In speaking of the Creole we must emphasize that the word is not properly applied to any persons of mixed stock, as has been frequently done. Creole is a word of Spanish etymology and was used to denote the pure-blooded Spanish or French native of the American colonies. But it is the negro slaves of these creoles--whom we may call black creoles (including mulattoes, quadroons, etc.)--that created the charming songs breathing the spirit of the tepid zone along the great gulf and the Father of Waters. They, too, are the creators of the _patois_ to which the songs are set. Concerning the origin of this _patois_ Mr. Krehbiel gives some interesting details: 'The creole patois, though never reduced to writing by its users, is still a living language. It is the medium of communication between black nurses and their charges in the French families of Louisiana to-day, and half a century ago it was exclusively spoken by French creoles up to the age of ten or twelve years. In fact, children had to be weaned from it with bribes or punishment. It was, besides, the language which the slave spoke to his master and the master to him. The need which created it was the same as that which created the corrupt English of the slaves in other parts of the country.... Thus, then, grew the pretty language, soft in the mouth of the creole as _bella lingua in bocca toscana_, in which the creole sang of his love, gave rhythmical impulse to the dance, or scourged with satire those who fell under his displeasure.' The Creole songs, according to Lafcadio Hearn, are 'Frenchy in construction but possess a few African characteristics of method.' 'There could neither have been creole patois nor creole melodies but for the French and Spanish blooded slaves of Louisiana and the Antilles. The melancholy, quavering beauty and weirdness of the negro chant are lightened by the French influence, subdued and deepened by the Spanish.' Unlike the negro slave of the Virginias and Carolinas, etc., who poured out all his emotion in gospel hymn and spirituals, the black creole was especially fond of love-songs--crooning love songs in the soft, pretty words of his patois--some sad, some light-hearted. One is 'the tender lament of one who was the evil of his heart's choice the victim of chagrin in beholding a female rival wearing those vestments of extra quality that could only be the favors which both women had courted from the hand of some proud master whence alone such favors could come.'[76] Another, 'Caroline,' reveals the romance and the tragedy of the dramatic life of the young creole slaves. We quote it here, as our one example of creole tunes: [Illustration: Music score] Aine, dé, trois, Caroline, ça, ça, yé comme ça, ma chère! Aine, dé, trois, Caroline, ça, ça, yé comme ça, ma chère! Papa di non, man-man di oui, C'est li mo oulé, c'est li ma pren. Ya pas lar-zan pon a-cheté cabanne, C'est li mo oulé, c'est li ma pren.