I AM advised by my publishers that this book is to be included in their catalogue of humorous publications, and this friendly warning gives me an opportunity to say that however humorous it may be in effect, its intention is perfectly serious; and, even if it were otherwise, it seems to me that a volume written wholly in dialect must have its solemn, not to say melancholy, features. With respect to the Folk-Lore series, my purpose has been to preserve the legends themselves in their original simplicity, and to wed them permanently to the quaint dialect—if, indeed, it may be called a dialect—through the medium of which they have become a part of the domestic history of every Southern family; and I have endeavored to give the whole a genuine flavor of the old plantation.

  Each legend has its variants, but in every instance I have retained that particular version which seemed to me to be the most characteristic, and have given it without embellishment and without exaggeration. The dialect, it will be observed, is wholly different from that of the Hon. Pompey Smash and his literary descendants, and different also from the intolerable misrepresentations of the minstrel stage, but it is at least phonetically genuine. Nevertheless, if the language of Uncle Remus fails to give vivid hints of the really poetic imagination of the negro; if it fails to embody the quaint and homely humor which was his most prominent characteristic; if it does not suggest a certain picturesque sensitiveness—a curious exaltation of mind and temperament not to be defined by words—then I have reproduced the form of the dialect merely, and not the essence, and my attempt may be accounted a failure. At any rate, I trust I have been successful in presenting what must be, at least to a large portion of American readers, a new and by no means unattractive phase of negro character—a phase which may be considered a curiously sympathetic supplement to Mrs. Stowe's wonderful defense of slavery as it existed in the South. Mrs. Stowe, let me hasten to say, attacked the possibilities of slavery with all the eloquence of genius; but the same genius painted the portrait of the Southern slave-owner, and defended him. . . .