The Negro and His Songs

Home , Hate to Feel, Main Man, Not Alike, Sinner Man

THE NEG RO AND HIS SONG S

A STUDY OF TYPICAL NEGRO SONGS IN THE SOUTH

D PH . . . UM HOWARD W OD , KENAN PROFESSOR OF SOCIOLOGY ANDEDIRECTOR OF THE SCHOO OF PUB LIC WELFARE U ERS TY L , NIV I OF NORTH CAROLINA

AND

A . GU Y B . . JOHNSON , M INSTI TUTE FOR RESEARCH IN SOCIAL SCIENCE U NIVERSITY OF NORTH CAROLINA

CHAPEL HILL THE U NIVERSITY OF NORTH CAROLINA PRESS

LOND ON: HU MPHREY MILFORD “ OXFORD UNIVERSITY PRESS 1 925 " R 1925 BY COPY IGHT ,

’ UNIVE RSITY OF NORTII CAROLINA PRESS

PRESSE S OF EDWARDS B ROU GH TON P RI NTI NG COMPANY RALEI GH PREFACE

Thi s volume is p rese nte d s imply a s a p a rt o f the

th e r o l m e s a re l anned to s to ry o f the Neg ro . O v u p follow a nothe r co lle ction of song s b ro ught mo re nea rly up to d a te ; a p res ent atio n o f s on g a nd s tory centered a rou nd c a s e s tudi e s ; a s e ri e s o f eﬁo rt s to po rtray o bj e ctively the s to ry o f ra ce p rog re s s in the n a h Un ited State s in th e l a s t h alf d ozen d ec a d e s . I e c c a s e the m ate ri a l will b e p re s en ted s imply fo r wh at it is an d. not fo r co s mic generalization s o r ethn ic i nter

o the u s e of the te rm p retation . In the p re s e nt v lum e Negro re fers o nly to the Negro s i n ger an d to th at wh h he r The te rm ol s on is s e d in ic ep re s e n ts . f k g u thi s co lle c tion in a gen eral w ay an d f o r comp a rative

th term s e m lo ed referen c e . In n eithe r c a s e a re e p y — with an a ll i nclu s ive a nd techn ic ally co mp re h en s ive

me an n . a re re al e ro e s i g The Ne gro e s in thi s b oo k N g , b ut they do not rep re s en t all the Ne gro ra ce ; the s o n gs - a re re al so n s b ut m a n o f th em a re not ol s on s g , y f k g in th e a ra f ccu te s en se o the wo rd . The volum e will b e fo u n d to a bo u nd in p a radoxe s a nd ontra d h s o n s a re not al e th e c iction s . T e g ik ; d al t i a r l r s o f owe r i ec s no t co n s i s tent . Th e re e y ic p

and a e al an d there a re rs s r de a n d so rd d . pp , ve e c u i

h re The re a re li n e s o f eleg an c e a nd i nelegan c e . T e a re all ad s of wo rth a nd d s o nte n o n s e ent al b i j i d, i c qu i l n e s o f tra h is o a tho s i s h . T ere is s o rrow a nd th e re j y ; p ” s tan d alo n d o s a s h mo . . aws n s s e r I a s . D g i u f, W T y , the s e ret o f tr e o etr is to s ee a n d to eel th en th ere c u p y f , is o etr in th e e r s o n m a e s a n d a lle o r es p y N g o gs . If i g g i a re ette r th an mater al th n s the n th e e ro s n er b i i g , N g i g is d oo d . But o n e is to ﬁnd o etr l e s om e h a r g if p y, ik Ric i PREFAC E

ef r e s dwell n o n th e m s ter a nd e a t of th e J f i , i g y y b u y

e s h o n the s en s t e el e an e o f n a t re a nd th e so l ﬂ , i iv g c u u , ’ o d sw th s m a n-to-m an o et th ere w ll b e o r like W r o r p , i m a ny who di s s ent fro m s uch a j udgment o f c rude

Fo r th ere a o d s m h oa rs ene s s . c reative eff o rt . b u n uc c Well it is -th a t thi s co ll ectio n h a s no duty to evalu a te ove rweenin g phy s ic al exp res s io n a longs ide s pi ritu al a s rat o n to d e wh ethe r tter s a re ra n pi i , j u g bu cup g zi g g ra s s o r th e s ub s t an c e o f s un-s pilt immo rtal gold ! O the r co ntra s t s th e re a re : s ta tely m ea s u re s a n d

ro e n rh thm o r ed tr s eme a n d ra ed tro h ee b k y , f c i gg c ,

llo a l a s nd e to n a n d m ed m ete rs and s h o th e r i gic y ix , uc u ntame d tech n iqu e a s will u ndoub tedly do j u stic e to h the s i nge r o f t e s o ng s . Bu t h e re a re the so n g s a s they were fo u n d with

m th n f th r s o m o f h em h a e een s o e i g o e i etti n g . S e t v b

l s he d in The ourn a l o d rneriea n Folkl ore a n d pub i j f ,

s om e in The America n journ a l of Religious Ps ychol ogy . Ack nowl edgm e nt o f p revio u s public atio n in the s e

a i s a a t r al o ld j o u rn l s s here ren d e red . Co n id er bl e m e i c u no t b e i n clud e d in thi s coll e ctio n b ut will follow in th e

h s m a o n ext . T i teri al i n clud e s a gro up o f so ngs c l

l ec te d in enn e s s e e b n n a Kran d m to whom T y A z O u , we a re i n d eb te d f o r much help in th e utilizatio n of the m a teri al in thi s vo lum e ; new s ongs rec ently coll ecte d in No rth C a ro li n a a n d o th e r lo c alitie s ; an d a mis

c ell an eou s oll e t o n of rh m e s ame s m ro s at on s c c i y , g , i p vi i ,

o r n al om o s t o igi c p i i n s an d riddles . Th e s o ngs in thi s volume were colle cte d in No rth ern

s s s s o nt e s o f ontoto an d La a ette an d Mi i ippi , c u i P c F y ,

in o rthern eo r a o n t e s O f ewton a d o N G gi , c u i N n R ck d a f m l e . A ew o ther s o n s a n d ra m en ts hie ro g f g , c ﬂy f

o rth a ro l n a a n d enn e s s ee h a e een s ed h e re N C i T , v b u an d the re f o r co mp ara tive pu rpo s e s ; PREFAC E

Wh a teve r of s p e ci al merit the p re s ent volume m ay h a e es de s h o f the t on is due v b i t e i nhe ren t valu e collec i , to the wo r f h o n who h a s ta en the o Mr . . o n s k G uy B J , k ent re o r n a l o lle t o n re a rran ed and re l a s s ed i igi c c i , g c iﬁ , m an of the so n s el m n ated m h l at o n m ade y g , i i uc dup ic i ,

“ o m a rat e s t d e s o f o the r olle t on s and add ed c p iv u i c c i , e neral e g l y to the eff e ctive ne s s of the pres e nta tion . Sp c ial th an s a r d r l s n re to r of th e e u e D L . o D k . . R Wi , i c

Un e rs t of o rth aro l n a re s s f or his al a le iv i y N C i P , v u b ‘ s es t on s in wo r n out m an m o rt ant d eta ls ugg i ki g y i p i , and to D an o r f or his nd n es s in o n e J . F . R ys te ki g i g o ve r mo s t of the origin al m anu s c ript and m aking h el l s e s t on s pfu ugg i .

. 0 . H N . . . CHAPEL ILL, C H W

e r ar 192 . F b u y, 5

CO NTENTS

PREFAC E PAGE

PR ESENTING THE SINGER AND HIS SONG

THE RELIGIOUS SONGS OF THE NEGRO

EX AMPLES OF RELIGIOUS SONGS

X " OF on l ded E AMPLES RELIGIOUS SONGS , C c u

THE SOCIAL SONGS OF THE NEGRO

EXAMPLES O F SO CIAL SONGS

XAM C on l d d E PLES OF SO IAL SONGS , C c u e

THE WORK S ONGS OF THE NEGRO

R C OR IMAGE Y, STYLE , AND POETI EFF T

BIBLIOGRAPHI CAL NOTES

INDEX OF SONGS

NEGRO SONGS

CHAPTER I

PRESENTING THE SINGER AND HIS SONG

“ ’ — I m a wo r er a an d s h o el m an wh at I w ant k , p ick v ” an o tl t to e re s s wh at c an s a e s de s wor is u e xp I y b i k , ’ w ro te a s al D An elo So n of I tal w th the h a rd hood P c g , y, i i “ of a worker-p o e t tryin g to exp re s s his living s uffer ” “ 1 e e rth el e s s th e oet c r of a s o l s tran ded in gs . N v p ic y u ” on the Sho re s o f d ark n e s s h ad it s cou nterp a rt in a “ erta n air alm o s t of oll t a s m l n r en dl n es s c i j i y, i i g f i i , ’ w th o t an tr a e of tte rne s s th at wo e o n e s wo n i u y c bi , k ” d r an in his own ers es h e re res en ts th e s o l of a e , d v p u

wh s tl n lo dd n a rm l a a s a r ht l e Sk i i g, p i g f d b ig b u y, while the s oul s of m any who s p e ed fas ter th ro ugh th e “ r d m w th m o om e th e m ed v alley a e i i s to r s . S c ix me s s a e s Of on e wo r er eth n re res entat e of a g k , ic p iv l a rg e group who se pick s an d s hovel s h ave co ntribu ted m h to th s old n a o f d r uc i g e g e in u s t y . “ ’ ’ ’ ’ ’ ’ Law a n I S no t a SIn in I s es a h ollerin to , c p , g , j ’ ’ ” he me wid m wu k s m led a h e er l a n d p y , i c fu pick s ho e l m a n atro s Son of A ri a ath er n h m s el v , W u , f c , g i g i f “ ’ a d his s on at d a s r o m b e n n . An d Y u u s g y p i g , ’ s tringin me to c a ll th at Yet wh at s in gin g !

An one h ea r n him s n d a in an d d a o ut to eth er y i g i g y y , g w th tho s a n d s o f o th e rs l e him m us t a ree in all i u ik , g ,

oo d w ll w th the o ft-re e ated s on l a m o f th e g i , i p g c i “ ” “ ” “ ” m us aner m s - h s an r a s o n s te r ici , u ic p y ici e nd g , “ ’ ’ ” th a t All don t m Not s ee e go in to h ea r m e Si n g . onl does he S n b u t h e s n s m h and S n s lon y i g, i g uc i g g, with such richnes s an d va ri ety a s m ay b e u n d ers too d

’ ’ 1 See C arl Va D oren s Intro ction to Pas cal D An el o Son o Ital New n du g , f y, York Th M e acMill an . 2 , C O , 19 4 . 2 TH E NEGRO AND HIS SONG S o nly by tho s e who he a r o ften and li s ten well to a n en a le r an e th at all s o rth the e rd t vi b g c f v ic ,

ell he s ets m s o l on h h W , y u ig ,

a n d a Ma ke s me laugh m kes m e c ry .

h s o me the m ed s o n s of a no the r ro a s T u c ix g g up , b ic in the agricultu ral and i n du s tri a l d evelopme nt of the

Ha s the e ro s e d d mo r i h s wo r N ation . N g ucc e e e n i k P and s ong th an othe r peO ple s And wh at va s t a mou n t and va riety of thi ngs b e ” s ides wo rk the Negro s inge r c an s ay a nd d oe s s ay w t a rt h mo r atho s s o n tan t h s o l m h e . i , u , p , p i y T i v u e is a a rt o f the s tor a s m all a rt it is tr e bu t n e e r p y ; p , u , v theles s a e r re a l and d a rt r h in e am le s o f v y vivi p , ic x p ’ the N egro s c re ative effo rt within th e limitatio n s of the olle t o n d in the s al at o n of his m a n c c i , vivi vi u iz i i gi

s a th h of h at s ll and ing nd e te c n iqu e his son g . W ki p ride a re fou nd in the imp rovis ation of the so ng le ade r who se s ong h ad b een s ought by a u n ive rs ity de an who h ad li s tened with growin g in te re s t to the ro ad g an g s in ging a s they wo rk ed in fron t of his hou s e . This de an a cco rdi n gly s at hims elf do wn o n his rock wa ll to s ee if p e rchan ce he might not t ake down s o me of the son s wh h he he a rd the s n n o f wh h he so m h g ic , i gi g ic uc

He wa s h o he wo r r enj oye d . t i nki ng how o blivi u s t ke s we re to his p re s en ce a nd to all things el s e s ave the i r

H m r f o wo rk . e a vele d th at th e wo rd s o the s ng h e

o ld no t ath e r n e e rtheles s he wo ld b e e rs s te nt c u g ; v u p i , h wo ld e t th A o w th th s o m ewh a t e em . nd s he did e u g , i s ta rtl n ee t a ro m a t l rs ed to meet the i g c , pp xi e y ve ’ wo rkm an s tec h niq u PRE S ENTING THE SINGE R AND HIS SONG 3

’ hite m an sett n o n wa ll W i , ’ h te m a n s e tt n on wa ll W i i , ’ h te ma n s ett n on wa ll a ll d a lon W i i y g , ’ ’

Was tin his t m e wa s tin his t me . i , i

Th at th e white ma n imm e di ately moved o n need not b e tak en a s eviden ce th at he app re ci ated th e s ong any the les s b ut e rh a s th e n den t rem nd ed him o f , p p i ci i o th er t me s wh en the w o rd s h e so ht we re n d s t n t i ug i i i c , o r it m ay rec all to o the rs with vividnes s s imila r Negro

s ongs ab ou t the white m an . ’ o m eth n o f th e e ro s n e r s m a e r s t l e an d S i g N g i g i g y , y , c re ative eff o rt will b e s et fo rth in d et a il in a l ater

Bu t it s eem s o nl a r at the e n n n to ch apter . y f i b gi i g i ntro duce the Negro s inge r an d his s on g by po inti ng ou t so me o f the o uts tan din g ch a ra cteri s tic s which p ro mi s e the re a de r a mea s u re of pl ea s u re a s well a s o f info rm ation co nc e rn i ng th e impo rtant as p e ct of Negro a o h a mo r a r a m e h a n s m l e an d l r . t e ro te if b W pp p i c i , f or n s tan e f o r the e ro l a o re r o n a ho t d a n de r i c , N g b y, u the ro l n s un th an th e o llow n s on ? b i i g , f i g g — — — ell s he a s k m e whu k in d e a rler whuk W , p ,

’ — — - An s he ooled m e whu k wid h er f a n whu k c , , ’ — — — An s he wh s e red whu k to her mothe r whuk i p ,

— — - — a m a lo e th at whu k d a r e ed m a n whuk . M m , I v k y — — — ell a s k her whu k m other f or h er whu k W , I , ’ — — — An s he s a d s he whuk wu s too o n whuk i y u g , ’ ’ — ord wish d I d whu k—ne er s ee n h er—Whu k L , I v , A ’ ’ — — — n I wis h d s he whuk never b in bohn whu k . — — — ell led her huh to the a lta r huh W , I , ’ — — ’ ’ — An d e rea h er h h his c omm a n h h p c uc giv uc , ’ — — An s he swore b h h— G od th at m ade her h h y uc uc , ’ ’ — — ~ — That s h e d never huch love nother m a n huch . 4 TH E NEGRO AND HIS SON GS

The d eta ils o f the meter of this a nd s imil ar s on gs will b e d s s s e d in the h a te r on o r o s the re a de r i cu c p W k S ng ; , howe er w ll al read h a e s een the rh thm w th the v , i y v y , i n a s al a es ral a s e lon e no h f o r th e s n e r to c u p u , g ug i g

at h his re ath a nd s ta rt a no the r s tr one c c b oke . If w ant s to ﬁnd s an s on he re the tr s eme a nd tro h ee c i , i c w ll s er e him well b ut th at m atte rs l ttle in t he i v , i

a h a im ge ry of t e s ong nd the swing O f th e pick . ’ ew rs O f r Kenne d s del ht l Bla ck a meos Revi e M . y ig fu C h ave compl a ined that it co nce rned its elf on ly with the “ ” i Ha s the e ro a s s e ro n is l hte r e n . N g h ig v i N g , k “ o ne n o t ale o f tr e s o rrow and tra e d to tell , u g y tragedy enno bl ed by the s implicity a nd di re ctn e s s ? with which h e c an recou nt othe r s to ri es Mu s t the ’ e ro s so rrows o re e r b e e res s ed onl in his m s N g f v xp y u ic , in th e mi no r c a den c e s of tho s e s pi ritu als which s ti r ? li s tene rs to te a rs No t f a r fro m the c abin doo r the re

1 m s t b e mo re th an h a s et een wr tten . o rs e u y b i Of c u , th ere is an d of o rs e it h a s its e res s on o ts d e th e ; , c u , xp i u i

r a n f h w m a n n th e ntrod to r o rdi na y r ge o t e hite . I i uc y p a rt of the l a te r ch ap te r on S o ci al S on gs it is po i n ted o ut th at ontra r to o mmon o n on the rren t , c y c pi i , cu s e cul a r s ongs of the Neg ro Show a s much s ad ne s s a s th e o r n al s r t al s altho h s l a e r h a s e en o ne igi pi i u , ug v y b g

d It is l e t f o r the re ad e r a nd th e s e s everal d ec a e s . f s t de nt to n te r ret th es e ee n them alon s d e u i p , k pi g g i the re ate r n m e r o f o o s and h mo ro s s on s g u b j y u u u g , a nd not a s c ribin g to o much to th e s ign iﬁc an ce o f wh a t

a m h a n m m a But wh ate e r eve r e mo tio n l ec i s s y re s ult . v el s e m ay b e s a id a bou t b oth the lighte r a nd s a dde r s on s the re c an b e no d o t th a t th e re re s e nt w th g , ub y p , i ra re d s t n t e nes s the e ro s n e r a s noth n e l s e i i c iv , N g i g i g

1 r v w Lit ra tur a uar 1 2 a d The New Y rk See The Satu day Re ie of e e, J n y 3 , 9 5, n o

Evenin Pos t Literar Review No ember 22 1924 . g y , v , P R E SENTING THE SINGE R AND HIS SONG 5

a h e a re the e s s en e o f his e n s a nd does o r c n . T y c g iu

i s r t an d wh a te e r the r d e e ts the mo s t c er h s pi i , v i f c , y

h re alm of a rt an d the nt ta inl re a h t e e r ret l e . y c , y i p if The re is b e s ide s th e s a dd e r s tra i n s much th at tend s to

The s n e r is not o nl bi tte rn e s s . i g y

’ ’ Po boy long wa y from hom e

ot no where to l a m wea r hea G y y y d, but also

Got de blu es b ut too d am n me a n to c ry .

He u s ed to s in g

’ ’ You h rt m f eelin s b ut won t let on u y I , but now h e s ets fo rth

’ ’ ’ ’ Me n my pa d n a h a n three-fo mo ’ ’ ’ ’ r Goin ra i s e hell ou n pa y c a h do .

And in th at rem a r a le wo r s o n in h a ter VIII k b k g C p , “ ” whe re the s in ger co mpl a in s to his c ap ta i n of his cold

eet old h and s wo r in the r a n n ht wo r lon f , c , k i , ig k , g ho rs l ttle oo d he e l a m s u , i f , xc i ,

ell had m we ht in l me W , if I y ig i , ’ ’ ’ I d a whip my c pta in til he went s to neblin .

