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diff --git a/39078.txt b/39078.txt new file mode 100644 index 0000000..4ab89f4 --- /dev/null +++ b/39078.txt @@ -0,0 +1,5062 @@ +The Project Gutenberg EBook of Religious Folk-Songs of the Southern Negroes, by +Howard W. Odum + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Religious Folk-Songs of the Southern Negroes + +Author: Howard W. Odum + +Release Date: March 8, 2012 [EBook #39078] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK RELIGIONS FOLKSONGS OF SOUTHERN NEGROES *** + + + + +Produced by The Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive.) + + + + + + + + + + Religious Folk-Songs + OF THE + Southern Negroes + + + By + HOWARD W. ODUM + _Fellow in Psychology, Clark University_ + + + A DISSERTATION SUBMITTED TO THE FACULTY OF + CLARK UNIVERSITY, WORCESTER, MASS., IN PARTIAL + FULFILMENT OF THE REQUIREMENTS FOR THE + DEGREE OF DOCTOR OF PHILOSOPHY, AND ACCEPTED + ON THE RECOMMENDATION OF G. STANLEY HALL + + + Reprinted from the AM. JOUR. OF RELIGIOUS PSY. AND ED. + July, 1909. Vol. 3, pp. 265-365. + + + + +RELIGIOUS FOLK-SONGS OF THE SOUTHERN NEGROES[1] + +By HOWARD W. ODUM + +_Fellow in Psychology, Clark University._ + + +To know the soul of a people and to find the source from which flows the +expression of folk-thought is to comprehend in a large measure the +capabilities of that people. To obtain the truest expression of the +folk-mind and feeling is to reveal much of the inner-consciousness of a +race. And the knowledge of those evidences which are most representative +of race life constitutes the groundwork of a knowledge of social and moral +tendencies, hence of social and moral needs. The student of race traits +and tendencies must accept testimony from within the race, and in the +study of race character the value of true expressions of the feelings and +mental imagery cannot be overestimated. Thus it is possible to approximate +knowledge of a race. To bring a people face to face with themselves and to +place them fairly before the world is the first service that can be +rendered in the solution of race problems. + +To preserve and interpret the contributions of a people to civilization is +to add to the science of folk-history. Posterity has often judged peoples +without having so much as a passing knowledge of their inner life, while +treasures of folk-lore and song, the psychic, religious, and social +expression of the race, have been permitted to remain in complete +obscurity. Likewise peoples have lived contemporaneously side by side, but +ignorant of the treasures of folk-gems that lay hidden and wasting all +about them. The heart and soul of the real people are unknown, science is +deprived of a needed contribution, and the world is hindered in its effort +to discover the full significance of the psychological, religious, social +and political history of mankind. That which is distinctly the product of +racial life and development deserves a better fate than to be blown away +with changing environment, and not even remain to enrich the soil from +which it sprang. Justice to the race and the scientific spirit demand the +preservation of all interesting and valuable additions to the knowledge of +folk-life. The successful study of the common development of the human +intellect in primitive thought is thus advanced. The exact form of +expression itself constitutes a contribution to knowledge and literature. + +The value and importance of folk-lore are gladly recognized. Its +successful study and a more comprehensive recognition of its worth have +revealed new problems and new phases of thought. Not only its relation to +civilization as an historical science and as it bears definitely upon +peoples of modern cultural areas is recognized, but its essential value in +the study of psychological, anthropological, and sociological conditions +has called forth the most careful study that has been possible to give it. +On the scientist's part, knowledge has been increased, while on the other +hand, the peoples of the world have become more united in the appreciation +of the kindred development of human thought. The vast contributions to +folk-science and their relation to scientific interest, bear testimony to +this truth. And perhaps even more with _folk-song_, a greater work is to +be done. As a part of folk-lore it represents less of the traditional and +more of the spontaneous. Its collection and study is now being pursued +with more zeal and with marked success. And the hope may well be expressed +that with the growing interest in folk-song may come an increased +knowledge of all that is nearest and truest to the phyletic as well as the +genetic concept of a people, and that with this knowledge may come +effective efforts toward race adjustment and new aids in the solution of +race problems. + +The situation of the Southern negro is unique. His problems are peculiarly +intricate. The problem of the relations between the whites and blacks is +far-reaching. Social conditions are changing and it is of paramount +importance that every step taken shall be well founded and in the right +direction. The political, the social, and the economical position of the +negro, his education, his religion, his tendencies--these are themes that +demand definite and accurate comprehension above all else. Truths have too +often been assumed. Passion and prejudice have often hindered the +attainment of noble ends which were earnestly sought. A true knowledge of +actual conditions, if properly set forth, must convince the sincere +observer as to the proper relations which should exist between the two +races. Nothing else should do it; nothing else can do it. And any +evidences that will assist in fixing the real status of the negro should +be welcomed by both the whites and the blacks; progress may then be +encouraged from the proper starting point. In revealing much of what he +_is_ rather than what he _appears to be_, the folk-songs of the Southern +negro are superior to any superficial study made from partial +observations. The insight into negro character gained from their +folk-songs and poetry accompanied by careful and exhaustive concrete +social studies may be accepted as impartial testimony. And on the other +hand, the changing economic and educational conditions, the increasing +influence of the white man upon the negro, and the rapid progress that is +being made on every hand in the South indicate that if the present-day +folk-songs of the negro are to be preserved, they must be collected now. +Should they be permitted to become a lost record of the race? + +In the present work some of the popular songs that are current among the +negroes of the Southern States are given. They are highly representative. +They may be classified into two general divisions: The religious songs or +spirituals, and the secular songs. The secular songs are again divided +into two classes, the general social songs, and work-songs, phrases and +"shanties". For the most part collections of negro folk-songs in the past +have been limited to the old spirituals. The present-day religious songs +and the social productions are equally interesting and valuable. The +particular nature and characteristics of these songs are discussed in +connection with the examples. They are flexible and have various forms, +they consist of broken and unbroken melodies, they have stately and rapid +minor cadences. Musical notes can give only a skeleton of the real melody +that accompanies the words; the peculiar qualification of the negro +singers to render their melodies defies art to exactly symbolize it. The +words of the songs are given as they are sung, and the reader must needs +employ an imagination kindred in vividness to that which is reflected in +the songs themselves if he would comprehend their essential qualities. The +characteristic quality is often found in an improvised arrangement of +words which makes the dominant feeling that of mingling words and +cadencies successfully. The meaningless phrases and refrains do not hinder +the expression of feeling through the minor chords. Simple emotion, +inherent melody, and colloquial language are combined with fine and +differentiating imagery and humor in an under-meaning common to the +folk-song. An element of melancholia may be felt underlying many of the +songs. But with all alike, vigor of expression, concreteness and +naturalness of mental imagery, and simplicity of language and thought are +combined with striking folk-art. The negro's projective mental imagery +assumes that the hearer's comprehension can easily grasp the full picture +of description, moral maxims, and dramatic dialogues, all combined in a +single verse, and that he can do it without confusion. Here may be seen +much of the naked essence of poetry with unrefined language which reaches +for the negro a power of expression far beyond that which any modern +refinement of language and thought may approach. Rhythm, rhyme, and the +feeling of satisfaction are accompanying inherent qualities. The natural +poetic spirit and the power of the imagination in the negro are worthy of +study. + +In addition to these general qualities of the negro folk-songs, it need +only be suggested here that the best conception of his religious, moral, +mental and social tendencies is reflected in them. That which the negro +will not reveal concerning his religion, his religious songs tell better +than he could possibly do. His social nature and unconscious ideals bubble +out from his spontaneous social songs. In the expression of his natural +feelings and emotions he gives us the reactions of his primitive thought +with environment. That which is subsequently treated at length may be +anticipated in the approach to a careful consideration of the fullest +spirit of the negro folk-songs, namely, that it is important to note that +the faculty of the negro to think, not exactly as the white man, or to +think in terms of modern science and literature, but in terms of his own +psychological conditions, is pronounced. The negro is a part of a nation +at the same time that he is a distinct people; he, perhaps, has more +anthropological importance than historical standing. His present status is +an essential consideration of each of these relations to the civilization +of to-day. The emotions, the religion, social aspirations and ideals--in +fine, the character of a people is accustomed to be expressed in their +literature. The negro has no literature save that of his folk-song and +story. May these not speak for him, both the good and the bad, in the +following chapters? + +The work here presented is not exhaustive but representative. The songs +are not those of a single plantation, community or section of the Southern +States. They are not the songs of the coast negroes or of the river type. +But they are sung popularly as much in Georgia as in Mississippi, as much +in Florida as in Tennessee. They are distinctly the representative average +songs that are current among the common mass of negroes of the present +generation. They belong to the negroes who have been constantly in contact +with the whites and to those who have had less association with the +refinement and culture of the white man. They have been collected +carefully and patiently under many difficulties. Many of them are sung +only when the white man does not hear; they are the folk-song of the +negro, and the negro is very secretive. Not only are they not commonly +known by the whites but their existence is only recognized in general. +They are as distinct from the white man's song and the popular "coon +songs" as are the two races. + +The scope of investigation is large and the field is a broad one; the +supply of songs seems inexhaustible. Yet the student may not collect them +hurriedly. He who has not learned by long observation and daily contact +with Southern conditions the exact situation will make little progress in +gathering valuable data. While all contributions to the total of negro +folk-songs have been very valuable, still it is true that they have been +too long neglected and the studies made have been too partial. The nature +of the negro's songs is constantly changing; the number is continually +increasing. They should be studied as the conditions of the negroes are +investigated. They are the product of our soil and are worthy of a +distinct place in literature. In the following work the effort is made to +present the best of the negro's songs and to interpret impartially the +exact spirit of their essential qualities. In the following pages the +effort is made to note many of the negro's mental characteristics as +studied in the interpretation of the scope, meaning and origin of his +songs, and the essential qualities of his religion as found in the +analysis of his + + +_Religious Songs and Spirituals._ + +The religious songs of the negro have commonly been accepted as +characteristic music of the race. The name "spirituals" given them long +years ago is still current, while these songs, composed by the negroes, +and passing from generation to generation with numerous modifications, +retain many of their former characteristics. In former days the spirituals +were judged to be the most beautiful production of the race and the truest +representation of the negro's real self. Some of these songs have been +published, and for a time their emotional beauty and simplicity of +expression won for the negro a definite place in the hearts of those who +had not hitherto known him. He was often judged by these songs alone, +reported only imperfectly and superficially, and forthwith came many +expressions of delight and enthusiasm for the future possibilities of the +negro. These expressions indicate not only the power of the singing of +negro spirituals upon those who heard them, but also many of the +characteristics of the old and present-day spirituals. + +The following expressions represent a summary of past judgments and +criticism of negro spirituals.[2] The hymns of a congregation of +"impassioned and impressible worshippers" have been "full of +unpremeditated and irresistible dramatic power." Sung "with the weirdest +intonations", they have indeed appeared "weird and intensely sad"--"such +music, touching and pathetic, as I have never heard elsewhere", "with a +mystical effect and passionate striving throughout the whole." And again, +"Never, it seems to me, since man first lived and suffered, was his +infinite longing and suffering uttered more plaintively." Besides being a +relaxation to the negroes these quaint religious songs were "a stimulus to +courage and a tie to heaven." Or again, "I remember that this minor-keyed +pathos used to seem to me almost too sad to dwell upon, while slavery +seemed destined to last for generations; but now that their patience has +had its perfect work, history cannot afford to lose this portion of the +record. There is no parallel instance of an oppressed race thus sustained +by the religious sentiment alone. These songs are but the vocal expression +of the simplicity of their faith and the sublimity of their long +resignation." Such songs "are all valuable as an expression of the +character and life of the race which is playing such a conspicuous part in +our history. The wild, sad strains tell, as the sufferers themselves +could, of crushed hope, keen sorrow and a dull, daily misery, which +covered them as hopelessly as the fog from the rice swamps. On the other +hand the words breathe a trusting faith in rest for the future to which +their eyes seem constantly turned. The attitude is always the same, and, +as a comment on the life of the race, is pathetic. Nothing but patience +for this life--nothing but triumph for the next." "One can but feel that +these quaint old spirituals with their peculiar melodies, having served +their time with effectiveness, deserve a better fate than to sink into +oblivion as unvalued and unrecorded examples of a bygone civilization." +Many have thought that these songs would pass away immediately with the +passing of slavery and that the old system of words and songs "could not +be perpetuated without perpetuating slavery as it existed and with the +fall of slavery its days were numbered." And "if they be found neither +touching in sentiment, graceful in expression, nor well balanced in +rhythm, they may at least possess interest as peculiarities of a system +now no more forever in this country." + +The negro found satisfaction in singing not only at church but perhaps +even more while he performed his daily tasks. Those who heard the old +slaves sing will never forget the scenes that accompanied the songs. After +the lighter songs and brisk melodies of the day were over the negroes +turned toward eventide to more weird and plaintive notes. The impressions +of such singing have been expressed: "Then the melancholy that tinges +every negro's soul would begin to assert itself in dreamy, sad and +plaintive airs, and in words that described the most sorrowful pictures of +slave life--the parting of loved ones, the separation of mother and child +or husband and wife, or the death of those whom the heart cherishes. As he +drove his lumbering ox-cart homeward, sitting listlessly upon the heavy +tongue behind the patient brutes, the creaking wheels and rough-hewn yokes +exhibiting perhaps his own rude handiwork, the negro slave rarely failed +to sing his song of longing. What if his words were rude and its music +ill-constructed? Great poets like Schiller have essayed the same theme, +and mighty musicians like Beethoven have striven to give it musical form. +What their splendid genius failed adequately to express, the humble slave +could scarce accomplish; yet they but wrought in the same direction as the +poor negro, whose eyes unwittingly swam in tears, and whose heart, he +scarce knew why, dissolved in tenderness as he sang in plaintive minor key +one or another of his songs." + +The above quotations have been given promiscuously, and while others might +be added, these suffice to give the general attitude toward the songs of +the negroes in the ante-bellum days and since. One other will be added, +giving the expression of a present-day negro leader toward the songs of +the slave, as the best interpretation that has come from within the race. +In his introduction to _Twenty-four Negro Melodies_ by Coleridge-Taylor in +_The Musicians Library_, Booker Washington says: "The negro folk-song has +for the negro race the same value that the folk-song of any other people +has for that people. It reminds the race of the 'rock whence it was hewn,' +it fosters race pride, and in the days of slavery it furnished an outlet +for the anguish of smitten hearts. The plantation song in America, +although an outgrowth of oppression and bondage, contains surprisingly few +references to slavery. No race has ever sung so sweetly or with such +perfect charity, while looking forward to the 'year of Jubilee.' The songs +abound in scriptural allusions, and in many instances are unique +interpretations of standard hymns. The plantation songs known as the +'Spirituals' are the spontaneous outbursts of intense religious fervor, +and had their origin chiefly in the campmeetings, the revivals and in +other religious exercises. They breathe a child-like faith in a personal +father, and glow with the hope that the children of bondage will +ultimately pass out of the wilderness of slavery into the land of freedom. +In singing of a deliverance which they believed would surely come, with +bodies swaying, with enthusiasm born of a common experience and of a +common hope, they lost sight for the moment of the auction-block, of the +separation of mother and child, of sister and brother. There is in the +plantation songs a pathos and a beauty that appeals to a wide range of +tastes, and their harmony makes abiding impression upon persons of the +highest culture. The music of these songs goes to the heart because it +comes from the heart." + +It will thus be seen that emphasis has been placed almost entirely upon +the emotional beauty of the negro songs. They have been portrayed as the +exponents of sadness in the race, and the feelings of the black folk have +been described with no little skill. Observation for the most part has +been made by those who have heard the negro songs but have not studied +them. No careful analysis has been attempted. Perhaps casual observers +have been mistaken as to the intensity of the emotions expressed and have +given undue emphasis to its practical relation and effect upon the +individual and upon the race. The judgment of those who have not known the +negro, and to whom his singing is a revelation, leads to sweeping +generalizations. On the other hand, those who have known the negroes in +many walks of life, and have come to know him better than any others, have +often emphasized a single phase of the negro folk-song. There can be no +doubt as to the beauty and weirdness of the negro singing, but a careful +analysis of the general emotional feeling predominating, together with +careful interpretation of all things concerned, make comparisons less +dangerous and expressions less extravagant. Slavery has passed, four +decades of liberty for the slave people have signalized the better +civilization, and there still remains among the negroes the same emotional +nature, the same sad, plaintive, beautiful, rhythmic sorrow-feeling in +their songs. + +Some of the qualities of the negro's emotions as seen in his singing will +be noted subsequently. Omitting for the present this feature of his songs, +and qualifying the statement by interpreting his nature and environment, +it may be affirmed that all that has been said of the spirituals is true. +They are beautiful, childlike, simple and plaintive. They are the negro's +own songs and are the peculiar expression of his own being; much may be +said concerning them. Many of the spirituals are still popular among the +negroes, and often take the place of the regular church hymns. The less +intelligent negroes sing them, and they are sung freely by the more +intelligent class. Ministers of all denominations take advantage of their +peculiar power to sway the feelings of the negroes into accustomed +channels. Many of the old spirituals that were common in slavery are +still current and are sung with but little modification; others are +greatly modified and enlarged or shortened. Traces of the slave songs may +be found in the more modern spirituals that have sprung up since the war. +The majority of the songs have several versions, differing according to +localities, and affected by continual modification as they have been used +for many years. Some have been so blended with other songs, and filled +with new ideas, as to be scarcely recognizable, but clearly the product of +the negro singers. Besides the old and the mixed songs, there are many +that are entirely new, arising out of various circumstances and developing +with successive renditions. + +The spirituals current among the Southern negroes to-day are very much +like those that were sung three or four decades ago. The differences may +be seen in the comparisons that follow in the examples given: There are +more rhymed words in the present-day negro song than there was in the +earlier ones; consequently there is often less meaning in a line or +stanza. The tendency seems to be more toward satisfactory sound +_impression_ than for spontaneous feeling _expression_ as in the older +spirituals. Meaning and words in general are often sacrificed in the +effort to make rhyme, to make the song fit into a desired tune, to bring +about a satisfying rhythm, or to give prominent place to a single +well-sounding word or phrase. It would thus seem that the religious songs +composed in the usual way by the negroes of the present generation have +less conviction, and more purposive features in their composition. The +dialect of the older songs is purer than those of the present-day negro. +One finds little consistency in the use of dialect in the songs that are +sung now; rarely does one hear the lines repeated in exactly the same +form. Dialect or the common form of the word, it would seem, is used +according as feeling, the occasion, or the necessity for rhyme or rhythm +permits or demands. Many of the negro songs that are the most beautiful in +their expression would appear expressionless were they robbed of their +dialect and vividness of word portrayal. The imagery and dialect give the +songs their peculiar charm; the more mechanical production that is +apparently on the increase may be sung to the same melody, but the song +itself has little beauty. However, the negroes themselves prefer the old +songs and almost invariably return to the singing of the more primitive +ones that have become a part of their heritage. In those cases where the +tunes differ from the old melodies, the song has assumed a characteristic +nature, either from its origin and composition, from constant usage by the +negroes, from local qualities, or from unusual combinations. And in these +original creations of the negro religion are found the truest expression +of nature and life as it is reflected in the negro of to-day; it is not +the expression of complex life, but of simple longing. In the outbursts of +joyous song and melody the note of victory is predominant; in the +sadder-toned songs, sung in "plaintive, rhythmic melody", the prevailing +note is that of appeal. In either case there is some sort of conviction +back of the song, and it becomes the expression of primitive human life. +They set forth the more simple thoughts of an emotional and imaginative +worship. They magnify the personal and the spectacular in religion. They +satisfy the love of melody, rude poetry, and sonorous language. Simple +thought is expressed in simple rhyming phrases. Repetition of similar +thoughts and a single chorus, with