and the Gray, page 14. In the case of the
refrain, the letters used are independent of those immediately preceding
the "and," and denoting the rime-scheme of the stanza proper. Fourthly,
an Arabic numeral follows to indicate the number of stanzas in the song,
exclusive of the refrain, should one be present. If the number of
stanzas in a ballad is indeterminable, because its form is fragmentary,
or because its variant versions differ in length, this fact is indicated
by an appended ca (_circa_). Sixth, and last, is a synopsis, or other
attempt to give briefly such data as may serve to complete the
identification.

Illustration of the third item above may be helpful. Thus in Pretty
Polly, on page 7, 4aabb indicates a quatrain riming in couplets, with
four stresses in each line. In Jackaro, page 9, 3abcb indicates a
quatrain riming alternately, with three stressed syllables in each line.
In The King's Daughter, page 7, 4a3b4c3b indicates a quatrain, with only
the second and fourth lines riming and with four stresses in the first
and third lines and three stresses in the second and fourth. In Johnnie
Came from Sea, page 14, 6aa denotes a rimed couplet, with six stresses
in each line.

It has, naturally, been difficult at times to decide whether certain
stanzas should be counted as couplets, or as quatrains half as long. In
such cases, the air, or tune, and other data, often rather subtle, have
been employed in making decisions. The quatrain form has in uncertain
instances been given the benefit of the doubt. Even thus, certain minor
inconsistencies will perhaps be noted. It is hardly necessary to add
that assonance freely occurs in the place of rime, and as such it is
considered throughout.

All attempt to indicate the prevailing metrical unit, or foot, within
the line has been frankly given over. Iambs, dactyls, and their ilk
receive scant courtesy from the composer of folk-song, who without qualm
or quaver will stretch one syllable, or even an utter silence (caesura),
into the time of a complete bar; while in the next breath he will with
equal equanimity huddle a dozen syllables into the same period.
Consequently, this item, even if it could be indicated, would have scant
descriptive value.

It is a pleasant duty to acknowledge gratefully the assistance of those
who have transmitted to our hands many of the songs: Mesdames J. W.
Combs, W. T. Phillips, Jennie L. Combs, Richard Smith, Martha Smith,
Ruth Hackney, W. F.