Ten Little Indians
|"Ten Little Indians"|
The modern lyrics are:
- One little, two little, three little Indians
- Four little, five little, six little Indians
- Seven little, eight little, nine little Indians
- Ten little Indian boys.
- Ten little, nine little, eight little Indians
- Seven little, six little, five little Indians
- Four little, three little, two little Indians
- One little Indian boy.
The song sometimes begins with a repeated verse, "John Brown met a little Indian" before entering the well-known verses.
- Ten little Injuns standin' in a line,
- One toddled home and then there were nine;
- Nine little Injuns swingin' on a gate,
- One tumbled off and then there were eight.
- Eight little Injuns gayest under heav'n.
- One went to sleep and then there were seven;
- Seven little Injuns cuttin' up their tricks,
- One broke his neck and then there were six.
- Six little Injuns all alive,
- One kicked the bucket and then there were five;
- Five little Injuns on a cellar door,
- One tumbled in and then there were four.
- Four little Injuns up on a spree,
- One got fuddled and then there were three;
- Three little Injuns out on a canoe,
- One tumbled overboard and then there were two.
- Two little Injuns foolin' with a gun,
- One shot t'other and then there was one;
- One little Injun livin' all alone,
- He got married and then there were none.
It is generally thought that this song was adapted, possibly by Frank J. Green in 1869, as "Ten Little Niggers", though it is possible that the influence was the other way round, with "Ten Little Niggers" being a close reflection of the text that became "Ten Little Indians". Either way, "Ten Little Niggers" became a standard of the blackface minstrel shows. It was sung by Christy's Minstrels and became widely known in Europe, where it was used by Agatha Christie in her novel of the same name. The novel was later retitled And Then There Were None (1939), and remains one of her most famous works, about ten killings on a remote island.
Variants of this song have been published widely as children's books; what the variants have in common is 'that they are about dark-skinned boys who are always children, never learning from experience'. For example, it had been published in Holland by 1913; in Denmark by 1922 (in Börnenes billedbog); in Iceland in 1922 (as Negrastrákarnir); and in Finland in the 1940s (in Kotoa ja kaukaa: valikoima runosatuja lapsille and Hupaisa laskukirja).
Because this song, and even the original term Indians, have become politically sensitive, modern versions for children often use "soldier boys" or "teddy bears" as the objects of the rhyme. The unaltered republication of the 1922 Icelandic version in 2007 by the Icelandic publisher Skrudda caused considerable debate in Iceland, with a strong division between people who saw the book as racist and people who saw it as 'a part of funny and silly stories created in the past'. In Kristín Loftsdóttir's assessment of the debate,
- Some of the discussions focusing on the republishing of the Ten Little Negroes can be seen as colonial nostalgia in the sense that they bring images of more "simple" times when such images were not objected to. As such, these public discourses seek to separate Icelandic identity from past issues of racism and prejudice. Contextualising the publication of the nursery rhyme in 1922 within European and North American contexts shows, however, that the book fitted very well with European discourses of race, and the images show similarity to caricatures of black people in the United States.
The republishing of the book in Iceland triggered a number of parodies or rewritings: and Tíu litlír kenjakrakkar ('Ten little pankster-children') by Sigrún Eldjárn and Þórarinn Eldjárn; 10 litlir sveitastrákar ('Ten little country-boys') by Katrín J. Óskarsdóttir and Guðrún Jónína Magnúsdóttir; and Tíu litlir bankastrákar ('Ten little banker-boys') by Óttar M. Njorðfjörð.
The following version of the song was included in the first film version of And Then There Were None (1945), which largely took Green's lyrics and replaced the already sensitive word "nigger" with "indian" (in some versions "soldiers"):
- Ten little Indian boys went out to dine;
- One choked his little self and then there were nine.
- Nine little Indian boys sat up very late;
- One overslept himself and then there were eight.
- Eight little Indian boys travelling in Devon;
- One said he'd stay there and then there were seven.
- Seven little Indian boys chopping up sticks;
- One chopped himself in halves and then there were six.
- Five little Indian boys going in for law;
- One got in Chancery and then there were four.
- Four little Indian boys going out to sea;
- A red herring swallowed one and then there were three.
- Three little Indian boys walking in the zoo;
- A big bear hugged one and then there were two.
- Two little Indian boys playing in the sun;
- One got all frizzled up and then there was one.
- One little Indian boy left all alone;
- He went out and hanged himself and then there were none.
The rock musical Bloody Bloody Andrew Jackson includes a much darker song called "Ten Little Indians" that is modeled after this nursery rhyme.
The novel by Agatha Christie And Then There Were None is titled after the last line of the derivative minstrel song. Its original title was Ten Little Niggers. The present title is the title under which it was published in America, changed for reasons of cultural sensitivity.
In England's Mickey Mouse Annual No. 6, the song was adapted into the comic "10 Little Mickey Kids", which is considered to possibly be the most violent Disney Comic ever. It depicted 10 little mouse babies who meet an unfortunate end until there are only two left.
- I. Opie and P. Opie, The Oxford Dictionary of Nursery Rhymes (Oxford University Press, 1951, 2nd edn., 1997), pp. 333-4.
- P. V. Bohlman and O. Holzapfel, The folk songs of Ashkenaz (A-R Editions, 2001), p. 34; Kristín Loftsdóttir. 2011. ‘Racist Caricatures in Iceland in the 19th and the 20th Century’, in Iceland and Images of the North, edited by S.R. Ísleifsson. Québec: Prologue Inc, 187–204 (pp. 192--93).
- A. Light, Forever England: femininity, literature, and conservatism between the wars (London: Routledge, 1991), p. 243.
- Kristín Loftsdóttir. 2011. ‘Racist Caricatures in Iceland in the 19th and the 20th Century’, in Iceland and Images of the North, edited by S.R. Ísleifsson. Québec: Prologue Inc, 187–204 (p. 193).
- Kristín Loftsdóttir. 2011. ‘Racist Caricatures in Iceland in the 19th and the 20th Century’, in Iceland and Images of the North, edited by S.R. Ísleifsson. Québec: Prologue Inc, 187–204 (pp. 193, 196).
- R. Riley, P. McAllister, J. Symonsm B. Cassiday., The Bedside, Bathtub & Armchair Companion to Agatha Christie (Continuum, 2001), pp. 144-45.
- Kristín Loftsdóttir. 2011. ‘Racist Caricatures in Iceland in the 19th and the 20th Century’, in Iceland and Images of the North, edited by S.R. Ísleifsson. Québec: Prologue Inc, 187–204 (pp. 198--200, quoting p. 199).
- Kristín Loftsdóttir. 2011. ‘Racist Caricatures in Iceland in the 19th and the 20th Century’, in Iceland and Images of the North, edited by S.R. Ísleifsson. Québec: Prologue Inc, 187–204 (p. 200).
- Sigrún Eldjárn and Þórarinn Eldjárn, Tíu litlir kenjakrakkar (Reykjavík: Mál og menning, 2007); Katrín J. Óskarsdóttir and Guðrún Jónína Magnúsdóttir, 10 litlir sveitastrákar ([Hella]: Vildarkjör, ); Óttar M. Norðfjörð, Tíu litlir bankastrákar ([Reykjavík]: Sögur, 2008).
- A. Christie, Ten Little Indians (New York: Pocket Books, 1964).
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