The times. [volume] (Washington [D.C.]) 1897-1901, 1900-02-04
THE AUTHOR OF DIXIE
Daniel Emmett, Who Created the
Famous War.Song.
For Years One of Americas Leading
Minstrels - Now Living in Retire
ment-The story of How He Com
posed the Thrilling Air Heard in
Camp and Eicld-His Farewell Tour

The song of Dixie" even TO this day,
arouses great enthusiasm throughout the
South, carrying withsit many memories of
martial times, when It was the musical
inspiration of camp and field. Yet there
are few who know the history of this bit
of melody which thrilled with its stirring
strains the hearts of the brave and became
the most cherished music in the repertoire
of the boys in grey on the march and
while gathered about their camp fires dur
| ing the civil war. al
William NJ. Harper, of this city. has in
his possession a copy ofahe original words
of Dixie, penned by the man who gave
the country both the :tnusic and the text
OF the song. II is Yfftsn in a bold hand
and the story Of It's origin is interesting.
Dixie" was compSsedin 1859 by Daniel
ID. Emmett. Emmett is now about eighty
| five years OF age and resides in Mount
Vernon, Ohio. The words written and
signed by him were sent to Mr.. Harper
] by the composer several years ago Mr.
Harper since childhood has known Uncle
Dan, as his friends affectionately call him.
and asserts that he was genius in his
way. and possessed of many original char
| acteristics. He says that as a musician
Emmett was never artistic but that every
| thing he did in music or in other direc
lions. he stamped with an individuality
which always pleased the public.
4 Leader in. MinstreIsy.
Emmett was better known as minstrel
than song writer. During the SOS and
up to the time of the outbreak of the
civil war he was connected In various ca
paeities with travelling minstrel troupes. In
iact he is credited with beng the 0figina-
tor Of negro minstrelsy. During this time
he was the leader of the orchestra. inter-
loeutor, end man. or ballad singer. as the |
occasion required. In all of these cspaci-
ties Emmett was a popular success. but !
he preferred TO lead the orchestra, and in |
this he excelled. Many remember him at !
that time as he stood among his players, |
directing them with his violin bow. He |
had no ironbound rules. and the music was |
not Of the class requiring much study, but |
it is said that in his enthusiasm he would |
carry his players through reel or break
down with a snap that always caused a
storm Of applause
The closing feature of a minstrel show in
those days. it is said, was the walk
around. This was considered a fitting
wlnd-up for the evenings entertainment
and during IL the MINISTRIES formed in a
circle on the stage, marching about in 4
series of movements resembling the mod
ern cakewalk. Each player was then sup
posed 10 face the audience and in his turn
do something original This usually took
the form of dance step or some vocal eff
Tort or an acrobatic feat. To make the
walk-around an entire success and warm
the audience up to a proper height of en-.
thusiasm, it vas necessary TO have the or
cliestra play particularly catchy airs.
An Enthusinstic Musician
II was in this feature that Emmett Is
sud to have distinguished himself His
selections were generally appropriate TO
the actions of the performers. but when
The music of the orchestra did nor quite
suit the antics of the entertainers he was
not averse TO changing ii to something
use without notice. In this part OF the /
prosramme Emmett is said to have dis-I
played such energy, that his musicians
caught the spirit Of the thing and had no
difficulty in following him
In the winter of 1859 Emmett was nlay- ,
ing with Dan Bryanrs minstrels The
company was then giving nightly enter
tainments in New York city. Everything
had been moving smoothly during the sew I
erai performances given, with the I
OF the walk around. which. in }
Emmett's opinion, did not reach the re- a
quired degree OF eScellence. lie had been
looking around for some new music which ,
he hoped would imparts new life TO that J
feature of the performance. but had not v
been successful in finding anything TO suis
him. ir
On the Saturday night following the q
opening in New York Emmett is said to :
have been in an exceedingly dissatis- =
led frame Of mind over the lack Of enthu- :,
sissm which the metropolitan audiences y
displayed toward the walk around. After :
he performance Bryant, the organizer of h
he company, came to him. and said. n
Dan. can't you get up a new walk \
around? - "
The Birth of the Song. Ia
Emmett is said to have then resolved TO ia
ompose something which would appeal to
he feelings of his audience He went to in
lis room and there wrote the words OF III
Dixie" afterward improvising or his cl
-iolin. the music to accompany them. and =,
completing that night the song which II
fterward rang through the South as the 70
ational air of the Confederacy pc
In styling the song Dixie he took the h,
anne from that part of the country south IN
I the Mason and Dixon line. The words, as
s he wrote them, are as follows: fir
wish was in de land oh cotton, w
e Times dlr am not forgotten: ~
ook aVay' Lcok away! Away, DSie Land. 81
Dixie Land. wlsr | was-biwu in, 50
rly rusty mawnin Ell
'ok away! Look away! Away. DiNic-Land! al
CHORUS. IN
en wisi, / in Dixie. Hoorayi Hoorlyi vi
Dixie Lam wel took our staIu; III
lib and and die in Dixie. 20
way. Away. Away down South in Dixiei ne
DiAies Land de darkies grow. W.
white folks only plant dar toe. u,