simple and pleasing music which lends +itself easily to harmonious expression, are characteristic. The music is +specially adapted to the chorus-like singing which is produced by the +clever and informal carrying of many parts by the singers. The song often +requires a single leader, and a swelling chorus of voices take up the +refrain. It is but natural that these songs should be suited to protracted +services as good "shoutin' songs" or "runnin' speerichils." The same +rhythm makes them pleasing to the toilers who are disposed to sing +religious songs while they work and promotes a spirit of good fellowship +as well as being conducive to general "good feelin'." The united singing +of children is also beautiful. Throughout these characteristic songs of +the negro, the narrative style, the inconsequential, disjointed +statements, the simple thought and the fastidious rhymes are all +expressive of the negro's mental operations. + +All of the negro's church music tends to take into it the qualities of his +native expression--strains minor and sad in their general character. The +religious "tone" is a part of the song, and both words and music conform +to the minor key. The negroes delight in song that gives stress and swell +to special words or phrases that for one reason or another have peculiar +meanings to them. For the most part, all religious songs are "spirituals" +and easily merge into satisfying melodies when occasion demands. With the +idea gained from the music of the songs must be joined the church scenes +and its personalities freely mingled with the music. The preaching, +praying, singing and with it shouting and unity of negro +worship--perfection of rhythmic sing-song, these with the throbbing +instinct of the people make the negro music what it is. The negroes sing +their regular denominational hymns with the same feeling, often, as they +do the spirituals, and while mention must be made of their church hymns as +such, they often reach in singing them a climax similar to their most +fervent outbursts, and freely mingle them with the old songs. In addition +to the tune in which the hymn is written the negro puts his own music into +the singing, and his own interpretation into the words. This together with +the "feeling-attitude" which is unconsciously his, and the satisfaction +which he gets from his singing, places negro church music in a class of +its own. A glance at the part which singing plays in the negro's church +services will aid in the interpretation of his songs. + +Church services are opened with song; a leader may occupy his place at a +central table or chair, select a song and begin to sing. Or they may wait +for the "speerit" and a leader from the pews may begin to sing, others +join in the song, while the congregation begins to gather in the church. +The leader often lines his song aloud, reading sometimes one, sometimes +two lines, then singing. He often puts as much music-appeal into the +lining of the song as he does in the singing. The rhythmical, swinging +tone of the reader adds zest to the singing which follows. Most of the +negroes who sing know a great many songs--in fact, all of their regular +songs--if they are given a start by the leader. On the other hand, the +congregation often gives the leader a start when he lags, and both +together keep the song going until they are ready to stop singing or to +begin another song. + +If the service is prayer meeting or a class meeting the leader usually +continues the songs throughout the singing part of the exercises; at +regular preaching services the preacher reads the regular hymns and leaves +the beginning and the final songs to the leaders. In the class meeting, +the general congregation led by song-leaders sing, as a rule, while the +class leaders are engaged with their classes. Now a woman on this side, +now a man or woman on the other side of the church begins the song and +others join in the doleful tunes; so too, while collections are being made +the singing is kept up continuously. The process is the same: a leader +begins to sing, another joins in the singing, then another and another +until the majority of those present are singing. Most negroes who attend +church participate in the singing, although many will not do so regularly, +preferring to remain quiet for a time, then to burst out into song. The +negroes have been proverbial for their good singing, and undoubtedly they +have won a deserved reputation. A group of five or ten negroes singing at +a mid-week prayer meeting will often appear the volume of song equivalent +to that of many times their number of white people singing. The +comparison, however, is not a fair one, for the music is entirely +different. One can scarcely appreciate the singing of the negroes until he +has heard them on various occasions and in different capacities. Let him +listen on a quiet Sunday evening from a position on a hill to the singing +of four negro congregations, each clearly audible. It would appear to be +the rhythmical expression of deep human feeling and longing in an +unrestrained outburst of ten thousand souls. Inside the church one may +watch the leaders as they line the songs and listen to their rich, +tremulous voices; he may see the others respond and listen to the music of +each peculiar voice. The voice of the leader seems to betray great +emotions as he reads the lines and begins to sing. He appears literally to +drink in inspiration from the songs while his soul seems to be overflowing +as he sings the words telling of grace and redemption. However, he +manifests the same kind of emotion when he sings one song as when singing +another, the same emotion when he reads the words wrongly as when he has +read them correctly; it makes little difference to him. He is consumed +with the music and with the state of feeling which singing brings to him. +After all, perhaps one feeling dominates his whole being while he sings, +and there can be no song to him which does not accord with this. + +A complete analysis of the negro church music in its detail is worthy of +the efforts of any one who could describe it. And while the folk-song is +of more importance in the present work than the music of these same songs, +a few further details that are apparently characteristic of the negroes +will not be amiss. The singing begins slowly and with time-honored +regularity but is followed by the agreeable and satisfying effect made by +the joining in of varied voices. Many times the singers begin as if they +would sing a simple subdued song, or a hymn with its written music. But in +a short while, apparently not being able to resist the impulse to give +their feelings full sway, their voices fall into that rhythmical swing +peculiar in a large degree to the negroes; all measures alike become +stately. The average negro is proud of his stylish choir because it +represents a step towards a model which the negroes wish to follow: but +they do not like the choir's _singing_ as well as their own informal song. +In general the negro's song will characterize his natural self wherever he +sings or hears it sung; he is loath to give it up. And while some pastors +have testified that there were no members in their church who would not +sing the church songs, it is very evident that many of the younger negroes +do not enter fully into the spirit of the old songs and they must +necessarily undergo radical changes and rapidly pass away. + +Before coming to the further study of the negro spirituals, it will be +well to inquire into the nature of the favorite standard church hymns +commonly used by the negroes in their church services. A comparison may +then be made with the popular folk-songs. The favorite songs and most +common themes sung by the negroes may best be seen at their prayer +meetings or class meetings, or at such gatherings as require no formality. +One may attend week after week and hear the same songs and feel the same +pathos emanating from the songs which the worshippers have learned to sing +and love. They enjoy singing of _heaven_ and _rest_ and _luxury_ where +_ease_ abounds and where _Sabbaths_ have no end. They love to sing the +praises of the Deliverer who shall free them from life's toils. They have +chosen the "good old" songs that have vividness and concrete imagery in +them; they have placed a new feeling into them and a different +interpretation. The meaning of the words and the sentiment of the song are +transcended by the expression in the singing. The accustomed manner, +together with their responsive feeling, absorb whatever of pure devotion +might have existed in their attitude--the sinking itself becoming +devotion. The negro looks always to some future state for happiness and +sings often: + + This earth, he cries, is not my place; + I seek my place in heaven. + +The negroes sing with a peculiar faith the common stanzas of their hymns: +"We've seen our foes before us flee," "We've seen the timid lose their +fears", "We've seen the prisoners burst their chains", "We've seen the +guilty lose their stains." So, too, they conceive, as of old, of the +eternal rest and sing, with its full stanzas: + + How sweet a Sabbath thus to spend, + In hope of one that ne'er shall end. + +The singing of these hymns is beautiful and impressive, testifying to the +truth that their favorites appeal to the fitness of worship and accord +with the ideal of rhythmical perfection as expressed in the feeling of the +worshipper. + +The general state of feeling which accompanies the song thus has much to +do with the song itself. The singing with its results is the most +satisfying and agreeable part of the worship to the negro's nature. It +satisfies his social wants and relieves to some extent his child-like +psychophysical cravings. His worship is music to his soul, whether it be +in the word-music of the sermon and prayer, or in the natural outburst of +his song, or in the rhythm of all combined. It is all freedom from +restraint and the gratification of impulse and the experience of sustained +languor. Although the negro expends a great deal of energy in his singing, +it is nevertheless rest for him as he feels it. Unrestrained expression +goes far toward relieving him of his troubles, sometimes real, sometimes +imaginary. What the negro imagines to be total confession and contrite +submission has a very soothing effect upon him; the songs reach the climax +of this state of feeling. Many negroes may be seen, with their heads +resting backward and eyes closed, singing vigorously their favorite songs; +often they lean forward, sway back and forth, apparently in a complete +state of passivity. Tears and shouts of joy are not inconsistent with the +saddest strains of pathos. Their senses are all turned toward the +perception of one attitude, and besides a wonderful tranquility of +feeling, they also feel and see visions. At such a time the negro is at +ease and is at liberty to give full expression to his feelings among his +own people, without incentive to action and without interruption. Is it +surprising that after a day's work, while he has passed the hours away in +emptiness of thought or in misguided thinking and with perverted notions, +he finds sweet rest in some melodious songs and rhythmic verses as he +rests his body in the pew? Is it surprising that he is unwilling to leave +the church until a late hour or that he does not tire of singing? For what +has he to attract him at home where he unwillingly begins to think of +work again? It is little surprising that after the outburst of song and +shouts which reveals so much of the negro's nature that his attitude is +one of listlessness and apathy when he has finished. + +This revelation of emotions which the negro shows in his singing but +manifests the reality of his religion. And although the greater part of +his feeling in religion is pleasurable excitement, it is, nevertheless, +for this very reason the one reality in life to him. A study of the +emotional element does not, then, detract from the beauty and value of the +negro's song; it does aid in interpreting that part of his songs that +arise spontaneously and also shows something of their origin and growth. +Indeed without a knowledge of the negro's nature and environment, one +would scarcely realize the fullest appreciation of his folk-songs. In +proportion as the investigator becomes acquainted with the people and +circumstances which have furnished unique folk-songs, to that degree will +he be eager to search out their origin and be able to interpret them +intelligently as they are fundamentally related to the race. + +The negro has found much material upon which to base his songs and many +sources from which he has selected a wide range of subject-matter. His +religion is often synonymous with his song, and he has sung with little +restraint the various religious experiences common to such a religion. The +sermon and prayers, even the songs themselves suggest new themes for an +imaginative and religious being to sing. So, too, the Church, the +Christians and the "world" have furnished themes for his song. Sin, evil +and the devil are ever-present subjects for religious thought. The scenes +of everyday life form continuous allegories to be imaged with the +assistance of the negro's definite self-feeling. But perhaps nowhere has +the negro found more acceptable subject-matter for his song than in the +Scriptures; his songs abound in references to scriptural characters and +often portray individuals and scenes with unusual concreteness. A perusal +of the negro's songs thus reveals the most common themes, but it is more +difficult to locate the accidental circumstances which gave rise to +particular forms of a song, or to ascertain the temperamental nature which +originated many of the best known spirituals. In general, it may be said +that the folk-song of the negroes has found its rise in every phase of +negro life. It is scarcely possible to trace the origin of the first +spirituals and plantation songs. The American negroes appear to have had +their own songs from the earliest days of slavery. And while their first +songs were undoubtedly founded upon the African songs as a basis, both in +form and meaning, little trace of them can be found in the present songs: +negro folks produce spontaneous song. The linguist and the anthropologists +are able to find the parallel and apparent origin of many words, that have +been used by the Southern negroes in their lore and song, among the +peoples of Africa, but there is now no practical relation between these +words and the meaning of the words in their present usage. The origin of +folk-song has always been an interesting theme, proving full of +fascination for him who finds it, nymph-like, vanishing from his grasp. +Still the song of a people is ever present and appear, almost like myths, +to have sprung into life in some way and at some time which no one can +exactly tell. Many a bard of the common life has intensified their meaning +and made them a part of that life. + +However, many of the negro folk-songs may be explained when one has +observed the negro in many walks of life, or has found the origin from +which they arose. Many of the old spirituals were composed in their first +forms by the negro preachers for their congregations; others were composed +by the leaders of the church singing: others were composed by the slaves +in the various walks of life, while still others were first sung by the +"mammies" as they passed the time in imaginative melody-making and sought +harmony of words and music. A great many of these songs never became +current because they lacked the pleasurable features that appealed most to +the negroes. Those that proved satisfactory were seized upon and their +growth and popularity dated from the moment they were heard. With the +negroes of to-day songs have arisen in much the same way. The difference +of environment must necessarily make a difference in the nature of the +songs; at the same time the coloring of present-day life is much in +evidence in some of the old songs composed by the slaves but sung by the +negroes of the present generation. Some suggestions as to the natural +origin and growth of negro songs may be both interesting and valuable. + +The negroes have always been known as full of feeling and very expressive. +Their natures demand not only some expression of their emotions but this +expression must be easy and rhythmic, at the same time that it is intense +and continuous. The negro's musical nature easily turns these expressions +into melody, and a word, phrase or exclamation becomes a song in itself. +The song is completed by the imaginative mind and the sense of fitness in +sound. Worshippers often follow the preacher through his sermon in a +mental state of song and when he has finished they burst out into song, +singing no other than an elaborate sentence which the preacher has used in +his sermon. When this is joined to a familiar chorus and tune, and then +varied, a song has originated. Sometimes the song is remembered and sung +again; sometimes, like the words of the preacher, it simply becomes a part +of the satisfaction of the hour and is forgotten. A negro preacher +recently reached a climax in his discourse in the phrase, "Oh, with the +wings of the morning, I'd fly to that heavenly land." He repeated this a +number of times and made gestures with his arms suggestive of flying. His +black robe added to the forcefulness of the suggestion and the impression +became a part of the song of that church. So with praying, the pathetic +appeal and word-music of a _p-l-e-a-s-e My Lo-rd_ is often the inspiration +for a song when a happy phrase from the prayer becomes an addition to a +song that follows. Even more than preaching and praying, shouting gives +rise to song among the negroes; during exciting times in worship the +negroes often sing unheard of songs nor do they ever recall them again. It +is indeed a mixed scene of song and motion, each contributing largely to +the other, while the spectator looks on in wonderment at the astonishing +inventiveness of the worshippers. The general motion, expressions of the +face, words and harmonies, rests and rhythm, sense of fitness and even of +humor, repetition--these make an occasion that defies limitation to its +expression. If a single personality dominates the whole in an expression +that appeals to the present sense of fitness, he is the author of a new +song. Such a personality in the person of a visiting minister recently +shouted out during such a scene: "Oh, the hearse-wheel a-rollin' an' the +graveyard opening--h-a, ha," but got no further for his refrain was taken +up by the chorus and the next day was a new version of the well-known +song. + +Such occasions might be cited in great numbers. Not infrequently a negro +who has assumed the position of song leader sings a line while the others +join in with a chorus of singing and shouting. When the leader has given +all the lines that he knows, he will often continue in the simplest manner +possible, as if he had known them for a long time, to improvise lines, +which often have little meaning, but which fit into the tune and sound +well. This process may be continued indefinitely, sometimes with +repetition of lines already uttered but slightly varied and the emphasis +placed on the differing particular. It thus happens that the songs need +not have a limit. The necessity of the occasion becomes the cause for the +invention of the song. Itinerant worshippers are often thus gratified to +sing to new congregations. As a rule the negroes always give attention and +respect to strangers so that the man or woman who comes to them is at +liberty to sing old or new songs, and they often become skilled in +improvising songs. The new songs are then learned and begin their history +as folk-song. Again, negroes often feel themselves called upon to +introduce new features into some of their songs and conceive of various +novelties. The negro's feeling toward leadership puts a premium upon such +a practice. In this effort, a song that is little known among the negroes +will be changed in some particulars, printed on a sheet of paper and +distributed as the song of brother or sister So and So. The song may be +found in a hymn book. However, songs entirely new and the efforts of their +own poetic attempts are often thus circulated. This gives rise to a new +class of negro spirituals, examples of which may be seen in the following +pages. + +A number of popular spirituals apparently had their rise in the effort of +the church to satisfy the physical cravings of the negroes. The church +deemed the fiddle and the dance instruments of the devil, and although the +negro was and is passionately fond of dancing, he was forbidden by the +church to do so. The church needed some kind of substitute for the rhythm +and excitement of the dance that would satisfy and still be "in the Lord." +Consequently marching services were often instituted. The benches were +piled up together and marching room left for the worshippers. They had +various orders for this service and many forms of it have been known to +exist. Sometimes they marched two by two, a "sister and brother in the +Lord", sometimes they marched singly, and at other times they marched in a +general "mix-up." At first they followed a leader to a simple melody, +keeping step and working into a rhythmic swing. Then as they became more +excited they became more expressive and with the elaboration of the march +into a dance their songs became marching songs. Often they thus marched, +with intervals for rest, until the hours of the morning. Sometimes they +all sang; sometimes the leader sang the leading part and all joined in the +chorus with more satisfactory effect. In the march the negroes swayed back +and forth, to and fro, and found the usual satisfaction that comes from +absolute lack of restraint. As the songs given in the following pages +indicate, the negroes often imagined themselves to be the children of +Israel, while their marching songs represented Moses leading them out from +under the bondage of Pharaoh, or they considered themselves as marching +around the wall of some besieged city. Victory would be theirs sooner or +later. This is not confined to the songs composed by the slavery negroes, +but is common in the later songs. Such scenes are often portrayed by negro +preachers of the present day and very appropriate applications, as they +think, are made. The march songs that have been found current to-day were +composed since the war. Often the negroes enacted similar scenes without +the formal putting away of the benches in the church, and the same general +results were the outcome. Shouting scenes in negro worship to-day are very +much similar to the old marches except that they are more promiscuous. The +"strange, sweet harmonies and melodies" of the old songs are still good +shouting songs. + +Individuals have composed spirituals while at work or while wandering from +place to place, as a simple outgrowth of the circumstances. The +expression, so common in negro songs, "O my Lord", seems to have been +introduced into a number of songs in this way. The single expression +repeated itself forms a favorite melody that is often sung. A group of +negroes sing while working; one sings a new verse of the song: "Where you +git dat?" "I made hit maself, didn't you know I'm a songster?" And he did +make it, and thus gratified, tries other attempts; with him others begin +and they have become "songsters". Negroes, in order to verify a boast that +they know a certain song to exist, have been known to compose on the +moment just such a song, mixing all sorts of songs together with the ideas +that arise. Others who have been offered an attractive price for songs +have composed them without scruples of conscience and when asked to sing +them, have done so with perfect ease. They were paid for the songs, +thinking that they had "fooled that white man", who valued his song thus +composed as much perhaps as an old spiritual that was still current. What +the negro composed accidentally he learned to sing, and thus introduced a +real song in his community, which was to be soon carried to other +localities. The negro is going to sing whether he has a formal song or +not. The following song originated with two negro laborers, apparently in +a dialogue. The lines may be sung to any tune and put to any chorus. + + The church bell a ringin', how sweet I do declar'. + Why don't you go to meetin' an' pray all day long? + I'm goin' to church an' pray all day long. + Of course I'm a sinner but prayin' might do me good + An' if I do succeed I sure will tell the news. + +Another song that was composed spontaneously in the effort to dignify his +conversation is the following. It will be seen that for the most part it +is composed of phrases common to other songs, and it is only the +combination that is new. + + Walk right and do right an' trust in the Lord-- + Lay down all yo' sinful ways an' trust in the Lord. + + _I am goin' to trust in the Lord, + I am goin' to trust in the Lord, + I'm goin' to trust in the Lord till I die._ + + My God he's a wonderful God an' trust in the Lord, + He will answer yo' prayers don't care wher' you are, + _An' trust in the Lord_. + +The next example was composed by a negro man after he had recently "come +through." He always loved to talk of what he had seen, what he knew would +happen and how he could get out of difficulties. Along with this he had an +unusually imaginative mind and told many ingenious stories. Here is the +song: + + The devil come down to the worl' one day + An' I heard him holler, hoo-ray, hoo-ray! + Come out, I'm havin' a holiday. + + That was the word I heard him say, + But I knowed if I danced to his holiday, + There'd be something doing an' the devil to play. + +The above song is difficult to classify. It would seem to be