Bu t even he re with all his compl a i n ts the s i nger tell s a s tor on h m s el wh at th e a ta n s a s a n d doe s y i f, c p i y , “ ’ ” how the f oht -f o s o r eld e a s a re a ll o n e how th e y ﬁ p g , " a ta n l ed the ne h o r n o s s and e nd s w th c p i ick ig b i g b , i

Wéll ot o n le el loo a s f a r a s s een , I g up v , k I , ’ ’ N th n wus a om n b ut a c a teen u i c i big p ,

’ who is so d a m mean m s ta o me rom New Orle an s , u c f , 6 TH E NEGRO AND HIS SONG S

h aw-h aw And altho h . ug he wo uld much rath e r b e a

e ro th an a h e a wh te m a n h e re al e s th at the N g c p i , iz

e ro h as his own h a ra ter s t s a mon wh h is a N g c c i ic , g ic s en se of humor

N er b e n er whate e r h e do igg igg v , ’ Tie re d r on ro nd toe of his s hoe ibb u ,

er his est on o er his o a t J k v v c ,

' nat h his r t he s round his throat S c b i c up f , ’ n n h h ste e r awd ou s ha ll b e ree Si gi , ig pp , L , y f ,

Yes when de o d a o wd done s et ou ree . , g L y f

th the s n n o f wh h in his e s t mo ments the Wi i gi g ic , b ,

e ro s n er c an de m t at o n an s h ill eel n ro m N g i g fy i i i , b i f i g f

h m s el a nd the wh te m an an d ro e t h m sel e on d i f i , p j c i f b y th e reali s m of hum an limitation s i nto th e l and of the

S r t wh e re a ter all pi i , f

’ Wa y up in de Rock of Ages ’ ’ In God s bo s om gwin b e my pilla h .

s ten n in on the s n e rs a t am on the ro ad s in L i i g i g c p , , ﬁ eld an d c on struction g angs and h e aring the j ollity o f the i r m orn in g an d even in g convers atio n s a s well a s

th e h mo r o f the r d a l tal o n e m s t s t ll re o n e u i i y k , u i c g iz in th e Negro comm on m an a ra re typ e who h a s n ot los t

o o the a rt of chee rful ne s s o r the p r a ctice of g ayety . G d

h s n r will and good wi s h e s f o r the ra c e follow t e i ge . Re c en tly a numb er of writers have po i nted ou t so me th\in g of the du a l pers o n a lity of th e Ame ric an Ne gro o n e perSon al ity fOr hims elf and his ra ce a nd o n e f o r m o a 1 h th e white folk with whom he co es in c nt ct . T i s s itu atio n is n ot n ew to S ou th e rn whites who h ave ” See f or ins tance Homo Af rican s in the Decemb er 1924 America n , , u , , M rcur e y.

8 TH E NEGRO AND HIS SONG S

o ne who now s of th e a s t am o n t s eem n l III . No k v u , i g y

n l m te d o f n at e m a te r al d e s r t e of th e o l u i i , iv i , c ip iv f k , th e l e th e re on a l l at o n o f th e e ro c a n a l if , gi civi iz i N g f i l re ret its n e e t . ere a re l a n a e l tera t re to g g c H gu g , i u , a nd o etr b e th e ro d t of eel n an d s ee n th e n if p y p uc f i g i g ,

f n s a l h a rm a n d m h e a re po etry o u u u c s i plicity . T y

f th a An d to s e a n d p a rts o f th e s to ry o e r c e . p re rve i nte rp re t th e c o n tribu tio n s Of a p eo pl e to th e i r own d evelo pm en t a n d to civiliz atio n is to a dd to th e s ci en c e

- o s ter t h a s o te d ed of fo lk hi sto ry . P i y f n j u g p eople s without h avi n g s o much a s a p a s s i n g k nowl e dge o f th e r n n e r l e wh l e tre a s re s of o l lo re a n d s o n i i if , i u f k g , the s h rel o s a n d so al e re s s on of th e ra e p yc ic , igi u , ci xp i c , h ave b een p ermitte d to rem a i n in co mplete Ob s cu rity . Lik ewi s e p eo pl e s h a ve live d contempo ra neo u s ly s ide b s d e b u t no ra n t of the tre a s res of ol —em s y i , ig u f k g

a Th e h e a rt th t l ay hidd en an d w a s ti ng all abo ut th em . a n d so l O f th e re al eo l e a re n nown s en e is u p p u k , ci c d e r e d o f a n eed ed ontr t o n a n d th e o rld is p iv c ibu i , w hi n d ered in its eff o rt to d i s cover th e full s ign iﬁc a nc e o f

s ho lo al rel o s so al a nd o l t al h s to r o f p yc gic , igi u , ci p i ic i y m a n h a t h i th rod t of ki n d . T w ich s di s ti n ctly e p uc ra ci a l life an d d eve lo pm en t d e s erve s a b etter fate th an to b e l own awa w th a h an n en ro n m ent an d not b y i c gi g vi , e ven rem a i n to e n rich th e so il from which it s p ra n g . Th e s ci entiﬁc Spi rit a nd fa i rn e s s to the ra c e d em a nd the p res e rvati o n o f a ll i n te re s ti ng a nd v alu abl e a d ditio n s to th e n o - Th e s e s s l k wl e dge o f fo lk life . ucc fu s tudy of th e co m mo n d eve lopm e nt o f the hum a n

ntell e t a n d r m t tho h r a d a n e d wh le i c p i i iv e ug t a e v c , i th e ex a ct fo rm o f exp res s io n i ts elf co n s titute s a c o n trib utio n to nowl d r k e ge a n d liter atu e . In thi s coll ection o f s o ngs th e re a re c ert a i n s p eciﬁc PRE SENTING THE SINGER AND HIS SONG 9

It h a s een o nted v alu es an d c e rta i n obvio u s de fe cts . b p i o ut in the p refa ce th a t the vo lum e reﬂec ts much th a t he re is l ew s e is p a radoxic al a n d co ntradic to ry . T ik i t wo ld b e a ﬁn e th n much th at is i n co mpl e te . I u i g if N egro w rite rs of abili ty to d ay wo uld s e t th em s elve s the t a s k o f colle ctin g a n d p re s en ti n g the g re at b ody

m ate r al in the a n d an e o f wh h the wo ld o f folk i , bu c ic y u

he o ld en r h th e l te ra t re ﬁn d ra re Oppo rtu nity . T y c u ic i u an d h erit age o f the r a ce a n d ﬁn d in the s e s on g s a n d po etry m edi a no t o nly for the d evelo pm en t of thei r own a a t e s b ut fo r a mo re eff e t e l terar ex c p ci i , c iv i y

res s o n a nd e er en e in m eet n e o l n C h a n p i , xp i c i g v vi g , g i t t h s o ll t o n is s e s t e of tha ng s i u a ion s . T i c ec i ugg iv t l arger bo dy o f m ateri al which c a n b e g ath e red o nly th ro ugh th e d evotio n an d a bili ty o f N eg ro w rite rs a n d

d s 1 h s o lle t o n is of a l e and is res e nte d s tu e nt . T i c c i v u p a s o nd b ut it h a s all th e s ho rt o m n s of wo r d o ne f u , c i g k

rom the o ts d e a l th o h w th re a t are w th s m f u i , ug i g c , i y

a the t nt r s t an d a t so m e l n th a nd e e e e ens e . p ic i , g xp Thi s volum e m ay b e s a id a l s o to b e a n eff o rt to wa rd

oo d a o ro m t s o n g will n d go d wi s h e s . F hi vi ewp i t the

e t e re s ent at o n h a s i s a d a n a the Obj c iv p i t v t ge s . If mu s ic al n atu re a n d p o te n ti al o f the ra c e c a n b e em

h a s ized a a n an a a n the oo d n at re the re p g i d g i ; if g u , s o u rc eful ne s s a n d a d a pt ability o f the Ne gro m ay b e ’ s tudi e d from v a ryi n g vi ewpo i nts ; if the N egro s s kill a nd a rt m ay b e p re s e nted in thi s w ay ; if his hypo c ri s y a nd two-fa c e d s u rviva l m ech a n i s m s m ay b e s ugge s ted a lo n w th his oo d m an n ers his d lom a his a r g i g , ip cy , tis tic e re s s o n a n d ra re h a rmo n th e n a dd e d a l e s xp i y , v u m a b o d y e f u n in th e volum e . Expl an ato ry a n d i n tro ducto ry m ateri al will b e fo u nd

1 See Bibliographical Notes f or a s tatement concerning other collections of Ne r n g o s o gs . 10 THE NEGRO AND HIS SONG S

h in co nne ctio n with ea ch divi s io n of th e s o ngs . T e m an n e r o f s n n th e t e of s on th e en ron m en t i gi g , yp g , vi o f th e s i nger - th e s e a nd o th e r imp o rt a nt a s p ects

Th l an O f th s mu s t b e i n te rp rete d with the s o ng . e p i ’ volum e p rovid e s f o r a p re s ent atio n of th e N eg ro s r l s ol s o n s a n d s r t al s re ed ed b an e igio u f k g pi i u , p c y

a of s o m e of th e h e s e ts : h e a e n h ell an lys i s c i f ubj c v , ,

h d m ent eho ah h r s t th e o rd r t ra l t e j u g , J v , C i , L , Sc ip u

a d th r In th s an al s s no t o nl th e ch a ra cters n o e s . i y i y so n g s in thi s co ll e ctio n b ut tho s e in fo rme r co ll e ctio n s h ave b e en utilized so a s to give a n a d equ a te pictu re of ’ r r l io s m a e r a s e r s d i hi s n th e N eg o s e ig u I g y xp e s e n s o g .

ollow n the rel o s s o n s the so al s o n s a re F i g igi u g , ci g

re s ented w th an al s s e am les an d t al so n s p i y i , x p ypic g .

t w r a l hen o llow he o s o n s nd h ra s e s . n a l T f k g p Fi y , a ch apte r o n th e tech niqu e a nd c re ative eff o rt o f th e

Negro s i nge r is p re s ente d . Littl e attemp t h a s b een m ade at co ns i s te n cy in writi n g th e di al e ct o f th e s o ng s b ec a u s e th ere is no ’ n regul a r u s age f o r a y wo rd in the Negro s vo c a bul a ry . Th e commo n a n d avera ge di al ect wa s Copi e d in s o f a r a s it o b ta i n s in th e ea s y a nd c a rel es s s p eech o f th e n h N eg roe s . I t e i r rhym ed wo rd s of th e commo n vers es th ey Show a d ecid ed h a bit o f m aki n g a ll ﬁ n al l on so n a nts s ent . h s m nd ro nd s rro nd h an d c i T u i , u , u u , ,

nd ers t a nd l a nd s old told lo n r end n d o rld u , , , , g , f i , wi , w ,

nd a nd o n d a re e r ommo n e a m les th e a re ki , f u v y c x p ; y mo s t gen e ra lly p ro no u n ced witho ut th e ﬁ n a l c o n “ ” s o n a nt tho h t l h le d i m o s t c o m no a wa s . s , ug y W i

monl s l e n e d o th ers a re th s m te d in ro o rt o n y i c , u u p p i “g” to th e r re e n f r h s th e n al i f qu cy o o ccu ren c e . T u ﬁ

in r n n n d ro n h a n n a n d all res e nt a rt u i g , ppi g, gi g , p p i c ipl es is no t s o u nd ed at a ll ; th e s a m e is tru e o f no un s PRE S ENTING THE SINGER AND HIS SONG 1 1

d d a d e t es en d n in th s l ette r . Mo re e o re oo r an j c iv i g i , b f , ’ ’ ’ r an d s re a re ro no n ed mo befo do o ﬂoo , u p u c , , , ﬂ ,

F re 1s er l e 18 l a /e rom 13 frum l a s t a n d a s t s ho . i ﬁ , ik , f , p ’ ’ ’ as a n d a s do n t is o ten doa n o rd is La wd a nd a re l p , f , L ’ rd d ead is o ten da id a nd is s a ll a n to is o ten Loy , f , u u y , f ’ er O f is no u o f o r is o ten er th s is dis w th is t , , f , , f f , i , i wid een is bin th e re is o ten dere th em 18 dem the s e , b , f ,

met m es dere th e is de s t is us a nd es e a s e is s o i , , j u j j , b c u ’ ’ ’ te n ca u5 e d e l a re is cl a re eno h is n u a o t is Of , c , ug f , b u ’ ’ ’ out o r is o n el e n is on helievin wa s is h , y u y , u b i vi g ,

e s d e s th e s e a n d m a n oth e r S m l o ften tour . B i y i i a r

o rd s the s al ollo a l o rm s of e r s a re s ed w , u u c qui f v b u ’ ’ ’ ’ ’ ’ ’ ’ ’ ou d ou re he ll the ll I ll I m ca n t a in t wouldn t y , y , y , , , , , ’ “ ” i the r e t s ouldn t don t an d s o on . a e n e ten e c , H v p f c “ th o ld Sho ld a n d o ld l s s a ll a : wo l wi w u , u c u u u y I u d ” “ B t i a don e th s o ld a come throu h . u t is i , I w u g “ s omet me s er a s in h a d er died wh e n wu s o n i , If I I y u g , ” o l a ha d is s o ru So e o re the I neve r w u d d ri k t n . b f p re sent p a rticipl e a nd in qu alifyi n g wo rds to m ak e a “ ” h hm a is o t r s m le r t n n e entl n s e rted . i p y , i f qu y i “ — ’ ’ ’ ’ My fa the r di e d a s houtin a n I m go i n to d ie a ’ ” “ l a d h d a s houtin too . e e s e s e the tr n , Ez ki i pi i ’ a -comin The u s e o f th e d o ubl e n eg ative IS too

f h a ll t ra t n genera l to c all o r exampl e s . T e bove i u s io s f will s e rve to i n d ic a te th e p ri n cip a l ch a racte r i s tic s O the di ale ct; o th e rs m ay b e s een from th e s tudy o f th e s o n s h m s g t e s elve . The reade r mu s t n eed s emplo y a vivid im agi n a tio n ‘ like th at which is re ﬂ e c te d in the s o ngs th e m s elve s

he wo d om h n d th t a a Th e if ul c p re e e i r e s s e n i l qu li ti e s . chi ef ch a ra c teri s tic s a re Often fo u n d in a n imp ro vi s ed a rra ngem e n t o f wo rd s which m a k e s th e do mi n a n t feeli ng th at of mi n gli ng s ucc e s s fully wo rd s a n d c a 12 THE NEGRO AND HIS SONG S

h m an l s h ra an d r r den c es . T e e i n g e s p s es ef ai n s do not

m l e emo ti n n h n der the e re s s on o f eel n . o 1 i xp i f i g Si p , h e ren t m el o an d ollo al l a n a e a re om ned dy, c qui gu g c bi with ﬁne a n d d iff eren ti at i n g im a ge ry a n d humo r in a n

- A e t u n d er m e an i ng co mmo n to th e fo lk s on g . n elem n of m el a n cho ly m ay b e fel t u n d erlyi n g m any o f th e

B t w th all a l e o r o f e re s s n son s . u o c o n g i ik , vig xp i , c reten es s a n d n a t r al n e s s o f m en t al m a er a nd u i g y , s im plicity o f l a ngu ag e a nd thought a re combi n e d with ’ Th e e ro s ro e t e m en ta l s triki ng folk art . N g p j c iv ’ im agery a s s um e s th a t th e h e a rer s c omp reh en s io n c a n ea s l ra s th e ll c re of d e s r t on m oral i y g p fu pi tu c ip i , m a m s a n d d ra m at d alo e s all om n e d nto a xi , ic i gu , c bi i

s n l e ers e a n d th at h e c a n do it w tho t o n s o n . i g v , i u c fu i He re m ay b e s ee n m uch of th e n ak e d e s s e n c e O f p o etry with u n reﬁ n e d l a ngu age which re a ch e s f o r th e Negro a power o f exp re s s io n f ar b eyo n d th a t which m o d e rn reﬁ n em en t o f l a ngu age a n d tho ught m ay o rdi n arily

h thm r m n of at a ro a h . h e an d th e eel s s pp c R y , y , f i g i fa cti on a re i nh e re nt qu a liti e s . Th e aim th ro ugh ou t the wo rk h a s b een to po rtr ay

o n n obj e ctively the s o ng life of th e N eg ro . C s e qu e tly littl e h a s b e en ve ntu re d in the way o f i n te rp ret atio n o r

t h a evalu a io n . T i s co ll e ct ion o f s o n gs is b ut a fr ction

f h wh Fo r r o o l m the re a r o t e ol e . eve y s n g in thi s v u e e twen ty th at h ave n eve r re ache d the e a r s o f o n e wh o re alize s th e i r u n explo re d valu e fo r th e s o ciologi s t a n d soci al p sycholo gi s t a s m ate ri al s f o r th e obj e ctive s tudy of ra e ro l m s w l n c p b e . Bu t thi s we al th o f s ong il ot

ont n n d r a s s e s o f l c i u e i eﬁ n itely . Al e dy th e p ro ce civi iz ation a re Op e rati ng to m ak e th e Ne gro a s h a med o f l his old Spi ritu al s a n d to rel egate th e mo re n a ive of his PRE SENTING THE SINGE R AND HIS SONG 13

al s on s to a ra dl d m n s h n lower l a s s . so ci g pi y i i i i g c . " Slowly b u t s u rely th e folk c re a tive u rge will b e dulled g an d th s re at o d o f o l s o n e rha s th e l a s t o f i g b y f k g , p p

It is to b ho th t its nd w ll a s s aw a . e ed a s fi ki , i p y p uf ci en t re s ea rch abili ty will b e ce nte re d upo n th e s ongs of th e N e gro to p re s e rve th em fo r s ci en c e a n d fo r l

t r t o r t at po s e i y b ef e it is oo l e . CHAPTER I I

THE RELIGIOUS SONGS OF THE NEGRO

he Ra e h Cha ra cteris tic of t c . T e religio u s so n gs o f th e N egro h a ve c o mm o n ly b een a cc ep ted a s ch a r “ ” Th n m t a ac te ris tic mu s ic of the ra c e . e a e s pi ri u l s given th em l o n g y e a rs a g o is s till cu rren t an d m an y h s o n gs s till ret a i n th e i r fo rm er qu aliti e s . T e pub lic a tio n o f th e o ld s pi ritu al s an d th e a pp e a ra n c e o f the Jubil ee Si n ge rs b ro ught ou t th e em o tio n a l b e auty a n d s implicity of exp res s i o n which wo n f o r th e Negro a d eﬁ n i te pl a ce in th e h e a rt s of tho s e wh o h a d n ot hith e r

H a s o t n d d th to know n him . e w f e j u ge by e s e s o n gs alo n e re o rted m e r e tl rend ere d a rt s t all o ut , p i p f c y , i ic y

f th at o rth s ide O f th e en vi ro n m en t o e n ive fo lk . F with — c am e exp res s io n s o f d elight a n d en thu s i a s m ex p re s s io n s which i n dic ate th e p ower and th e i nhe re nt d t app e al of the pl ai n tiv e m elo i e s . Wh a ever m ay b e th e rel at e l a e t h e h old in th e l e h s to r a n d iv p c y if , i y , n at re o f th e e ro th ere w ll s a r el b e a n d o t u N g , i c c y y ub

n Ke e a s to th e ow er o f th e r a e al th en o r ow . in p i pp , p g in mi n d th e l a ter p re s en t a tio n o f s e cul a r a nd s oci al s on s an d th e re s en t t en d en to a an do n the g , p cy b s r t al s we do w ell to r e ew s om e o f th e d es c ri pi i u , vi p tive s t a tem en t s th a t c am e fro m p ers o n s ﬁ r s t h e a ri ng “ d e o s o a d o e 1 Th e h m n s o f a th e O l r n s . n N g g S i , y co n greg atio n of imp a s s i on e d a n d imp re s s ibl e wo r s hip ers h ave b een full o f u n p rem e dit ated a nd irres is t

1 M See Atlantic on thl l XIX . o me . 685 s e y, V u , pp q

cri bners lum XX . . S , Vo e , pp 425 s eq ’ l II 1 in r i I/i incott s o me . 6 7 s e . and n otes and t o uct ons to pp , V u , pp q , d r h various volum es eferred to in t is work .

