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.