very much +like some rhymes that the negro had seen published in a newspaper but for +all his purposes it was a good song and it mattered little where he had +obtained the ideas. It was indeed his own song. One other example of an +effort to compose a new song shows the tendency of the negro to mix his +serious themes with ridiculous expressions. + + There was a man by the name of Cy, + He never prayed an' he never try, + So when ole Cy was come to die, + He hollow out, "in hell I'll cry." + + _In hell ole Cy did cry, + In hell ole Cy did cry, + In hell ole Cy did cry_, + Now don't you die like ole Cy die. + +The song is a variation of two or three secular songs and becomes a +religious song because of its chorus. It is actually sung in the churches. +The "author" continued, + + Ole Cy did lead a mighty bad life, + He was always after some other man's wife, + +which clearly showed the trace of the secular element; this phrase is +applied to many of the notorious characters in the negro secular songs. +Still there was an opportunity for the moral and the song represents the +peculiar gratification which the negroes find in having composed something +more or less original. + +Enough has been said to give a definite idea concerning the actual and +possible origin of some of the negro folk-songs. Further examples will be +given when the discussion of the negro's secular song has been reached. +The psychology of negro music and song is not difficult to explain in the +light of the facts already suggested. His plaintive appeals in prayer, his +emotional and religious nature, his primitive expression, his love of +rhythm and melody, his feelings and misguided imagination, his +interpretation of life and Scripture, his faith in dreams and visions +quickly exaggerated into fabrications, his whole nature but reveals within +him what we call the musical nature of the race. With the negro, motion +and song instinctively go together. Systematic movement is more conducive +to singing than a careless, haphazard motion. Movement and song give +rhythm that is not to be found under other circumstances. Regularity and +rhythm in movement, emphasis and rhythm in music, these give the negro +songs essential pleasure-giving qualities that appeal strongly to the +negro's entire being. If his music is primitive and if it has much of the +sensuous in it; if his songs and verse are full of primitive art having +many qualities of possible worth, nevertheless they are not thereby +rendered less distinct. + +In no way can a better insight into the negro's religion be obtained than +by a careful study of his songs. An analysis of those songs that have been +preserved will give us at once a better conception of his folk-songs and +his religion. The references are reproduced in their exact forms in order +that they may serve as an aid in the study of the verse contained in the +common songs of the negroes from the time of slavery to the present day. +Only the chief conceptions which have been portrayed in negro song are +here given; further analysis may be made in connection with the songs +themselves. The devil is prominent in the religious songs of the negroes. +He is the constant terror and proverbial enemy of the race. He is alive, +alert, and concrete. He represents the demon trickster incarnate in the +form of a man. He is the opposite of God but always less powerful. He is +the enemy against whom the battle is always on; it is a personal battle, +but he is usually outwitted or disappointed. Here are some pictures of +"Old Satan" as found in the songs of the slave and the negro of to-day:[3] + + Ef you want to see ole satan run, + Jes' fire off dat gospel gun. + + Ole satan is a liar an' conjurer, too, + An' if you don't mind he'll conjure you. + +Other forms are + + An' if you don't mind he'll cut you in two, + An' if you don't mind he'll cut you through. + + Ole satan lak a snake in the grass, + Always in some Christian's path, + +or + + If you don't mind he'll git you at las'. + + Ole satan weahs a mighty loose ole shoe, + If you don't min' gwine a slip it on you. + + Ole satan like dat hunting dog, + He hunt dem Christians home to God. + + O shout, shout, de debbil is about, + O shut yo' do' an' keep him out. + + All de debbils in hell can't pluck me out, + An' I wonder what satan's a grumblin' erbout, + He's boun' in hell an' can't get out, + But he shall be loose an' hab his way, + Yonder at de great reserection day. + + I went down de hillside to make a one prayer, + An' when I get dere ole satan wus dere, + O what you think he said to me? + Said, "Off frum here you better be." + + Old satan tole me to my face, + "I'll git you when a you leave this place;" + O brother dat scere me to my heart, + I was 'feared to walk a when it wus dark. + + I started home but I did pray, + An' I met ole satan on de way; + Ole satan made a one grab at me, + But he missed my soul an' I went free. + + I tell you brother you better not laugh, + Ole satan'll run you down his path, + If he runs you lak he run me, + You'll be glad to fall upon yo' knee. + + We shout so fas' de debbil look, + An' he gits away wid his cluven foot. + + Ole satan is mad an' I am glad, + He missed the soul he thought he had. + + What make ole satan hate me so? + 'Cause he got me once an' let me go. + + Ole satan tole me not to pray; + He want my soul at jedgement day. + + I wrestle wid satan and wrestle wid sin, + Stepped over hell an' come back agin. + + Ole satan tremble when he sees, + The weakest saint upon his knees. + + Go 'way satan I doan min' you; + You wonder, too, you can't come through? + + Oh brother, breth'ren, you better be engaged, + For de debbil he's out on a big rampage. + + I plucked one block out o' satan's wall, + I heard him stumble an' saw him fall. + + Ole satan thought he had me fas', + Broke his chain an I'm free at las'. + + I met ole satan in my way; + He say, young man, you too young to pray. + + The devil tries to throw down everything that's good, + He'd fix a way to confuse the righteous if he could, + Thanks be to God-er-mighty he can't be beguiled, + Ole satan will be done fighting after awhile. + +The negroes have many other phrases which they apply to satan and picture +him in other relations. "Ole satan is a mighty busy ole man, an' throw +rocks in my way." "What makes ole satan follow me so? Satan ain't got +nothin' fer to do with me." As a _busy man_ he also has his "shield and +sword", not only _gives_ trouble but _gets_ into trouble. Says the negro: +"I heard de debbil howlin' when I come out'n de wilderness an' I gib de +debbil battle." "Now stan' back, satan, an' let me go by ... why doan de +debbil let a me be?" "Ole satan mighty busy, he follow me night an' day. +Ole satan toss ball at me, he think the ball hit my soul, the ball for +hell an' me for heaven." "Ole satan gettin' in mighty rage", for "satan's +camp's afier." "Satan mount de iron gray hoss an' ride half way to pilot +bar." But "We'll shout ole satan's kingdom down, gwine a pull down satan's +kingdom, gwine a win ag'in de debbil." Victory is the negro's for he +exclaims: "I saw dem bindin' satan", and "I saw ole satan's kingdom +fallin'." But while satan is a great schemer and is very busy and "wash +his face in ashes", "put on leather apron", his greatest attribute is the +liar. The negro cannot give too insistent warning: + + When I got dere Cap'n satan wus dere. + Sayin' "Young man, dere's no use to pray, + For Jesus is daid an' God gone away." + An' I made 'im out a liar an' went on my way. + +With these pictures and warnings the negro song gives a final bit of +advice. "If you ain't got de grace ob God in yo' heart, den de debbil will +git you sho'", then the singer rests securely in the knowledge that _he_ +is filled with the grace that holds against the devil. + +"King Jesus" was the original name most commonly given to Christ in the +spirituals. Besides this He was the bosom friend of the negro. He comes in +to intercept satan and to save the individual from hell. He is very real +and no one is more vividly described than He. He bears many relations to +his people. + + Now my Jesus bein' so good an' kind, + My Jesus lowered his mercy down, + An' snatch me from de doors of hell, + An' took me in with him to dwell. + + Oh, Jesus tole you once befo' + To go in peace and sin no mo'. + + I heard o' my Jesus many one say, + Could move po' sinner's sins away. + + Den Jesus he come ridin' by, + Gib me wings to ride an' fly. + + Jesus Christ the first and las', + _No man wuks lak him_; + He built a platform in de air, + He meets de saints from eve'where. + + Virgin Mary had one son, + The cruel Jews had him hung. + + Me an' my Jesus goin' live at ease, + Me an' my Jesus goin' do as we please. + + If you want er die like Jesus died, + Fold yo' arms an' clasp yo' eyes. + + I tell you breth'ren an' I tell you twist, + My soul done anchored in Jesus Christ. + + Up on de hillside King Jesus spoke, + Out of his mouth come fire an' smoke. + + Yer say yo' Jesus set you free; + Why don't you let yo' neighbors be? + +Other shorter lines give equally concrete pictures and mention equally +definite attributes. + + You'll see my Jesus come to wake up de nations underground. + King Jesus died for every man. + An' de son He set me free. + I got my Jesus as well as you. + If you want to see Jesus go in de wilderness. + Gwine serve my Jesus till I die. + I call my Jesus king Emanuel. + He pluck my feet out'n de miry clay. + He sot dem on de firm rock of age. + Christ hab bought yo' liberty. + King Jesus' settin' in de kingdom. + De win' blow eas' an' de win' blow wes' from Jesus. + Oh yonder comes my Jesus, I know him by his shinin'. + Hear my Jesus when he call you? Hear my Jesus callin'? + I'm goin' to hebben where my Jesus dwell. + O I walk and talk with Jesus. + Jesus loosen de man frum under de groun'. + Jesus ain't comin' here to die no mo'. + The son of man he dunno where to lay his weary head. + + See what wonder Jesus done: + Jesus make dumb to speak. + Jesus make de cripple walk. + Jesus gib de blin' deir sight. + Jesus do mos' anything. + I want to do (or die) like Jesus. + Jesus stan' on de udder side Jordan. + Jesus settin' on de water side. + Jesus is our captain, Jesus got de hellum. + Jesus mount (ride) a milk-white hoss. + You had better follow Jesus. + Daddy Peter set out for Jesus. + Jesus will bring you milk an' honey. + Mas' Jesus is my bosom friend. + Gwine follow King Jesus, I really do believe. + King Jesus he was so strong, my Lord, till he jar down de walls ob hell. + Gwine to write to my Jesus. + King Jesus settin' in de heaven. + King Jesus on de mountain top. + O Jesus is a mighty man. Ride in kind Jesus, who set po' sinner free. + For Jesus came an' lock de do'. + De Jews kill po' Jesus. + Jesus call you--Jesus waitin'. + I wus los' in de wilderness; Jesus hand me de candle down. + Mas' Jesus gib me little broom fer to sweep my heart clean. + Jesus fed me when I was hungry, he clothed me when I was naked, he gave + me drink when I was dry. + Jesus rose an' flew away on Sunday morning. + Christ was there four thousand years ago, drinking of the wine. + Jesus he wore the starry crown. Did you see Jesus when he wore the + starry crown? + Jesus he wore long white robe. + King Jesus speaks an' de chariot stops. + King Jesus is the Rock. + Well did you say you love Jesus? + Jesus done bless my soul an' gone to glory. + Won't you ride on Jesus? O yes. + I look fer Jesus all o' my days. + Jesus is a listening all the day long. + +The scenes of the crucifixion seem to impress the negroes very forcibly +and their songs abound in references to His suffering. Some of these +expressions are full of feeling, and are touching in their sentiment. + + They nail my Jesus down + They put him on the crown of thorn (thorny crown). + O see my Jesus hangin' high! + He look so pale an' bleed so free: + O don't you think it was a shame, + He hung three hours in dreadful pain? + +Next to Jesus and often synonymous with Him is God. He is "My Lord", "My +God", "Lord God-er-mighty", and "king Jehobah", and represents the +personal God and the ruler of the world. + + Upon de mountain Jehobah spoke, + Out o' his mouth come fire an' smoke. + + My God a walkin' down hebbenly road, + Out o' his mouth come two edged sword. + + If yo' find yo' way to God, + The gospel highway mus' be trod. + + De father he look upon de Son an' smile, + De Son he look on me, + De Father redeem my soul from hell, + De Son he set me free. + + I'm a chile of God wid my soul set free. + For Christ hab bought my liberty. + + I'm goin' home fer to see my Lord. + My Lord did give me ease. + Ever since my Lord set me free. + I believe it for God he tole me so. + O my Lord's comin' ag'in, + It may be las' time. I don't know. + I goin' to do all I can fer my Lord; I goin' to mourn, pray, weep all I + can fer my Lord. + The Lord is a listenin' all the day long. + My Lord is a talkin (preachin') at de jedgement day. + De Lord goin' to wake up the dead. + My Lord come down wid de key an' unlock de jail house do'. + O, my Lord's a doctor in a weary lan'; + My Lord's a preachin' and teachin', and walkin' in a weary lan'. + My Lord calls me by the thunder; by the lightning. + Dat mus' be my Lord in the cloud. + + My Lord says there's room enough. + I'm goin' to tell God 'bout my trials. + Thank God-a-mighty, My God's been here. + When I talk I talk wid God. + + Gwine to chatter wid de Fadder. + My Fadder call an' I mus' go. + My righteous Lord shall fin' you out. + Look to de Lord wid a tender heart. + O de Lord He plant de garden dere and raise de fruit for you to eat. + O de Lord He comfort sinner. + God did go to Moses house an' tell him who He wus. + God an' Moses walked and talked an' God did sho' him who He wus. + + God sits in Heaven an' answers prayer. + I gwine tell God how you sarved me. + Look in my God's right hand. + His chariot wheels roll round. + God's goin' call dem chilluns frum de distant lan'. + My Lord's a-ridin' all the time. + De Lord has been here an' de love come tricklin' down. + Me an' my God goin' to walk an' talk. + O God don't talk lak a nat'ral man. + My Lord God-ermighty come a steppin' down, come a steppin' down on a sea + ob glass. + +_Heaven_ for the negro is an eternal resting place where he shall occupy +the best place. It is a place of glory and splendor in the material sense. +Nor does he think that he will fail to miss his home when he dies. _Hell_ +is a place for _thieves_ and _sinners_ and _liars_, but such persons are +far removed from him. His religion is the panacea for all evils and all +sins, and when he has the "love of God in his heart" nothing can doom him, +for has he not been "washed in the blood of the lamb?" and had not the +"blood done sign his name"? His ideas of heaven are those which his mind +naturally conceives of as applying to a home; his conclusions from the +Scriptures are not unusual. A few of the references to heaven will give a +better conception of the negro's reality and vividness of interpretation. + + I want to go to heaven when I die, + To shout salvation as I fly. + + You say yer aiming fer de skies, + Why don't yer quit yer tellin' lies. + + I hope I git dere bye an' bye, + To jine de number in de sky. + + When I git to heaven gwine to ease, ease, + Me an' my God goin' do as we please, + Settin' down side o' de holy Lamb. + + When I git to heaven goin set right down, + Gwin-er ask my Lord fer starry crown. + + Now wait till I gits my gospel shoes, + Gwin-er walk 'bout heaven an' carry de news. + + We'll walk up an' down dem golden streets, + We'll walk about Zion. + + Gwine sit in de kingdom, I raly do believe, where sabbaths have no end. + Look way in de heaven--hope I'll jine de band--Sittin' in de kingdom. + I done bin to heaven an' I done bin' tried. + Dere's a long white robe in de heaven for me, + Dere's a golden crown, golden harp, starry crown, silver slippers in + heaven for me I know. + O yes I'm gwine up to see my Lord; gwine all de way up to see my robe; O + de heaven is shinin', shinin'. + Gwine shout in hebben, gwine hab a big meetin'. + If you want to go to heaven come along wid me. + Take my flight up to de skies in de mornin'. + O de heaven gates are open. + Gwine up to heaven where my Jesus dwells. + My Jesus walkin' de hebbenly road. + De bell is ringin' in odder bright worl'. + If you touch one strin' de whole hebben ring. + De sun gib light in de hebben all round. + I wish I wus in de kingdom settin' side o' my Lord. + No more hard trial in de kingdom; no more tribulation, no more parting, + no more quarreling, backbiting in de kingdom, + No more sunshine fer to bu'n you; no more rain fer to wet you. + Ev'y day will be Sunday in heaven. + Sweet music in heaven jes beginning to roll. + Goin feast off'n milk an' honey. + +The negro does not dwell upon thoughts of hell as he does of heaven. Even +if he has "stepped over hell an' come back 'gain," he does not reveal so +much of its character. Some conceptions, however, are definite enough. + + O hell is deep an' hell is wide, + O hell ain't got no bottom or side. + + I'd rather pray myself away, + Than live in hell an' burn one day. + + O when I git to hebben, I'll be able to tell, + How I shunned dat dismal hell. + + Ev'y since my Lord done set me free, + Dis ole worl' bin a hell to me. + + When I come to find out I's on de road to hell, I fleed to Jesus. + +The negro song finds little satisfaction in his various ideas of hell. +"This ole world's a hell to me," says the negro; but "hell is a dark and +dismal place," so that the only immediate conclusion which he can reach +is that he must "shun de gates of hell" and make for the home beyond the +Jordan. + +A rich variety of references to scriptural characters is seen in the +majority of the negro spirituals, both of the past and of the present. The +negro portrays the conduct of heroes in the past with imaginative skill. +Their songs are often running-stories of scripture, in which the effort is +made to include as many characters as possible and at the same time draw +conclusions which have suitable morals, but these songs may be better +studied in the examples that follow. Some of the typical references to the +Scriptures will show the average interpretation given them by the negroes. + + O, sisters, can't you help me sing, + For Moses' sister did help him. + + Where wus Ezekiel when de church fell down? + Down in de valley wid his head hung down. + + Ezekiel said he spied de train a comin', + He got on board an' she never stop runnin'. + + God made Adam an' Adam wus first, + God made Adam out o' the dust o' the earth. + + Well God show Noah de rainbow sign, + No more water but fire nex' time. + + Mose live till he got old, + Buried in de mountain so I'm told. + + Mary wept and Martha mourned, + Jesus Christ laid de corner stone. + + Mary wore the golden chain, + Every link was in Jesus' name. + + Judas was a deceitful man-- + Well he betrayed the innercent lam'. + + John wrote a letter an' he wrote it in haste, + If yer want to go to heaven, you better make haste. + + John declar he saw a man, + Wid seben lamps in his right han'. + +The negroes wonder "wher's sister Mary, Martha, Brudder Moses, brudder +Daniel (and the others) gone." So, too, "Sister Hannah, Hagar, brudder +Moses" and the rest "took dey seat." And again, "Wondah whar good ole +Daniel, doubtin' Thomas, sinkin' Peter" and others. Moses "smote de water" +and the negro says: + + I want to go where Moses trod, + For Moses gone to de house o' God. + +Peter is commanded again and again to "go ring dem bells"; "Daddy Peter go +to Jesus", "Fisherman Peter out at sea", the latter perhaps being the +origin of "sinkin' Peter." Elijah is one of the favorites of the Old +Testament. "Elijah gwine ride in de chariot in de mornin'", and Isaiah who +"mounted on de wheel o' time" is a kindred character to Ezekiel and +Elijah. Jacob's ladder and struggle is vivid enough to be sung. "I'm gwine +climb up Jacob's ladder"; "Rastlin' Jacob, let me go." "Jacob tremblin' on +a limb." Noah's victory is the common theme. "Dey call Brudder Noah a +foolish man", but that makes no difference for "de Lord tole Noah fer to +build him ark", and "de ole ark a moverin." The negro remarks +characteristically: "God placed Adam in de garden, 'was 'bout de cool o' +day." Gabriel is proverbial and the attitude of the singer is always ready +"fer to hear Gabriel blow his horn." "Don't you hear Gabriel's trumpet in +de mornin'"? "Little David play on de harp" has been a shining example for +many another "David" who loved to blow on his harp. "Father Abraham +sittin' down side o' de holy Lamb", is almost synonymous with Christ. +Prominent among the clear impressions made by the Scriptures is that of +the delivery of Daniel, the Hebrew children and Jonah. However, one must +read the songs in order to get the full significance of the references. + +Although the negro bases everything in his religion upon the Bible, and +his songs and sermons and exhortations abound in quotations from the "Holy +word", he has comparatively little to say of the Bible itself as a book. +He thinks sometimes that it is a "cumpass" and also bases his convictions +on the truth of the Bible. He asks "How do you know? For my Bible hit tell +me so." + + For in dat Bible you will see. + Jesus died fer you an' me. + Matthew, Mark, Luke an' John + Tell me where my Master's gone. + + Go read de fifth of Matthew + An' read de chapter through, + It is de guide to Christians + An' tell 'em what to do. + + Now take yo' Bible an' read it through, + An' ev'y word you fin' is true. + +As the Bible is the _compass_, so sometimes the Holy Ghost is thought of +as the _pilot_. The Holy Ghost is too vague for the negroes to fathom and +is not tangible enough for their imaginations. But he says: "If this ain't +de holy Ghost I don't know", but goes little further. + +Just as the negro expects to talk and walk with God and Jesus, so he looks +forward to seeing the angels in Heaven. He wants to see them with their +white robes and hear them sing; he even says they mourn. "Bright angels +hoverin' on de water by de light", are but a part of the angel band which +he hopes to join. "Join de hebben wid de angels" is his watchword and by +it he sees in his child-like fancy all the beauties of ideal creatures. + + I'm gwine to keep a climbin' high, + Till I meet dem angels in de sky. + + Dem pooty angels I shall see-- + Why doan de debbil let a me be? + + O when I git to heaven goin' sit an' tell, + Three archangels gwine er ring dem bells. + + Two white angels come a walkin' down, + Long white robes an' starry crown. + + What's dat yonder dat I see? + Big tall angel comin' after me. + +The negro makes a terrible picture of the day of judgment. For him it +means everything that could possibly happen at the end of the world. It is +the destruction of the sinner and the glory of the righteous. Nor does he +hesitate to affirm that the Christian in heaven will shout amen to the +sinner's damnation. The sinner will see his mother and friends in heaven +while he is doomed to hell. It serves as a warning theme for the song more +than it indicates reality of thought. But here is a part of his picture: + + My Lord what a morning when de stars begin to fall, + You'll see de worl' on fire, + You'll see de moon a bleedin' an' + De moon will turn to blood, + Den you'll see de elements a meltin', + You'll see de stars a fallin', + O yes, de stars in de elements a fallin', + An' de moon drips way in blood, + When God goin' call dem childuns from de distant lan', + Den you see de coffins bustin', + Den you see de bones a creepin', + Den you see po' sinner risin', + Den you hear de tombstones crackin', + An' you see de graves a bustin', + Hell an' seas gwine give up their daid, + Den you see de forked lightenin', + Den you hear de rollin' thunder, + Earth shall reel an' totter, + Hell shall be uncapped, + De dragon be loosed, + Don't you hear them sinners cryin'? + +Such a scene vividly told of at a revival and sung to the associations of +the moment is too much for the average negro; the sinner cries for mercy +and turns to a Christian; the latter sings: "Fare you well po' sinner" and + + A mighty sea of glass mingled wid fier, + Good-bye, brother, I'm goin' higher. + +Along with the scenes which are associated with the resurrection and +judgment go the sadder strains of the "mourners"; "weepin' mournin', +cry'n'"--these will be much in evidence. A study of the songs that follow +will give some idea of the emotional nature of the themes and music. The +negroes sing sympathy. "Weepin' Mary, weep no mo'"--"Mary wept, Martha +cried", why can't they too? "Now ain't dis hard trial and tribulation?" He +sings often in his songs of hard times and trials. "When you see me," he +says, "pity me." "Nobody knows de trubble I seen" but "I boun' to leave +dis worl'; Fare you well, dere's a better day comin'." His prayers are +more pathetic than his songs; his appeals interpret the spirit of song and +of worship. But one would scarcely look for a more pathetic wail than that +of the negro who sings + + Sometimes I hangs my head an' cries, + But Jesus goin' to wipe my weep'n' eyes. + +If the negro loves to mourn and if his songs are full of sadness and +pathos, he also loves to shout and vigorously defends the right to shout +as much as he pleases. His songs have many "Hallelujahs" in them; many +notes of victory may be read in the songs of his choice. They often sing, +however, the songs which should be the most joyous in the same sad and +plaintive tone of the sadder ones. They forget the words. In many, +however, the shouting takes away any sadness and these livelier songs +voice the light and sensuous emotions equally as well as the more serious +ones tell of hardships. The negro maintains that always and everywhere, +"You'll hear the Christian shout." "De richest man I ever seed, his heart +was fill