16 TH E NEGRO AND HIS SONG S de s erve a b ette r fa te th a n to s i nk i nto oblivio n a s u nva lu e d a nd u n reco rde d example s of a bygo ne civ

a n h a e tho h t th a t the s e s o n iliz ation . M y v ug g s wo uld p a s s aw ay imm e di a tely with the p a s s i n g o f Sl avery a n d th a t th e O l d sys tem o f wo rd s a n d so ng s “ co uld no t b e p erp etu ate d without p erp etu ati n g s l ave ry a s it exi s te d a n d with the fa ll of s l ave ry its “ n d d ays were n umb ered . A if they b e fo u nd n eithe r to h n in s e n t m e nt r a e l in e res s o n no r well uc i g i , g c fu xp i ,

a a n e d in rh thm th e m a at l e a s t o s s es s ntere s t b l c y , y y p i a s p e culi a ritie s of a s ys tem now no m o re fo rever in ” tr thi s cou n y .

he e ro o d a Satisfa ction in Sin ging . T N g f u‘n s ti s a tio n i n Si n in no t o nl a t h r h but e rh a f c g g , y c u c , p p s

h h er o rm d s d a a s ho s e eve n m o re w ile e p f e hi ily t k s . T who h ea rd th e o ld s l ave s Si ng will neve r fo rget th e

te r the l ht s c en e s th at a c c omp a n i e d the s o ng s . Af ig e r s o ng s an d b ri sk melo di e s O f th e d ay we re ove r the Neg roe s tu rn ed tow a rd eve n tid e to mo re wei rd a n d

h m r s s o n s of s h Sin in h a e pl a i n tive no te s . T e i p e i uc g g v “ b een exp re s s ed : Then th e m el a n choly th at ti ng e s ’ eve ry N eg ro s s o ul wo uld b egi n to a s s e rt its elf in d ream s a d a n d l a n t e a rs a n d in wo rd s th a t y , p i iv i , — d e s c rib e d th e mo st s o rrowful pic tu re s O f s l ave life th e

art n o f lo e d o n e s th e s e a ra t on of moth e r an d h ld p i g v , p i c i o r h s a n d a n d w e o r t h e d e a th o f tho s e whom the u b if , h a t h A h d o n ox—a t e r c eri s he s . s e r ve his lumb eri g c r hom ew a rd s tt n l s tl e s s l th e h a ton e , i i g i y upo n e vy gu

eh n d th e a t e n t r te s th re a n wh eel s a n d b i p i b u , e c ki g rough-h ewn yo k e s exhibi ti ng p erh a p s his own rud e h a nd wo r th e e ro Sl a e ra rel a led to s n his i k , N g v y f i i g s n o f lo n n h a i s d d its o g gi g . W t i f t wo rd s w e re ru e a n

- ? mu s ic ill co n s tructe d G re at p oets like Schill e r h ave TH E RELIGIOUS SONG S OF TH E NEGRO 17

d th e s am e th em e a n d m ht m s a n s l e e s s aye , ig y u ici ik

a B eethoven h ave s triven to give it mu s ic l fo rm . Wh at

r s le n d d e n s a l e d a d e a tel to e re s s thei p i g iu f i qu y xp , the humble s l ave co uld s c a rc e a cco mpli s h ; y et th ey

b ut wro ht in th e s am e d re t o n a s th e oo r e ro ug i c i p N g , s e e s nw tt n l s w a m in te a s a n d who s e wh o e y u i i g y r ,

a rt h e s a r e new wh d s s o l e d in te n d ern e s s a s h e , c c k y , i v h e s a ng in pl a i n tive mi no r k ey o n e o r a no th e r o f his ” so ngs .

' ’ The a o e o er Wa s hin ton s Es tima te . u Booh T. g b v q tatio n s s uffice to give the gene ra l a ttitud e tow a rd the

s o f the e ro e s in the a te ell m d a s an d s s ong N g n b u y i n c e .

n o th e r w ll b e a dded n th e e re s s on o f a O e i , givi g xp i d i s ti ngui s he d Neg ro l e ad er towa rd the s ong s o f th e

s l a e a s e rh a s th e e s t i nter ret a t o n th at h a s o m e v , p p b p i c

t a n his n t ro d t o n to Twen from withi n h e r c e . I i uc i ty four Negro Mel odies b y Col e rid ge-Taylo r in The ’ Mus icia n s Libra r oo e r a s h n to n s a d : Th e y, B k W i g i N egro folk s on g h a s f o r the N eg ro ra c e th e s a me v a lu e th a t the fo lk s o n g o f a ny o th e r p eop‘l e h a s f o r th a t em n d th r a e o f th e ro wh p eopl e . It r i s e c ck en c e it ’ wa s h ewn it o s te rs ra e r d e a nd in the d a s o f , f c p i , y s l ave ry it fu rni s h ed a n o utle t fo r the angui s h o f s mi tten

hea rt s ? Th e l a n ta t on so n in m e r a a l tho h p i g A ic , ug

a n o t rowth o f o re s s o n an d o n d a e o n t a n s u g pp i b g , c i

s r r s n l f r e e n s t s a e r NO ra e h a s u p i i g y ew ef r c e o l v y . c

e er s n s o sweetl o r w th s h e r e t h a r t v u g y i uc p f c c i y , ‘ ’ wh h e ile loo ki ng fo rw a rd to th e ye a r o f Jubil ee . T

s on s a o n d in r t ra l all s o n s a n d in m a n g b u Sc ip u u i , y

ns tan s a r n t r a t o f a d a d h m i c e e u n iqu e i e p ret io n s s t n r y n s . ‘ ’ Th e pl a nt a tio n s o n gs k nown a s th e s pi ritu a l s a re the

s o nta neo s o t rs ts o f nten s e re l o s er o r a nd p u u bu i igi u f v ,

h ad the r o r n h e in the am -m ee t n s the i igi c i ﬂy c p i g , 18 TH E NEGRO AND HIS SONG S

n in o ther rel o s e e r s h revival s a d igi u x ci e s . T ey b rea the a h ldl e a th in a e rson al a th e r a n d l o c i ik f i p F , g w with the ho p e th at th e child ren o f bond a ge will ul tim ately p a s s out o f th e wild ern e s s o f s l a very i nto th e l a n d o f

In s n n o f a d el era n e wh freedo m . i gi g iv c ich th ey

el e ed wou1d s rel om e w th od es sw a n w th b i v u y c , i b i yi g , i e nthu s i a s m bo rn of a commo n exp eri en c e an d o f a

mmo n ho e th e lo s t s h t f o r th e mo m n co p , y ig e t o f th e a t on lo of th e s e a rat on o f mo th er and h ld uc i b ck , p i c i ,

h e e is in t o f s is te r a nd b ro th er . T r h e pl anta tio n s o n g s a p ath o s an d a b ea u ty th at app ea l s to a wide r a nge of ta s te s a n d th e r h a rmo n m a e s a d n m re s s o n , i y k bi i g i p i

s o n s of th e h h e s t lt re Th e m s of h up on p er ig cu u . u ic t e s e s ong s go e s to th e h e a rt b ec a u se it com es from th e h t 1 e ar .

r ls t ll th s s n Eﬁectiven es s of Spi itua . I wi u b e ee th at emph a s i s h a s b een pl a ce d almo s t enti rely upo n th e

al e a t of the e ro s o n s h e h a e emotio n b u y N g g . T y v

een o rtra e d a s th e e o n en t of s ad nes s in th e ra e b p y xp c , an d th e feeli n g o f th e bl a ck fo lk h ave b een d e s c rib e d

s e r at on f o r th e mo s t ar with no littl e s kill . Ob v i p t h as b een m a d e by tho s e who h ave h ea rd the N egro

o a re an a s ong s b ut h ave n o t s tudi ed th em . N c ful lys i s

a erh a s a s al s er e rs h a h a s b ee n ttempte d . P p c u Ob v ve b een mi s t ak e n a s to th e i n ten s ity o f the em otio n s exp res s e d a n d h ave given u n du e emph a s i s to its

’ p ra ctic a l rel atio n a n d eff e ct upon th e i n dividu a l a n d

' T e u d h —ha c n t upo n th e r a c e . h j gmm m w e s g o

‘ o th er h a nd tho s e who h a e now n th e e ro in m an , v k N g y

1 al B i oul Bl a F T Bla ck F lk m See s o Du o s , S s of ck olk and he Gif t of o ; Ja es W l h n n Boo o m rican B Brawl e Ne r in e on Jo so k A e Ne ro Poetr . G . o d , f g y; y, g

Litera ture and Art. TH E RELIGIOUS SONGS OF THE NEG R O 19

s o f l e a nd h a e o m e to now him etter th a walk if , v c k b n a ny oth ers h ave o fte n emph a s ize d a s i ngl e ph a s e o f th e

h ere c a n b e no do t a s to th N egro folk son g . T ub e

a t a nd we rd ne s s of th e e ro s n n b u t a b e u y i N g i gi g , c a reful an aly s i s o f th e g en eral emo tio n al feeli ng p re

o m n a t n to ether w th a re l nte r re t at o n o f d i i g , g i c fu i p i

n s o n ern e d m a es om a r s o n s l es s d an e r s all thi g c c , k c p i g ou

l a r h a an d e res s o n s l e s s e tra a a n t . e s a s s e d xp i x v g S v y p , s ix de c a d e s o f lib erty f o r th e s l ave p eo pl e h ave s ign a l

th e etter l a t o n a n d th ere s t ll rem a ized b civi iz i , i i n s

amo n th e e ro e s the s a m e em o t o n a l n at re th e g N g i u ,

a e a t l rh thm s o rrow- e s m e b u ifu , y ic f eli ng

n s in th e i r s o g . ’ Som e of th e qu a liti es of the N egro s emotio n s a s

n no te d m s een in his s i ngi g will b e s ub s equ e ntly . O it

t n f or th e re s ent th s e at re of his s o n s a nd i g p i f u g , qu alifyi ng th e s ta tem en t b y i n te rp reti ng his n atu re

a n d e n ron m e nt it m a b e a firm ed th a t a ll th a t h a s vi , y f

h a ee n s a of th e s r t a l s is tr e . e re e a t l b id pi i u u T y b— u if u, ’ m a l a h a he e h ldl e S l e nd nt e . e re t N ro s c i ik , i p p i iv T y g own s on gs a n d a re the p ecul iar exp res s io n o f his own

a n O f th e s r t a l s a re s t ll o l a r am n b ei ng . M y pi i u i p pu o g

the e ro e s a n d ten ta e th e l a e o f th e re l a r N g , Of k p c gu

s o f a l o a n Chu rch hym n s . Mi n i ters l d en mi n tio s t a k e advantag e o f the i r p eculi ar power to s way th e feeli ng s

a n f jo f the N eg ro e s i nto a ccu s to m ed ch a n n el s . M y o th e old s pi ritu al s th a t were commo n in Sl ave ry a re s till cu rrent a n d a re s u ng wi th b ut littl e mo diﬁc a tio n ; Ot h ers a re g re atly mo diﬁ ed a n d e nl a rge d o r s ho rtened .

m s o f th e s l ave s o n gs. m ay b e fo u n d in th e mo re m od e rn s pi ritu a l s th a t h ave s p ru ng up s i n c e th e Civi l a T W r . h e m aj o rity o f th e so ng s h ave s eve ra l v er

s o n s d e r n a o rd n to lo a l t e s a nd af e ted b i , iff i g cc i g c i i , f c y 20 T H E NEGRO AND HIS SO NG S conti n u al mo diﬁc a ti on s a s th ey h av e b een u s ed f o r

om a n th th e m any y ea rs . S e h ve b ee so bl end ed wi o r son s a nd ll ed w th n ew d e a s a s to b e s ar el g , ﬁ i i , c c y re o n a l e b ut a re l e a rl th e rod t of th e e ro c g iz b , c y p uc N g

d h e old an d th m e d s on s th ere s n e rs . e s es t e i g B i ix g ,

" a re m an th at a re en t re l n ew a r s n out 'o f a r o s y i y , i i g v i u ci rcum st an c es an d d evelopi n g with s ucc es s ive ren

dition s .

h al r nt amo n Pres ent da y Son gs . T e s pi ritu s cu re g th e South ern N eg ro e s to d ay a re very much like tho s e

Th e dif th at w ere s u n g th ree o r fo u r d ec a d e s ago . f eren c e s m ay b e s een in the co mp a ri so n s th at fo llow in “ th e exa mpl e s given . Th ere a re mo re rhy m ed wo rd s in , th e p re s ent-day N egro s o ng th an th ere w ere in the e arli er o n e s ; co n s e qu e ntly there is o ften le s s m ean ing

h te d e s eem s to b m in a li ne o r s t a n za . T e n n cy e o re ; towa rd s ati s fa cto ry Soun d imp re s s io n th a n fo r s pon

a s e l n e re s s o n a s i th old r t al t n eou f e i g xp i n e er s pi i u s . Mea n i ng a n d wo rd s in g en e ral a re Often s a c riﬁc ed in th e eff o rt to m a e rh m e to m a e th e s on ﬁt nto a k y , k g i d es red t n e to r n a o t a s at s n rh thm o r i u , b i g b u i fyi g y , to giv e p ro mi n ent pl a c e to a s i n gl e w ell-s o u n di n g wo rd

t wo ld th o r ph ra s e . I u u s s eem th a t the religio u s n m d in th f s o s o o s e e s al w - b th e e ro e s O g c p ~ u u ay _ y N g the resent en erat o n h a e l e s s o n i tion a n d more p g i v c v c ,

r o e a t re s i th The d ale t pu p s ive f u n ei r comp o s itio n . i c o f th e Old er s on g s is pu rer th a n th at o f th e p re s ent-d ay

d s N egro son g . On ﬁrj littl e co n s i s ten cy in th e u s e o f g ﬁ di al e ct i n the s o ngs th at a re s u ng now ; r arely d oe s o ne

h e a th l n e s re a t d i r e i p e e n exa ctly th e s a m e fo rm .

al e t o r the ommo n o rm of th e wo rd it wo ld Di c c f , u

s eem is s e d a o rd n a s ee l n th e o a s o n a n d , u cc i g f i g , cc i ,

th e n ec e s s ity fo r rhyme o r rhythm p ermit o r d em a n d . TH E RELIGIOU S SONGS OF THE NEGRO 21

M any o f th e N egro s o ngs th at a re th e mo s t b ea utiful In th ei r exp re s s io n wo uld a pp e ar e xp re s s ionl es s were they robb e d of th ei r di a l e ct an d vivid nes s of wo rd

Th e m a er a n d d ale t e th o p ortrayal . i g y i c giv e s ng s th ei r p eculi ar ch arm ; the m o re m e ch an ic al p ro ductio n th at is app a ren tly o n th e in c re a s e m ay b e s u ng to th e s am e m elo d b u t th e s on ts el h a s l ttl y , g i f i e

w er th e e ro s th m s el ea t . o e e e e s re er th b u y H v , N g v p f e old son gs; a n d the older Negro es a lmo s t i nv a ri ably retu rn to the s i ngi n g of the mo re p rimitive o n e s th at

m a a t f h h ta h ave b e co e p r o t e i r er i ge . In th o s e c a se s wh e re th e tu ne s diff e r from th e old m elod e s the so n h a s a s s um e a h a ra te r s t n at re i g d c c i ic u , e th er ro m it s o r n a n d om o s t o n rom on s tant i f igi c p i i , f c

s a e th e e ro e s rom lo al al t e s o r rom u g by N g , f c qu i i , f

n s a l om n a tio And in th e s e o r n al re a u u u c bi n s . igi c tions of th e Negro religio n a re fou n d th e tru e s t expre s s ion of n atu re a nd life a s it is r eﬂe cted in th e N e gro of tod a it is n o t th e e re s s o n of o m l e l e b u t o y ; xp i c p x if , f s m l l o n - m In th e o t rs ts o f o o s s o n a n d i p e g g . u bu j y u g m elody th e n ote o f victo ry is pr ed om i n a nt ; in th e s a dd er-tone d s on s s n in l a nt e rh thm g , u g p i iv , y ic ” t a a f a al In melo d he re l n n ote is th t o e . y , p v i i g pp ei th e r c a s e th er e is so m e s o rt o f c onvictio n b ack of the son a n d it e om e s the e re s s o n of r m t e g, b c xp i p i i iv

h e s t rth h m r s m l e tho h t s h m an l e . e o t e o e u if T y f i p , ug

f a d ma n a r h e m a o n em oti o nal an i gi tive wo s hip . T y g

. nify th e p ers o n al and the s p e ct acul a r in religio n .

h e s at s th e lo e o f m elo d r de o e t r a nd s o T y i fy v y , u p y ,

a m l e tho u ht is x re s s ed in s m l e no rou s l a ngu ge . Si p g e p i p ' e tit o n o f s m l a r tho hts a n d rhymi ng ph ra s e s . R p e i i i ug a s n le hor w th s m le a nd l e a s in m s i wh h i g c us , i i p p g u c ic 22 TH E NEGRO AND HIS SONGS l e nd s ts el e a s l to h a rmo n o s e re s s o n a re h a r i f i y i u xp i , c

' h m s is s ia a c te ris tic . T e u ic p ec lly a d ap t e d to th e Cho ru s-lik e s i ngi ng which is p ro duce d by th e cleve r a n d n o rm a l a rr n of m a n a rts b h i f c yi g y p y t e s i ng e rs .

Th e s o n o te n re re s a S n l e l e a d e r a n d a Swell n g f qui i g , i g

ho r s o f o e s ta e s th re ra n t is b u t n a t c u v ic k up e f i . I u ra l th at th e s e s o n g s s ho uld b e s uited to p ro tra cte d “ ’ ” ’ s e rvic e s a s goo d s ho u tin s o n g s o r r u nmi n s p e e r ” Th e s a m e rh th m a s th m a ic hil s . y m k e e pl e s i ng to th e to il ers who a re d i s po s e d to s i n g religio u s s o n gs

h l e th e wo r a nd romo t es a s r t o f o o d e llow w i y k , p pi i g f “ s hip a s well a s b e i n g co n ducive to ge n eral goo d ’ f Th e n ted s n n o f h ld re n is a l s o e a e elin . u i i gi g c i b u

h ro ho t the s e h a ra te r s t s o n s of th tiful . T ug u c c i ic g e

e ro th e n a rrat e s t l e th e n o n s e e n t a l d is N g iv y , i c qu i ,

nte d s t atem en ts the s m l e tho ht a n d the f a s j o i , i p ug ’ tidiou s rhym e s a re a ll e xp re s s ive o f th e Neg ro s m e nta l

Op e ratio n s .

