Categories
1920s African American Poem Wild animals

At the Zoo

By Jessie Redmon Fauset with annotations by Catherine Bowlin

At the Zoo

By Jessie Redmon Fauset
Annotations by Catherine Bowlin
Henry Ossawa Tanner. Lions in the Desert. Oil on canvas mounted on plywood, ca. 1897-1900, Smithsonian American Art Museum and its Renwick Gallery, Washington, D.C.[1]
MY mother said to me, “Now, mind,
To animals be always kind;
To every creature, bird or beast,
Show courtesy, to say the least!” 
And then she took me to the Zoo,
(She said she’d nothing else to do,)
And showed me beasts of many styles,
From prairie dogs to crocodiles. 
And take it from me, when I say
I didn’t feel like getting gay, 
Or doing them a bit of harm.
I wouldn’t touch them for a farm.
The elephant—they called him “Dunk,” 
Looked mild, but had a squirmy trunk. 
The panther and the wolf and bear,
Threw into me an awful scare.
(The bear looked pretty good, ‘tis true,
But s’pose he started hugging you!)
The foxes didn’t need their labels—
I’d read of them in Aesop’s Fables
And next I saw a cassowary, [3] 
Who looked to me a bit contrary.
“Of bird and beast, I’ve had my fill,” 
I said, “Please take me home, I’m ill.
I promise to take your advice,
You’ll never have to tell me twice.”
But after I was home, in bed,
I pulled the covers ’round my head,
And saw those creatures at the Zoo,
And thought, “No wonder that they’re blue,
And look so cross and mean and mad,
They have enough to make them sad.
If I were locked up in a cage,
I’d just be in an awful rage. 
All original illustrations by Hilda Wilkinson from The Brownies’ Book p. 85-86.
The lion was the first I saw,
I just looked at his awful paw
And thought, “I’ll never trouble you.” 
I thought that of the tiger, too;
He was a striped all black and real bright yellow. 
But I could never play with him,
His look just made my poor head swim.
The hippopotamus and his friend, 
Rhinoceros, stood my hair on end. 
The python and the anaconda,
Just made me grow of kindness, fonder. 
I might have liked the dromedary–– [2] 
But oh, his manner was so airy!
And, too, I danced the giraffe,
His long neck really made me laugh.
My mother said, “Come see the birds, 
They’re just too nice and sweet for words.” 
She showed me, first, a horned owl––
That really is an awful fowl! 
He blinked at me, as though to say,
“I’ll bite your fingers. Get away!” 
And then I say a pelican, 
With long, sharp duck-bill. Well, he can
Be sure I’ll never trouble him,
And where he swims, I’ll never swim. 
Perhaps they’ve children far away,
Or friends who watch for them each day;
Perhaps they dream at night, they’re free
In forests green and shadowy;
And then they wake to dull despair,—
And little boys who poke and stare.
Right then and there, I charged my mind,
To be to all God’s creatures kind.
And kind to them I’ll surely be
If only they’ll be kind to me! 

Fauset, Jessie. “At the Zoo.” The Brownies’ Book 1, no. 3 (March 1920): 85-86.

[2] An Arabian one-humped camel, especially one of the light and swift breed trained for riding or racing

[3] A huge flightless bird related to the emu, with a bare head and neck, a tall horny crest, and one or two colored wattles. It is native mainly to the forests of New Guinea.

Contexts

The goal of this poem’s child narrator is two-fold: to entertain and to teach “a moral lesson that animals have individual sensibilities and merit respect” (Kilcup 302, see full citation below). In the 1920s, American zoos were full of “exotic” species, and “Fauset’s poem both reflects Americans’ interest and questions how they treat nondomestic animals” (Kilcup 302).

Important to note also are the themes of captivity and freedom in this poem. Fauset comments on both the caged animals featured in the poem and the institution of slavery within the context of The Brownies’ Book.

Resources for Further Study
[1] From the Smithsonian Luce Center label: “Henry Ossawa Tanner grew up in a religious home and his family took special pride in the history of the biblical Hamatic races of African origin (Mosby, Dewey F., et al. Henry Ossawa Tanner. Philadelphia Museum of Art, 1991). It is possible that he regarded the lion as a symbol of his African heritage. Tanner learned to draw lions from trips to the zoo in Philadelphia, where he grew up and attended art school. While in Paris in 1891, he sketched them at the Jardin des Plantes and took an animal anatomy course at the natural history museum. Tanner painted Lions in the Desert during one of his visits to the Middle East, which he described as a barren landscape. He did not see actual lions there, but later added them to the painting in his studio.”

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