wid Jesus an' Holy Ghost." "I got de glory in my soul" he says +and + + I real'y do b'lieve widout a doubt, + Dat de church hab a mighty right to shout. + + I tell you what I lak de bes', + It is dem shoutin' Mefodes'. + +If the negro's mother and sister and father and preacher and the others, +as the songs put it, "died a shoutin'," why he is "goin' die shoutin' +too." + + Gwine hab happy meetin', + Gwine shout in hebben, + Gwine shout an' nebber tire, + O slap yo' han's chilluns, + O pat yo' feets chilluns, + I feels de spirit movin' + O now I'm gittin' happy. + +Of true love and devotion to God one finds little definite and concrete +expressions as compared with other themes. The negro is constantly +affirming his love for "his Jesus" and offering his eternal allegiance in +a general way. But in the average instance the testimony is subordinated +to some special word or phrase which receives the greater part of the +significance in the song. What does he mean when he asks: "Does yo' love +continue true?" or when he insists: "I wants to know, does you love yo' +Jesus?" The negroes are often heard to say that they want to do something +"for the Lord". In the same way they sing "I goin' to weep all I can for +my Lord, I goin' pray all I can for my Lord, I goin' do all I can for my +Lord." In each case the relation of the negro and his God are ideal and he +conceives of his own deeds as being, not the practical every-day life, but +as coming in the future when there will be nothing unpleasant about them. +It was doubted if the negro's ideas of God and Heaven and his relation to +them were truly expressed in his songs. A series of experiments were made +with negro children, wherein questions were answered by them at the time +they were given, others being carried to their homes or teachers. Their +ideas of hell and heaven, God and the angels are almost identical. Perhaps +some of them were gained from the songs; some of them were certainly not; +all seemed to agree with each other and with those of the race in a +remarkable way. + +Nature contributes something to the negro spirituals. Certain parts of +nature are symbolic and serve to convey the picture of a vivid imagination +as nothing else can do. The wonders of God and the terrors of the judgment +must be seen in their relation and effect upon the forces of nature. +Certain natural phenomena inspire awe and reverence; they add thus to the +conception of his religious fear. Other references to nature convey, as +they only could, pleasing features of life, hence of heaven and God. The +negro refers to the "break o' day", the "settin' o' the sun", the "cool o' +de evenin'" and each is very expressive. Morning and evening are common; +he prays in the evening perhaps; in the morning he is going to heaven. The +hillside, the mountain and mountain top, the valley, signify and typify +the experiences of the Christian of the past and present; the heavenly +breeze comes from the valley. The negro sees a paradise and a wilderness, +a sunshine and a storm. But + + Dere's a tree in paradise, + Christians call de tree ob life, + +and he faithfully believes "I specs to eat de fruit off'n dat tree". The +earth trembles and is jarred; the sky is "shook." The river is "chilly an' +cold, wide an' deep." The "rock" is better than the miry clay and "nebber +mind de sun--see how she run." The stars, moon, and world fall, bleed, and +burn. The thunder and the lightning are in the stormy cloud; Jesus may be, +too. Satan is a snake in the grass and a hunting dog. Young lambs and "de +sheep done know de road." The summer, spring, flowers and the field are +mentioned. The negro wishes he had wings like Noah's dove. He is sometimes +awed: + + I looked toward dat northern pole, + I seed black clouds of fire roll. + +With his vivid imagination the negro feels much of the thought expressed +in the folk-song. Thus sin and the sinner are intimately connected with +life and death, religion and repentance. How skillfully the songs express +the folk-feeling may better be inferred in the further analysis of the +following + + +_Types of Negro Spirituals._ + +An exact classification of negro songs, either as to subject-matter or as +to form, is scarcely possible. There is little unity of thought in their +content; their metres conform to no consistent standards. A single +favorite stanza, regardless of its meaning, is constantly being sung in a +dozen different songs. It is a distinct folk-song; and it matters little +to which one it belongs; it serves its purpose in any one of them. So in +the form of the verse, a single tune is adapted to lines that differ +widely in length; likewise a single line is not infrequently made to fit +into any tune that is desired. Again, no final version of any song can be +given. The lines are rarely sung in exactly the same form. There are +ordinarily as many versions of a line as there are combinations of the +words without spoiling the effect of the rhyme or emphatic word. The +stanzas have no order of sequence, but are sung as they occur in the mind +of the singer; a song does not have a standard number of stanzas, but the +length depends upon the time in which it is wanted to sing that particular +song. In the songs that follow the most common versions are given. In +giving the dialect no attempt is made at consistency; for the negro of the +present generation has no consistency of speech. He uses "the" and "de", +"them" and "dem", "gwine" and "goin'", "and" and "an'", together with many +other varied forms, which will be noted in a later chapter; nor does it +matter that each of the forms is used in the same line or stanza. In the +old songs that are here quoted for comparisons, the exact form of speech +in which they have been published is used. In the miscellaneous songs +gathered here and there, what may be called the average dialect is used. +The songs that form the basis of this work are those that are found among +the present-day negroes of the South; in many cases the corresponding song +of earlier days is given in order that a better study of the folk-songs +may be made and the many points of resemblance noted. In all instances the +_basis_ of the chapter is the _present-day song_, and these should not be +confused with those that have already been published. The words of the +chorus and refrain are italicized. Further particulars will be pointed out +in connection with the several songs. + +Perhaps no better beginning can be made towards general classification of +the religious songs of the negroes than by introducing some that combine +several characteristics, but still have a general theme predominating. Sin +is an important factor in the religious life of the negro and his songs +refer to it in many forms. The three general tones which pervade the theme +are: A note of victory over sin and the conception of it as being in the +past or belonging to some other person; the conception of sin as being +present and the singer as being in its grasp; and thirdly, the +"sinner-man" himself and warnings given him. The very popular song, "All +my Sins Done Taken Away" is typical of the first class mentioned above. +There is no reason why the stanzas given below should come in the order +presented, except that they are heard in this arrangement as much as in +any other. The stanzas consist of two rhymed lines with the refrain. +These, however, are usually extended to four, the first two and refrain +being sung slowly and in a more or less plaintive tone, while the +repetition of the same lines with the rhymed line and refrain are rapid +and joyous. The common version follows. + + I'm goin' to heaven an' I don't want ter stop, + Yes, I'm goin' to heaven an' I don't want ter stop, + _All o' my sins done taken away, taken away_; + I'm goin' to heaven an' I don't want ter stop, + An' I don't want ter be no stumblin' block, + _All my sins done taken away, taken away_. + +Instead of repeating the chorus line at the end of the first two lines +that are sung, the negroes often vary the song by repeating the last half +of the line, as in the following stanza: + + Well "M" for Mary, an' "P" for Paul, + Well "M" for Mary, an' "P" for Paul, + An' "P" for Paul; + Well "M" for Mary an' "P" for Paul. + "C" for Chris' who died for us all, + _All o' my sins done taken away, taken away_. + +The chorus is again varied from "all my sins" to "all o' my sins" or "all +of my sins," "done taken away," or "bin taken away," while the entire line +is sometimes changed in a single stanza. Sometimes it is sung as given +above; at other times the line goes: "All my sins done taken away, bin' +taken away," or omitting either "done" or "bin" it is sung equally well as +"All my sins taken away, taken away," while in the grand chorus at the +climax of song the chorus goes: + + _Yes all o' my sins bin taken away, + Yes all my sins done taken away,_ + + _Yes all o' my sins done taken away, + Yes all my sins done taken away, + Glory, glory to His name-e, + All my sins done taken away, taken away._ + +This last chorus may be repeated whenever the singers do not think of +words to fit in with the songs, although this is rarely necessary. The +following stanzas are sung in the same manner as those just given. + + If I had er died when I wus young, + I never would a had dis rist to run, + _All o' my sins done taken away, taken away_. + + Well you oughter bin dere to see de sight, + The peoples come runnin' both cullud an' white. + + My feet got wet in de midnight dew, + An' de mornin' star was a witness, too. + + If you doan b'leave I bin redeem, + Jes follow me down to Jordan stream. + + When a sinner see me it make him laugh, + Thank God-a-mighty, I'm free at las'. + + Mary wept an' Martha mourned, + Mary wept all 'round the throne. + + Mary wept an' Martha mourned, + All because deir brother done daid an' gone. + + Mary wept an' Martha cried, + All 'cause dey brother done gone an' died. + + I'm goin' to ride on de mornin' train, + All don't see me goin' ter hear me sing. + + I'm gwine to heaven on eagle's wing, + All don't see me goin' ter hear me sing. + + My mother's sick an' my father's daid, + Got nowhere to lay my weary head. + + I went down in de valley to pray, + My soul got happy an' I stayed all day. + +A number of other versions are common. Instead of "Mary wept all 'round +the throne" is sung "all 'round God's hebbenly throne." Instead of the +morning star as a witness the old songs have it "angels witness too." +Instead of in the valley, the old songs also had "on de mountain" and also +inserted "I didn't go dere to stay." This version is sung in some of the +songs still. "The Sabbath has no End" is the name of a favorite somewhat +similar to "All my sins done taken away." It has a number of forms for the +chorus. + + I went down in de valley, + I didn't go ter stay, + My little soul got happy + An' I like to a stayed all day. + + _I thought I had religion, I b'lieve + I thought I had religion, I b'lieve. + I thought I had religion, I b'lieve, + Dat Sabbath hath no end._ + + I wouldn't be a sinner, + Tell you de reason why-- + Feard de good Lord might call me, + An I wouldn't be ready ter die. + + _Gwine rock trubbel over, I b'lieve, + Rock trubbel over, I b'lieve, + Rock trubbel over, I b'lieve, + Dat Sabbath has no end._ + + Ole Satan's mighty busy, + Fixin' up his snares, + He'll ketch all dem mourners, + If dey don't keep deir prayers. + + _Yer better get ready, I b'lieve + Yer better get ready, I b'lieve, + Yer better get ready, I b'lieve, + Dat Sabbath has no end._ + +The singer is a little more definite in his convictions in "I am de light +uv de Worl'". He is no longer a sinner and looks forward to the time when +he will "cross de ribber." + + _Hallaluyer, good Lord, + I am de light uv de worl', + Halleluyer, good Lord, + I am de light uv de worl'._ + + Ever since my Lord done sot me free, + Dis ole worl' bin a hell to me, + _I am de light uv de worl'_. + + I looked toward dat Northern pole, + I seed black clouds of fier roll, + _I am de light uv de worl'_. + + _I gwine 'clare de word, + I am de light uv de worl', + I'm gwine 'clar de word, + I am de light uv de worl'._ + + Der ain't but one train on dis track, + Goes straight to heaven an' run right back. + _I am de light uv de worl'._ + + _Ever since I bin in de worl', + I am de light uv de worl', + Ever since I been in de worl', + I am de light uv de worl'._ + + When I cross Jordan I'll be free, + Gwine a slip an' slide dem golden streets, + _I am de light uv de worl'_. + + _'Way up in de kingdom, Lord, + I am de light uv de worl', + 'Way up in de kingdom, Lord, + I am de light uv de worl'._ + +The negro is not troubled because he cannot see his Lord; he has heard Him +speak and believes that He has gone "on to glory." His personal relation +with Jesus is satisfactory and he sings His praises often as he tells of +his own experiences. Says he: + + One day, one day, while walkin' along, + _Jesus done bless my soul_; + I heard a voice an' saw no one, + _Jesus done bless my soul_. + + O go an' tell it on de mountain, + _Jesus done bless my soul_; + O go an' tell it in de valley, + _Jesus done bless my soul_. + + He done bless my soul an' gone on to glory, Good Lord, + _Jesus done bless my soul_; + Done bin here an' bless my soul an' gone on to glory. + _Jesus done bless my soul._ + +In one of the old plantation songs a similar idea is given of the +blessing, but in a different version. + + One day when I wus walkin' along, Oh yes, Lord, + De element opened, an' de Love came down, Oh yes, Lord, + I never shall forget dat day, Oh yes, Lord, + When Jesus washed my sins away, Oh yes, Lord. + +Another chorus inquired: "O brothers where were you? O sisters where were +you? O sinners, O Christians, O mourners, etc., where were you?" for "My +good Lord's bin here, bin here, bin here; My good Lord's bin here, An' he +blessed my soul an' gone." So the negro exhorters often conclude their +services, saying that the Lord has been to the meeting and gone. Said one +deacon who was exhorting for a large collection: "De good Lord's done bin +with us to-night--I knows he has, done been here an' gone, an' now we +wants to git down to bizness, I wants some money." + +Again, the negro fresh and enthusiastic from his religious experience and +having "come through" sings with some relief: + + I have been tryin a great long while, + _Lord, I jus' got over on yo' side_. + + _Lord, I jus' got over-er, + Lord, I jus' got over, + Lord, I jus' got over-er, + I jus' got over on yo' side._ + + I pray'd an' I pray till I come over, + _Lord, I jus' got over on yo' side_. + +So also he "weeps" and he "mourns" and "cries" till he "gets over on the +Lawd's side." Then he sings "O de sunshine," + + O the sunshine, O the sunshine, + O sunshine in my soul this mornin', + Yes the sunshine, the sunshine, + Yes sun shine in my soul. + + Down in the valley, down on my knees, + _Sunshine in my soul_, + There I met that heavenly breeze, + _Sunshine in my soul_. + + Ole devil like a snake in the grass, + _Sunshine in my soul_, + He's always in some sister's path, + _Sunshine in my soul_. + +While the song is also sung at times with more dialect, it lends itself +more readily to the above form. Very much mixed and somewhat similar to +those already given is "Bless the Name." + + I've got to go to judgment, I don't know how soon, + _Lord bless the name, Lord bless the name_, + I've got to go to judgment to hear my sins, + _Lord bless the name, Lord bless the name_. + + My Jesus fed me when I's hungry, gave me drink when I's dry, + _Lord bless the name, Lord bless the name_, + My Jesus clothed me when I was naked, + _Lord bless the name, Lord bless the name_. + +In the same song and with the same tune are sung the shorter lines that +follow. The chorus is often sung "Lor' bless the name", and is a form of +the phrase "Bless the name of the Lord." It is used as a refrain after +each line or it may be omitted. + + Mary wept and Martha mourned, + _Lord bless the name, Lord bless the name_, + Jesus Chris' laid the corner of stone, + _Lord bless the name, Lord bless the name_. + + Mary wore the golden chain, + Every link was in Jesus' name. + + You may talk about me just as you please, + I'll talk about you when I git on my knees. + + God made man an' man was sure, + There was no sin an' his heart was pure. + + God made Adam an' Adam was first, + God made Adam out o' the dust o' the earth. + +The old slave songs also had other interpretations of man's creation which +differ slightly in particular from the last stanza quoted. One form occurs +in + + God made man an' he made him out o' clay, + _Settin' on de golden altar_, + An' he put him on de earth but he did not stay, + _Settin' on de golden altar_. + +A favorite chorus for the old spiritual was: "_What you gwine do when de +lamp burns down?_" So there was also another version of the weeping of +Mary and Martha: + + Mary wept an' Martha cried, + To see deir Saviour crucified, + Weepin' Mary weep no mo', + Jesus say he gone befo'. + +It proves an interesting task to follow the development and changes in a +song that has survived from slavery days. In "Free, free my Lord", one of +the verses was quite a puzzle. During the recent summer the following +stanza was heard: + + The moon come down like a piper's stem, + The sun 'fuse to shine, + An' ev'y star disappear, + King Jesus set me free. + +Inquiry was made in order to see if the words had not been misunderstood. +The older negroes gave this version and insisted that it was correct, but +none of them could explain what it meant. It was thought that perhaps it +was a figure applied to the moon's rays or that the loss of the sun might +have meant the peculiar appearance of the moon. Anyway, they maintained, +this was the "way we got de song an' guess it must be right." The words of +the original song were, + + The moon run down in purple stream, + The sun forbear to shine, + An' ev'y star disappear, + King Jesus shall be mine, + +of which there seemed to be several versions. Other verses that are found +to-day are: + + As I went down in de valley one day, + I fell upon my knees, + I begged and cried fer pardon, + The Lord did give me ease. + + _Free, free, my Lord, + Free, free, my Lord, + Free, free, my Lord, + To march de heaven's highway._ + + The Lord called Moses, + Moses refuse to answer, + + _Free, free_, etc. + + My mother look at de son an' smile, + My Father look at me, + My mother turn my soul from hell, + King Jesus set me free, + +is an unusual variation and interpretation of the old song; just how and +when the negro inserted the idea of mother would be difficult to +ascertain; perhaps it came from "master," or more likely it was introduced +by them while they interpreted _father_ and _son_ as names of the ordinary +members of a human family. The original form seems to have been, + + De Father, he looked on de Son and smiled, + De Son, he looked on me; + De Father, he redeemed my soul from hell; + An' de Son, he set me free. + +The chorus, too, has been much confused and is given as "_Children light +on dat cross, God bless you forever mo'_." The song is not a common one +among the negroes and is not known, apparently, among the younger ones. In +contrast with this favorite of the older negroes may be given a favorite +of the younger generation, "Glad I got religion." The repetition +represents pretty well the relative depth of the feeling which the convert +feels. But he loves to sing it for its pleasing sound and for the faith it +gives him in his own religious state. The song is a long and continued +chorus and may well be taken as a type of the song which reflects the +negro's feeling of immunity from sin. + + I'm so glad, so glad; I'm so glad, so glad, + Glad I _got religion_, so glad, + Glad I _got religion_, so glad. + + I'm so glad, so glad; I'm so glad, so glad, + I'm _glad all over_, so glad, + I'm _glad all over_, so glad. + + I'm so glad, so glad; I'm so glad, so glad, + Glad I bin' _changed_, so glad. + Glad I bin' _changed_, so glad. + +And so he continues singing; he is glad that he is _goin' to heaven_, he +is glad that he is _not a sinner_, glad he has been _set free_, and many +other such states. Then when he has finished he begins all over again, if +he wishes and sings: "Sister, ain't you glad? Brother, ain't you glad?" +and goes through with as many of these as he wishes, _preacher_, +_mourner_, _auntie_, and the others. + +The "sinner-man" is the theme for many verses of the negro favorites. +Directed at him are warnings and admonitions. He is told what he must do +and when; how he must do and why. He is told of the experiences of the +Christians and he is told of the doom of the damned. The negro rejoices +over his own safety and boasts of the sinner's destruction; at the same +time he constantly refers to the "po' sinner" in a sympathetic way. But +the sinner must be warned: + + _God knows it's time, it's time, it's time, + That a sinner was makin' up his min' + It's time, it's time he was makin' up his min' to die._ + + A sinner was walkin' off his time, his time, + An' when my God call him he did not have the _time_, + God know it was time, it was time, it was time for him to die. + +Again the words of the righteous to the sinner are driven home by +repetition, and, by a dark and dismal picture, + + O hell is deep an' hell is wide, + O hell is deep an' hell is wide, + O hell is deep an' hell is wide, + O hell ain't got no bottom or side. + + Well before I lay in hell all day, hell all day, + Well before I lay in hell all day, hell all day, + Well before I lay in hell all day, hell all day, + I goin' to sing an' pray myself away, self away. + + O sinner don't you let this harves' pass, harves' pass, + O sinner don't you let this harves' pass, harves' pass, + O sinner don't you let this harves' pass, harves' pass, + Do you die an' got to hell at las', hell at las'. + +The sinner may be a _gambler_ or a _dancer_ or a _rogue_ or a _drunkard_. +But each name has the same signification in the religious phraseology of +the negro song. There are various ways of _repenting_ and of _serving the +Lord_ just as there are as many ways of offending and sinning against him. +"Workin' on the Building" appeals to the average negro. + + If I wus a sinner man, I tell you what I'd do, + I'd lay down all my sinful ways an' work on the building, too. + + _I'm workin' on the building fer my Lord, + Fer my Lord, fer my Lord, + I'm workin' on the building fer my Lord, + I'm workin' on the building, too._ + + If I wus a gamblin' man, I tell you what I'd do, + I'd lay down all my gamblin', an' work on the building, too. + + If I was a ho-munger, I tell you what I'd do, + I'd lay down all my munglin' and work on the building, too. + +And so he sings for the _dancer_ and the _drunkard_ and the "_cussin' +man_." So in another song the negro sings of the _sinners_ and _mourners_. + + If I wus a mourner jus' like you, + 'u-m-u', + I'd go to church an' try to come thru', + 'um-u'. + + When I was a mourner, um-u', jus' lak you, + I prayed an' prayed till I come thru, um-u'. + + Upon de mountain King Jesus spoke, um-u', + Out of his mouth come fier an smoke, um-u'. + Now mourner won't you please come on, um-u', + An' join us in that heavenly lan', um-u'. + +In the "Downward road is crowded" a mournful picture is given of the +sinner who failed to repent. His example is held up for the contemplation +of those who are following in his steps. + + Young people who delight in sin, + I tell you what I lately seen, + A po' godless sinner die, + An' he said: "In hell I soon'll lie." + + _Hark, the downward road is crowded, crowded, crowded, + Yes the downward road is crowded with onbelievin' souls._ + + He call his mother to his bed, + An' these is the dyin' words he said, + Mother, mother, I long farewell, + Your wicked son is damned in hell. + + He dance an' play hisself away, + An' still put off his dyin' day, + Until at las' ole death was sent, + An' it 'us too late fer him to repent. + +They also sing of _mother_ and _sister_ being called to the bedside. The +old plantation song of the same name had a similar chorus but the stanzas +were quite different. + + When I wus a sinner, + I loved my distance well, + But when I come to fin' myself, + I was hangin' over hell. + + Ole Satan's might busy, + He follers me night an' day, + An' every where I 'pinted, + Dere's something in my way. + +The Lord will come to judge the world and _wake up the dead_. It is the +supreme ambition of the singer to be ready to meet his Lord when He comes. +Just what form the Lord will take the negro does not say; perhaps it will +be in a _cloud_ or _fire_ or He will come as in the days of Moses. "My +Lord's comin' again" gives a general conception. + + _O my Lord's comin' again, + O my Lord's comin' again, + (Talk about it:) + Yes my Lord's comin' again, + It may be las' time, I don't know._ + + Well he's comin' to judge the worl', + Well he's comin' to judge the worl', + (_Talk about it_:) + Yes my Lord's comin' to judge the worl', + It may be las' time, I don't know. + + Well you had better put off lyin' shoes, + Well you better put off lyin' shoes, + (_Talk about it_:) + Better put off lyin' shoes, + For it may be las' time, I don't know. + +And so he sings "Better put off _dancin'_ shoes", "better put off +_gamblin'_ shoes". For the sinner's shoes will not be suitable to "walk on +the cross". He sings: "God's goin' to wake up the Dead" and makes a +beautiful melody out of the simple repetition. + + _Goin' to wake up the dead, + Goin' to wake up the dead, + God goin' to wake up the dead, + Who's a sleepin' in the grave, + God is goin' to wake up the dead._ + You had better min' my brother how you walk on the cross, + _God's goin' to wake up the dead_; + If yo' right foot slip, then yo' soul be los' + _God goin' wake up the dead_. + +Then "you better min' my _sister_, my _brother_, my _mother_, my +_preacher_" are sung. The old song contained words similar to the lines +just given, with the chorus: "_De young lambs mus' fin' de way_": + + My brudder better mind how you walk on de cross, + For yo' foot might slip an' yo' soul git lost, + + Better mind dat sun, and see how she run, + An' mind don't let her catch ye wid yer works undone. + +But the sinner sometimes gets confused, it would seem; sometimes he heeds +the preacher's warnings, sometimes he scoffs at them. Often he does not +hear them. More rarely he inquires into conditions. In the lines which +follow the negroes make each a stanza, repeating three times. It perhaps +represents the retort of the "_sinner man_." + + Some goin' thru' Jordan, some tryin' to go 'round. + The Mef'dis' they say sprinklin', de Baptis say' baptize. + Now Lord the sinner man so hard to believe, + Now Lord sinner man want you to show him de way + +But the sinner gets little reply to his inquiries. "Time is comin' when +sinner mus' die" and there is none so pitiable as the lost sinner. + + _Sinner, die, sinner die, + Sinner dies wid his head hung down, + Sinner die, sinner die, + Sinner die in de midnight dew._ + + _Sinner die, sinner die, + Sinner die, with achin' heart, + Sinner die, sinner die, + Sinner die with weary min'._ + + Stump'ty up an' stump'ty down, + Time is comin' when sinner mus' die, + _Hurry home, hurry home_; + Time is a comin' sinner mus' die. + Don't you let that sinner change yo' min', + Time is comin' sinner mus' die. + _Hurry home, hurry home_; + Time is comin' sinner mus' die. + +The plantation song of some years ago, sometimes called "O sinner, you +better get ready", had the same line refrain, "Time is a comin' dat sinner +mus' die." The repetition of "sinner die", is a new addition. In the old +song were lines similar to those quoted: + + O sinner man you better pray, + For it look a like judgment every day. + + I heard a lumb'ring in de sky, + Dat make a me tink my time was nigh. + + I heard of my Jesus a many one say, + Could 'move poor sinner's sins away. + + Yes, I'd rather pray myself away, + Dan to lie in hell an' burn a one day. + + I think I heard my mother say-- + 'Twas a pretty thing to serve the Lord. + + O when I git to heaven I'll be able fer to tell, + O how I shun dat dismal hell. + +In addition to the line-refrain which was sung after each line of the +song, an additional chorus followed at intervals; this chorus had "ready +my Lord" where the new one has a short line, "Hurry home". + + _Oh, sinner, you'd better get ready, ready my Lord, + Oh, sinner, you'd better get ready._ + +An interesting type of song is that in which an imaginary conversation is +carried on between two parties. If the song is correctly rendered the +leader or one part of the chorus sing the first part or take the words of +one of the speakers, while the other chorus take up the other speaker's +words. Both then join in the grand refrain, which in the following song is +"Lord, I'm on my way". + + Sinner, what you goin' to do + _When de devil git you?