’ All O f th e e ro s h r h m s Chur ch Singin g . N g c u c u ic te nd s to t a ke i nto it th e qu a li tie s o f his n a tive ex — p res si o n s tra i n s mi no r a n d s a d in th e i r ge n era l ch a r. “ ” Th r l o s to n e is a a rt f th s n a te r . e e o e o a nd c igi u p g , both wo rd s a n d mu s ic a re ch a ra cte riz e d b y a p e Th h t c ulia r pl a i n tiven e s s . e Ne gro e s d elig in so n g th a t give s s tre s s a n d sw ell to s p e ci al wo rd s o r ph ra s e s th at fo r o n e re a s o n o r a n o th e r h a ve p e culi a r m e a n ing s

Fo r th e m o st a rt a l r o s s o n s to th e m . l el a re p , igi u g “ ” s pi ritu al s a n d e a s ily m e rge i nto s ati s fyi ng m elo di e s

a s d m a d th th d a a n e d r wh e n o cc io n e n s . Wi e i e g i f om th e mu s ic o f th e s o n g s mu s t b e j o i ne d th e chu rch s c e n e

rs n al t s r l h t m s a n d its p e o i i e f ee y mi ngl e d wit he u ic .

Th e re a h n ra n s n n a n d w th it s ho t in p c i g , p yi g, i gi g , i u g , — a nd u n i ty o f Ne gro wo rs hip p e rfe ctio n of rhythmic

24 TH E NEGRO AND HIS SONG S

If the s e rvic e is p raye r m eeti n g o r a cl a s s m eeti ng the l e a d e r u s u ally conti nu e s th e s o ngs th ro ugh o u t th e s i ngi n g p a rt of the e xe rci s e s ; a t regul ar p re a chi ng s ervic e s the p re a che r r e a d s th e regul a r hym n s a n d

a s th e e n n n a nd a ad e rs l e ve b gi i g the ﬁ n l s o ng s to th e l e .

n th e l a s s m ee t n th e en era l o n re a t o n l e d I c i g , g c g g i , by s o n -l e a ders s n s a s a r l e wh l e th e l a s s l e a d ers g , i g , u , i c

a d t o a wom a n o n a re e ng ge wi h the i r cl a s s e s . N w th s s de now a m a n o r wo m a n o n the o th er s e o f the i i , id chu rch b egi n s the s o ng a n d o th e rs j o i n in th e do l eful t n e s so too wh le o ll e t o n s a re e n m a de th e u ; , i c c i b i g

is Th e ro e s s is th e Si ngi ng kep t up conti n uo u s ly . p c s ame a l e ade r e n s to s n a no th er o n s in th e ; b gi i g , j i s n n th en a n oth er a n d a no th e r nt l th e m a o r t i gi g , u i j i y

s t e s who of tho s e p re s e nt a re s i n gi n g . Mo N groe atten d h r h a rt a te in th e S n n altho h c u c p icip i gi g , ug m an w ll no t do s o re l a rl re e rr n to rem a n y i gu y, p f i g i

f o a t m e the n to rs t o o s et r u t nt o n . The qui i , bu i g Neg ro e s h ave b een p ro ve rbi al f o r the i r go od s i ngi ng a nd ndo te dl th e h a e wo n a d e r d re t a t o n u ub y y v s e ve pu i . A g ro up of ﬁv e o r ten Negroes s i n gi ng a t a mid-w e ek p rayer m e eti ng will o ften c re a te a vo lum e o f s o ng e quival e nt to th at of m any tim e s th e i r numb e r o f

t n Th e om a r n o i wh e eo l e s n . so h w e er s no t i p p i gi g c p i , v ,

a n f o th e m s is n t f t a r o e r e rel d e ren . ne f i , u ic i y i f O c an s c a rc ely app re ci a te the s i n gi n g of th e Negroe s u ntil h e h a s h e a rd the m o n va rio u s o cc a s io n s a nd in d ff e en t a a itie s e i r c p c . L t him li s ten o n a qui e t Su n d ay e ven i ng from a po s i tio n o n a hill to th e s i ngi ng of fo u r

e ro o n re a t on s e a h Cl e a rl d l It wo ld N g c g g i , c y a u ib e . u TH E RELIGIOUS SONG S OF T H E NEGR O 25

a pp ea r to b e th e rhythmic al exp re s s i on of d eep hum a n feeli n g a n d lo ngin g In a n u n re s train e d ou tbu rs t of ten

d th h r h o n e m a a t thou s a n d s o ul s . I n s i e e c u c y w ch th e

l e a d ers a s th e l n e th e s o n s a n d l s ten to th e r r h y i g i i ic , tremulo u s vo ic es ; h e m ay s e e th e o th ers re s po n d an d

a h e o li s ten to th e mu s ic o f e a ch p eculi r vo ic e . T v ic e of th e l e a d e r s eem s to b etray g re a t em o tio n a s h e ‘ He a e a rs lit r e ads th e li n e s a n d b egi n s to s i ng . pp era lly to d ri n k in i n s pi ratio n fro m th e s o ng s while his — s oul s eem s to b e ove r ﬂowing a s h e s i ngs the wo r ds

h e m a n e s t s tell n of ra e a n d re dem t o n . owe er i g g c p i H v , if th e s am e ki n d o f emo tio n wh en h e s i ng s o n e Son g a s

wh e s n n a noth e r the s am e e m ot o n wh en h e n i gi g , i re a d s th e wo rd s w ron gly a s wh en h e h a s re a d th em

o rr t He is c ec ly ; it m a k e s littl e diff e ren c e to him . co n s um e d wi th th e m u s ic an d with th e s ta te of feeli n g

wh h n r i a ll o n s n n s to h m . te r e rh a s e ic i gi g b i g Af , p p ,

eel n do m n a te s his whol e e n wh l e h e s n s a n f i g i b i g i i g , d th ere c an b e no s o ng to him which do es no t a cco rd with '

thi s . A c ompl ete a n a ly s i s O f th e N eg ro chu rch mu s ic in its d e ta il is wo rthy o f th e effo rts of a ny o n e who co uld

d r it An l th o l o n is o f m o re im es c ib e . d whi e e f k s g p o rt an ce in th e p re s e n t wo rk th an th e mu s ic of th ese

s on s a f ew rthe r d e ta l s th at a re a a re ntl h a r g , fu i pp y c

a Th e c te ris tic O f th e Neg ro e s will no t b e a m i s s .

n n e n s s l owl an d w th t m e-ho no re d re l a r t s i gi g b gi y i i gu i y , b ut is fo ll owe d by th e a g ree a bl e a n d s ati s fyi ng eff ec t

m d e b th o i i I f r a n t m e s a y e j n ng n o v a i e d vo ic e s . M y i the s i ng ers b egi n a s if th ey wo uld Sing a s impl e s ub

d ed s o n o r a m i But in a h n w th t s wr m s . u g , y i itten u ic

s ho rt wh le a a ren tl n o t e n a l e to res s t the i , pp y b i g b i

m l s e to e the r eel n s ll sw a the r o e s i pu giv i f i g fu y, i v ic 26 TH E NEGR O AND HIS SONGS fall i nto th at rhythmic al s wi ng p eculi a r in a l a rge d e re e to th e e ro a ll me a s re s a l e e o m e g ‘ N g ; u ik b c s t atel The a ra e o i f t s l s h y . ve ge N gr s p ro ud o hi s ty i cho i r b e c a u s e it rep re s ents a s tep to wa rd s a mo d e l which the N eg ro e s w i s h to follow ; b ut h e do es n o t ’ l ik e the cho i r s Sin gin g a s well a s his own i nfo rm al ’ s o e his n g . In ge n eral th e Ne gro s so ng will ch a ra cteriz

‘ n a tural s e lf whereve r h e s i ngs o r h e a rs it su n g ; h e is l o a th to it An d wh le s o m e a s to rs h a e give up . i p v te s tiﬁ e d th at the re were no m emb ers in th e i r chu rch who wo ld no t s n the h r h so n s it is e r e d e n t u i g c u c g , v y vi th at m a ny o f the yo u n ge r Ne gro e s d o not en te r fully

nto th e s r t of th e o ld s o n s a n d th e m s t n e c e s i pi i g , y u s arily u n d ergo ra dic al ch a nge s a nd ra pidly p a s s away

ta r e o re om n to th e rth er S nda d Hymns . B f c i g fu s t d o f th e e ro s r t a l s it w ll b e well to n re u y N g pi i u , i i qui i nto th e n atu re of the favo ri te s t a n d a rd chu rch hym n s co mmo nly u s e d by the N egro e s in th e i r chu rch s e rv

s om a r s m a th en b e m a de w th th e ice . A c p i o n y i

o a Th e a o r te s o n s a n d mo s t p pul r folk s o n gs . f v i g co mmo n th em e s s u n g by the Neg ro e s m ay b e s t b e s ee n a t the r ra e r m e et n s o r c l a s s m eetin s o r at i p y i g g , n s uch g a th e ri ngs a s re qui re no fo rm ality . O e m ay atte nd wee k a fter week and h e a r th e s am e s o ngs a n d feel th e s am e p atho s e m an a ti n g from the so n g s which the wo rs hipe rs h ave le a rne d to s i n g an d lo ve . Th ey enj oy s i n gi n g o f he a ve n a n d re s t a n d luxu ry wh ere e a s e a bo u n d s a n d wh e re S abb ath s h ave no en d . They lo ve to Si n g the p ra i s e s o f th e D elive re r wh o s h a ll ’ h e h a e h o s e n free th em fro m life s to il s . T y v c th e “ goo d O ld so ng s th at h ave vividn e s s a n d c o n c rete im age ry in th e m ; th ey h ave pl a c e d a n ew feeli n g i n to

h e m a th em a nd a diffe re nt i n te rp reta tio n . T e n i ng o f TH E REL IG IOU S SON G S OF THE NE G RO 27

th e wo rd s a n d th e s en tim e n t o f th e s o n g a re tran

s en d e d b th e e re s s o n in th e s n n h a c y xp i i gi g . T e c

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c rav m His o rs h i s m s to his s l wh eth er it s . w o g ip u ic u , 28 TH E NEGR O AND Hi s SONGS b e in th e wo rd -m s o f th e s ermo n a nd ra e r o r in u ic p y , th e n a t ral o t rs t O f his so n o r in th e rh th o f u u bu g, y m a ll o m n d It is a ll ree do m ro m re s tra n t a nd th e c bi e . f f i g ra tiﬁc a tion o f impul s e a nd th e exp e ri en c e of s u sta i n e d ' l tho h th e e ro e e n d s a e a t d e al o f l a nguo r . A ug N g xp g r e n e r in his s n n it is n ev e rth e l e s S re s t f o r him a s gy i gi g , h e ee l s it n re s tra n e d e re s s o n o e s f a r tow rd f . U i xp i g a rel n him o f his t ro l e s s omet m e s rea l s o m e i evi g ub , i , t m a h at th e e ro im a in e s to b e i es im gi n a ry . W N g g to ta l co n fe s s io n a n d co n trite s ubmi s s io n h a s a ve ry soo thi n g eff e ct upon him ; th e s o n gs re a ch th e Clim a x

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m e a rs a n d Sho ts o f o c o pl ete s tate o f p a s s ivity . T u j y a re n ot i n con s i s ten t with th e s a ddes t s t ra i n s of p atho s . The i r s en s e s a re a ll tu rn e d towa rd th e p e rc eptio n of o ne a tt t de a nd e s de s a wo nd e r l tra n ll t o f i u , b i fu qui i y

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d e d th n n a n d w th e r e rted n o t on s h e n d s gui i ki g i p v i , ﬁ sw ee t re s t in s om e m e lo d io u s s on g s a nd rhy thmic ve rs e s a s h e re s ts his b o dy In th e p ew ? Is it s u rp ri s i ng th a t h e is u nwilli n g to l e ave th e chu rch u ntil a l a te ? ho u r o r th at h e d o e s no t ti re o f s i n gi n g Fo r wh a t h a s h e t o attra c t him a t ho m e wh e re h e u nwilli ngly

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th em e s fo r a n im a gi n ative a nd religio u s b e i ng to s i ng . “ ” So too th e c h r h the h r s t a n a nd th e wo rld , , u c , C i i _ h a rn s h ed th e m f o is in e i l a n d th e e e s r h s o n . v fu i g S , v

d a e ev — s i tho ht evil r e r p re e n t s ubj ec ts f o r rel gio u s ug . The Sc e ne s O f e ve ry d ay life fo rm c o nti nuo us a ll ego ri e s ’ to b e im aged with th e a s s i s t an c e of th e N egro s d eﬁ n ite

s - t h a s th e e ro elf feeli n g . Bu p e rh ap s n owh ere N g 3 0 TH E NEG R O AND HIS SONGS — fo u n d mo re a cc ept able s ubj e ct m atte r f o r his so ng th an in th e Sc riptu re s ; his s o ng s a bo u n d in referen ce s to ’ Sc riptu ral c h a ra cte rs a n d o ften p o rtray i n dividu al s a n d s o n r s l o f c en e s with u n u s u al c c reten es s . A p e u a ’ th e e ro s s o n th s re e a l s th e m o s t om mon th em e s N g g u v c , b ut it is m o re diﬂic ul t to lo c a te th e a ccid enta l c ir c u m s ta n c es which g ave ri s e to p a rticul a r form s o f a s o n o r to a s erta n th e tem e ram ent al n at re wh h g , c i p u ic o r n ate d m an - O f th e e s t nown s r t a s In igi y b k pi i u l .

en era l it m a b e s a d th at th e O lk s o n o f th e e ro es g , y i ff g N g h a s o d i s r h a s f t s f u n t ri s e in eve y p e o N e gro life . I i s c a rc ely p o s s ibl e to trac e th e o rigi n of th e ﬁ rs t s pi rit ual s a n d an t at s Th e m er a n e roe s pl ion so n g . A ic N g a pp e a r to h ave h a d th e i r own s o ng s fro m th e e a rli e s t

s f An d wh l e th e r rs t s o n s were d ay o s l ave ry . i i ﬁ g u n do ub tedl y fo u n d ed up o n th e Afric a n s ong s a s a

a s i s o th in o rm a d m e an n l ttl e tra e o f th em b , b f n i g , i c c a n b e fou n d in th e p re s e nt s o n g s : Ne gro folk p ro d e s a o Th e l n s t a n d th e a nthro uc p ont n e u s s on g . i gui pologis t a re a bl e to ﬁn d th e p a rallel a n d a pparen t o rigi n amo n g th e p eopl es O f Afric a of m any wo rd s th at h ave b een u s e d by th e S o uth ern N egro e s in th ei r lo re a n d s o n b u t th ere is now no ra t al rel a t on g , p c ic i b etwe en th e s e wo rd s a n d th e m e a n i n g o f th e wo rd s in th e s Th o r n o f o l so n h a s alwa s i r p re en t u s age . e igi f k g y

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t ll th s a r re s ent a n d gra s p . S i e o n g o f p eo pl e is e ve p a e a rs a lmo s t l e m th s to h a e s r n n to l e pp , ik y , v p u g i if in so m e way a n d a t so m e tim e which n o o n e c an ex

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h e n th i s i s oin e d t his s ermo n . W j o a fam ili ar cho ru s an d t n e a n d th e n a r e d a s o n h a s o r t u , v i , g igi n a e d. S om e tim e s th e s o ng is rem emb ere d a n d s u n g a g a i n ; s o m e t m e s l e th e w o r d s of th e re a her it s m l i , ik p c , i p y b eco m e s a p a rt of th e s ati s fa ction o f th e h ou r an d is

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t is n d e d a m e d s e n o f th ey neve r re c all a g ai n . I i e ix c e son an d m ot o n e a h o ntr t n l a r el to th e g i , c c ibu i g g y oth e r wh l e th e S e t a to r l oo s o n in o n d e rm e n t a t , i p c k w t f rs rs Th h e a s to n i s hi ng i n ven tive n e s s o th e wo hip e . e

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s s n a s n l e ers o n d eﬁ e s lim ita ti o n to its exp re io . If i g p a lity domi n at e s th e who l e in a n exp re s s io n th a t a pp e al s to th e re s en t s en s e o f tn e s s h e is the a tho r o f a n ew p ﬁ , u s Fo r e am l a s t n m n s ter on e s ho te d on . e g x p , vi i i g i i c u TH E REL IGIOU S SONG S OF THE NEG R O 3 3

t r n s h a s en e : Oh th e h e a rs e- wh eel ou du i g uc c , ’ ’ — ” a—ro ll n a n th e ra e a rd e n n h a h a b ut ot i g v y Op i g , , g no rth e r f o r his re ra n w a s t a e n b th e ho r s fu , f i k up y c u , a n d th e n ext d ay w a s a n ew ve rs io n of th e well - k nown s o ng . m Such o cc a s io n s might b e ci ted in g re at nu b ers . Not i n fre qu en tly a N egro wh o h a s a s s um ed th e po s i tion of s o ng l e ad e r s i ngs a li n e while th e o th e rs j o i n

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t n ran t s h a r o at e d t song . I i e wo r ip e rs e fte n thu s gr iﬁ o s t As a r th e ro e s i ng o n ew co n gregatio n s . ule e N g alwa s e attent o n a n d re s e t to s tra n ers s o th a y giv i p c g , t th e m a n o r wo m an who com e s to th em is at lib erty to s n O ld o r n ew s o n s a n d the o ten e om e s ll e d i g g , y f b c ki in im ro i i Th n s o n s a r th n le a rn ed p v s ng s ong s . e ew g e e and h r h s t r a s o s a e ro es e n t e o l on . A n b gi i i y f k g , g i , N g often feel th em s elve s c all e d up on to i n troduc e n ew fe atu re s i n to s o m e o f the i r s o n g s a n d c o n c e ive of v a ‘ riou s o Th r s a de rs n vel ti e s . e N eg o feeli ng tow a rd l e hip

t s a rem i h s eﬂ o rt m o n s h a ra c tic e . In t pu p iu up uc p i , a s o n g th a t is li ttle k n ow n amo n g th e Negro e s will b e ch an ge d in s om e p a rticul a rs ,p ri n te d o n a s h ee t of p ap er a nd di s tribu te d a s th e s o n g of b ro th er o r s i s ter SO 3 3 4 TH E NEGR O AND HIS SONG S an d- h s o n m a b e o n d i SO . T e n a h m g y f u y n b oo k .

