This chapter proposes Haitian song and opera as untapped sources for literary analysis and important forerunners in the development of Haitian literature. It demonstrates how the early writers of Haiti used music to challenge the country’s foreign detractors and showcase its artistic achievement, preserving regional vernaculars, offering social commentary, and eloquently heightening the irony of Haiti’s freedom in a world of ‘enlightened’ enslavers. It looks at the contributions of Juste Chanlatte (1766–1828), a prominent Haitian statesman and writer whose many songs and two operas left an indelible mark on early Haitian music and letters. Next, it expounds on the popularity and political expediency of a particular musical-literary genre: the contrafactum. Created by setting original Haitian lyrics to preexisting French melodies, the genre enjoyed a remarkable efflorescence in early Haiti with over one hundred examples published from 1804 to 1820. Through analyses of two musical works by Chanlatte, the chapter shows how early Haitians gave topical relevance to the music of their former French oppressors and literary expression to the ambitions of their nation.