_ + What you goin' do + _When de devil git you?_ + What you goin' do + _When de devil git you?_ + _Lord, I'm on my way._ + + I'm goin' run to the rocks. + _Well, they can't hide you._ + Goin' run to the rocks-- + _They can't hide you_; + Run to the rocks, + _Well, they can't hide you, + Lord, I'm on my way_. + + _I'm goin'_ to run to the water; + _An' water goin' to cry "fire"_, + Goin' to run to the water, + _An' water cry "fire"_, + Run to the water, + _An' water cry "fire"_, + _Lord, I'm on my way._ + +And so the sinner will then "run to the mountain," and "De mountain fly +open" or "De mountain cry mercy." The sinner must needs be hopeless at his +death and there is neither mercy nor pity for him. It is the idea of the +negro that at the great day "we won't be bothered with them any mo'". A +sad picture he makes of the poor, and forsaken man who dies "with achin' +heart", with "weary min'", and with his "head hung down". Consequently it +is not surprising to find appeals of all sorts made to the sinner man; now +he is told of his doom, now of possible salvation, now of the joys of +being saved, now of immediate satisfaction. Sung like the above song is +"Come, sinner, come". + + Won't you come, won't you come? + _Come, sinner, come_; + Great day of wrath is comin', + _Come, sinner, come_. + + Look over yonder what I see; + _Come, sinner, come_; + Two tall angels comin' after me, + _Come, sinner, come_. + +In the same manner he sings, "Won't you come an' see yo' Lord?" and "Ole +Satan like a snake in de grass, Always in some sister's path," "Ole Satan +weahs mighty loose ole shoe, Ef you don't min' gwine slip it on you". "Up +on hill side King Jesus spoke, Out of his mouth come fier an' smoke", +"Down in de valley, down on my knees, Ask de Lord to save me if He +please", and others. The plantation song asked, + + O whar you runnin', sinner? + _I do love de Lord_; + De Judgment day is comin', + _I do love de Lord_; + + You'll see de worl' on fire, + _I do love de Lord_; + You'll see de element a meltin', + _I do love de Lord_. + +Besides these stanzas there were sung the various other warnings such as +have been given in the idea of Judgment and Resurrection already noted. In +the old slave song the sinner asks: + + My Lord, My Lord, what shall I do? + _An' heaven bell ring an' praise God._ + + What shall I do for hiding place? + I run to de sea but de sea run dry. + I run to de gate but de gate shut fast. + No hiding place for sinner dere. + For I am gone an' sent to hell. + +Instead of the regular refrain which is sung by the chorus of voices in +response to a line by the leader, the negroes often respond with "um-m'" +in a general mingling of chant, humming, and "amens". For the most part +they do this with closed lips; the volume is surprisingly strong, however, +and makes a stirring effect. The meaning of the expression is something +like "Yes?" or "Of course, we know it is true" or "Sure, you talkin' +brother". The singer says: "I look for Jesus all my days", and the chorus +answers, "_um-u'_" and he then continues, + + An' when I found him this is what he said, + _um-u'_ + Yo' sin forgiven an' you soul set free, + _um-u'_ + + _I pray all night, an' I pray all day, um-u' um-u', + Then my Lord taken my sins away, um-u', um-u'._ + + Nex' day, nex' day while walkin' along, um-u', um-u', + I heard a voice an' saw no one, um-u', um-u', + It said, sinner man, you better come home, um-u', um-u'. + + One day I was walkin' long dat lonesome road, um-u', um-u', + King Jesus spoke unto me an' lifted off dat load, um-u'. + +Again, "Brother, you'd Better be a Prayin'", while mostly repetition makes +a long song when sung to its limit. "_Sister_", "_Sinner_", +"_Backslider_", "_Mourner_", "_Children_", each serves to make a complete +stanza of eight lines: + + Brother you'd better be a prayin', + Brother, you'd better be a prayin', + My brother, you'd better be a prayin', + An' I'll be carried above, + An' I'll be carried above, + An' I'll be carried above, + I'll see king Jesus in his reign, + An' I'll be carried above. + +The chorus song, "Wheel in middle of Wheel" is most likely a variation of +the old song "Wheel in a wheel" which was "run by _love_, by _faith_," and +was sometimes conceived as a chariot wheel upon which "gwine take a ride, +On de chariot wheel", for "de chariot's comin', O my Lord". Sometimes the +wheel was conceived as being a "Little wheel a-turnin' in my heart", in +which case it signified some sort of feeling. The phrase means nothing +more than a chorus in the present-day song. + + O sinner man, how can it be? + _Wheel in de middle of wheel_, + If you don't serve God, you can't serve me, + _Wheel in de middle of wheel_. + + _In the wheel, in the wheel, + Wheel in de middle of wheel, + In the wheel, in the wheel, + Wheel in the middle of wheel._ + + Well don't you know it's prayin' time? + _Wheel in middle of wheel_; + Lay down yo' way an' go to God, + _Wheel in middle of wheel_. + + Well don't you know it's mournin' time? + _Wheel in middle of wheel_; + He'll hear yo' prayers an' sanctify, + _Wheel in middle of wheel_. + +Jesus and God are represented as "Listenin' all the day long", and the +sinner is directed to pray. The plantation songs called to him: "Where you +goin' sinner? O come back, don't go dat way." And one of the singers +affirmed that "about the break o' day" his sins were forgiven and "his +soul set free." The song "Jesus is a listenin'" seems at some time to have +been considerably corrupted. The negroes have sung it: "_I've_ been a +listenin' all day long, and all night long, to hear some sinner pray." +However, the correct version now seems to be: + + Jesus is a listenin' all the day long, + He keep listenin' all the day long, + He keep listenin' all the day long, + For to hear some sinner pray. + + If I was a sinner I would please him, + I would pray an' pray a day, + An' when I got to heaven, + So he could say he heard me pray. + +But in "Bear yo' Burden, sinner", another version is given of the same +idea. This song is a popular one, while the figures used give a definite +conviction. + + The Lord is a listenin' all the day long, + _Bear yo' burden sinner_, + If you will only pray, he will bear you on, + _Bear yo' burden in the heat o' the day_. + + _Bear yo' burden, sinner, + Bear yo' burden, sinner, + Bear yo' burden in the heat o' the day._ + + I'm goin' home fer to see my Lord, + _Bear yo' burden, sinner_, + An' don't you wish you could go 'long, + _Bear yo' burden, let in the heat_. + + The way to bear yo' burden is to get down on yo' knees, + _Bear yo' burden, sinner, let in the heat_, + Ask God to forgive you if you please, + _Bear yo' burden in the heat of the day_. + +This last stanza is an improvisation made by a young negro of some +twenty-five years, although he claimed that it belonged to the song that +was regularly sung, maintaining that they only forgot to sing it in the +church on that special occasion. "True Religion" gives one view of the +requisites of him who will be saved. The song is based in form on a +current secular song, and belongs to the class of colloquies. + + Well you must have that true religion, + You must have true religion an' yo' soul converted, + You must have that true religion. + _Or you can't cross there._ + + Where are you goin', sinner, + Where are you goin', I say? + I goin' down to de river of Jorden, + _An' you can't cross dere_. + +He continues, "Where are you goin' _gambler, backslider, drunkard, liar, +hypocrite?_" and answers each with, "An' you can't cross there," while the +entire chorus, "You must have that true religion," is often repeated after +each. The sinner is asked still other questions, one of which is given in +the song "Waitin'". + + Why does you tarry, sinner, + Why does you wait so long? + For my Lord is a waitin', + Why don't you come to His call? + + _He is waitin', Lord, + He is waitin', Lord, + He is a-waitin' fer the good Lord, + To come, My Lord._ + + But when my Lord get here, + You want have time to pray at all, + For he is goin' to judge you, + An' hell you be bound. + +The negro preacher often rebukes his flock for talking about each other in +uncomplimentary terms. Sometimes the "sisters" who do not like the +preacher retort variously, "I heard you talkin 'bout So and So, you know I +did" or "We gwine talk 'bout you," or "Yes, you knows it." Slander and +gossip are fast runners and the average negro assumes that somebody is +talking about him or something which he has done. Out of this has grown +the song "Talk about me" and others. + + _Yes, I know you goin' talk 'bout me, + Yes, I know you goin' talk 'bout me,_ + + _For you talk 'bout my father when he's on his knees a prayin', + An' I know you goin' talk 'bout me._ + +So likewise he sings "I know you're goin talk about me" because "you talk +about my mother when she's on her bed a-dyin'"; he actually sings +_father_, _brother_, _mother_, _sister_, _mourner_, _preacher_, to both +"on his knees a prayin'", and "on bed a dyin'." A very popular stanza +which is regularly sung in a number of songs goes: "You may talk about me +just as you please, I'm goin' to talk about you when I git on my knees." + +The old slave and plantation song asked: "Who'll jine de Union?" saying, +"Say, ef you belong to de union ban', den here's my heart an' here's my +hand." There have been societies known as "The Union" or "Union Band" both +in the church and outside. The name "Union" itself is a favorite one among +the negro societies and organizations. It was thought in the old days that +a union band would march to heaven and that these only would be enabled to +reach the destination. It is almost certain that a number of references in +their songs referred to the Union army in and after the war. However, the +exact origin of the song as it is now sung has not been found, but appears +to be a general corruption of several old songs. + + _Get in the Union, Jesus is a listenin', + Get in the Union, Jesus die. + Well, won't you get in the Union? + Jesus is a listenin', Jesus die._ + + Where was Ezekiel when the church fell down? + Down in de valley wid his head hung down. + + Hypocrite, hypocrite, God do despise, + Tongue so keen till he will tell lies. + + Upon the mountain Jehober spoke, + Out of his mouth come fier an' smoke. + +With this chorus are sung also as already given, "Satan, the snake in the +grass", "Ole satan weah mighty loose ole shoe", etc. The "Hallelujah" so +common among the old songs is less frequently heard now: it will be found +to some degree in the shouting songs and songs of heaven. + +Not the least among the warnings to the sinner were to be reckoned the +times when "Gable" should blow his horn. "Gable" has been proverbial among +the negroes; Gabriel and the trumpet are, however, significant in the same +way among the whites in vulgar reference. Many ideas of "Gable's" trumpet +have appeared in the negro songs. Sometimes it is "blow louder, Gable." +"How loud mus' I blow?" Reference has already been made to these lines. +The song "Blow, Gable, blow" has changed considerably from the old +plantation songs of the same name. + + Blow Gable, at the judgment, + Blow Gable, at the judgment bar. + For my God is a talkin' at the judgment, + For my God is a talkin' at the judgment bar. + + Now won't you blow Gable at the judgment? + For my God is a preachin' at the judgment bar. + + Now won't you blow Gable at the judgment bar? + Well, I'm goin' to meet my preacher at the judgment bar. + +In the same manner, making a four-line stanza of each one, are sung, +"Goin' to meet brother, mother, sister, etc.", and also "My God is a +walkin', tryin', etc.," at the judgment bar. So, too, it is "_prayin'_ +time, _mournin'_ time, _singin'_ time, _shoutin'_ time, _tryin'_ time, +etc., at the judgment bar." This song may be given as the last one of the +class peculiar to warnings and admonitions to sinners. It closes with +still other verses that give vivid pictures of the judgment bar. + + Well, sinners, keep a prayin' at the judgment bar. + Well, it's too late to pray at the judgment bar. + Why didn't you take heed at the judgment? + Some come crippled at judgment. + Oh, I look fer my mother, brother, sister, at de judgment. + +Both the sinner and the seeker has a "hard time" during some time in his +experience. The duties of everyday life, too, often seem hard. Now on his +knees, now shouting, now sorrowful and now glad, the negro comes from +"hanging over hell" to die and "set by de Fadder's side." The average +negro appears to pity himself, and his song intensifies the feeling. The +songs that follow may be classed as those that give the state of +uncertainty and doubt, together with pity mingled now and then with the +note of triumph. In "Oh, what a hard time", _sisters_, _brothers_, +_children_, _preachers_, _seekers_--all have the same difficulties. + + _Oh, what a hard time, Oh, what a hard time, + Oh, what a hard time--All God's children have a hard time._ + Oh, what a hard time, oh, what a hard time, + Oh, what a hard time, my Lord had a hard time, too. + +So in another division will be given the song "My Trouble is Hard", the +idea of which seems to be derived from the old plantation songs, though +the new song is entirely different from the old ones. The plantation +negroes used to sing "Nobody knows the trouble I've seen", in which they +were "sometimes up, sometimes down, sometimes almost to de groun'." Others +sung it "Nobody knows the trouble I see, or I've had", and asked: +"Brother, sister, preacher, will you pray for me?" In the same pathetic +tone the "Sinner man" gives another phase of the feeling. + + My mother' n yo' mother both daid an' gone, + My mother' n yo' mother both daid an' gone, + My mother' n yo' mother both daid an' gone, + Po' sinner man he so hard to believe. + + My folks an' yo' folks both daid an' gone, + Po' sinner man he so hard to believe. + + My brother 'n yo' brother both daid an' gone, + Po' sinner man he so hard to believe. + +In the same way "my sister", etc., completes the song, with favorite +lines, "Down in de valley", "Upon mountain Jehober spoke", etc., being +inserted as often as they desire. "Hanging over hell" gives more intensity +to the feeling of the sinner. He says: + + _When I wus hangin' over hell, over hell, + When I wus hangin' over hell, over hell, + Well, I had no one to pity poor me, poor me._ + + Well, my mother sick an' my father daid, father daid, + Well, my mother sick an' my father daid, father daid, + Well, I ain't got no one to pity poor me, poor me. + + Well, I ain't got no one to pray for me, to pray for me. + + I ain't got no one to feel for me, feel for me. + +Likewise he has no one to "_cry_" for him, to "_mourn_" or to "_care_" for +him. It will be noticed that the negroes insert the word "well" +frequently. There is no regularity or rule for its use; it apparently +gives the song a more plastic turn and makes it seem more conversational. +In some of their songs they insert in the same way, "says", and "er", "a", +"an", at will. The _struggle_ is well represented by the song "Keep +inchin' along", which was also common in the old plantation melodies; the +chorus is the same, while the words are entirely different from the older +song. + + _Keep er-inchin' erlong, keep er-inchin erlong, + Jesus'll come bye'm bye, + Keep er-inchin', keep er-inchin erlong, + Jesus'll come bye'm bye._ + + De road is rocky here below, + _But Jesus'll come bye'm bye_, + But Jesus leads me as I go, + _Jesus'll come bye'm bye_. + + Sometimes I hangs my head an' cries, + _But Jesus'll come bye'm bye_. + An' He gwi' wipe mer weepin' eyes, + _But Jesus'll come bye'm bye_. + + Uh, run 'long mourner an' git yo' crown, + By yo' Father's side set down. + + I'm glad that I'm bo'n ter die, + Frum trouble here my soul gwi' fly. + +In the same hopeful strain the negro sings "Boun' ter cross Jord'n in dat +Mornin'," which has a large number of stanzas, none of which have any +similarity of meaning to the general theme. + + Yonder come er sister all dressed in black, + She look lak er hipercrit jes' got back, + _I'm boun' ter cross Jord'n in dat mornin'_. + + _Cross me over, + Great Jehover, + My Lord, I'm boun' ter cross Jord'n in dat mornin'._ + + See dat Christian on his knees, + He's gwin' ter cross dem jasper seas, + _I'm boun' ter cross Jord'n in dat mornin'_. + + Swing low chariots in er line, + Carry me ter glory in due time, + _I'm boun' ter cross Jord'n in dat mornin'_. + + Ain't but the one thing grieve my min' + Sister goin' to heaven an' leave me behin', + _I'm boun' ter cross Jord'n in dat mornin'_. + +It is a favorite theme of the negroes to sing much of their "Lord" and +"God". Much has been noted of the names and attributes which Deity holds +in the negro's songs. As his friend the negro believes that God is always +true; consequently he sings his loyalty to Him. The old plantation song +"Tell Jesus" had as its chorus: "Tell Jesus done done all I can, Tell +Jesus done done all I can, Tell Jesus done done all I can, I can't do no +more". Very much like it is the song "For my Lord" that is much in demand +among the present-day negroes. + + _I goin' to do all I can fer my Lord, + I goin' to do all I can fer my Lord, + I goin' to do all I can fer my Lord, + I goin' to do all I can fer my Lord, + I do all I can till I can't do no more, + I goin' do all I can fer my Lord._ + +In the same way he sings "I goin' _weep_ all I can till I can't weep no +more", "I goin' _pray_ all I can till I can't pray no more", and "_sing_" +and "_mourn_" and "_work_" for his Lord. The phrases "till I can't do no +mo'", and the others are characteristic of the negro's prayers. He usually +closes his church prayers, "Now Lord, when we's done prayin' an' can't +pray no mo'; when we's done meetin' an' can't meet no mo'", etc. The +closing scene, the final act of life, seems to appeal to the negro with +wonderful dramatic power. It is in the _end_ that he himself will be +great; it is then that God and Jesus and the angels will be made manifest, +and it is there in the new home that his condition will be one of ease and +rest, at the same time that it is one of prominence. He sings "Gwi' lay +down my life fer my Lord". + + De Lord giv' me mer trumpet an' tole me ter blow, + He giv' me mer cummission an' tole me ter go. + + _Fer my Lord, fer my Lord, + Fer my Lord, gwi' lay down my life fer my Lord._ + + You can hinder me here but you can't hinder me dere, + For de Lord in Heaven gwi' hear my prayer. + + De enemy's great but my Cap'n is strong, + U'm fightin' fer de city an' de time ain't long. + + When I git dar I'll be able fer to tell, + How I whipped ole Satan at de door ob hell. + + Mer head got wet wid de midnight dew, + Dat mornin' star was shinin' too. + +So again the negro magnifies his Lord in "a weary Lan'" and makes both a +striking picture and a pleasing song. His Lord is not only "a _walkin'_ in +a weary lan'", but he is also a "_doctor_", a "_preacher_" and a +"_shelter_". Thus he pictures him "_walkin'_" "_talkin'_" "_preachin'_", +and "_healin'_" in the weary land. + + My Lord's a walkin' in the weary lan', + In a weary lan', in a weary lan', + Yes, my Lord walkin' in weary lan', + He's a shelter in a mighty storm. + +Likewise he is a healer in a _mighty storm_ or in _the time of storm_. It +is but natural that the negro should call upon the Lord to remember him. +The old plantation song "Do Lord remember me" was apparently based upon +the idea of being remembered at Christmas times; indeed the negroes always +ask to be remembered at such a time by the "whitefolks". They were always +remembered and often their homes were made happy. The song asked: "O do +Lord remember me, O do Lord remember me, O do remember me until de year +roll round, Do Lord remember me." The song now current is most likely not +the same song but an entirely different one. + + _Do my Lord remember me, + Do my Lord remember me, + Do my Lord remember me, + Do Lord remember me._ + + Upon de housetop an' can't come down, + _Do Lord remember me_. + Upon de house an' can't come down. + _Do Lord remember me_. + + When I am hungry do feed me Lord, + _Do Lord remember me_. + When I am thirsty do give me drink, + _Do Lord remember me_. + +The negroes sometimes call the following song the "riddle song", asking +"who is the Rock", while the answer comes back, like the Psalmist, "King +Jesus is the Rock". + + Lead me to the Rock, lead me to the Rock, + Lead me to the Rock that is higher an' higher. + O, Lead me to the Rock, + Yes, lead me to the Rock that is higher an' higher. + + King Jesus is the Rock, yes, King Jesus is the Rock, + King Jesus is the Rock that is higher an' higher, + O King Jesus is the Rock, + Yes, King Jesus is the Rock that is higher an' higher. + + Standing on the Rock, yes standing on the Rock, + Standing on the Rock that is higher an' higher. + O, standing on the Rock, + Yes, standing on the Rock that is higher an' higher. + +As Jesus is the Rock so the negroes have sung "Dere's no one lak' Jesus". +The chorus-line was common in the old songs; the verses of the song of +to-day are different. + + I think I heard a rumblin' in de sky, + _Dar's no one lac Jesus_. + It mus' be mer Lord passin' by, + _Dar's no one lac Jesus_. + + _Stan' still, walk study, keep de faith, + Dar's no one lak' Jesus._ + + Sister Mary went up on de mount'n top, + _Dar's no one lak' Jesus_. + She sung a li'l song an' she never did stop, + _Dar's no one lak' Jesus_. + + She argued wid de Fadder an' chatter'd wid de Son, + _Dar's no one lak' Jesus_. + She talk'd erbout the ole worl' she cum frum, + _Dar's no one lak' Jesus_. + +The song "Gi' me Jesus" was said to have been the product of "over-free +spirit and super-religiousness" just after the war. The negro claims that +the white man took him at his word when he sang, "Gi' me Jesus, You may +have all this worl", and has left him nothing in this world but Jesus. At +least this is one view of the song, which is represented as a bargain +which the white man wants the negro to keep. The song is a typical and +well known one, said to have been first sung by a blind negro preacher. + + In de mornin' when I rise, + In de mornin' when I rise, + In de mornin' when I rise, + Giv' me Jesus. + + _Giv' me Jesus, + Giv' me Jesus, + You may hab' all dis worl', + Giv' me Jesus._ + + Ef it's midnight when I rise, + Ef it's midnight when I rise, + Ef it's midnight when I rise, + _Giv' me Jesus_. + + Jes' fore day when I cried, + _Giv' me Jesus_. + + When I wade death's cold stream, + _Giv' me Jesus_. + +The negro says that if you love Jesus, it seems to him that you "can't +keep it", and that you are duty bound to let the world know it. The custom +is a common one of asking "members" at the class meeting and revival +services whether or not they "love the Lord". It is the duty of the class +leader to see to the religious welfare of the members. The song "Love the +Lord" represents this phase of worship. + + Well, did you say that you love Jesus? + Did you say that you love the Lord? + + _Yes, I say that I love Jesus. + Yes, I say I love the Lord._ + + All I wants to know is, "Does you love Jesus?" + All I wants to know is, "Does you love the Lord?" + + _Yes, I say that I love Jesus, + Yes, I say I love the Lord._ + + If you love Jesus, you can't keep it, + All I want to know is, "Does you love the Lord?" + + _Yes, my mother, I love Jesus, + Yes, my mother, I love the Lord._ + +The chorus then varies from "Yes, I _say_" to "Yes, my _mother_", "Yes, my +_sister_", "Yes, my _brother_". + +In striking contrast to his earthly life, the negro sings of his heavenly +home. It will be seen in the study of his social songs that home plays a +small part in their subject matter. It is true that the negro has little +love of home or devotion to loved ones. Perhaps for this very reason he +expects to have a better home in the beyond. He wants that which is ideal +and impractical; he wants that which will come without effort. If in +slavery days he had no home, it was natural that he should look to Heaven +for his home. This conception, intensified by the negro's emotional nature +and self-pity, is still prominent. Not only is his home to be a happy one, +but it is to be exclusive; only the fortunate, of whom he is the chiefest, +may go there. This class of songs--of Heaven and home--is perhaps as large +as any. The negro sings: + + I got a home where liars can't go, + _Don't you see?