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' s imil a r to th e O ld m a rch e s exc ept th a t they a re mo re “ h s tran e s w ee t h a rm o n a n d m ro m s o s . T e e s el p i cu u g , i ” o d s o f t o o n a r s t l o h n ie he ld s gs e i l go d s o uti g s o ng s .

nd d a s h a m Spon ta n eous Origin ! . I ivi u l ve co po s e d s pi ri tu al s whil e a t wo rk o r whil e wa nd eri ng fro m pl a c e ‘ to l a e a s a s m le o t rowth o th r m s a e n e s . p c , i p u g f ci cu t c “ Th e e re s s o n s o omm o n in e ro so n s m xp i , c N g g , O y ” o rd s eem s to h a e e en ntro d ed nto a n m er L , v b i uc i u b o f s h s n l r s t ong s in this way . T e i g e exp e s io n rep e a ed

ts el o m s a a r t m o a i f f r f vo i e el dy th t is o ften s u ng . A gro up o f Negro e s s i ng whil e wo rki n g ; o n e Si n g s a “ ” “ n ew f h r o u it at ? ve rs e o th e s o n g . W e e y g d I ’ ’ m a d e hit m a s elf d d n t o u now I m a s o n s ter ' ? , i y k g

And he did m a e it a d th s ra t e d tr es rth er k , n u g iﬁ , i fu , “ ” o th e rs o s j in him an d th ey h ave b e co m e s o n g s ter .

e ro e s in o rder to e r a o a s t th at the now a N g , v ify b y k 3 6 TH E NEGRO AND HIS SONGS

e rt a n s o n to e s t h a e een nown to o m o s c i g xi , v b k c p e o n th mo m n t s t s h a s o n m n a ll s o rt f n e e j u uc g , ixi g s o so g s

a th a t a r s th togethe r wi th the ide s i e . O e rs who h ave b een offe red a n a ttra ctive p ric e f o r s o n gs h ave c o m

o s e d them w tho t s r le s of o n s en e a n d wh en p i u c up c ci c , ,

m h a e d on e so w t a s e d to s n th e h e r e t e a s e . k i g , v i p f c

h e we re a d fo r th e s o n s th n n th a t the h a d T y p i g , i ki g y “ ” d h at wh te m a n who al ed his s o n t s fool e t i , v u g hu co mpo s e d a s much p e rh ap s a s a n o ld s pi ritu al th at w a s s l r t h at th e e ro o m o s ed a d entall ti l cu ren . W N g c p cci y he lea rn e d to s n a n d th s ntro d e d a re al s o n i i g , u i uc g n his o mm n t wh h wa s s oo n to b e a rrie d to oth e r c u i y, ic c

s Th e e ro is o n to S n wh ethe r h h a lo c aliti e . N g g i g i g e s

t Th e o llo w n s o n a a a fo rm a l s o ng o r no . f i g g pp e rs to h a e o r n ate d w th two e ro l a o rers a a ren tl v igi i N g b , pp y

a e Th l n e s m a b e s n to a n in a di logu . e i y u g y tu ne a n d put to a ny cho ru s .

’ ’ ll a r n n how w The Ch r h e s ee t do d ec l a r . u c b i gi , I ’ ’ ’ Why don t you g o to me etin a n p ray all d ay long ? ’ ’ ’ r a n a l d a I m go i n to chu ch p ray l y long . ’ ’ o rs e I m a s nne r b u t ra in m h t do me ood Of c u i p y ig g , ’ d An if I o s ucc eed I s u re will tell the news .

An o the r s on g th a t w a s co mpo s ed spo ntaneou s ly in

a the effo rt to dign ify co n ve rs tio n is th e fo llowi ng . It will b e s e e n th at f o r th e mo s t p a rt it is co mpo s e d of

h ra s e s o mm o n to o th e r so n s a n d it is o nl th e p c g , y co mbi n a tio n th at is n ew .

’ ’ Wa lk right a n d o right a n t ru s t in the Lo rd ’ ’ Lay down a ll yo Si nful ways a n t ru s t in the Lo rd .

’ a m oin t o t r s t in the o rd I g u L , ’ a m o n to t r s t in the o rd I g i u L , ’ ’ I m go in to tru s t in t he Lo rd till I die . TH E RELI G IOUS SONGS OF T H E NEG RO 3 7

’ ’ M G o d he s wo nde r l G od a n t r s t in the o rd y fu u L , ’ ’ ’ He w ll a n s we r o ra e rs do n t a re whe r ou a re i y p y c y , ’ An t ru s t in t he L o rd .

The n ext exampl e wa s off e re d by a N eg ro m a n a fter “ ” He a lw a s lo ed to tal h e h ad co me th ro ugh . y v k

O f wh a t he h a d s e en wh at h e n ew wo ld h a e n a nd , k u pp

d f d ff lt s lo n w th th s h e how h e co ul g et out o i icu ie . A g i i h ad a n u n u s u a lly im agin a tive mi nd a nd told m any

r i th o n : i nge n io u s s to rie s . He e s e s g

’ The devil come down to the worl o ne da y ’ “ An hea rd him holle r Hoo—ra hOO-ra ' I , y, y ’ ’

ome out I m b a n a hol da . C , vi i y

Tha t w a s the wo rd hea rd him s a I y,

But nowed d a n ed to his hol d a I k if I c i y, ‘’ ’ The re d b e s omet hing d o i ng a n the devil to pay .

a o e t wo ld s e em The b v so ng is difficult to cl a s s ify . I u to b e ve ry much lik e s o m e rhym e s th at th e N eg ro h ad s een l s h ed in a n ew s a er b ut f o r all his r o s e s pub i p p , pu p it wa s a good s o ng and it m attere d littl e wh e re h e h a d

t ne d th d a s d d his ow It w as n ee n so n . Ob ai e i e . i g One oth e r ex a mpl e O f a n eff o rt to co mpo s e a n ew s o n g s hows th e ten d e n cy of th e N e gro to mix his s e rio u s th m e es wi th ridiculo u s exp re s s io n s .

The re wa s a m an b the na me of C y y, ’ He neve r p rayed a n h e never t ry .

So when ole C wa s o me to d ie y c , H “ ’l ” e h ollow out In he ll I l c r . , y

In hell o le C did c r y y,

In h ell o le C did c r ~ y y ,

In hel l ole C did c r y y, N w ’ l o don t you die like o e Cy die . 8 TH E NEGRO AND Hi s SONG S

Th e s o ng is a v a ri a tio n o f two o r th ree s e cul a r s on g s

l o s s o n e a s e o f it s ho r s a n d b e co m e s a re igi u g b c u c u . “ ” i h h s Th e a tho r It w a s a ctu ally s u n g n th e c u rc e . u

o nt n e d c i u ,

Ol e C did l ea d a m ht b a d l e y ig y if , ’ He w a s a lwa s a te r s o me othe r ma n s w e y f if , which cle a rly s how e d th e tr a c e o f th e s e cul a r el em e nt ; thi s ph ra s e is appli e d to m any o f th e no to rio u s ch ar

a s s t ll th e re w a s a n a c te rs in th e N egro s e cul r o ng . S i o pp o rtu nity fo r th e m o ral an d th e s ong rep re s e nt s th e p e culi a r g ratiﬁc ation which th e Negroe s ﬁnd in h avi ng t n r l comp o s e d so m e hi g mo e o r l e s s o rigina .

Es s e a a e no h h a s e e n s a d to a n ti l V l u . E ug b i give d eﬁ ni te id e a co n c e rn i n g th e a c tu al a nd p o s s ibl e o rigin f s om e o f the ro o l s o n s rth e r e am l es o Neg f k g . Fu x p ’ will b e given when the di s cu s s io n of th e N egro s s ec

l a r s o n h a s ee n re a h d Th e m a n e s t a t o n o f u g b c e . if i Negro mu s ic a n d s o ng is not d ifficul t to u n d ers ta n d

n th e l ht o f th e a t s l His l a n i ig f c a re a dy s ugg e s te d . p i t e a e al s in ra e r his emo t o n a l a n d rel o s iv pp p y , i igi u

' n at re his lo e o f rh thm a n d m elo d his eel n s a n d u , v y y , f i g

Im a in atio n his nter ret a t o n o f l e a n d r t re g , i p i if Sc ip u , his fa i th in dre am s a n d vi s io n s quickly e x agger ate d —v nto a r a t o n s his whol e n a t re an th e s e re e a i f b ic i , u v l withi n him wh a t we c a ll th e mu s ic al n atu re O f t he

d s n a r ra a ot on a n o e n s e a l e . s tem at r c e . M i g i p b Sy ic mo em en t is m o re o n d e to s n n th a n a a rel e s s v c uciv i gi g c ,

a o em en t a n d s o n e rh thm h aph z ard mo tio n . M v g giv y

i n t to b o n d n d r o th r ir m st a s th a t s o e f u u e e c c u xffze . Re gul a rity a n d rhythm in m ovem ent, emph a s i s a n d rh thm in m s th e s e e th e e ro s o n s e s s en t a l y u ic , giv N g g i pl e a s u re - givi n g qu a li ti e s th a t a pp e al s tro n gly to th e

40 TH E NEGRO AND HIS SONG S

Other form s a re

’ ’ ’ An ou don t m n d he ll c t ou in two if y i u y , ’ ’ ’ An if you d on t mi nd he ll c ut you th rough .

Ole atan la k a s n a e in th e ra s s S k g , ’ lwa s in s ome h r stia n s ath A y C i p ,

’ ’ ’ n h l If you d on t mi d e l git you a t la s .

Ole a ta n wea hs a m ht loos e s hoe S ig y , ’ ’ u d If yo on t min gwine a Slip it on you .

Ol e ata n l e d a t h ntin d o S ik u g g ,

h d a He u nt em Ch ri s ti n s home to God .

’ 0 s ho t s ho t de debbil s a o t u , u , b u , h ’ ’ ’ O S u t yo do a n keep him out .

’ All d e d ebbil s in h ell a n t l me out c p uck , ’ ’ ’ An wond er wh a t a ta n s a rumb lin e rb out I S g , ’ ’ ’ ’ He s o n in hell a n he a n t et out b u c g , ’ Bdt h e s h a ll b e loo s e a n h ab his wa y ,

o r Y nde a t d e g reat re se rec tion d ay .

we nt down de h ll s ide to m a e a on e ra er I i k p y , ’ An whe n et d ere ole a ta n wa s dere I g S , O what you thi n k he s a id to m e ? “ S a id Off frum h e re you better

Old at a n tole me to m a e S y f c , “ ’ I ll git you wh e n-a you le ave thi s pl a ce roth er d a t s c e re me to m hea rt O b y ,

- I wa s fea red to wa lk a when it q d a rk .

s ta rted hom e b ut did ra I I p y, ’ An I met ole S a ta n on d e wa y .

Ole a ta n m a d e-a one ra a t me S g b , ’ But h e mi s se d my s oul a n I went free . TH E RELIGIOUS SONGS OF THE NEGRO 41

tell ou rothe r ou etter no t la h I y b y b ug , ’ Ole Sa ta n ll ru n ou down his a th y p , h e r n s ou l a k h e run me If u y , ’ ’ You ll b e gl ad to fa ll upo n yo kne e .

’ We s ho t s o f a s de d ebb il loo u k , ’ An he gi ts awa y wid his c luv en foo t .

’ Ole a ta n is m ad a n a m l a d S I g ,

He mi s s ed the s oul he thought he ha d .

Wh a t m a ke s ol e S a t an hate m e s o ? ’ ’ a s n e a l C u e he got me o c n et me go .

Ole S at a n tole me no t to p ra y;

He wa nt my s oul a t je dgme nt d ay .

wres tle wid a ta n a nd wres tle wid s in I S , ’ r ll S t epped ove he a n come b a ck a gi n .

Ole a ta n t rem le when he s ees S b ,

The wea ke s t s a i nt upo n his knee s .

’ ’ G o wa at a n doan min ou y, S , I y ; ’ You wo nder too ou a n t ome thro h ? , , y c c ug

0 rothe r rethren ou ette r b e e n a ed b , b , y b g g , ’ i s Fo r de debb l he ou t o n a big ra mp a ge .

’ ’ l ed one lo ou t o a ta n s wa ll I p uck b ck S , ’ hea rd h m s m l a n s a i ll I i tu b e w h m fa .

’ Ole S a ta n thought he h a d me f a s ; ’ ’ ’ ro his h a n a r a a B ke c i n I m f ee t l s .

I me t ole S a t a n in my wa y ; “

He s a o n ma n ou too o n to ra . y, Y u g , y y u g p y

’ The d e l t r es to throw down e e r th n that s ood vi i v y i g g , ’ He d a wa to c onq e the r hteo s he o ld ﬁx y ig u if c u , ’ Th a n s b e to G od-er m ht he a n t b e e led k ig y, c b gui ,

Ole S a ta n will b e done ﬁghti ng afte r awhile . 42 TH E NEGRO AND HIS SONGS

Th e Negro e s h av e m a ny o th er phr a s e s which they “ a l to at a n to t re him in o ther rel a t o n s pp y S pic u i . Ole ’ atan is a mi ht s o l e m an a n th ro ro s i S g y bu y , w ck n my ” “ w a h a t m a e s ol e ata n o llow m e s o ? a y . W k S f S ta n ’ ’ ” a n t o t noth n f er to o w th m e As a s m a i g i d i . bu y n h e al so h a s his s h eld a n d swo rd no t o n l e s i , y giv “ t a s th e e ro troubl e b u g et s i nto tro ubl e . S y N g : I

’ ‘ ’ h eard d e d ebb il h owli n wh e n I c o m e o ut u de wild er ’ ” “ ’ n e s s a n I d e d ebb il a ttle . Now s t a n a , gib b b ck , ’ a t a n a n le t m e o b wh do a n d e d eb il S , g y y b ” “ -a m e b e ? le a t an m ht s h e ollow m l et O S ig y bu y , f e ’ a l e a t a n to s s a ll a t m e h e th n n ht an d . O th ig y S b , i k e ’ ” l hit m s o l th e a ll f o r h ell a n m e fo r h a n a l e e . b y u , b v ’ ” “ ’ ’ e at an ett n in m ht ra e for ata n s a m s Ol S g i ig y g , S c p ” “ ’ atan mo nt d e ro n ra ho s s a n r d e h al w a afi er . S u i g y i f y ” “ ’ ’ a But e ll s ho t o e atan s d to pilo t b r . W u l S ki n g om ’ d ow n w ne- a ll down a t a n s n dom w ne-a , g i pu S ki g , g i ’ ’ ' is th e o f w n a n d e d eb b il . V to r e r s o r h i g i ic y N g , e “ ’ ” “ e l a m s : s aw d em n d n a t a n a n d s aw xc i I bi i S , I ’ O l e S at an s ki n gdo m But wh ile S at a n is a “ gre at s ch em er an d is ve ry bu s y a n d w a s h his fac e in ” “ ” a s h e s ut o n l e a th er a ro n his r e a te s t attr te , p p , g ibu

Th e e ro a nnot i e too n s s tent a rn n : is li ar . N g c g v i i w i g

’ Whe n I g ot d ere Ca p n S ata n wu s dere . ’ “ ’ a n o n m a n dere s no u s e to ra S yi Y u g p y,

Fo r J e su s is d a id a n G od go ne awa y . ’ ’ ’ An I m a de im out a li a r a n went o n my way .

With th e s e pic tu re s a nd wa rn i ng s th e Ne gro s o n g gives “ ’ o f a d o u a n t ot e r a e O b a ﬁn a l b it vic e . If y i g d g c

’ ” o d in o h e a rt d en d e d ebb il w ll it ou s ho th e n G y , i g y ; th e Si ng er re s ts s e cu rely in th e k n owl e dg e th a t h e is fille d with th e g ra c e th a t hold s ag a i n s t th e d evil .

n e s s wa s th e n ame mo s t c om King jes us . Ki g J u TH E RELIGIOUS SONGS OF THE NEGRO 43

th t a s s d mo nly given to Chri s t in e s pi ri u l . B e i es thi s

f He o He wa s the b os om fr i en d o the Ne gro . c me s in to

t r t at a n a nd to s a e the n d d al rom h i n e cep S v i ivi u f ell . He is ve ry re a l a n d no o ne is m o re vividly d e s c rib e d

H a s m an rel at o n s to his e e r eo l . th an He . b y i p p e

’ ’ Now m e s s e n s o ood a n nd y J u b i g ki ,

M es s lowere d his me r d own y J u cy , ’ An s nat h me rom d e doors o f he ll c f , ’ An took me in with him to dwell .

’ Oh es s tole ou on e e o , J u y c b f ’ a e d s in n o To g o in pe c a n o m .

’ he a rd 0 m e s s m a n o ne s a I y J u y y, ’ ’ l nn r a Cou d move po s i e s s i ns way .

’ D en es s h e ome r d n b J u c i i y, ’ Gib me wi n gs to ride a n ﬂy

’ es s hr s t he rs t a n d la s J u C i t ﬁ , NO m a n wuk s l a k him ;

He lt a la t o rm in de a ir bui p f , ’ He a r m eet s de s i nt s f om ev e ywhere .

V r n a r h a d one so n i gi M y ,

The c ru el J ew s h a d him hu n g .

’ ’ Me a n m e s s o n l e a t ea se y J u g i iv , ’ ’ e af i e M my J su s goin do a s we ple a s e .

’ ou wa nt er die l e e s s d e d If y ik J u i , ’ ’ ’ old a r s F yo m a n cla s p yo eyes .

’ tell ou rethren a n te ll ou tw e I y b I y ic , M s o l d o n a y u e n chore d in J es u s Chri s t .

o n de h ll s d e n es s s o e Up i i Ki g J u p k , ’ Ou t of his mo th o m e ﬁre a n s mo e u c k , 44 TH E NEGRO AND Hi s SONG S

’ Yer s ay yo J e s u s s et you free ; ’ ’ Why don t you let yo neighbors b e ?

Othe r s ho rte r li n e s give e qu ally con c rete pictu re s and t a r mentio n e qu ally d eﬁ n i e tt ibute s .

’ You ll s ee my J es u s com e to wa ke up d e n a ti o n s u nder

g rou nd . n e s s d e d f or e e r m a n Ki g J u i v y . ’ An d e s on H e set me free .

I got my J e su s a s we ll a s you .

ou w a nt to s ee es s o in de w ld s If y J u g i erne s .

s s t ll di Gwi ne s erve my J e u i I e . l I c a ll my J e s u s king Emm a nu e . ’ l e u e r a He p uck my fe t ou t d mi y cl y . r He s ot d em on de ﬁrm o ck of a ge s . ’ l Ch ri st h ab b ought yo ib erty . ’ Ki ng J e s u s s etti n in de ki n gdom . ’ ’ ’ ’ l w n l D e win b ow ea s a nd de i b ow we s from J e su s . ’

Oh onder ome s m es s now him b his s h n n . , y c y J u , I k y i i

Hear my J es u s whe n he ca ll you ? Hea r my J e su s . ’ c alli n ? ’ ’ I m goin to b ebb en where my J e su s dwell .

O I wa lk a nd t a l k with J esu s . ’ J e su s loo s e n d e m a n from u nder de grou n . ’ ’ ’ n i J esu s a in t comi he re to d e no mo . a The Son o f Ma n h e du n no wh e re to la y his wea ry he d .

See what won d er J e s u s done ’ e s s a d s a J u m ke d e u mb to p e k .

s a J e u s m ke de c ripple w alk . ’ J esu s gib d e bli n d e i r s ight . ’ s d a n J e u s o m o s ything .

a I w nt to d o (or die) like J es u s . ’ e s s s t a n o n d dd J u e u er s ide J orda n . ’ s s t n d J e u s et i o n e water s ide . i a ll e s s s our t a n e s s ot de h e m . J u c p i , J u g u - J e s u s mou nt (rid e) a milk white hos s . TH E RELIGIOU S SONG S OF T H E NEGRO 45

You h a d b e tter follow J esu s .

D a ddy Pete r s et out f or J e s u s . ’ J es u s will b ring you milk a n honey . ’ Ma s J e su s is my b o som friend .

w ne oll ow n es s rea ll d o el e e . G i f Ki g J u , I y b i v

n e s s he wa s s o s t ro n m ord t ll he a r down Ki g J u g , y L , i j h ll d e wa ll s ob e .

