Here's a passage from Flashes of Merriment: A Century of Humorous songs in America, by the one and only Lester S. Levy (1971).
-Joe Offer-

---

But the nonsense song which attained more popularity than all others that had been written previously was "Ta-Ra-Ra Boom-De-Ay!" In 1891, Henry J. Sayers, a writer with no previous important songs to his credit, turned out one with a nonsense chorus, called "Ta-Ra-Ra Boom-Der-E." It failed to stir up much interest, until, like many other popular songs of the period, it was introduced in London, where a leading comedienne, Lottie Collins, built it up into an overwhelming success. From there it came to America, destined to become one of the greatest hits—possibly the very greatest—on the American variety stage. New verses were written for it; a new composer's name appeared on thousands upon thousands of sheet-music copies.
As might be expected, this led to a copyright suit in the federal courts, where testimony was introduced to prove that the tune originated in a St. Louis "resort" of questionable fame, operated by one Babe Connors and stocked with colored female inmates. According to Edward B. Marks, a famous music publisher for two generations, Connors' place was frequented by traveling minstrels, who were always on the lookout for new material. When asked to describe the place run by Babe Connors, one witness replied, "Let's be polite and call it a cabaret!"
The "new" "Ta-Ra-Ra Boom-De-Ay!" listed as its composer Angelo A. Asher and as its lyricist Richard Morton. Morton wrote six sets of verses for ladies and five for gentlemen. For the ladies he starts out:



TA-RA-RA BOOM-DE-AY!
(Original Version Written by Richard Morton)

A smart and stylish girl you see,
Belle of good society;
Not too strict, but rather free,
Yet as right as right can be!
Never forward, never bold,
Not too hot, and not too cold,
But the very thing, I'm told,
That in your arms you'd like to hold!

CHORUS: Ta-ra-ra Boom-de-ay,
(Repeat seven times—that's all there is to it.)

I'm not extravagantly shy,
And when a nice young man is nigh,
For his heart I have a try—
And faint away with tearful cry!
When the good young man in haste,
Will support me round the waist;
I don't come to, while thus embraced,
Till of my lips he steals a taste!
CHORUS

I'm a timid flower of innocence—
Pa says that I have no sense—
I'm one eternal big expense;
But men say that I'm just "immense!"
Ere my verses I conclude,
I'd like it known and understood,
Though free as air, I'm never rude,—
I'm not too bad, and not too good!
CHORUS

EXTRA VERSES:

You should see me out with Pa,
Prim, and most particular
The young men say, "Ah, there you are!"
And Pa says, "That's peculiar!"
"It's like their check!" I say, and so
Off again with Pa I go --
He's quite satisfied - although -
When his back's turned - well, you know -
CHORUS

When with swell I'm out to dine,
All my hunger I resign -
Taste the food, and sip the wine -
No such daintiness as mine!
But when I am all alone,
For shortcomings I atone -
No old frumps to stare like stone -
Chops and chicken on my own!
CHORUS

Sometimes Pa says with a frown,
"Soon you'll have to settle down -
Have to wear your wedding gown
Be the strictest wife in town!"
Well, it must come by and bye -
When wed to keep quiet I'll try
But till then I shall not sigh,
I shall still go in for my -
CHORUS

The extra verses were from the sheet music by lyricist Richard Morton, available online at the Levy Sheet Music Site.