_ + Jus' between the heaven an' earth, + Where my Saviour bled an' died, + I got a home where liars can't go, + _Don't you see?_ + + I got a home where sinners can't go, + _Don't you see?_ + Jus' between the earth an' sky, + Where my Saviour bleed an' die, + _Don't you see?_ + + When the earth begin to shake, + _Don't you see?_ + You better get a ticket or you'll be late, + _Don't you see?_ + +In the same way the singers repeat, using the words "_drunkards_," +"_hypocrits_", and other sinners. Sometimes instead of saying "I got a +home where the drunkards can't come", the sinner will say "where the +drunkards can't _find me_". Another version of the same song is found in +different localities: + + I got a home in the Rock, + _Don't you see?_ + Just between the heaven an' earth, + Well, yes, I got a home in the Rock, + _Don't you see?_ + + Judas was a deceitful man, + _Don't you see?_ + Well he betrayed the innercent Lam', + Well he lost a home in the Rock, + _Don't you see?_ + + Well the sun refuse to shine, + _Don't you see?_ + The sun refuse to shine, + An' the sun refuse to shine, + _Don't you see?_ + + God don't talk like a natural man, + _Don't you see?_ + God don't talk like a natural man, + He talk so sinners can understan', + _Don't you see?_ + + Well I don't want to stumble, + _Don't you see?_ + Well I don't want to fall, + I read that writin' on de wall, + _Don't you see?_ + +The "Home in the Rock" and the "Rock of ages" mean little to the negroes; +they are suitable terms and appeal to their sense of sound. Like other +peoples, the negroes have inserted them into their religion as forceful +symbols. Interesting comparisons may be made in a later chapter. The +chorus of "Heaven" hummed in a monotone, with lips sometimes closed, makes +a beautiful song, and one that appeals much to both old and young negroes. + + You got a robe, I got a robe, + All God's children got a robe, + Goin' try on my robe an' if it fits me, + Goin' to wear it all round God's heaven. + + _Heaben--heaben, ev'ybody goin' to heaben + An' I'm goin' dere, too._ + + Gamblers dere an' gamblers here, + I'm so glad dat God declare, + Dere ain't no gamblers in heaven. + +This version and wording is rather that of the children, who are very fond +of singing it. They continue "Heaven so high you can't go over it", +"Heaven so low you can't go under it", "Heaven so deep you can't go +through it", and "Heaven so wide you can't go round it". The most common +form of the song is a variation of the above. _Sinners_, _gamblers_, +_dancers_, _liars_, _drunkards_ are _everywhere_, but not in Heaven. + + Well there are sinners here and sinners there, + An' there are sinners everywhere, + But I thank God that God declare, + That there ain't no sinners in heaven. + + _Heaven, Heaven, + Everybody talkin' 'bout heaven an' goin' there, + Heaven, Heaven, + Goin' to shine all 'round God's heaven._ + + Well there are drunkards here an' drunkards there, + An' there are drunkards everywhere, + But I'm so glad that God declare, + There ain't no drunkards in heaven. + + _Heaven, Heaven, + Preachers all preachin' 'bout heaven an' goin' there, + Heaven, Heaven, + Goin' to shine all 'round God's heaven._ + +As has been indicated, many of the negro songs consist of single lines +repeated in couplets or by fours in order to give length to the singing. +The most simple sentences that could be devised may serve as a good song. +The negro happens to think of an ordinary truth; he then sings it to his +tune and chorus. + + I'm goin' to be a Christian if I keep a prayin' on, + I goin' to be a Christian if I keep a prayin' on, + I goin' to be a Christian, I'm goin' to be a Christian, + I goin' to be a Christian if I keep a prayin' on. + + An' when I git religion, I goin' to keep a prayin' on. + + I goin' to see my Jesus if I keep a prayin' on. + + I goin' to see my mother if I keep a prayin' on. + +In the same way he is "going to see" his _father_, _brother_, _master_, +_preacher_, singing each line four times, altering them as he desires and +putting in any chorus that appeals to his fancy. The next song shows a +typical variation of a line, and the negro sometimes sings the second +version with more determination than the first. + + Lord, I want to go to heaven fer to stan' my trials, + Lord, I want to go to heaven fer to stan' my trials, + Yes, I want to go to heaven fer to stan' my trials, + _Great Judgment day_. + + Well, _I'm goin'_ to heaven fer to stan' my trials, + An' _I'm goin'_ to heaven fer to stan' my trials, + Yes, _I'm goin'_ to heaven fer to stan' my trials, + _Great Judgment day_. + +The darkeys used to sing, "Hail, hail, hail, I'm gwine jine saints above, +I'm on my journey home". So, too, in many of their songs the "promise +Lan'" was held out as the goal of future happiness. So it is to-day. "On +my journey home" and "Goin' to Heaven" represent the common conception. + + Sister when you pray you mus' pray to de Lord, + For I hab some hopes ob glory, + _I feel like, I feel like I'm on my journey home, + I feel like, I feel like, I'm on my journey home_. + + _I'll away, I'll away to de promise lan', + My Father calls me, I mus' go, + To meet Him in de promise lan'._ + + I have a father in the promise lan', + Go meet him in de promise lan', + _I feel like, I feel like I'm on my journey home, + I feel like, I feel like I'm on my journey home_. + +So, too, the singer has a _mother_, a _sister_, an _auntie_ and others in +the "promise lan'". Likewise he says instead of "sister when you pray," +etc., _brother_, _member_, _mourner_, _sinner_, _preacher_, and the +others. As a rule morning signified to the negroes the time for going to +heaven and for the resurrection. The morning star shining as a witness to +his conversion, and the midnight dew typified the early morning time of +his religion. "In the morning" is sung as of old. + + I have been tempted, _O yes_, + An' I have been tried, _O yes_, + I have been to the river an' been baptize, + An' I want to go to heaven in the morning. + + _Won't you ride on Jesus? + Ride on Jesus, ride on crowning King, + For I want to go to heaven in the morning._ + + If you see my mother, _O yes_, + Please tell her for me, _O yes_, + That the angels in heaven done change my name, + An' I want to go to heaven in the morning. + +So if you see "_brother John, sister Nancy_," and others makes the song +complete. The song once so popular, "Yes, I'll be dere, When gen'ral roll +call" is still heard occasionally. Many of these songs have been corrupted +and changed, consolidated and revised into new songs. Such a song is +"Study war no mo'", which combines the old camp meeting, "down by the +river side", and a new element of _peace_, the origin of which is not +known. + + Well there's goin' to be a big camp meetin', + Well there's goin' to be a big camp meetin', + Well there's goin' to be a big camp meetin', + Down by the river side. + + _Well, I ain't goin' to study war no mo', + Well, I ain't goin' to study war no mo', + Well, I ain't goin' to study war no mo'._ + + Well such a shoutin' an' prayin' + Down by the riverside. + + Well I goin' to meet my sister, + Down by the riverside. + + Well the brothers got to shoutin', + Down by the riverside. + +Said the old singers: "Some o' dese mornin's, hope I'll see my mother, +hope I'll jine de ban', hope I'll walk bout Zion, Talk wid de angels, Talk +my trouble over" while they looked "away to hebben". Now the negro sings: + + Gwine to weep, gwine to mourn, + Gwine to git up early in de morn, + Fo' my soul's goin' to heaven jes' sho's you born, + Brother Gabriel goin' to blow his horn. + + Goin' to sing, goin' to pray, + Goin' to pack all my things away, + Fo' my soul's goin' to heaven jes' sho's you born, + Brother Gabriel gwine ter blow his horn. + +"Pray come an' go wid me" sings the Christian, for "I'm on my journey home +to the New Jerusalem". If refused he says, "Now don't let me beg you to +follow me, for I'm on my journey home", and finally he sings, "Well, +brother come an' go wid me." If the sinner needs other exhortation he may +listen to the mixed song "Dry bones goin' to rise ergain", in which there +is first warning, then hope of glory. + + Some go ter meetin' to sing an' shout, + _Dry bones goin' ter rise again_; + Fore six month deys all turned out, + _Dry bones goin' ter rise again_. + _O little chillun, O little childun, + O lit'le childun, dry bones goin' rise ergin._ + + Talk erbout me but taint my fault, + Dry bones goin ter rise ergin; + But me an' Godermighty goin' walk an' talk, + Dry bones goin' ter rise ergin. + + Ef you want ter go to heaven when you die, + Dry bones goin' rise ergin; + Jes' stop yo' tongue from tellin' lies, + Dry bones goin' ter rise ergin. + +In the old plantation song Ezekiel was represented down in a valley "full +of bones as dry as dust" and + + He gib de bone a mighty shake, + Fin' de ole sinners too dry to quake, + +Death for the Christian is _shouting_: death for the sinner is _doom_. +"When I git to heaven, goin' shout on my knees" gives an accurate picture +of what the negro conceives to be happiness. But he not only expects to +shout while on earth and when he gets home, but even when he dies. For +says he, + + My mother dies a shoutin', an' I goin' die shoutin', too, + Yes, my mother died a shoutin' an' I goin' die shoutin', too. + + My mother died a shoutin', my mother died a shoutin', + Yes, my mother died a shoutin' an' I goin' die shoutin', too. + +Still his mother is not the only one who has died shouting; he sings in +the same way of _father_, _preacher_, _brother_, _sister_ and others; the +slave song included "_Missus_" and "_Marster_" or "_Massa_". But shouting +must not be all. The negro and his brothers, sisters, mother are all to +die "_mournin'_", and "_prayin'_". In "Join de Heaven wid de Angels" the +rich voice of one or two leaders and the swelling chorus produce an effect +scarcely surpassed. + + O join on, join my Lord, + _Join de heaven wid de angels_; + O join on, join my Lord, + _Join de heaven wid de angels_. + + What kin' er shoes is dem you wear? + _Join de heaven wid de angels_; + Dat you kin' walk upon de air, + _Join de heaven wid de angels_. + + Oh, God don't talk like a nat'al man, + Join de heaven wid de angels; + He talk to de sinner, he understan', + Join de heaven wid de angels. + + I'm Baptis' bred an' I'm Baptis' bo'n, + Join de heaven wid de angels; + An' when I die dey's a Baptis' gone, + Join de heaven wid de angels. + + Jes' so de tree fall jes' so it lie, + Join de heaven wid de angels; + Jes so de sinner lib' jes' so he die, + Join de heaven wid de angels. + +The song has been found in several forms among which one has it that +_John_ is to be in de heavens with the angels. In fact the probable origin +of "join on" seems to have been "John saw de heaven wid de angels". In one +of the old songs the singer answers, + + Dem shoes I wears is gospel shoes, + _View de lan', view de lan'_; + An' you can wear dem if you choose, + View de lan', view de lan'. + +There are other references, too, besides the above, to the denominations +of the negro churchmen. It has already been seen that the negro likes +"bes'" the "shoutin' Mefodes'". So he says "There's fire in de eas' an' +fire in de wes; An' fire among de Methodes'". He is loyal and proclaims: +"Methodist, Methodist is my name, Methodist till I die, I'll be baptize in +the Methodist name, An' I'll lib' on the Methodist side". In the same way +he is _Baptist_ and _Presbyterian_; the _Baptist_ is the favorite church +of the negro, however, and there are more Baptists than all other +denominations combined. + +The "Angel Band", while a very simple song in which the chorus constitutes +the greater part, is one of the most beautiful that the negroes sing. The +tune is a variation of a well-known hymn used by the whites. The power of +the song seems to lie in the tender interest which centres about the vivid +portrayal of the little angels in the heavenly band. The chorus is +repeated after each stanza, while each stanza itself is the repetition of +a single line. From one to ten; from ten to twenty and so on to one +hundred is ordinarily sung, thus making a lengthy song. The children love +to sing the chorus; two forms are ordinarily found, varying the monotony +enough to please the negro. + + _Dere's one little, two little, three little angels, + Dere's four little, five little, six little angels. + Dere's seven little, eight little, nine little angels, + Dere's ten little angels in de band. + Dere's leben, dere's twelve, dere's thir'een little angels, + Dere's fourteen, dere's fifteen, dere's sixteen little angels. + Dere's seventeen, dere's eighteen, dere's nineteen little angels, + Dere's twenty little angels in de band._ + +The "little" in the chorus is preferred to the "dere's" as a rule, +apparently serving to describe the angels. The stanzas of the song are +equally as unlimited and as simple as the chorus. "Sunday morning" is the +common factor to all of the verses; sometimes it is omitted. + + Jesus rose on Sunday mornin', + Jesus rose on Sunday mornin', + Jesus rose on Sunday mornin', + On Sunday mornin' so soon. + + He rose an' flew away on Sunday mornin'. + + My mother died on Sunday mornin'. + + Oh wasn't that sad on Sunday mornin'? + + Dere's goin' to be a big camp meetin' on Sunday mornin'. + + Dere's goin' to be a mournin' on Sunday mornin'. + + Mourners got to shoutin' on Sunday mornin'. + + I'm goin' away to leave you on Sunday mornin'. + + Well, my sister's goin' to heaven on Sunday mornin'. + +While this form of the song may be continued indefinitely, other verses +may also be inserted. Instead of the "On Sunday mornin'" is often +substituted "Fer to see my Lord". + + Well, my sister's goin' to heaven fer to see my Lord, + To see my Lord, to see my Lord; + Well, my sister's goin' to heaven fer to see my Lord, + What's de onbelievin' soul? + +And so he continues with _preacher_, _brother_, _mother_, _auntie_ and any +others that he wishes to enumerate. As a shouting song or as a +"collection" song, it is not surpassed. + +The negro's fancies of the "Heaven's bright home" are not exceeded by the +world's fairy tales. There are silver and golden slippers; there are +crowns of stars and jewels and belts of gold. There are robes of spotless +white and wings all bejewelled with heavenly gems. Beyond the jasper seas +he will outshine the sun; the golden streets and the fruit of the tree of +life are far superior to any golden apples or silver pears of a Mother +Goose. In fact the negro's fairy stories centre on heaven; the children's +definitions of heaven consisted entirely of pictures of splendor and +glory. To this place the negro imagines he will go and who knows but that +he may fly there? + + Some o' dese mornin's bright an' fair, + _Way in de middle of de air_; + Gwi' hitch on my wings an' try de air, + _Way in de middle of de air_. + + _Come over, den, John saw de holy number, + Way in de middle of de air; + John saw de holy number, + Way in de middle of de air;_ + + If yer wanter dream dem heavenly dreams, + Way in de middle of de air; + Lay yo' head on Jord'n's stream, + Way in de middle of de air. + + I got a book goin' read it thru', + Way in de middle of de air, + I got my Jesus well as you, + Way in de middle of de air. + +With a golden "band all round his waist, An' de palms ob victory in a-his +hands", the negro sings in reality: "Pray come an' go wid me", for so +vivid is his picture that he has been known to start up a post or pillar +in the church, saying, "Good bye brothers, I'm gone". His songs make much +of flying; different from that just quoted he repeats: + + _One mornin' soon, + One mornin' soon, my Lord, + One mornin' soon, + I goin' try the air, + I goin' try the air, + Pray come an' go wid me._ + + Well I got on my travellin' shoes, + Well I got on my travellin' shoes, + Well I got on my travellin' shoes, + Pray come an' go wid me. + +He sings, too, "I goin' to put on my long white robe", "We'll try on de +slippah shoe an' wear de golden belt". Again he sings of his doings in the +_morning_, _noontime_, and _midnight_. + + In the morning--um-u', + In the morning--um-u', + In the morning--um-u', + I goin' put on my golden shoes. + + In the midnight--um-u', + In the midnight--um-u', + In the midnight--um-u', + I goin' put on my long white robe. + + Talk about it--um-u', + Talk about it--um-u', + Talk about it--um-u', + I goin' wear that starry crown. + +The angels and Jesus wear the starry crown and long white robes; there +will be no separating line between us and God in the new world. "Oh how I +long to go dere, too", sang the old negroes. Now he pictures again the +appearance of Jesus. + + Jesus, he wore the starry crown, + Jesus he wore the starry crown, + Jesus he wore the starry crown, starry crown. + + How does you know he wore the crown? + How does you know he wore the crown? + How does you know he wore the crown? wore the crown? + + For the Bible it tell me so, + For the Bible it tell me so, + For the Bible it tell me so, tell me so. + +Then, too, Jesus "he wore the long white robe, for the Bible it tell me +so." More than the _world_ or _riches_ or _dress_ the singer claims he +values the treasures of heaven. In this assertion he is doubtless sincere, +both because he is thinking only of his religious state while he sings, +and because he has little opportunity for obtaining these earthly riches. +Says he: + + I don't care fur riches, + Neither dress so fine, + Jes' giv' me my long white robe, + An' I want my starry crown. + + _For my Lord done bin here, + Done bless my soul an' gone away._ + + Po' man goin' to heaven, + Rich man goin' to hell, + For po' man got his starry crown, + Rich man got his wealth. + +This "ole worl' bin a hell to me" indicates the contrast between the +everyday life of the world and that which the negro will enjoy after +death. In his eagerness and impatience to rest in the "promise lan'," the +negro does not always think kindly of the world and he does not care even +though "Death is in dis lan'." + + Ever since my Lord has set me free, + _Death is in dis lan'_, + This ole worl' bin a hell to me, + _Death is in dis lan'_. + + _I'm so glad death is in dis lan', + I'm so glad death is in dis lan'._ + + O run 'long mourner 'n git yo' crown, + _Death is in dis lan'_, + By yo' father's side set down, + _Death is in dis lan'_. + + Some er dese mornin's bright and fair, + _Death is in dis lan'_, + Gwin'r hitch on my wings an' try de air, + _Death is in dis lan'_. + +If the negro expects to go to heaven and there mingle with God, the angels +and his loved ones, he also expects to sing in all the glory and splendor +imaginable. The negroes used to sing of "jinin' de association, climbin' +Jacob's ladder, climbin' higher an' higher, sittin' down at de welcome +table, feastin' off'n milk an' honey, tell God how you served me, jine de +big baptizin", after which "den my little soul gwine shine." So they sang +of a mother, father, brother in heaven who "outshines de sun", and ended +by declaring that when they got to heaven "we will outshine de sun." In +very much the same way the negroes sing to-day in one of their favorites, +"Goin' to Outshine de Sun." + + Well, my mother's goin' to heaven, + She's goin' to outshine the sun, _O Lord_, + Well, my mother's goin' to heaven, + She's goin' to outshine the sun, + Yes, my mother's goin' to heaven to outshine the sun, + An' it's way beyon' the moon. + + You got a home in the promise lan', + Goin' to outshine the sun, _O Lord_, + An' it's way beyon' the moon. + + The crown that my Jesus give me, + Goin' to outshine the sun, _my Lord_, + An' it's way beyond the moon. + + Goin' to put on my crown in glory, + An' outshine the sun, _O Lord_. + 'Way beyon' de moon. + +Other verses sing of putting on slippers, long white robe, in each case +the singer is to "outshine the sun." The dazzling splendor of it all makes +anticipation full of staying qualities; it makes the picture one of +reality because of the vigor of an imaginative power. Who knows if the +negroes often dream of the grandeurs of the sky? + +The negro uses many figures and symbols in his religion. He can see the +chariot wheel and the chariot of fire taking him to heaven as easily as +Elijah. He can imagine that he, too, can ascend even as Christ and the +angels. Besides these methods he has the Gospel Train and the Ship of +Zion. The train has much fascination for the negro: much will be seen of +this in his social songs. It is but natural that he should bring it into +his religious songs. The negro often goes to meet the train at the +station, even when sick. It is a great social event of a Sunday. So again, +he wishes to go on an excursion; few things can hinder him. Very much in +the same strain is the religious song, "When the train come along." + + Well, I may be sick an' cannot rise, + But I meet you at de station when de train come along. + + _When de train come along, + When de train come along, + I'll meet you at de station when de train come along._ + + Well, I may be blind an' cannot see, + But I'll meet you at de station when de train come along. + + Well, I may be lame and cannot walk, + But I'll meet you at de station when de train come along. + +While no mention is made of the exact kind of train, it is generally +understood to mean the Gospel train. This song also has a popular variant +which is used in a secular way. In either case it expresses in a very +forceful way the importance of meeting the train. In proportion as a +picture resembles real life or magnifies that which has been imaged, to +that degree does it bring home its truth to the negro's mind. The negro +continues to sing of the train on which he is to ride into the Kingdom. +Says he: + + I am talkin' 'bout the same train, + Same train that carried my father, + _Same train_. + + Same train that carried my mother, + _Same train_, + Same train will be back to-morrow, + _Same train_. + + Same train will be here to-morrow, + _Same train_, + Well you better be ready, + _It's the same train_. + +The "same train" also carried his _brother_, _sister_, _preacher_ and +others. But the train which will come back to-morrow will not wait always. +One must not only be at the station but must also have a ticket. There is +plenty of room, according to the negro's conception, but there is not +plenty of time. It would be a wistful negro that looked upon the train +pulling out for heaven and he all alone is left behind. He sings, + + Well you better git yo' ticket, + Well you better git yo' ticket, + Well you better git yo' ticket, + Bye and bye. + + There's a great day er comin', + There's a great day er comin', + There's a great day er comin', + Bye and bye. + + For the train it's er comin', + For the train it's er comin', + For the train it's er comin', + Bye and bye. + + _I am sure God is ready, + I am sure God is ready, + I am sure God is ready, + Bye and bye._ + +Instead of the chorus just given he often sings: "I sure God am ready," +and "I sho' God is ready." With this in view he is willing and glad for +the train to come along. If he is ready, all the better for him to be on +his journey. So he continues in another song and at another time: + + If God was to call me I would not care--um-u', + For he done move away my fears--um-u'. + + I'm goin' to heaven, an' I'm goin' fo' long--um-u', + All don't see me will hear my song--um-u'. + + When de gospel train come 'long--um-u', + That's the train carry me home--um-u'. + + Wake up, sinner, you will be too late--um-u', + Gospel train done pass yo' gate--um-u'. + +In the old plantation songs the exhortation was given to "Git on board +little children, dere's room for many a mo'." So also they sang: + + De gospel train's a comin', + I hear it jus' at hand, + I hear de car wheels rumblin', + An' rollin' thru de land. + + I hear de train a comin', + She's comin' round de curve, + She's loosened all her steam an' brakes, + An' strainin' eb'ry nerve. + + De fare is cheap an' all can go, + De rich an' pore are dere, + No second class abord dis train, + No difference in de fare. + +In addition to the above stanzas the Jubilee singers added others. They +heard the bell and whistle and "she's playin' all her steam an' power." +The rhyme and imagery of the old song struck a more responsive chord than +the present song; this is due to the fact that the negro of to-day sings +his railroad