Gwi ne to write to my J e su s . ’ Ki n g J esu s s ettin in d e he aven .

Ki ng J e su s on d e mou nta in top . a d in n d e s s w e s s is a m ht m n . e ho set O J u ig y Ri , ki J u , ’ po s i nner free . ’ ’ For J e s u s com e a n lock d e d o . ’ D e J ew s kill po J e s u s . — i ’ J e s u s c all you J e s u s w ait n . ’ I wu s l os in d e wildernes s ; J es u s h a n d me d e c a ndle wn do .

’ Ma s J e s u s gib me little b room f e r ~ to sweep my hea rt

cl ean .

e s s f e d m e wh en wa s h n r he lothe d me when J u I u g y, c I

wa s n a ed h e a e me d r n when w a s dr k , g v i k I y . ’ n J es u s ros e a n ﬂew aw ay on Su d ay mo rn i ng .

h r s t w a s the re o r tho s a nd e a rs a o dr n n of C i f u u y g , i ki g

th e wine . a D i J es u s he wore th e s t rry c rown . d you s ee I es u s when he wo re the s ta rry c rown ?

J es u s he wo re l on g white ro b e . ’ n a a n d Ki g J e su s s pe ks e chariot s to p s .

Ki ng J e s u s is the Ro ck . Well did you s ay you l ove J es u s ? ’ J e s u s done bles s my sOul a n gon e to gl ory ’

on t ou r d e . on es s ? s W y i J u O ye .

I l oo k f er J es u s a ll of my d a ys .

s J e u s is a li s tening all th e d a y l o ng .

The s c en e s o f c ruciﬁxio n s eem to imp re s s th e N egro e s very fo rcibly a n d th ei r s on g s ab o u n d in re fere n c e s to 46 TH E NEGR O AND Hi s SONG S

His s ff e r n o m e o f th e s e e re s s o n a u i g . S xp i s re full of

eel n a n d a re to h n in th e t t r s e n m en . f i g , uc i g i i

The na l m e s s down y i y J u ,

he ut him o n t he row n of n n T y p c tho r s (thor y crown) . ’ O s ee my J e s u s h a ngi n high ! ’ He l oo k s o p a le a n ble ed so fre e ’ d o n t ou th n it w a s a s ha m e O y i k , He hu ng three hou rs in d rea dful p a in ?

h v h e t to e s s a n d o ten s mon God a nd je o a . N x J u f y “ ” “ t i is He is o rd mo u s w h H m God . M M y i y L , y ” “ “ ” od Lo rd G o d-er-m ht a nd K n eh ob a h G , ig y , i g J , a nd rep re s e n ts the p e rso n a l G o d a n d the rul er of the

wo rld .

on d e mo nta n ehob a h s o e Up u i J p k , ’ ’ Out 0 his mou th co me ﬁre a n s moke .

’ M God a wa l n down hebb enl roa d y ki y , ’ - Out 0 his mou th co me two e dged swo rd .

’ ’ o ﬁnd o w a to G od If y y y , ’ The go s pel highw ay mus b e trod .

’ D e ather he loo on d e Son a n s mile F k up ,

D e Son he loo o n m e k , D e a ther red eem m s o l rom hell F y u f ,

D e So n h e s et m e free .

’ I m a h le of G od wid m so l set ree c i y u f ,

For Chri st hab b ought my liberty .

’ I m go ing ho me f er to s ee my Lo rd .

My Lord did give m e e a s e .

Eve r s ince my Lo rd s et me free .

l i f d e l I b e ieve t or G o h to e me s o . ’ ’ ’ m o rd s om n a n O y L c i g i , ’ ’ a d n w It m b e l a s t me on t o . y i , I k ’ o n to do all c a n f er m o rd o n mo rn I g i I y L ; I g i u ,

ra we e a ll c a n f er m o rd . p y, p I y L

48 TH E NEGRO AND Hi s SONGS

“ v ell e a e n f o r the e ro is a Hea en a nd H . H v N g n e te r n al l a e whe re he s h all o c the es t l a p c cupy b p c e . It is a pl a ce of glo ry a n d s pl e ndo r in the m ater i al n No r doe s h e th n th at h e w ll a l to m s s his se se . i k i f i i

Hell i a l a f o r t hom e when h e di e s . s p ce hieve s a nd s nners a nd l a rs b ut s h e rson s a re f a r rem o e d i i , uc p v

im His rel o n is the a na e a fo r all e l s a nd from h . igi p c vi “ ” all s ns a nd wh e n h e h a s th e lo e of G o d in his he a rt i , v “ no th n c a n doo m him f o r h a s he n o t ee n wa s he d i g , b ” ? “ in th e bloo d of th e L amb An d h a s no t the bloo d ” do ne Sign his n am e ? His i d e a s o f he aven a re tho s e which his mi nd n atu rally co n c e ive s of a s applyi ng to a ho me ; his co n clu s io n s fro m the Sc rip tu re s a re no t

al f ew o f the re e re n e s to he a e w l u nu s u . A f c v n i l give ’ a b ette r co n ceptio n o f the N egro s reality a nd vivid ne s s of i nterp reta tio n .

wa nt to o to hea en when die I g v I ,

To s hou t s a lva tion a s I ﬂy .

You s a er aimin f e r de s e s y y g ki , ’ ’ Why don t yer quit yer tellin lies ?

’ ho e it dere b a n b I p I g y y,

To jine de n u mb er in d e s k y .

h en it to he a en w ne to ea s e ea s e W I g v g i , , ’ ’ Me a n m G od o n do a s we l ea s e y g i p , ’ ’ l S ett i n down Side 0 ho y L a mb .

h en it to hea en o n s et r ht down W I g v g i ig , - Gwin er a s k my Lo rd f er s ta rry c rown .

Now wa t t ll ts m o s el s ho es i i I gi y g p , ’ - ’ Gwi n e r wa lk bo u t he aven a n c arry de news .

’ ’ We ll walk up a n down dem golden s treets ’ We ll wa lk a b ou t Zion . TH E RELIGIOUS SONG S OF THE NEGRO 49

w ne s it in de n dom ra l do el e e where Sab G i ki g , I y b i v ,

b a ths ha ve no e nd . — ’ ’ Loo k wa y in de h eave n hop e I ll jine de b a nd - Si tti n

in de ki ngdom . ’ I d on e b in to hea ven a n I do ne bin tri ed . _ ’ ere s a lon wh te ro e in d e hea en for me D g i b v , ’ ere s a old en rown olden h a r s ta rr rown D g c , g p , y c ,

Silve r s lipp ers in h e a ven f o r m e I know . ’ 0 es I m w ne to s ee m o rd w ne a ll d e wa y , g i up y L ; g i y up ’ ’ to s ee m ro e de h ea en is s h n n s h n y b ; O v i i , i in . ’ i hebb n w n e e w n e s ho t n e e h ab a m tin . G i u , g i big

If you wa nt to g o to heaven com e alon g wid me . ’ a h o d n i T ke my ﬂig t up t e s ki es i d e m orn n .

O de h ea ven gate s a re op en .

Gwi ne up to h eaven where my J es u s dwell s . ’ n My J e s u s walki d e hebb enly roa d . ’ ’ D e b ell is rin gin in odder bright worl .

If you touch one s tr ing de whole hebb en ring .

D e s un gib light in d e b ebb en a ll rou n d . ’ ’ w s d I i h I wus in e ki ngdom s ett in s ide 0 my Lo rd .

No r more h ard tr a l in d e n do m no more tr la tion i ki g ; ibu ,

no m ore a rt n no mo re a rrel n a - t n in p i g, qu i g , b ck bi i g d e n dom ki g , ’ No more s u ns hi ne f e r to b u n you ; no mo re ra i n fer to

wet you . ’ Ev y d a y will b e Su nd ay in he a ven . w S eet mu s ic in hea ven je s b egin nin g to roll . ’ ’ l ’ Goi n fea s t o ff n mi k an ho ney .

The Neg rO does no t dwell upo n tho ughts of hell a s “ he do s of h e n h e h a s s te e d o e r h ell e e ave n . Ev if pp v ’ “ a n om e a a a n he do e s no t re e a l so r m uc h of c b ck g i , v it ha ra t o o n t s h r a re d e n te s e r . m e e o n owe e c c S c c p i , v , ﬁ i eno ugh .

’ Ohell is d ee a n he ll is w de p i , ’ 3 O hell a in t go t no bottom o r s id e . 3) 0 TH E NEGRO AND HIS SONG S

’ I d ra the r ra m sel awa p y y f y, ’ h a n l e in h ell a n r d T iv bu n o ne ay .

’ when it to h ebb e n I ll b e a le to tell O I g , b ,

How s h nne d d a d s a l ll I u t i m he .

’ Ev y s ince my Lo rd done s et m e fre e ’ D s l i o e wo rl bin a hell to m e .

’ When I come to ﬁn d out I s o n de ro a d to hell

I ﬂeed to J es u s .

’ The Negro s s o n g ﬁ nd s little s a ti s fa ctio n his “ ’ ” s s h s ol e wo rld s a o m a r o de a o f h ell . h ell t e v i u i T i , s a s th e e ro b u t h ell is a d ar a n d d sm al l a e y N g ; k i p c , so th at th e o n ly imm e di a te co nclu s io n which h e c a n “ ” re a ch is th a t h e mu s t s hu n de g ate s of h ell a nd _ m a f o r th h m e t ke e o e b yo nd h e Jo rd a n .

B i a l l r h ar et O f re e r n s to ibl c Fo k . A ic v i y f e ce Sc riptu ra l ch a ra cte rs is s een in th e m aj o ri ty of th e

e ro s r t al s oth o f th e a s t a n d o f th e res ent . N g pi i u , b p p Th e N egro p o rtray s th e co n duc t O f h ero e s in th e p a s t w h a n at s ll His s o n s a re o ten r nn n it im gi ive ki . g f u i g s to r e s of r t re in wh h th e ef o rt is m a d e to i Sc ip u , ic f i n clud e a s m a ny ch a ra cte rs a s po s s ibl e and a t th e s am e tim e d raw co nclu s io n s which h a ve s uit abl e mo ral s b ut th e s e so n s m a b e etter s t d ed in th e , g y b u i

h at oll om e f th a r ere n es exampl e s t f ow . S o e typic l ef c to th e Sc rip tu re s will Show th e a vera ge i n te rp retation th given th em by e Neg ro e s .

’ s sters a n t ou h el m e s n O i , c y p i g , ’ r s s s s e r di h l i Fo Mo e i t d e p h m .

Wh ere wus Eze kiel whe n d e chu rch fell down ?

D own in d e va lley wid his h ea d hu n g down . TH E REL IG IOUS SONG S OF THE NEGRO 51

’ E e el s a d he s ed de tra n a om n z ki i pi i c i , ’ ’ He o o n o a rd a n s he ne e r s o ru i g t b v t p nn n .

’ God m a d e da m a n d a m wu s rs t A A ﬁ , ’ ’ od m a de dam o ut o the d s a G A u t o th e e rth .

ell God s how No ah de ra n ow n W , i b Sig , ’ No more wa te r b ut ﬁre nex time .

’ os e s l e t ll he ot old M iv i g , ’ r d i d o n a n s l Bu ie n e m u t i o I m to d .

a r we t a nd a rtha m o rned M y p M u ,

s s r s l a d J e u Ch i t i de co rne r s tone .

a r wo re the olden h a n M y g c i , ’ Eve ry lin k wa s in Je s u s name .

Juda s wa s a dece itful m a n ’ ll e ra d i We h e b t ye the nnerc e nt La m .

’ ohn wro te a le tter a n he wrote it in h a s te J ,

wa nt to o to he a e n ou tt a a er e er m e h s te . If y g v , y b k

’ oh n dec l a r he s aw a ma n J , ’ a Wid s eve n l mp s in his right h a n .

’ The e roes wo n er wher s S s ter Ma r M a rth a N g d i y , , ud er o s e s Brudd er an l a nd the th s Br d M , D i e ( o er ) “ So too s ter a n nah a a Bru dd r o ne . r e g , Si H , H g , “ ” d th e res t too d e at Mo s e s a n s e . And a a n k y g i , “ ’ Wo n d ah wh a r oo d o l e D an e l do ub tin ho m as g i , T , ’ ” “ ” r a n d o th s s m o t d e a t s n n ete e r . o e s s e w e r i ki P M , a nd the Negro s ays °

want to o whe re o s e s trod I g M , ’ Fo r Mo se s gone to de hou se 0 G od .

“ Peter is co mm a n d e d a g a i n a n d a g a i n to go ri ng de m 52 TH E NEGRO AND HIS SONGS

” “ ” “ ell s D a dd e ter o to e s s F s h erm an ete r b ; y P g J u , i P o ut at s e a th e l a tt er erh a s e n th e o r n of , p p b i g igi “ ’ s i nki n Peter Elij a h is o n e of th e favo rite s of the “ s m l ah w n e r d in d h ariot in Old Te ta ent . E ij g i i e e c ” “ d e mo rn in a nd s a a h who mo nte d o n d e wh ee ; I i , u l ’ ” l a h t m e is a nd re d h ar a te r to e el a nd . O i , ki c c Ez ki E ij ’ J a co b s l a d d er a n d his s truggl e a re vivid e no ugh to b e “ ’ ’ ” “ sung : I m gwi n e climb up J a co b s l adde r ; Ras ’ ” “ ’ ” tlin a o l et m e o a o tremblin on a l m . J c b , g ; J c b i b ’ “ D e al Bru dd er No ah s victo ry is a commo n them e . y c l ” o ah a ool s h m a n b ut th at a e s n o d ff ere n e f or N f i , m k i c “ “ d e o rd tol e o ah f er to ld him a rk an d d e L N bui , — ol e a rk a mov e rin Th e Negro rem a rk s Ch a r acte r “ ’ is tic all G od l a ed A a m in d e a rd en wa s o t y ; p c d g , b u ’ a r el is ro er al a nd th e a tt t e d e cool 0 d ay . G b i p v bi i ud “ of the s i nger is alway s re a dy f e r to he a r G ab ri el ” “ ’ ’ i r n a m blow h s ho n . Do t you h e r Gab ri el s tru p et “ ” in d e Little D a vid pl ay o n d e h a rp “ h a s be en a s hi n i n g example fo r m a ny a noth e r D avid “ t a th er ra h am who love d o blow on his h a rp . F Ab ’ ’ s tt n do n s d e 0 d e ho l am is alm o s t s non i i w i y L b , y y

h h ro m n n a mo th l e a r im mo u s wit C ri s t . P i e t n g e c p re s s io n s m a de by th e Sc riptu re s is th at of th e d e l e r o f a n el th l n d o n ah e e rew h re n a . iv y D i , H b c i d J

owe e r o ne m s t re a d th e s o n s in o rd er to et the H v , u g g

ll s n an of th r fu ig iﬁc ce e eferen ces .

he le lth h h r as T Bib a nd Angels . A o ug t e Neg o b es e er th n in his rel o n o n the l e a nd his v y i g igi up Bib , so ng s a n d s e rm o n s a nd exho rta tio n s a bo u nd in quo ta “ ” t o n s rom th e ol wo rd h e h a s om a rat el i f H y , c p iv y l a of t He t n s ittl e to s y th e Bibl e i s elf a s a boo k . hi k “ ” s o m etim es th a t it is a c ump a s s a n d al s o b a s es his TH E RELIGIOUS SONGS OF THE NEGRO 53

t H s co nvictio n s o n th e tru th o f he Bibl e . e i n g s : How ” ou now ? Fo r m l e hit tell m e s o d o y k y Bib .

For in d a t le ou w ll s ee Bib y i , ’ J es u s died f er you a n me . ’ a tthew a r e a n ohn M , M k , Luk J ’ Tell me where my Ma ste r s gone .

Go rea d d e ﬁfth of M a tthew ’ An re a d de h a ter thro h c p ug , It is d e de to hr s t a ns gui C i i , ’ ’

An tell em wha t to do .

’ ’ Now ta e o le a n read it thro h k y Bib ug , ’ ’ ’ An ev y wo rd you ﬁn is tru e .

As th e l e is th e om a s s s o s o m et me s th e ol Bib c p , i H y

h o Gho s t is th o ught o f a s th e pil ot . T e H ly Gho s t is too va gu e f o r th e Negro to fathom a n d is no t ta ngibl e “ ’ no h f o r his m a inatio n He s a s : e ug I g . y If thi s ai n t ’ d e ol ho s t d o n t now b ut o s ttle rth e l er . H y G I k , g i fu Ju st a s th e Negro exp e cts to t alk a n d w a lk with

o d a n d e s s so h e loo s o rw a r d to s ee n th e a n el s G J u , k f i g g

a H a nt s t s e t m w t t h t in h e ve n . e w o e h e i h he i r w i e ro b e s “ a nd h ea r th em s n h e e e n s a s th e m o rn r ht i g ; v y y u . B ig ’ ” an el s hov e rin o n d e w a ter b d e ht a re b u t a g y_ lig “ art o f the a el a n d wh h h e ho s to n o n p ng b ic p e j oi . J i ” d e heb b e n w d d e a n el s is his w a t hwo rd an d b it i g c , y h e s ee s in his childlik e fa n cy a ll th e b e a u ti e s o f id e al

reat res c u .

’ ’ I m w ne to ee a c limbin h g i k p hig .

ll m e d a n l s in Ti I et em ge de s ky .

D em p ooty a ngel s I s ha ll see ? Why doa n de d ebb il let-a me b e

’ ’ when et to hea en o n s it a n tell O I g v g i , l l s Three a rch an ge s gwi ne e r ring d em b e l . 54 TH E NEGRO AND Hi s SONGS

’ Two wh te a n el s ome a wa l n down i g c ki , ’ n a n Lo g white robe s s ta rry crown .

’ What s d at yon der d a t I see ? ’

ta ll a n el om n a ter me . Big , g c i f

e e D a Th e e ro m a es a re m a r Th judgm n t y . N g k k

t re of the terr bl d a of d m en t Fo r him a bl e pic u i e y j u g . it m e a n s everythi ng th at coul d p os s ibly h app en at th e

d t is th e d s tr t o n th e nd of th e wo rl . I e uc i of e s i nne r

o th r h t s o r do e s h e h e s ta t a nd th e glo ry f e ig eo u . N i e to aﬂirm th a t th e Ch ri s ti an in h e ave n will s ho ut a m e n ’ d am at o Th e s n n e r w ll s to the s i n n e r s n i n . i i ee his mo the r an d fri en d s in h e aven while h e is doom e d to

It s e r e s a s a w a rn n th em e f o r th e s o n m o re h ell . v i g g

a t s al t o f th t But h r is th a n it i n dic e re i y o ugh . e e a p a rt of h i s p ictu re :

M o rd wh at a mo rn n whe n de s ta rs e n to a ll y L , i g b gi f , ’ ’ o ll se e de worl on ﬁre Y u , ’ ‘ ’ ’ You ll s ee d e m oon a blee din a n

D e moon w ll t rn to lood i u b , ’ ’ D en o ll s ee d e eleme nts a me ltin y u , ’ ’ ou ll s ee d e s ta rs a a ll n .Y f i , ’ 0 es de s ta rs in de elements a a ll n y , f i , ’ An de moon d r s wa in lood ip y b , ’ ’ hen o d o n a ll d em h ll ms rom de d s ta nt l a n W G g i c c i u f i , ’ D en ou see d e o n s s t n y c ffi bu i , ’ D e n ou s ee de one s a c ree in y b p , ’ ’ D e n ou s ee o s nner risin y p i , ’ D e n ou he a r d e tom s tones c rac kin y b , ’ ’ An you s ee de gra ve s a bu s ti n . ’ Hell a n s ea s w ne e the r d a d g i giv up i i , ’ D e n ou s ee d e or e d l htn n y f k ig i , ’ D e n o hea r d e roll n th nde r y i u , ’ E a rth s h all reel a n totte r ,

ell h all b e n a ed H S u c pp , D e d ra gon b e l oos e d ’ D o n t you he a r them s i nne rs c ryin ?

