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.