posterity if he had not done the work which drew attention to
them. Yet in spite of the happy providence that produced a
Harris, and although his intentions were of the best, we are
forced to recognize the harm as well as the good that these
stories have done. This query may come as a shock to some,
but on further analysis we shall see there is reason for wondering.
In the first place, the Uncle Remus stories, as the Harris tales have become known, are not folk tales, but adaptations. This fact alone is enough to warrant some hesitancy about placing them in the category of folk lore. To be sure, folk lore was their background, but this can be said of many literary works (Dracula, for example) which we would not think of classifying with folk literature.
The misrepresentation goes further than simply the name, however. The very dialect of the Uncle Remus Stories is questionable, statements to the contrary notwithstanding. Scholars have tried to show that Harris very faithfully re- corded the dialect of his time, in its truly intimate expressions, mannerisms and colloquialisms, but it is doubtful whether Negroes generally ever used the language employed in the works of Joel Chandler Harris. Rather, in these works we observe the consciously devised, artistically wrought, patiently carved out expressions of a story writer who knew his art and employed it well. They have too much the flavor of the popular trend of contemporary writing of the Thomas Nelson Page tradition, and though they endeavored to give a faithful portrait of the Negro and did so more successfully than any other of these Southern writers, it cannot be denied that such portraits as they gave were highly romanticized, presenting an interpretation of the Negro seen neither objectively nor realistically.
These stories of Chandler Harris made and still make their most powerful impression and appeal through the character of Uncle Remus himself. But it is in just this projection into the picture of this amiable and winsome ante-bellum personality that contorts the Negro folk tale from its true plane. The American Negro folk tale, borrowed as it most certainly was