56 TH E NEGRO AND HIS SONGS

to f s a o He o r e ts the pl ai ntive ne o th e dd er nes . f g

o d s n m a n how e e r th s ho t n ta e s aw a w r . I e y , v , u i g k y a ny s a d n e s s a n d the s e liveli e r s o ngs vo ic e th e light a nd s e n s uo u s emotio n s e qu ally a s well a s th e m o re

a Th e o m a nt a n s s erio u s o ne s tell of h rd s hip s . e N gr i i “ ’ th at alw ays a n d everywh er e Yo u ll h e a r th e Ch ri s ti a n ” “ h e s t m an e e s ee d his he a rt w a s s ho t . D e r r u ic I v , ’ ” “ a n t o t d e lo r in m ﬁll wid J e s u s Holy Gho s . I g g y y ” s o l he s a s a n d u , y

’ ’ rea l do b liev e Widout a do t I y ub ,

D at d e chu rch h ab a mighty right to s hou t .

I tell you wh at I l a k de b es ’

It is dem s hou tin Mefode s .

’ If th e Negro s mother a nd s i s te r a n d fa ther and “ e a h e r and th e oth e rs a s th e s on s u t it d ed a p r c , g p , i “ ’ ’ ” h i o t en h e s g i n die s houtin too .

’ Gwi ne hab ha ppy meetin w ne s ho t in h ebb en G i u , ’ w ne s ho t a n nebb e r t re G i u i , ’ ’ s l a o ha n s h ll ms O p y , c i u , ’ at o eets c hillun s O p y f , ; ’ eel s de s r t m o n I f pi i vi , ' ’ ’ O now I m gittin . h a ppy .

Of tru e lo ve a n d d evo tio n to G o d o ne ﬁ n d s li ttl e deﬁn i te a n d co n c re te exp re s s io n s a s comp a re d wi th

The e ro is o n s ta tl affirm n his o the r them e s . N g c n y i g “ ” love o f his J e s u s a n d offe ri ng his e te rn a l a llegi a n ce

n ra l w a Bu t in th a e ra e n s ta n e th e in a ge e y . e v g i c te s tim o ny is s ub o rdi n a te d to s o m e Sp e ci al w o rd o r ph ra s e which rec e ives th e g re ate r p a rt o f the s ig

th s o n h at do s m e a n wh e n he n iﬁc a n c e in e g . W e h e TH E RELIGIOU S SONG S OF T H E NEGRO 57

’ ? ” a s k s : D oe s yo love co n ti n u e tru e o r whe n he “ ’ ” : w a nts to now do e s o u lo e o e s s ? i n s i s ts I k , y v y J u Th e Negro e s a re o ften h e a rd to ~ s ay th a t th ey w ant to “ ” n th do s om ethi ng fo r th e Lo rd . I e s am e w ay ’ th n : I o n we e all I c a n f o r m Lo rd I ey s i g g i p y , ’ ’ o r a all I c an fo r m Lo rd I o n to d o a ll I c an g i n p y y , g i

o r d In e a h a s e th e rel at o n o f the e ro fo r my L . c c i N g

an his o d is d e a l an d h e o n e e s o f his own d ee d s d G i , c c iv

a s e n not in th e ra t al e er d a l e b ut in th e b i g , p c ic v y y if , fu tu te wh en th ere will b e nothi n g u npl e a s ant ab o ut m 1 th e .

r at re o nt r tes s o m eth n to Na tu e in Song . N u c ibu i g

erta n a rts of n at re a r th e N e gro s pi ri tu al s . C i p u e symb olic a nd s erve to co nvey th e pictu re o f a vivid

s Th e wo nder s O f im agi n a tio n a s no thi ng el e c an do . G od a n d th e terro rs o f th e j udgm en t mu s t b e s een in h th ei r rel atio n an d effe c t up o n t e fo rc e s o f n a tu re . Certa i n n atu ral ph enom en a i n spi re awe a n d revere n c e ; ’ th ey a dd thu s to th e N eg ro s co nc eption of religi o u s l ear . th er re eren es to n at re o n e a s the o n f O f c u c v y , y y

o ld l e a s n e at res of l e h e n e of h e a en a n d c u , p i g f u if , c v “ ’ ” o d The e ro re ers to th e re a 0 a th e G . N g f b k d y , “ ’ ’ ” “ ’ s ett n th e s u n th e oo l 0 th e a n d e a h i O , c c is er e re s s o rn n an d e e n n a re omm o n v y xp ive . M i g v i g c ; h e p ray s in th e even i ng p e rh a p s ; in th e m o rn i n g h e is d o n to h e a e n . Th e h ll s de th e mo nt a n a n g i g v i i , u i m o nta n to th e all e s n a n d t th e u i p , v y , ig ify ypify exp eri en c e s o f th e Ch ri s ti a n O f th e p a s t a n d p re s ent ; th e h a n r T h e e ve ly b e e ze c o m e s fro m th e va ll ey .

1 ’ It was doubted if th e Negr o s ideas of God and heav en an d his rel ation to th m r l x r r l x rim nt were ma e e we e tru y e p es sed in his songs . Seve a e pe e s d with Ne ro chil ren wherein es tions were answere b th em at th e time g d , qu d y

th e were iv en oth ers b ein carrie to th eir h omes or tea ch ers . Th eir y g , g d i eas of hell and h ea en God and th e an el s are almost i entical with th ose d v , g d o n f u d in the s ongs . 58 TH E NEGRO AND Hi s SONGS

e ro s ee s a a ra d s e a nd a w ld e rn es s a s n s h n e N g p i i , u i d t a n a s o rm . Bu t

’ e re s a tree in a ra d s e D p i ,

hr st an s a ll d e tree ob l e C i i c if ,

’ a n d h e a th ll s n s I s e s to e a t d e r t off n f i fu y i g , p c f ui ” d a t tr Th t t r m l e s a nd is a rre d th e s k ‘ee . e e a r h e b j ; y “ ’ ’ is s h T r r i h ll a n o ld w d e a ook . h e e s n iv c i y c , i ” “ ” d ee . Th e ro is ette r th a n th e m r l a p ck b i y c y .

Th e s ta rs m n d wo rld all l ee d a n d r oo a n n . , , f , b , bu Th e thu n de r a nd the lightn i n g a re in th e s to rmy

lo d s a is a s i th e s m a b e too . tan n a e n e c u ; J u y , S k

ra s s a n d o n l a m s a nd th g a hu nti ng dog . Y u g b e “ s hee d o Th e s mm e r s r n n e now d e ro ad . p k u , p i g ,

owe rs a n d th n Th e e ro w s he s ﬂ e ﬁ eld a re m e ntio ed . N g i ’ h e h a d w n s l e o ah s do e He is somet me s awed i g ik N v . i

loo e d tow a rd d a t northern ole I k p , s I eed bla ck clou d s of ﬁre roll .

Wi th his vivid im a gin a tio n the Ne gro feel s m u ch o f th e

tho ht e r h s s in a n d the ug xp e s s e d in th e fo lk So n g . T u

s n n e r a re n t m a tel o n n e te d w th l e a nd de ath i i i y c c i if ,

rel o n a n d re en t an e How s ll ll th e s o n s igi p c . ki fu y g exp re s s th e fo lk feeli ng m ay b ette r b e i nfe rred fro m

rthe r fu a n alys i s of ch a ra cte ri s tic s o ng s . CHAPTER III

EXAMPLES OF RELIGIOUS SONGS

An exa ct cl a s siﬁc ati o n of th e cu rren t N egro s ongs

re s e n e d in th s o lle t o n e th e r a s to s e t p t i c c i , i ubj c

o d s a r l e s s h e m atter o r a s to o rm w l e b o l e . re f , u c c y p ib T is littl e u n i ty o f tho ugh t in the i r co nte nt ; th e i r m ete rs

o n s s t n s ta n d a d s s n l e a o r t c o n fo rm to no c i e t r . A i g f v i e s tan a re ar dl es s of its m e an n is o n s t a n tl e n z , g i g , c y b i g s n in a do n d ff ere nt s o n s It is a d s t n t so n u g ze i g . i i c g an d it m atte r s li ttl e to which o ne it b elo ngs ; it s erve s its r o o n of th in th e o rm O f th e pu p s e in a ny e em . SO f

e rs e a s n l e t n e is a d a te d t o l n e s th at d er v , i g u p i iff gre a tly in l e ngth ; likewi s e a s i ngle li n e is not inf re n d qu ently m a de to ﬁt i nto a ny tu e th at is de s i re .

a n no a e r s n of a s o n a n n Th e Ag i ﬁn l v i o ny g c b e give . li n e s a re ra rely s un g twic e in ex a ctly the s am e fo rm . There are Ordi n arily a s m a ny ve rs io n s o f a li n e a s th ere a re combi n a tio n s O f th e wo rd s wi th o u t s po ili n g the eff e t of the rh m o m h at wo Th e s ta n a s c y e r e p ic rd . z h a e no o rd e r o f s e e n e b ut a re s n a s the o r v qu c , u g y ccu in the m i n d o f the Si ng e r ; a so ng d o e s no t h ave a s t a nd ard n m e r of s ta n a s b ut th e le n th de en d s o n u b z , g p up th e tim e in which it is w a nte d to Si n g th a t p a rticul a r ‘ s o n g . In th e s o ng s th at fo llow th e mo s t c o m mo n

e rs o n s a r i n d att em t v i e g ven . In givi g the i al e ct no p is m a de at o n s s ten f o r th e e ro o f th e re s e nt c i cy , N g p

e n e rat o n h a s no o n s s te n f s h He s e s g i c i cy o p ee c . u “ ” ” “ ” “ ” “ ” th e an d d e them an d d e m w n e a nd , , g i “ ” a n d an d to geth e r with m any o th e r 60 THE NEGR O AND HIS SON G S

a r d o rm s wh h we re no te d in h a t r e e . o r v i f , ic C p I N do e s it m atte r th at e a ch of th e fo rms is u s e d in th e

a m n o th ld s o n s h a t a s e li e r s ta n za . In e o g t rC he re

o te d f o r o m a r so n s th e e a t o rm o f s ee h in qu c p i , x c f p c wh h the h a e ee n l s he d is s e d In th e mis ic y v b pub i u . c ell a n eo u s s o n s a the red h e re a n d the re wh a t m a g g , y b e all e d the a era e d al e t is s d Th e s o n s th at c v g i c u e . g fo rm th e b a s i s o f thi s wo rk a re tho s e th a t a re fo u n d — amo ng the p re s e nt d ay Neg ro e s o f th e S o uth ; in m a ny c a se s th e co rres po n di ng s o ng of e a rlie r d ay s is given in o rde r th at a b ette r s tudy of th e fo lk s o ngs m ay b e m a d e a n d the m any p o i nts of re s embl a n c e

n a l n s ta n th a s f h h a h note d . I l i c e s e b i s o t e c p te r is t e ‘ re s en t-d a s on a n d th e s e s ho ld no t b e o n s ed p y g, u c fu

th th o s a a d rth r wi e th t h ve al re a dy b ee n publi s he . Fu e p a rticul a rs will b e po i nte d ou t in co n ne ctio n with the s al o n ever s gs . Perh a p s no b ette r b egi n ni n g c a n b e m ade towa rd s ge n e ral cla s s iﬁc atio n of the re ligio u s s o ngs of the N eg ro e s th a n by i n tro ducing s om e th at co mbi ne s eve ra l

h a ra ter s t s b ut s t ll h a e a ene ra l the m e re c c i ic , i v g p

in i a o r a nt a to r in the rel domi n ati ng . S s n imp t f c i g iou s life o f the Neg ro a n d his s ong s refe r to it in m any

m s Th e th ree eneral to ne s wh h er a de th e fo r . g ic p v them e a re : A no te o f victo ry o ve r s in a n d the c o n c eption o f it a s b ei n g in th e p a s t o r b elo ngi ng to s o me o the r p e rso n ; the co n c ep tio n of s in a s b e i n g p res ent

a nd the s n e r a s e n in its ra s a n d th rdl th e i g b i g g p ; , i y, “ — ” him s i nn er m an him s elf a n d wa rn i ng s give n .

A LL MY SINS DONE TAKEN AWAY

Thi s ve ry popul a r s o ng is typic al of th e ﬁ rs t cl a s s

he re is no re a so n wh th e s ta n a s m e ntio n ed above . T y z E XAMPLE S OF RELIGIOU S SONG S 6 1

e n elow s ho ld o m e in th e o rder re s en te d e e giv b u c p , xc p t th at th ey a re h e a rd in thi s a rra n gem e n t a s m uch a s

Th e s tan a s o n s s t o f two rh m d in a ny o th er . z c i y e

he se howe e r a r l ne s w th th e re ra n . e s a ll i i f i T , v , u u y

tend e d to o r the rs t two a n d re ra n e n s n e x f u , ﬁ f i b i g u g s lowl a n d in a m o re o r l e s s l a nt e to n e wh l e the y p i iv , i rep etitio n of the s ame li n e s with the rhym e d li n e a nd

Th e o mmo s s refra i n is rapid and j oyo u s . c n v er io n fo llow s

’ ’ ’ ’ I m o n to hea en an don t w a nt ter s to g i v I p , ’ ’ ’ ’ Ye s I m 0 1n \t0 he a e n a n don t wa nt ter s to , g v I p , ’ All 0 m s n s done t a e n aw a t a en awa y i k y, k y ; ’ ’ ’ ’ I m o n to hea en a n don t wa nt ter s to g i v I p , ’ ’ ’ An don t wa nt ter b e no s t m l n lo I u b i b ck ,

d a All m s ns one t en aw a ta en awa . y i k y, k y

I n s te a d of rep e ati n g the cho ru s li ne at the e nd o f the

rs t two l nes th at a re s n t he e ro e s te n a r th e ﬁ i u g , N g Of v y so n re e at n the l a s t h a l o f the l ne a s in the g by p i g f i , followi ng s tanz a :

’ “ ” e ll fo r a r a n P f o r Pa l W , M M y , u , ’ “ ” ell f or a r a n P f o r Pa l W , M M y, u , ’ “ ” An P f o r P a ul ; “ ’ “ ” ll a e fo r r a n P f o r Pa l . W , M M y u “ ” ’ f o r h r s who d ed f or u s a ll C C i i , Al ’ l 0 m s n s do ne ta en awa ta en awa . y i k y, k y

‘ Th e cho ru s is ag a i n v a ri e d from a ll my s in s to ’ ” “ ” all 0 m s n s d o ne ta e n aw a o r b in ta e n y i , k y, k awa wh le th e e nt re l n is m m a n e d in y , i i i e so eti e s ch g a s n l s a o t o e i g e t nz a . S m e im e s it is s u n g a s give n ab v ; “ a t o th er time s the li n e go e s : All my s i n s do ne t ak en ’ ” “ ” awa bin t a en aw a o r o m tt n e the r do ne y , k y , i i g i 62 TH E NEGRO AND HIS SONGS

” o r bin it is s u n g e qu ally w ell a s All my Si n s ta k e n ” awa ta e n awa w l e in the ra n d ho r s at th e y , k y , hi g c u clim ax of th e s o n g th e ch o ru s go e s

’ Ye s a ll 0 m s n s bin t a en awa , y i k y ,

Ye s a ll m s ns done ta e n awa , y i k y , ’ Yes a ll 0 m s n s done ta en awa , y i k y, Y l d e s a l m n s on e ta en a wa . , y Si k y lo r lor to His n a me G y, g y ,

All m s n s do ne ta en awa ta en awa . y i k y, k y

Thi s l a s t cho ru s m ay b e r ep ea te d wh e neve r th e s n e rs do no t th n o f wo rd s to ﬁt in w th th e s on s i g i k i g ,

s The ollo n a lthough thi s is ra rely n ec e s a ry . f wi g s tanz a s a re s u ng in th e s am e m an n er a s tho s e j u s t

en giv .

h a d er d ed wh en wu s o n If I i I y u g ,

n e er wo ld a h a d dis ra e to run I v u c , ’

All 0 m s n s done ta en aw a ta en awa . y i k y , k y

ell ou o hter bin d e re to s ee d e s ht W y ug ig , ’ ’ The p eople s com e runnin b oth c ullud a n white .

M eet ot wet in d e m d n ht d ew y f g i ig , ’ ’

An d e mornin s ta r w a s a w tne s s too . i ,

’ ou do an b le av e bin re deem If y I ,

Jes follow me down to Jord a n s trea m .

hen a s nner s e e m e it m a e him l a h W i k ug , ’ ’ - - Th an Go d a m ht I m ree at la s . k ig y, f

a r we t a nd a rth a m o rne d M y p M u , ’ Ma ry wept a ll rou n d the throne .

’ a r we t a n a rth a mo rned M y p M u , ’ All b ecau s e d ei r b rothe r done d a id a n gone .

64 TH E NEGRO AND HIS SONGS

’ wo ld n t b e a s nn er I u i , Tell you d e rea so n why

Fe a rd d e oo d o rd m ht a ll me g L ig c , ’ ’ An I wouldn t b e rea dy ter die .

’ w ne ro trubb el o er b liev e G i ck v , I , ’ o trubb el o er b liev e R ck v , I , ’ o t rubb el o e r b liev e R ck v , I ,

D a t S abb ath h a s no en d .

’ Ol e at a n s m ht s S ig y bu y, ’ Fixin up his s na res ; ’ e ll et h a ll dem mo rners H k c u , ’ If dey do n t keep d ei r p rayers .

’ Yer etter et rea d b liev e b g y , I , ’ Yer etter et re a d l e e b g y, I b i v , ’ Ye r etter et rea d b liev e b g y, I ,

D a t S a bb ath ha s no e n d .

’ I AM DE LIGHT UV DE WO RL

Th e s i nger is a littl e m ore deﬁ n ite in his conviction s

n t n o n He is no l o n er a s n n er a nd loo s i h e ext s g . g i k “ ” forw a rd to th e tim e wh en h e will c ro s s d e ribb er .

Ha ll elu er ood o rd y , g L , ’ I a m d e light uv d e wo rl ;

Ha llelu er ood o rd y , g L , ’ a l l I m de ight uv de wor .

E e r s n e m o rd do ne s ot m e ree v i c y L f , ’ D is ol e wo rl bin a h e ll to me ; ’ I a m d e light u v de wo rl .

l oo ed towa rd d a t northern ole I k p , I s ee d bl a ck cloud s of h e r roll ; ’ a m d e l ht v d w rl I ig u e o . EXAMPLE S OF RELIGIOU S SONG S 65

’ w ne la re d e word I g i c , l d l ’ I am de ight uv e wor . ’ ’ I m w e lare de wo rd g in c , ’ I am de light uv de wo rl .