songs and enjoys them in his secular music. There he pictures +the train with such vividness that the train may be easily heard and seen +in his imagination. Other verses of the _Gospel Train_ as it was sung by +the Jubilee singers are: + + There's Moses and Noah and Abraham, + And all the prophets, too, + Our friends in Christ are all on board, + O what a heavenly crew. + + We soon shall reach the station, + O how we then shall sing, + With all the heavenly army, + We'll make the welkin ring. + + She's nearing now the station, + O sinner, don't be vain, + But come an' get your ticket, + And be ready for the train. + + No signal for the other train, + To follow on the line, + O sinner, you're forever lost, + If once you're left behind. + +While the song as reported by the Jubilee singers does not possess the +mere characteristics of form and dialect, it nevertheless appeals to the +negroes and it is sometimes sung. One of the fears of the negro is that +others may go to heaven and he be left behind. This, as has been +indicated, constitutes the sum total of misery. So he has a number of +songs in which he expresses this feeling and prays that he may not be left +behind in the race of life for the eternal goal. One of the most touching +of these songs represents the negro as an orphan who is unwilling to stay +alone in the world: + + My muther an' my father both are daid, both are daid, + My muther an' my father both are dead, + My mother an' my father both are dead, + Good Lord, I cannot stay here by merself. + + _I'm er pore little orphan chile in de worl', chile in de worl', + I'm er pore little orphan chile in the worl', + I'm a pore little orphan chile in de worl', + Good Lord, I cannot stay here by merself._ + + De train done whistled an' de cars done gone, cars done gone, + De train done whistled an' de cars ere gone, + De train done whistled an' de cars ere gone, + _Ezekiel_, I cannot stay here by merself. + + My brothers an' my sisters are all gone, all gone, + My brothers an' my sister're all gone, all gone, + My brothers an' sisters all are gone, + _Mer Jesus_, I cannot stay here by merself. + + Git me ticket fer de train, fer de train, + Git me ticket fer de train, + _I got_ mer ticket fer de train, + _Thank God_, I _ain't gwine_ stay here by merself. + +Very much like the song just given the negroes used to sing: "Dar's room +in dar, room in dar, room in de heaven, Lord, I can't stay behin'". So, +too, "I can't or don't want to stay here no longer" are common and classic +verses of negro song. Again they sang the "good news" because "De +chariot's comin', I doan want her to leave a-me behind, Gwine get upon dat +chariot, Carry me home". In a prayer the negro sang: "Jesus, don't leave +me behind". In his songs to-day the negro says: + + Dear brother, don't you leave, + Dear brother, don't you leave, + This ole world's a hell to me. + + _This ole world's a hell to me, + This ole world's a hell to me._ + + Yes, I bleedzed to leave this world, + Yes, I bleedzed to leave this world, + Sister, I's bleedzed to leave this world, + For it's a hell to me. + +While the old negroes used to sing "Oh brother, sisters, mourners, don't +stay away, For my Lord says there's room enough", the modern negro sings +"You can't stay away". + + _Sister, you can't stay away, + Sister, you can't stay away, + Sister, you can't stay away, stay away._ + + My Lord is a callin' an' you can't stay away, + My Lord is a callin' an' you can't stay away, + Yes, my Lord is a callin' an' you can't stay away, + An' you can't stay away. + + King Jesus is a ridin' an' you can't stay away, + _O preacher, you can't stay away_. + +There have been a great many versions of the song "Ole Ship of Zion", none +of which differ materially. The four or five versions most common in the +slave and plantation song represented the Ship of Zion somewhat as +follows: "She has landed many a thousand, She can land as many more, Do +you think she will be able, For to take us all home? You can tell 'em I'm +comin' home", "Dis de good ole ship of Zion, An' she's maken' fer de +promise lan'. She hab angels fer de sailors. An' how you know dey's +angels? Dat ship is out a sailin' she's a sailin' mighty steady. She'll +neither reel nor totter, She's a sailin' 'way cold Jordan. King Jesus is +de captain, captain". "De gospel ship is sailin', O Jesus is de captain, +De angels are de sailors, O is yo' bundle ready? O have you got yo' +ticket!" Another version has "her loaded down with angels"; Another "wid +a-bright angels". Another asks what ship is that "you're enlisted upon"? +and answers that it is the "Good ship of Zion", which "sails like she's +heavy loaded", and "has King Jesus for the captain", and "the Holy Ghost +is de pilot" The coast negroes had many songs that originated in ideas +suggested by the boats. To-day the river negroes have songs of their own, +but they do not go into the church songs. The Old Ship of Zion, however, +is sung, but only as a remnant of the former song, less elaborate. + + This ole ship is a reelin' an' a rockin', + This ole ship is a reelin' an' a rockin' rockin' rockin' + Makin' fer de promise lan'. + +While the negro sings, he sees the ship reelin' an' rockin', and repeats +these phrases enough and in a rhythmic manner, so that he imitates the +imagined motion of the ship. The other stanzas of the song are practically +the same as those of the earlier days. + + _O my Lord, shall I be the one? + O my Lord, shall I be the one? + O my Lord, shall I be the one? + Makin' for the promise lan'?_ + + Yes, 'tis that good ole ship of Zion, of Zion, + Yes, 'tis that good ole ship of Zion, of Zion, + Yes, 'tis that good ole ship of Zion, + Makin' for the promise lan'. + + O the ship is heavy loaded, loaded, loaded, + Makin' for the promise lan'. + It's loaded with many er thousand, thousand, thousand, + Makin' fer the promise lan'. + +"This ole worl's a rollin'" is most likely a figure of the ship and +modelled on the same song. However, it conveys a different idea, one of +judgment and the end of the world. The negro sings: + + Well the ole worl' is a rollin', rollin', rollin', + Yes, the ole worl' is rollin', rollin' away. + + Well ain't you goin' to get ready? + Yes, ain't you goin' to get ready? for it's rollin' away. + + Well get on board little children, children, children, + Well get on board, for this ole worl's rollin' away. + +He sings for the _sinner_, _mourner_, and all his _friends_ and +_relatives_ to get on board the world as she rolls away. It reminds one +somewhat of the song once current among the negroes: "O de ole ferry boat +stan' a-waitin' at de landin', Chilluns we'se all gwine home". The same +feeling of motion and the end of the world as is indicated in the moving +of the train, ship, and the world itself is also reflected in the opening +of the graveyards and the rolling of the hearse wheel. The same rhythmic +effect of motion and words give a strikingly appropriate attitude to the +singer. + + O the lightening flashin' an' the thunder rollin', rollin', rollin', + O the lightening flashin' an' thunder rollin', rollin', rollin', + O the light'ning flashin' an' thunder rollin', + Lawd, I know my time ain't long; Lawd, I know my time ain't long. + + The hearse wheel rollin' an' graveyard openin', openin', openin', + The hearse wheel rollin' an' graveyard openin', openin', openin', + The hearse wheel rollin' an' the graveyard openin', + Lawd, I know my time ain't long, my time ain't long. + +And very much like the above song is "Every Day". However, it is so +similar to other songs that one concludes that it is only a putting +together of what the singer already knew. The Bahama negroes have a song, +"If hev'ry day was judgment day", that is almost exactly the same in +meaning as this one. The song, however, is a powerful one and seems to be +gaining in popularity. + + Well the hearse wheel rollin', + _Every day, every day_, + Carryin' yo' brother to the graveyard, + Every day, every day--_move, Zion, move_. + + Well ain't it a pity, pity? + Every day, every day, + Well ain't it a pity, ain't it a pity? + Every day, every day, _move, Zion, move_. + + Well they're carryin' a sinner, sinner, + Every day, every day, + Yes, they're carryin' a sinner, + Every day, every day, _move, Zion, move_. + + Move, Zion, move, for you got to go to judgment, + Every day, every day, + Move, Zion, move, for you got to go to judgment, + Every day, every day, _move, Zion, move_. + +The getting of mail, and especially of letters, usually means much to the +negroes; perhaps simply because they receive little mail. To have a letter +from a distinguished person is superlative honor and the recipient usually +makes the fact known generally. Just how the negro conceived of receiving +letters from God, or why he imagined the angels and apostles as writing +letters does not appear clear. One gets a letter, another reads it; one +writes a letter and all know its contents. Such a reference is found in a +number of songs, that serve as a warning or admonition. + + Well my mother got a letter, O yes, + Well she could not read it, O yes, + What you reckon that letter said? + That she didn't have long to stay here. + + _Won't you come, won't you come? + Won't you come an' get ready to die? + Won't you come, for my Lord is callin' you?_ + + How do you know that my Lord is callin', O yes? + If you look at this letter, O yes, + You see it come from the Hebrews, O yes, + Won't you come, for my Lord is callin' you. + +Perhaps the idea of the letter came from the _epistles_ of the New +Testament. John and Peter wrote letters; Mary and Martha read them. The +letters of the Hebrews and Ephesians are spoken of. The idea "It just +suits me" seems to have sprung up from satisfaction in reading the "word" +or in hearing the sermon and praying in the usual way. + + John wrote a letter and he wrote it in haste, + _An' it jus' suit me_: + John wrote a letter and he wrote it in haste, + _An' it jus' suit me_. + + John wrote a letter and he wrote it in haste, + If yer want to go to heaven yer better make haste, + _An' it jus' suit me_. + + I'll tell you a little thing that was in that letter, + _An' it jus' suit me_. + I'll tell you a little thing that was in John's letter, + The Holy Ghost came to make us better, + _An' it jus' suit me_. + +In the same form and repetition are sung other stanzas, all of which +"suit" the negroes pretty well. + + If this isn't the Holy Ghost I don't know, + I never felt such a love befo', + _But it jus' suit me_. + + O my brother, you oughter been at de pool, + To see me put on my gospel shoes, + _An' it jus' suit me_. + + Ezekiel said he spied the train a comin', + We got on board an' she never stopped runnin', + _An' it jus' suit me_. + + This kind er religion is better than gold, + It's better felt than ever told, + _An' it jus' suit me_. + + I tell you a little thing you can't do, + You can't serve God and the devil, too, + _But it jus' suit me_. + + When trouble is done an' conflict have passed, + I rise to reign in peace at last, + _An' it jus' suit me_. + +By this time the singers are happy enough and the preacher joins them in +shouting, "Yes, brethren, it just suits me." It is gratifying to the +negroes that their sins have been "washed in the blood of the Lamb", as +indeed it ought to be. Perhaps they give it its undue prominence without +thought; for they have no conception of the seriousness of their claims. +The negro singers have exhibited a characteristic specimen of their _word +combinations_, _concrete pictures_, and _theological principles_ in their +song, "De blood done sign my name." + + _O de blood, O de blood, + O de blood done sign my name; + O Jesus said so, Jesus said so, + O de blood done sign my name._ + + I believe it for God he tole me, + _That the blood done sign my name_, + I believe it for God he tole me, + _That the blood done sign my name, + Yes, the blood done sign my name_. + + How do you know so, God he said so + _That the blood done sign my name_. + + Well it's written in de Kingdom, + _That the blood done sign my name_. + + Well in de Lamb's book it is written, + _That the blood done sign my name_. + + Well the wheels a turnin', wheels a turnin', + _Blood done sign my name_. + + I'm boun' for glory, boun' for glory, + _The blood done sign my name_. + + On de mountain, on de mountain, + _The blood done sign my name_. + + In the valley, in the valley, + _Blood done sign my name_. + +But the Christian does not have an easy time after his conversion. Satan +is always at hand and ready to lead him away if there is a chance. The +negro's idea of satan and the devil has been noted. In his march songs the +negro imagines that he is marching against his foe; this foe is sometimes +satan himself. "The other world is not lak' dis" is a typical marching +song. + + I er's walkin' 'long de oder day, + De udder worl' is not lak' dis, + I met ole satan on de way, + De udder worl' is not lak' dis, + He said, "Young man, you're too young to pray", + De udder worl' is not lak' dis. + + _Tell all dis worl', + Tell all dis worl', + Tell all dis worl', + De odder worl' is not lak' dis._ + + As I went down in de valley to pray, + De udder worl' is not lak' dis, + I met a little looker on de way, + De udder worl' is not lak' dis, + He said: "Look out fer de Judgment day", + De udder worl' is not lak' dis. + +Another marching song that is a rousing one is "Goin' down to Jord'n". It +represents, like the one just given, the attributes of satan and his +relation to the Christian. The scene as pictured, the army marching on +down to Jordan, the imaginary foe, and the rhythm of the song make it a +favorite. + + Halleluyer to the Lam', + Goin' on down to Jordan, + Lord God's on that givin' han', + Goin' on down to Jordan. + + _Goin' down to Jordan, + Goin' down to Jordan, + I got my breas'plate, sword an' shield, + Goin' down to Jordan, + Boldly mar chin' thru' the field, + Goin' on down to Jordan._ + + I plucked one block out'n satan's wall, + Goin' on down to Jordan, + I heard him stumble an' saw him fall, + Goin' on down to Jordan. + + Ole satan's a liar an' a conjurer, too, + Goin' on down to Jordan, + If you don't mind he'll conjure you, + Goin' down to Jordan. + + Ole satan mad an' I am glad, + He missed a soul he thought he had. + + Ole satan thought he had me fast, + Broke his chain an' I'm free at last. + + I've landed my feet on Jordan's sho', + Now I'm free forever mo', + _Goin' on down to Jordan_. + +Something has been observed about the negro's attitude toward the +crucifixion. The old songs asked: "Wus you dere when dey crucified my +Lord? When dey put the crown of thorns on?" and other scenes. In some of +the songs the negroes sang "_I wus_ dere when", etc., while still others +only affirm the facts. The songs of the present generation of negroes are +less vivid and less full of feeling for the suffering of the Master. Some +of the verses are similar to those of the plantation songs. + + He carried his cross, he carried his cross, + Up Zion hill, up Zion hill, + He carried his cross, he carried his cross, + Up Zion hill, up Zion hill, + He carried his cross up Zion hill, Zion hill, Zion hill. + + They put on him the thorny crown (3), + Then they nail my Jesus down, + They nail him down, nail him down, nail him down, + They lif' the cross high in the air (3), + To show the worl' how they nail him there, + How they nail him there, nail him there, nail him there. + +A peculiar corruption of this song represents the prodigal son as being in +the place of Christ; now it is the prodigal, now it is the Lord. It +indicates the manner of the development of many of these songs, and shows +something of the insignificance of the words on the minds of the singers. +He sings with his holy laugh: + + Yes, the prodigal son come home, ha, ha, + Yes, the prodigal son come home, ha, ha, + The prodigal son come home by hisself. + + An' they nail him to the cross, ha, ha, + An' they nail him to the cross, ha, ha, + An' they nail him to the cross on that day. + + An' the blood come runnin' down, ha, ha, + The blood come runnin' down, ha, ha, + An' the blood come runnin' down, on that day. + + An' they kill the fat'nin' calf, ha, ha, + An' they kill the fat'nin' calf, ha, ha, + They kill the fat'nin' calf on that day. + + An' they carried my Lord away, ha, ha, + An' they carried my Lord away, ha, ha, + They carried my Lord away, by hisself. + +Paul and Silas, Peter and John are models for proper contemplation. One of +the old songs represented Peter and Paul as bound in jail. "Togedda dey +sung, togedda dey prayed, De Lawd he heard how dey sung an' prayed. Den +humble yo'selves, de bell done rung." "Paul an' Silas bound in jail, The +Christians pray both night and day," represented another song, one version +of which has survived and is current to-day. Most of the song consists in +repetitions. + + Paul and Silas bound in jail, + Paul and Silas bound in jail, + Paul and Silas bound in jail, + Paul and Silas bound in jail. + + Paul did pray one mournful prayer (4). + + Don't you wish you could pray like Paul?(4) + + He prayed an' the good Lord set him free (4). + +Another version prays for the _angels_ to come down and _unlock_ the door +of the jail. It has a striking parallel among the secular songs and might +have been composed with the idea of the negro in jail as being rescued. + + Come down angel with the key, + Come down angel with the key, + My Lord, angel, come down with the key. + + Unlock the door for me-e-e, + Unlock the door for me-e-e, + My Lord, unlock the door for me. + + Paul and Silas is in jail, + Paul and Silas is in jail, + My Lord, Paul and Silas is in jail. + + Unlock the jail-house door, + Unlock the jail-house door-oor, + My Lord, unlock the jail house door. + +Among those of the Bible who have been the special subject of song, Noah +has a prominent place. References to him have been made already. He is +always the hero of the flood. In most of the songs wherein a special +character has an important part, it is in the chorus or refrain. So in +"Fohty days an' nights", a general mixture of songs and ideas, Noah and +the flood make the chorus. + + Dey calls bro' Noah a foolish man, + _Fohty days an' nights_, + He built de ark upon de lan', + _Fohty days an' nights_. + + _En, ho, ho, didn't it rain? + O yes, you know it did. + Ho, ho, didn't it rain? + O yes, you know it did._ + + Ole Satan wears a iron shoe, + Hit's fohty days an' nights, + Ef you don't mind gwine slip it on you, + Fohty days an' nights. + + Some go to meetin' to put on pretense, + _Fohty days an' nights_, + Until de day ob grace is spent, + _Fohty days an' nights_. + + Some go to meetin' to sing an' shout, + _Fohty days an' nights_, + Fo' six months dey'll be turned out, + _Fohty days an' nights_. + + I tell you brother an' I tell you twice, + _It's fohty days an' nights_, + My soul done anchored in Jesus Christ, + _Fohty days an' nights_. + + If you git dar befo' I do, + _Forty days an' nights_, + Look out fer me I'se comin' too, + _Fohty days an' nights_. + + You baptize Peter an' you baptize Paul, + _It's fohty days an' nights_, + But de Lord-God-er-mighty gwine baptize all, + _It's fohty days an' nights_. + +Another version in one of the old songs says: "Some go to church to laugh +and talk, but dey knows nuthin' 'bout de Christian's walk". "De Ole Ark +a-moverin'" was the title of a plantation song which gave the story of +Noah and the flood. Noah and his sons "went to work upon dry lan'", and +everything went according to the original "plan". + + Jes' wait a little while, I'm gwine tell you 'bout de ole ark, + De Lord told Noah for to build him an ole ark, + Den Noah and his sons went to work upon dry lan', + Dey built dat ark jes' accordin' to comman', + Noah an' his sons went to work upon de timber, + De proud begin to laugh the silly to point de finger, + When de ark was finished jes' accordin' to plan, + Massa Noah took his family both animal an' man, + When de rain begin to fall and de ark begin to rise, + De wicked hung round wid der groans and der cries, + Fohty days and fohty nights de rain it kep' a fallin', + De wicked clumb de trees an' for help dey kep' callin', + Dat awful rain she stopped at las', de waters dey subsided, + An' dat ole ark wid all aboard on Ararat rided. + +This is the picture which the plantation and slave negro has made for his +satisfaction. The present-day song that apparently originated in the above +song is less elaborate, having only portions of the old song, and not +being much in demand. It, too, is called "Didn't it rain?" + + God told Noah 'bout de rainbow sign-- + _Lawd, didn't it rain?_ + No more water but fier nex' time-- + _O didn't it rain? Halleluyer._ + + _O didn't it rain, O didn't it rain? + Halleluyer, didn't it rain? + Some fohty days an' nights._ + + Well it rain fohty days an' nights widout stoppin', + _Lawd, didn't it rain?_ + The sinner got mad 'cause the rain kept a droppin', + _O didn't it rain? Halleluyer._ + +Among the most interesting of all the negro spirituals are those which +have been composed in recent years. These are significant in their bearing +upon the temperament and religion of the present-day negro. These songs +are efforts at poetry, while at the same time they unite biblical story +with song. How they are often begun and for what purposes they are +composed was mentioned in the previous discussion concerning the origin of +negro songs. Further analysis of the form may be made in the study of the +negro's mental imagery. The following song, which gets its name from the +chorus, is entitled "My Trouble is Hard", and was composed by "Sister +Bowers". It was printed on a single sheet for distribution; each person +who contributed to the collection was entitled to a copy, or a copy could +be had for a nickel. She sung her new song to the crowds wherever she +went, and then was given a _pro-rata_ of the collections. With the chorus +repeated after each stanza, as the negroes always do, it becomes a song of +unusual length: + + I know a man that was here before Christ, + His name was Adam and Eve was his wife, + I'll tell you how this man lived a rugged life, + Just by taking this woman's advice. + + _My trouble is hard, O yes, + My trouble is hard, O yes, + My trouble is hard, O yes, + Yes indeed, my trouble is hard._ + + Whilst you are sitting on your seat, + Let me tell you something that is sweet, + When all God's people in glory meet, + They will slip and slide the golden street. + + Stop young man, I've something to say; + You know you're sinful and why don't you pray? + You're sinning against a sin-venged God, + Who has power to slay us all. + + O Lord, aint it a pity--ain't it a shame-- + To see how my Lord and Saviour was slain? + I hate to call the murderer's name, + I know they are dead but left the stain. + + Read the Scriptures and be content, + You are bound to know what Jesus meant, + John was here before his advent; + Stood in the wilderness and cried "Repent". + + Christ called his apostles two by two, + He particularly told them what to do, + Preach my gospel as I command you, + And I'll be with you all the way through. + + Just me tell you what David done, + Old man Jesse's youngest son: + He slayed Goliath that mighty one, + Ole Saul pursued him but he had to run. + + Ole Saul pursued poor David's life-- + It's a mighty good thing he had a wife, + They went to his house and did surround + And she took a rope and let him down. + + God called Jonah in a powerful way, + He told old Jonah just what to say; + Tell them people if they don't pray, + I'll destroy the city of Nineveh. + + Just let me tell you how this world is fixed, + Satan has got it so full of tricks, + You can go from place to place, + Everybody's runnin' down the colored race. + +Almost equally interesting is "That's another Witness for my Lord." It +will be noticed in these songs that references and phrases taken from the +old songs are often used, but in different combinations. They thus lose +their former worth. It will be interesting, too, to compare the negro's +religious conceptions of the Bible and God as expressed in these songs +with those expressed in the older productions: Has he advanced in his +theology? + + Read in Genesis, you understand, + Methuselah was the oldest man, + Lived nine hundred and sixty-nine, + Died and went to heaven in due time. + + _Methuselah is a witness for my Lord, + Methuselah is a witness for my Lord._ + + You read about Sampson from his birth, + Strongest man that lived on the earth, + 'Way back yonder in ancient times, + He slayed three thousand of the Philistines. + + Sampson he went wanderin' about, + For his strength hadn't been found out, + His wife dropped down upon her knees, + Said: "Sampson, tell me where your strength lies, please." + + Delila' talked so good and fair; + He told her his strength lie in his hair; + "Shave my head just as clean as your hands, + And my strength'll be like a nachual man's." + + _Wasn't that a witness for my Lord? + Wasn't that a witness for my Lord?_ + + Isaiah mounted on de wheel o'time, + Spoke to God-er-mighty way down the line: + Said, "O Lord, to me reveal, + How can this vile race be healed?" + + God said: "Tell the sons of men, + Unto them'll be born a king, + Them that believe upon his Way, + They shall rest in the latter day." + + _Isaiah was a witness for my Lord, + Isaiah was a witness for my Lord._ + + There was a man amongst the Pharisees, + Named Nicodemus and he didn't believe, + He went to the Master in the night, + And told him to take him out er human sight. + + "You are the Christ, I'm sure it's true, + For none do de miracles dat you do, + But how can a man, now old in sin, + Turn back still and be born again?" + + Christ said, "Man, if you want to be wise, + You'd better repent and be baptized; + Believe on me, the Son of Man, + Then you will be born'd again." + + _Wasn't that a witness for my Lord? + Wasn't that a witness for my Lord?