like Badman and Trickster have influenced the characteristics and themes seen in modern day hip hop like gangsters and pimps.
The lesser mouse-deer, lesser Malay chevrotain, or kanchil is a species of even-toed ungulate in the family Tragulidae.
Br'er Rabbit is a central figure in an oral tradition passed down by African-Americans of the Southern United States and African descendants in the Caribbean, notably Afro-Bahamians and Turks and Caicos Islanders. He is a trickster who succeeds by his wits rather than by brawn, provoking authority figures and bending social mores as he sees fit. Popular adaptations of the character, originally recorded by Joel Chandler Harris in the 19th century, include Walt Disney Productions' Song of the South in 1946.
An animal tale or beast fable generally consists of a short story or poem in which animals talk. They may exhibit other anthropomorphic qualities as well, such as living in a human-like society. It is a traditional form of allegorical writing.
In mythology and the study of folklore and religion, a trickster is a character in a story who exhibits a great degree of intellect or secret knowledge and uses it to play tricks or otherwise disobey normal rules and defy conventional behavior.
Br'er Fox and Br'er Bear are fictional characters from African-American oral traditions popular in the Southern United States. These characters have been recorded by many different folklorists, but are most well-known from the folktales adapted and compiled by Joel Chandler Harris, featuring his character Uncle Remus.
"Br'er Rabbit Earns a Dollar a Minute" is a traditional African American folktale, featuring Br'er Rabbit, Br'er Fox and Br'er Bear. It is famous for its inclusion among Joel Chandler Harris' Uncle Remus stories. Although its folk roots most likely trace back to ancient Africa, the folktale's first written appearance was as a chapter titled "Mr. Rabbit and Mr. Bear" in Uncle Remus: His Songs and Sayings, published in 1881.
The Tales of Uncle Remus: The Adventures of Brer Rabbit is a 1987 Children's book by Julius Lester and illustrator Jerry Pinkney. It is a retelling of the American Br'er Rabbit tales.
Aurelio Macedonio Espinosa Sr., was an American author and professor of Mexican heritage. He was a professor at Stanford University. He was known for his promotion of the study of the Spanish language and literature.
Uncle Remus and His Tales of Br'er Rabbit is an American Disney comic strip that ran on Sundays from October 14, 1945, to December 31, 1972. It first appeared as a topper strip for the Mickey Mouse Sunday page, but after the first few years, almost always appeared on its own. The strip replaced the 1932-1945 Silly Symphony strip, which had spent its final year on gag strips featuring Panchito from The Three Caballeros.
Tristan Strong Punches a Hole in the Sky is a 2019 middle grade fantasy-adventure novel written by Kwame Mbalia. Published under the "Rick Riordan Presents" imprint, the novel is focused on African American folktales and West African mythology. The story follows teenager Tristan Strong, who is struggling with guilt after his best friend's death. Tristan accidentally creates a rift that transports him to Alke, a parallel world where myths are real, and must survive the evil forces that threaten Alke's people and discover his own abilities.