_ + +"After 'While" gives a slightly different form of verse, but with somewhat +the same characteristics in other respects as those just given. There is +little regularity in the metrical arrangement, but it makes a good song. + + The worl' is full of forms and changes, + It's just now so confuse, + You will find some danger + In everything you use: + But this is consolation to every blood washed child, + God's goin' to change our station after while. + + _Afterwhile, afterwhile, + God's goin' to change our station, afterwhile._ + + The devil tries to throw down + Everything that's good, + + He'd fix a way to confine + The righteous if he could, + Thanks be to God almighty, he cannot be beguiled, + Ole satan will be done fightin' afterwhile. + + Some men and women who help the world along, + By constantly complaining of everything that's done, + They want to be called Christians and all their badness hide, + God's goin' to open the secret afterwhile. + + Preachers in their sermons stand up and tell the truth, + They'll go about and murmur with slander and abuse; + They want the whole arrangement to suit their selfish style, + God's goin' to rain down fire afterwhile. + +In a general mixture of old song and new song, of old traits and new +traits, the negro sings a beautiful song which he has called: "Whar' shall +I be?" The usual imagery is seen. + + Moses lived til he got old, + _Whar' shall I be?_ + Buried in de mountain, so I'm told, + _Whar' shall I be?_ + + _Whar' shall I be when de fust trumpet sounds? + Whar' shall I be when it sounds so loud? + When it sound so loud that it wake up the dead, + Whar' shall I be when it sounds?_ + + Well God showed Noar de rainbow sign, + Whar' shall I be? + No more water but fire nex' time, + Whar' shall I be? + + Mathew, Mark, Luke and John, + Whar' shall I be? + Tole me whar' my Saviour gone; + Whar' shall I be? + + John declar'd he saw a man, + Whar' shall I be? + Wid seben lamps in his right han', + Whar' shall I be? + +The exact meaning of the following song could not be ascertained. It is +apparently derived from some idea of the scriptural invocation and +blessing upon the disciples. It is said to have a special message to the +preacher, and is sometimes represented as being the words of God; at other +times the encouragement of a friend and the reply. + + Go and I will go with you; + Open your mouth and I'll speak for you; + If I go and tell them what you say they won't believe me. + + Shout and I shout with you; + Throw out your arms and I catch you; + If they see you going with me, they won't believe on you. + + So it's go and I go with you; + Open your mouth and I speak for you, + Shout and I shout with you, + Throw out your arms and I catch you, + If I go and tell them what you say they won't believe me. + +Another song of the modern type seems to appeal to the negroes very +strongly. Again he is seeing a vivid picture of the Christ in the long +years ago. But just where he gets the exact ideas by which to make the +combinations is a little doubtful. Perhaps he gets the central thought +from the miracle of Cana. + + If my mother ask you for me, tell her I gone to Gallerlee, + I ought to a been there four thousand years ago, + To drink of the wine. + + _Drinkin' of the wine, drinkin' of the wine, + Drinkin' of the wine, Drinkin' of the wine, + Christ was there four thousand years ago, + Drinkin' of the wine._ + + You may mourn, sinner, mourn, the Lord help you to mourn, + Christ was there four thousand years ago, + Drinkin' of the wine. + +So, too, you may _moan_, _weep_, _cry_, _pray_, _brother_, _sister_, +_father_, _mother_, _backslider_, and any others that the singer happens +to think of, and the chorus, "Drinkin' of the wine," is the favorite +refrain. Again in "The Blind Man" the picture is one of confusing the +scriptural scenes with those of the present, and of placing himself in the +stead of the central character of the story. + + Well the blind man stood by the grave and cried, + Well the blind man stood by the wave and cried, + Yes, the blind man stood by the wave and cried. + + He cried, "O Lord, don't you hear po' me?" + Hark, the blind man stood by the wave and cried, + He cried, "O Lord, don't you hear po' me?" + + Brother don't you hear the blind cries, blind cries? + Brother don't you hear the blind cries, blind cries? + O brother, don't you hear the blind cries? + + Jesus he give de blind man sight, blind man sight, + Jesus he give de blind man sight, blind man sight, + Yes, Jesus he give de blind man sight. + +He also sings "_sister_, don't you hear," etc., _brother_, _father_, +_preacher_. A peculiar modification of "Walking in the Light" is the song +of the same name among the negroes, which seems to have its origin in the +scriptural injunction, "Ye are the light of the world." + + Let yo' light shine all over the world, + Walkin' in the light, beautiful light. + + Mos' wonderful light, shine by night, + Let yo' light shine all over the world. + + I am the light, most pitiful light, + Let yo' light shine all over the world. + + Follow the light, mos' beautiful light, + Let yo' light shine all over the world. + + Sinner, what you gwine do when the lamp stops burnin', + Let yo' light shine all over the world? + +The negro prays to be remembered at Calvary; so, too, he asks to remember +Calvary and the Lord. A single fragment of the old song remains: + + O Lord remember me, remember Calvary, + For without any doubt and you remember the Lord, + I pray thee, Lord, remember me, + O Lord, remember me, remember Calvary. + +The "Pilgrim's song" that has been considered so beautiful is still a +favorite; the words of the stanzas differ little. It may be called a +standard hymn of the negroes. There is a story that Bishop Allen, the +founder of the A. M. E. church, composed the song on his dying bed. He was +very well educated and a man of considerable ability and feeling. While +the sadly hopeful words of the song are of a higher type than the average +spiritual, and while its metrical form is far above the usual, the song +still combines many of the ideas and phrases of the favorite spirituals of +the slaves. One of these songs, "I hope my mother will be there, In that +beautiful world on high", embodies the same sentiment and in similar +words. Another, "Give 'way Jordan, I want to go across to see my Lord. I +heard sweet music, I wish dat music would come here", represents the other +part of the song. The Pilgrim's song as it is found is: + + I am a poor way-faring stranger, + While journeying through this world of woe, + But there is no sickness, toil, nor danger, + In that bright world to which I go. + + _I'm going there to see my classmates, + They said they'd meet me when I come, + I'm just a going over Jordan, + I'm just going over home._ + + I know dark clouds'll gather round me, + I know my road is rough and steep, + Yet there bright fields are lying just before me, + Where God's redeemed and vigils keep. + + _I'm going there to see my mother, + She said she'd meet me when I come, + I'm just going over Jordan, + I'm just a going over home._ + + I'll soon be free, free every trial, + My body will sleep in the old churchyard. + I'll quit the cross of self-denial, + And enter in my great reward. + + _I'm going there to see my mother, + She said she'd meet me when I come, + I'm just a going over Jordan, + I'm just going over home._ + +The only differences in the versions of the old song and its present form +is the substitution of "But" for "yet", "and" for "their", and "free" for +"from", "drop" for "quit" in the various lines. Very much in the same +class of song is "Steal Away". The present version is much the same in +general as the old, of which there were several, differing only in minor +details. There is in some of the church song books a version of the song; +however, the most common verses now sung are: + + O the green trees a-bowin', + An' po' sinner stan' tremblin', + Well the trumpet soun' in my soul, + An' I ain't got long to stay here. + + _O steal away, steal away, + O steal away to my Jesus, + Steal away, steal away, + For I ain't got long to stay here._ + + My Lord is a callin', + Po' sinner he can't answer, + Well, the trumpet sound in my soul, + An' I ain't got long to stay here. + +One of the most beautiful and at the same time simple and pathetic songs +of the negroes is "Heal me, Jesus". Here the negro is at his typical best +in prayer: without pretension, without reserve, claiming nothing, he +simply pleads for his desire. + + O Lord, I'm sick an' I want to be healed, + O Lord, I'm sick an' I want to be healed, + O Lord, I'm sick an' I want to be healed, + O Lord, I'm sick an' I want to be healed. + + _Heal me Jesus, heal me Jesus, + Along the heavenly way, + Heal me Jesus, heal me Jesus, + Along the heavenly way._ + + O Lord, I'm blind an' I want to see, + O Lord, I'm blin' an' I wan' ter see, + O Lord, I'm blin' an' I wan' 'er see, + Heal me Jesus along the heavenly way. + + O Lord, I'm crippl'd an' I wan' 'er walk, + O Lord, I'm crippl'd an' I wan' 'er wa-a-a-l-k, + O Lord, I'm cri-p-p-l-e-d an' I want 'er walk, + Heal me Jesus along the heavenly way. + + O Lord, I'm deaf an' I want to hear, etc. + +The negroes are great believers in dress and uniform. Color, too, appeals +to them as significant and the more strikingly distinct the color, the +stronger impression it makes upon their imaginations. Chief among all +others is the white which the angels wear; gold and purple, too, are +concerned with the heavens. Among men red and black are strongest. This +idea of color dressing has become interwoven in many of their songs. The +rhyme helps to give the picture its vividness. The following song, with +its variants, is still sung with considerable zest. + + Who is that yonder all dressed in red? + _I heard the angels singing_; + It look like the children Moses led, + _I heard the angels singin'_. + + _Down on my knees, + Down on my knees, + I heard the angels singing._ + + Well who that yonder all dressed in black? + I heard the angels singing; + It look like it's de mourner jus' got back, + I heard the angels singing. + + Yes' who's that yonder all dressed in blue? + It look like the children just come through. + +Instead of "mourners jus' got back" the negroes sing "a sister, a sinner, +a hypocrite, etc., jus' got back". Once the negroes sang: "Who's that +yonder all dressed in black? Must be children of the Israelites", which is +the common version for the answer to "Who's all them come dressed in +white?" The songs almost invariably have a different chorus for the +different versions and combinations. In one of the old songs, the above +verses were sung to the chorus + + Oh, what you say, John? + Oh, what you say, John? + Oh, what you say, John? + _De ressurection drawin' nigh._ + +with this last line as a refrain after each line of the song, just as +above in "I heard the angels singing". In another of the old songs the +chorus was: + + Go, Mary, an' ring de bell, + Come, John, and call de roll, + I thank God. + +The negro visualizes with a good deal of satisfaction. He imagines that he +can see the things about which he sings. So they have imagined seeing the +people dressed in white, black, red and blue; so he imagined that he could +see "two tall angels comin' after me", or "big tall", "long tall", "band +of angels" or whatever form the song has taken. So the negroes have told +wonderful stories about the whale and the gourd vine; about the "cutter +worm" as well as Jonah. The old song, modified and adapted with +characteristic phraseology and expression still appeals to the negro. The +"Big fish" and "Sherk" represents the terror of the sea to the negro. One +old darkey explained this fact by saying that it was because the negroes +were terrified as they were brought over from Africa, and that they saw +the whales and "fishes" in "de sea" and that "de race hain't nebber got +ober it yet". Another ascribes the fear and imagination much to the +biblical story of the whale and Jonah. Perhaps neither determines to any +marked degree this feeling. However, the song "Big fish swallow Jonah", +which has made such a hit in its paraphrases and in the glee clubs, and +variously, is still current in this form: + + Lord, the big fish, big fish, big fish, swallow ole Jonah whole, + The big fish, the big fish, the big fish swallow ole Jonah; + The big fish, big fish, big fish, swallow ole Jonah whole. + + _Ole Jonah cried, "Lord save my soul", + Ole Jonah, ole Jonah, ole Jonah cried "save my-save-m-y-y", + Ole Jonah cried "Lord save my soul"._ + +In the same manner are sung other lines: + + Lord, the gourd vine, gourd vine, gourd vine growed over Jonah. + Well, the cutter worm, cutter worm, cutter worm cut that vine down. + +In addition to Jonah--and the last two stanzas are not common in the old +songs--"Peter on the sea", "Gabriel, blow your trump", "Daniel in the +lion's den", are sung. Those who have heard the latest form of this song +rendered would scarcely imagine that it was a very appropriate church +song. + +It has been stated that the negro makes a song his own by the simple act +of singing it. If he is free and unrestrained at the same time that he is +thoroughly wrought up, he adds enough to his song or changes its version +sufficiently to make it almost unique. In the common tunes sung by both +white and black people, the negro's rhythm and graceful passing from one +line to another, together with the insertions of shouts and "amens" +renders them distinct. A number of the favorite "old time" religious songs +are thus rendered by the negroes. They are the old "stand-by" hymns. The +nature of some of them was indicated in the first chapter. The following +songs will serve to illustrate the common practice of singing among the +"spiritualists". + +In "The old-time Religion" there are as many versions as the singer can +make combinations. It is "Gi' me dat ole-time religion", or it is "'Tis +that ole time religion", or it is "Was that ole-time, etc.," or "Will be +the old time religion". In the same way it may be "good enough", "It's +good enough". It is, was, will be good enough for "mother, my mother, my +ole mother, father, brother, sister," and all the list of biblical names, +chiefest among whom are Paul and Silas, Peter and John. So again, it is +"good when _dying_, _living_, _mourning_, _sinking_, _praying_, +_talking_". It is good "when in _trubble_, when de _worl's on fier_, when +the _lightening flashes_, when the _thunder rolls_, when the _heavens are +melting_, when the _stars are falling_, when the _moon is bleeding_, when +the _grave yards are opening_", and all other times that are conceived as +being a part and factor in destiny. Likewise the chorus or the lines may +be sung with additional "Yes", "sure", "well", "Uh", and various other +expressions that are the product of the moment. + +One who has heard the song "Bye and bye we'll go and see them", rendered +in an effective way must recognize its power and beauty. It is +pre-eminently a song for the emotions, and suggests scenes of the past and +of the future; it brings back memories that have been forgotten and forms +emotions and conceptions that have not before existed. To the negro it is +all this--in so far as he is able to grasp the better emotions--but it is +mostly a medium through which he can sing his rhythmic feeling off. And +with the additional interpretations and additions both in words and in +expression, it is scarcely surpassed by any of his spirituals. The +simplest form is exactly the same as that of the regular song: "Bye and +bye, we'll go and see them", From this the negroes vary to "Bye and bye +I'm a goin' to see _him_, _them_, _her_". To this chorus they nearly +always add in alternate lines "Well it's", "Well", "An'" and such +expressions, thus: + + Bye an' bye I'm goin' to see them, + Bye an' bye I'm goin' to see them, + Well, it's bye an' bye I'm goin' to see them, + On de oder shore. + +These expressions inserted or omitted at pleasure, serve to give an +additional rhythm to the song that seems otherwise to be lacking. The +verses of the song, like many others, are practically unlimited. Each is +repeated three or six times as the singers prefer, with the refrain "On +the other shore" added at the end of each stanza. The negroes sing not +only of a _brother_, _sister_, _father_, _mother_, _auntie_, _preacher_ +and _friends_, but they also sing of _Paul_ and _Silas_ and _Daniel_ and +_Moses_; they are at liberty to use any name that comes to mind. And they +manifest as much feeling and emotion about meeting _Moses_ or _Noah_ or +_Abraham_ as they do about a dear old mother. Not only will they meet +these loved ones but there will be scenes "over yonder." + + I'm got a brother over yonder-on the other shore. + I'm goin' to meet my brother over yonder. + Tryin' time will soon be over, on the other shore. + Well, it's mournin' time will soon be over, on the other shore. + Cryin' time will soon be over. + Prayin' time will soon be over, etc. + Shoutin' time will soon be over, etc. + +If necessary they then turn to the sinner and sing: "_Sinnin' time_, +_gamblin'_ time, etc., will soon be over." The old plantation song, +instead of saying, "Brother Daniel over yonder," had it, "Wonder where is +good ole Daniel? Bye an' bye we'll go an' meet him, 'Way over in de +promise lan'. Wonder where's dem Hebrew children? Wonder where's doubtin' +Thomas? Wonder where is sinkin' Peter?" This form is apparently not sung +to-day. + +In the same way the negroes have modified the comparatively new songs that +have been successful among the evangelists the country over. One would +scarcely recognize even the tunes at first hearing, while the verses are +usually entirely different. The chorus, as a rule, remains the same, save +for the variations already mentioned. One or two songs may be taken as +illustrations. "When the Roll is Called up yonder" appealed to the negroes +for many reasons. Most of the churches sing it, and sing it "rousing" +well. Their chorus is beautiful and the parts, though carried informally, +make a splendid effect. But the negro does not sing the prescribed +stanzas. After singing the chorus, with such additions as he feels +disposed to make, and after two or three, perhaps one, of the written +verses, he sings his own song: + + When the roll is called up yonder, I'll be there. + By the grace of God up yonder, I'll be there. + Yes, my home is way up yonder, an' I'll be there. + I got a mother way up yonder, I'll be there. + I got a sister way up yonder, I'll be there. + +And without limitations he sings this new song into his old and favorite +themes, often inserting stanzas and words that belong to the oldest +existing negro spirituals in the same verse with the evangelist's best +efforts. Another may illustrate further: "Blessed be the Name of the +Lord", has a great many variations, some of which would never be +recognized without considerable study and investigation. At first the +searcher is inclined to wonder at the distance the singer has got from his +original, but the evolutionary steps make the process quite clear. The +negroes love to sing blessing to the Lord; much of the basic principle of +their theology is based upon gratitude for the final deliverance of +bondage from work and suffering. It is not surprising, then, that this +song should become a favorite. One of the present versions, most commonly +sung is: + + If you git there before I do, + Blessed be the name of the Lord, + Tell my God I'm a comin' too, + Blessed be the name of the Lord. + + I turn my eyes toward de sky, + Blessed be the name of the Lord, + I ask the Lord for wings to fly, + Blessed be the name of the Lord. + +And encouraged by the happy putting in to this new song an old verse, the +singer proceeds to put in as many as he wishes; then in his desire for +rhythm and his habit of repetition, together with the cries of "amen" or +"Lord" the chorus often becomes: "My Lord, blessed be the name of the +Lord." The outcome of such a chorus may be seen in the song already cited: +"Lor' bless the Name." + +In the effort to make new songs or to appropriate songs themselves, the +negroes are thus constantly introducing various songs into their worship. +The most common method, that of having the song printed on a single sheet +for distribution, has already been mentioned. And as was there suggested, +these songs are often verses taken at random from song books or poems, and +put into song form. In most cases such songs are varied in such a way that +the song may both meet the demand for a song of its kind and at the same +time appear original. Some, indeed, are purely original productions, some +of which have been cited. Just between the "spirituals" and the standard +hymns are these innovation songs. They show well the circumstances which +they represent. The effort is often made by members of the younger +generation of negroes to substitute the new songs, together with the +standard hymns for the old spirituals. They represent a step forward; +young educated negroes do not like to be heard singing the simple +spirituals. They claim that they are songs of the past, and, as such +only, are they beautiful. The following song, given in the exact form in +which it was distributed, will serve to illustrate. + + _BLESSED HOPE._ + _By Rev. W. E. Bailey._ + + Blessed hope that in Jesus is given, + All our sorrow to cheer and sustain, + That soon in the mansions of heaven + We shall meet with our loved ones again. + + _Blessed hope, blessed hope, + We shall meet with our loved ones again, + Blessed hope, blessed hope, + We shall meet with our loved ones again._ + + Blessed hope in the word God has spoken, + All our peace by that word we obtain, + And as sure as God's word was never broken, + We shall meet with our loved ones again. + + Blessed hope how it shines in our sorrows, + Like the star over Bethlehem's plain, + We will see our Lord ere the morrow, + We shall meet with our loved ones again. + + Blessed hope the bright star of the morning, + That shall herald his coming to reign, + He will come and reward all the faithful, + We shall meet with our loved ones again. + (Sung by Rev. J. T. Johnson.) + +Such a song is neither sung to an old melody nor a new tune; it is not a +spiritual; it is scarcely native nor yet borrowed. It represents the +general result that comes from a free intermingling of all. To such a song +there may be any number of tunes; likewise there are a great many such +songs introduced and may be sung alike to simple tunes. A tune is as +easily selected and rendered as are the words; words are as easily +improvised, or written with some care, as the melodies are natural. But +they appeal less strongly to the negroes as a rule for the simple reason +that "they don't put a feelin' in you like the old songs." + +Thus the negro's religion is dependent upon feeling; song facilitates and +intensifies the feelings, and song is the essential joy of much of the +negro's life. Whenever and wherever occasion demands religious +manifestation, the song is the prerequisite. Not only at the church, but +at lodge celebrations, funerals and memorial services, the song begins the +process of "putting a feelin'" in the congregation. Again, the stress of +the negro's religion is placed upon the supernatural and the life that +lies beyond his present sphere. A religious attitude is scarcely conceived +by the negro without the fundamental conception of the next world. Thus is +life contrasted with heaven and hell; the sinner and the righteous are but +temporary; so will the souls of all one day sing with Jehovah the songs +that the angels love; and there will be feeling there, too. It is thus +that the central themes of the negro's religious songs reveal both his +religious nature and his mental attitude, together with the emotional +characteristics that predominate. And it is easily seen that the negro's +imagery and imagination are scarcely surpassed. His religious fervor +depends upon the reality of such imagery; the folk-song reflects this +imagery as nothing else does. Again, the negro's sense of sin is ever +present in a feeling of guilt in the struggle between himself and the real +or the imaginary; consequently he insures himself against a final sense of +guilt by strong declarations of his righteousness as opposed to the +sinner's state. His sense of sin thus becomes less practical; it is rather +an imaginative expression of a religious feeling. As the clearest exponent +of the negro's real self, the folk song reveals the heart of his psychic +nature; it is indeed a witness to the fact that "'Ligion's so sweet". Does +he not sing well and truthfully? + + I jus' got home f'um Jordan, + I jus' got home f'um Jordan, + I jus' got home f'um Jordan, + 'Ligion's so-o-o sweet. + + My work is done an' I mus' go, + My work is done an' I mus' go, + My work is done an' I mus' go, + 'Ligion's so-o-o sweet. + + + + +FOOTNOTES: + +[1] This paper presents in substance the contents of Chapters I and II of +a study on "Negro Folk-Song and Character," with other chapters as +follows: Chapter III, The Negro's Social and Secular Songs; Chapter IV, +Types of Social Songs among the Negroes; Chapter V, Work Songs and +Phrases; Chapter VI, The Negro's Mental Imagery; Chapter VII, Negro +Character as Revealed in Folk-Songs and Poetry. + +[2] See _Atlantic Monthly_, Vol. XIX, pp. 685 _seq._, _Scribners_, Vol. +XX, pp. 425 _seq._, _Lippincott's_, Vol. II, 617 _seq._ + +[3] For verses not found in the present-day negro spirituals, see _Slave +Songs in the United States_, W. F. Allen, New York, 1867, _The Jubilee +Singers_, New York, 1873, _Plantation and Cabin Songs_, New York, 1892. + + + + + + +End of the Project Gutenberg EBook of Religious Folk-Songs of the Southern +Negroes, by Howard W. 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