’ D er a n t b ut one tra n o n his tra i i ck , ’ oe s s tra ht to h ea en a n run r ht a G ig v ig b ck . ’ a d l d I m e ight uV e wo rl .

’ E er s n e bin in de wo rl v i c I , ’ I a m de light uv d e wo rl ; ’ E e r s n e bin in d e worl v i c I , ’ I a m d e light uv d e wo rl ;

’ hen ro s s ord an I ll b e ree W I c J f , ’ Gwine a s lip a n s lid e dem golden streets ; ’ a m de l ht v d w rl I ig u e o .

’ Wa in de n dom ord y up ki g , L , ’ I a m d e light uv d e wo rl ; ’ Wa in de n do m ord y up ki g , L , m d l d ’ a e wo rl . I e ight uV .

J E SUS DONE BLESS MY SOUL

Th e N egro is no t troubl ed b ec a u s e h e c annot Lo rd ; h e h a s h e a rd Him s p e a k a n d b eli eve s th at He ” h n t His as gon e o o glo ry . p ers o nal rel atio n wi th Jes u s is s ati s fa cto ry a n d h e s i n gs His p rai s es Often a s he tell s O f his own e er en a s h xp i ce s . S y e

’ One d a one d a wh le wa l n a lo n y, y , i ki g, J esu s d one ble s s my s oul ; ’ he a rd a oi e a n s aw no one I V c , d n J es u s o e bl e s s my s oul .

’ Oh o a n tell it on de m o nta n , g u i , J e s u s don e ble s s my s oul ; ’ Oh o an tell it in d e a ll e , g v y,

e s s d n s J u o e ble s s my oul . 66 TH E NEGRO AND Hi s SONGS

’ He d ne le s s m so l a n n o b y u go e o n to glo ry . J e s u s done bl es s my s oul ; ’ ’ o ne b in here a n les s m s o l an one o n to lo r D b y u g g y,

s s d J e u on e ble s s my s oul .

In o n e of th e o ld pl a nt atio n s o ng s a s imil a r idea is

f the l e s s n t a d f n rs en o b u in ere t e on . giv b i g, if v i

’ One d a when wu s wa l n a lon o h es ord y I ki g , , y , L , ’ D e el ement o ened a n d e o e a me down oh e s p , L v c , , y ,

Lo rd .

ne er s ha ll o r et d at d a o h e s o rd I v f g y, , y , L ,

h e a n es s w s hed m s n s awa o h e s ord . W J u y i y, , y , L

nothe r ho r s n red : Oh rothe rs h e re e re A c u i qui , b w w

ou ? Oh s s te rs wh e re we re ou ? Oh s nne rs Oh y , i y , i , ( , ’ h r s t a n s h mo s where we re ou ? O rne r etc . C i i , , u , ) y “ ’ M oo d o rd s b in h e re b in he re bin h e re m y g L , , ; y

’ ’ ’ ’ oo d o rd s h f b in e re a n h e l e s s ed m so l an on e . g L , b y u g " So th e Negro e xho rte rs Often con clude the i r s e rvic e s

n a d n n s ayi g th t th e Lo r h a s b een to th e m eeti ng a d go e . S a id o n e d ea co n who w a s exho rti ng f o r a l arge c ol “ ’ lectio n : D e goo d Lo rd s do n e bin with u s to night ’ ’ now h e h a s do n e bin h ere a n one a n n ow w e I k ; g , ” n i o to ant s om mo n w a t to t d wn biz n e s s I w s e e . g , y

R I G OT R LO D , JUST OVE

The e ro re s h a n d e n th s a s t rom his rel o s N g , f u i ic f igi u “ ” e r en e a nd h a n om e th ro h s n s t exp i c vi g c ug , i g wi h s ome reli e f

’ h a e een tr in a re at lo n wh le I v b y g g i , ’ ’

o rd u s ot o er on o s de . L , I j g v y i

’ ord u s ot o er-er L , I j g v , ’ o rd u s ot o er L , I j g v , ’ o rd u s ot o er-e r L , I j g v , ’ ’ I ju s g ot over o n yo s ide . EXAMPLE S OF RELIGIOUS SONG S 67

’ ra e d an ra e d t ll om e o er I p y I p y i I c v , ’ ’ d s or u ot o er on o s d e . L , I j g v y i

U N ! OH , THE S NSHI E

So a l s o h e we ep s a n d h e mo u rn s and c ri e s “ ’ ” t o r o n th a d s s d he n h e s n s till h e ge s ve e L w i e . T i g

Oh the s n s h ne ! Oh th e s n sh ne ! , u i , u i ’ Oh s n s h ne in m so l th s mornin , u i y u i ;

Ye s the s ns h ne the s n s h ne , u i , u i ,

Ye s s n s h ne in m s o l . , u i y u

own in the a lle down on m nee s D v y, y k , Su n s hi ne in my s oul ; There me t tha t he a e nl ree e I v y b z , n s n m s l Su hi e in y ou .

Ole d e l li e a s n a e in the ra s s vi k k g , Su n s hi ne in my soul ; ’ ’ He s a lwa s in some s s te r s ath y i p , n s h n in m s o l Su i e y u .

LO RD BLESS T H E NAME

Ve ry much m ixed an d s om ewh at s imil a r to so m e “ ” th so n s a lr a d n i s am e g e y give s Bl e s th e N e .

’ ’ I v e ot to o to d me n t do n t now how s oon g g ju g , I k ,

o rd le s s th e n ame o rd le s s the na me L b , L b ; ’ I v e o t ﬁ to o to d ment to h e a r m s n s g g ju g y i , o r l d e s s the n a me o rd b l es s the na me . L b , L

’ M e s s f ed me when h n r a e me d r n when y J u I S u g y, g v i k ’ I s dr y, l ord e s s the n a me ord l e s s the n a me . L b , L b

M e s s loth ed me whe n w a s na ed y J u c I k , h o rd le s s t e n a me o rd l e s s th e name . L b , L b

In the s ame s o ng a n d wi th th e s am e tu n e a re s u ng th e 68 TH E NEGRO AND HIS SONGS

h s ho rte r l ne s th a t o llow . o rd l e s s t e n am e i f L b , “ is a o rm o f the h ra s e l e s s the n am O f th o d f p B e e L r . It is u s e d a s a refra i n afte r e a ch li ne o r It m ay b e o m tt d i e .

Ma r we t a nd a rtha mo rned y p M u , ord les s the na me o rd les s the na me L b , L b ; ’ e s s h ris la id the o rne r s tone J u C c ,

o rd le s s the na me o rd les s the na me . L b , L b

a r wore the olden h ain M y g c , ’ r n Eve y l in k wa s in J e su s ame .

You ma ta l a out me s t a s ou le a se y k b ju y p , ’ ll l n I ta k a bou t you whe I git On my knees .

’ G od m a de ma n a n m a n wa s s re u , ’ The re wa s no s in a n his hea rt wa s pu re .

’ God m a de d a m a n d a m wa s rs t A A ﬁ , ’ ’ G od ma de Ada m out o the du st o the ea rth .

R R R F EE , F EE , MY LO D

It p rove s a n i n te re s ti ng ta s k to follow the devel o pm e nt a nd ch a nge s in a s o ng th at h a s s u rvived “ ” o m s l a r d a s In re e r e o rd o n r e . e M e f v y y F , F , y L , of h e a n o ne o a s o n the t e vers s w as quite puzzle . O cc i followi ng s ta nza wa s he ard

’ Th e moo n a me down l e a i er s s tem c ik p p , ’ The s u n fu s e to s hi ne ; ’ ’ An ev s t a r d s a ea r y i pp ,

Ki ng J e su s s et me free .

I n qui ry wa s m ade in o rd er to s ee if th e wo rd s h ad

s d Th e lde r e roe s a e not b een mi s u n de r too . O N g g v th s e rs o n a n d n s s ted th a t it w a s o rre t but no ne i v i i i c c , EXAMPLE S OF RELIG IOUS SONG S 69

t w a s tho o f them co uld expl ai n wh a t it m e a nt . I ugh t ’ th at p erh ap s it wa s a ' ﬁgu re a ppli e d to th e mo o n s rays o r th at the lo s s o f th e s u n m ight h a ve m e a nt th e

f h m n w a the m a a r a e a ran e o t e oon . n p e culi pp c A y y, y i “ ’ taine d th s w a s th e w a we o t d e s on a n e s s it , i y g g gu ” Th e wo rd s o f th e o r n al s o n we re mu s t b e right . igi g

The moon run down in r le s trea m pu p , The sun fo rbea r to s hi ne ’ ’ An ev s ta r d s a ea r y i pp ,

King Jes u s Shall b e mine .

n the Of thi s there s eem ed to b e s eve ral vers io s . O r ve rs es th a t a re fo u n d to d ay a re :

As went down III de a lle o ne d a I v y y, ell o n m nee s I f up y k ,

e ed a nd r e d f e r a rdon I b gg c i p ,

The Lo rd did give me ea s e .

ree ree m lord F , f , y ,

ree ree m lord F , f , y , ree ree m l ord F , f , y , ’ To ma rch de hea ve n s highway .

ree ree etc . F , f ,

’ M mo ther loOk a t d e s on a n s mile y , My f a the r loo a t me ; p k M mo ther t rn m so l rom h ell y u y u f , n Ki g J es u s s e t me free .

The l a s t ve rs e is a n u n u s u al va ri a tio n and in te rp re t atio n of the o ld so n g ; j u s t how an d whe n the Ne g ro es i n s erte d the i d e a o f mo the r w o uld b e difficult to a s “ ” erta n erh a s it ame ro m m a s ter o r mo re l el c i ; p p c f , ik y it wa s i ntro duc e d by th em whil e they i nte rp reted 70 TH E NE G RO AND HIS SONGS

father a n d so n a s n a m e s of th e o r di n a ry m emb ers of a

o n al o rm m s to h a e n h m a n a m l . Th e r s ee ee u f i y igi f v b ,

D e a ther he loo ed o n de So n a nd s m led F , k i ,

D e So n h e l oo ed o n me , k ;

D e a the r he red eemed m s o l rom hell F , y u f ; ’

An de So n he s e t m e ree . , f

Th e ho r s too h a s een m h o n s e d a n d is c u , , b uc c fu “ so m et m s n a s h ld re n l ht o n d a t ro s s o d i e give C i ig c , G bl e s s yo u fo rever Th e s o n g is no t a co mmo n

o n e a mon the e roe s a n d is not now n a ar entl g N g k , pp y ,

a mo n o n o n s g the y u ger e .

GLAD I G OT R ELIGION

In c ontra s t wi th thi s fa vo rite of th e Old er Negroe s

m a b e e n a a o r te O f th e o n e r e n e rat on y giv f v i y u g g i , “ ” a d o Th e re et t o n re re s e nts Gl I G t Religion . p i i p p retty well th e rel ative d ep th of the fe eli n g which th e

o n t e n But h e lo e s to s n it f or c ver xp eri e ce s . v i g its pl e a s i n g s o u n d a nd f o r the faith it give s him in his

Th s o n is a lo n a n d o ntin e d own religio u s s tate . e g g c u ch oru s a n d m ay well b e take n a s a typ e o f the song ’ which reﬂ e cts the N egro s feeli ng of immu nity from

Sin .

’ ’ I m so l ad so l a d I m so l ad s o l ad g , g ; g , g ;

l l i n l a a d ot re o so d . G I g ig , g

Gl a d I g ot rel igion , so gla d .

’ ’

I m s o l a d s o l a d . I m s o l a d so la d g , g ; g , g ; ’ I m l ad a ll o er s o l a d g v , g , ’

I m l ad a ll o e r s o l a d . g v , g

’ ’ I m so l a d so l a d I m s o l a d so la d g , g ; g , g ; l a d b in h a n ed s o l ad G I c g , g ,

la d bin h a n ed s o l ad . G I c g , g

72 TH E NEG R O AND HIS SONG S

ell e o re l a in hell all da hell a ll d a W , b f I y y, y,

ell e ore l a in he ll a ll da hell a ll d a W , b f I y y, y ,

ell e ore l a in hell all d a h ell a ll d a W , b f I y y , y, ’ ’

o n to s n a n ra m s el awa s e l awa . I g i i g p y y f y, f y

’ ’ ‘ ’ 0 s nne r do n t ou let th s ha r e s a s s ha r es a s s i , y i v p , v p , ’ ’ ’ 0 s nner don t ou l et th s ha r e s a s s h ar e s a s s i , y i v p , v p , ’ ’ ’ 0 s n ne r d o n t ou let th s h a r e s a s s h a r e s a s s i , y i v p , v p , ’ ’ ’ D o ou die a n o o h ll a l a ll a l s t e t s he t a . y g ,

’ WO R KIN ON THE BUILDING

Th e s i n n er m ay b e a gambl er o r a d a nc er or a rogu e o r a d r n a rd But e a h n a m e h a s th e s ame s i u k . c g niﬁc a tion in th e religiou s ph ra s eology o f th e Neg ro son r a r a o f ent n an d of g . The e e va riou s w y s rep i g s ervi ng the Lo rd j u s t a s th e re a re m any w ays o f o f “ ’ n d n a nd n n a o r n n t e fe i g s i n i g g ai n s t him . W ki o h ” ld n a a to h ro Bui i g pp e l s t e avera ge N eg .

’ wus a nner m a n tell ou wha t I d do If I Si , I y , ’ ’ I d l ay down a ll my s inful ways an work o n th e building

to o .

’ ’ I m wor n on the ld n f e r m ord ki bui i g y L ,

Fe r m o rd f e r m ord y L , y L , ’ ’ I m wo r n on th e ldin f er m o rd ki bui g y L , ’ ’

I m wo r n o n the ldin too . ki bui g ,

’ ’ wu s a am l n m a n tell ou wh at I d do If I g b i , I y , ’ ’ ’ I d l a d own a ll m a m l n a n wor o n the ldin y y g b i , k bui g ,

too .

‘ ’ ’ w a s a ho -m n er tell ou wha t I d do If I u g , I y , ’ ’ I d l a down a ll m mu n lin a n d wor o n the ild n y y g k bu i g ,

too .

And s o o n f o r th e d a nc er a nd th e d ru n k a rd a n d th e “ ’ ”

c u s s in m a n . EXAMPLE S OF RELIGIOUS SONG S 73

IF I WA S A MOURNE R

In a no ther s o ng the Ne gro s i n g s of the s i nners and

s mou rn e r .

’ wu s a mo rn r u s l e ou um—u If I u e j ik y , , ’ ’ - I d o to h r h a n tr to om e th r um u . g c u c y c u , ’ ’ he n wa s a mo rner um-u u s la k ou W I u , , j y , ’ — ra ed a n ra ed t ll om e th r um u . I p y p y i I c u ,

o n de mo nta n n es s s o e um-u Up u i Ki g J u p k , , ’ - Out of his m o th ome h er a n s mo e um u . u c k , ’ Now m o rne r wo n t ou l ea s e o me on u m-u , u , y p c , , ’ ’ - An o in us In tha t hea enl l a n um u . j v y ,

THE DOWNWARD ROAD 1 8 C ROWDED 1

In Th e D ownw a rd Ro a d Is Crowd e d a mo u rn ful pictu re is given o f th e s i n n e r who fa iled to rep ent . His ex ampl e is h eld up f o r the c o nte mpl atio n of tho s e w ho a re o llow n in his s t f i g ep s .

o n eo le who del ht in s in Y u g p p ig , I tell you wh a t I l a tely s een ; ’ o odle s s s nne r die A p g i , ’ “ ’ An he s a d ll i : In he I soon ll lie .

H a r the downwa rd ro a d is rowded rowde d rowd ed k , c , c , c ; ’ Yes he downwa rd ro a d is ro d d t w e w th onb li v in ls . , c i e e sou

He all his mo ther to his b e d c , ’ An the s e is th e dyin word s he s a id “ othe r mo ther a lon a rewell M , , g f ,

o r w e d s on is d a n i ll Y u ick m ed n he .

’ He d an e a n l a h s s el awa c p y i f y, ’ ’ An s t ll ut off his d in d a i p y y, ’ nt l a t l a s ol e d e a th wa s s e nt U i , ’ ’ An it u s l a too te f er him to rep ent .

’ ’ Com are Wick e Poll in Cox s Folk Son s o the South Har ar p d y g f , v d U ni ersit Pre 1 ss 925 . 41 1 . v y , , p 74 TH E NEGRO AND HIS SONGS

Th ey a l so s i ng of b roth er a nd s i s ter a nd oth ers b e i ng

all e d to the d s d e Th e O ld l ant a t s f c b e i . p io n o ng o th e s a m e n am e h a s a s imil ar cho ru s b ut th e s t a nz a s were

t d ff e r nt qui e i e .

Wh en I wus a s inn er l o ed m d s tan e well I v y i c , ’ But wh en ome to ﬁn m s el I c y f, ’ I wa s h a ngin over h ell .

’ Ole at a n s m ht s S ig y bu y, ’ He f oll ers m e ni ht a n d a g y, ’ ’ ’ An e er wh ere I m inted v y ( p , ) ’ n a D ere s s om ethi g in my w y .

’ ’ MY LO RD S C OMIN AGAIN

The Lo rd will com e to j ud ge th e wo rld a nd w a ke up

d It is the s rem e am t on o f th e s n er to t h e d e a . up bi i i g

is h H m s s t h a t b e re a dy to m e et h Lo rd w en e co e . Ju w form th e Lo r d will ta ke the Ne gro doe s n ot s ay ; p erh ap s it will b e in a clo ud o f ﬁre o r He will come a s “ ’ ’ ” o d s om a in th e d ays o f Mo s e s . My L r C i n Ag i n t give s a gen e ra l co n c ep io n .

’ ’ Oh m ord s om n a ain , y L c i g , ’ ’ Oh m ord s om n a a n , y L c i g i , (Tal k a b out it :) ’ ’ Ye s m o rd s om n a a n , y L c i g i , ’ ’

It m a b e l a s t m e do n t now . y i , I k

’ ’ ’ ell h e s om n to d e the worl W c i ju g , ’ ’ ’ ell he s om n to d e the worl W c i ju g , (Talk a b ou t it : ) ’ ’ ’ Yes m ord s om n to d e the wo rl y L c i ju g , ’ ’ d on no It m a b e l a s t m e t w . y i , I k EXAMPLE S OF RELIGIOUS SONG S 75

’ ell ou ha d etter ut off l n s hoes W y b p yi , ’ ell ou ett er ut off l n s hoes W y b p yi , (Ta lk a b out It : ) ’ etter ut off l n s hoe s B p yi , ’ ’ F a l a don now or it m b e s t me t . y i , I k

’ And s o he s n s ette r u t off d a n n s hoe s i g B p ci , ’ ’ Fo th s nn s s b ette r put off gambli n Shoe s . r e i er hoe s “ ” o o s will not b e s uita bl e to w al k n the c r s .

’ ’ GOD S GOIN TO WAKE UP THE DEAD

’ o n to wa e the dea d G i k up , ’ o n to w a e t h e d e ad G i k up , ’ G o d o n to wa e the d ea d g i k up , ’ ’ ho s a s lee in in th e ra e W p g v , ’ G od is goin to w a ke up the d ea d .

’ You h a d etter min m rother how ou wal on t h e b , y b , y k

ro s s c , ’ ’ God s goin to w a ke up the dead ; ’ ’ ’ o r ht oot s l the n o s o l b e los If y ig f ip , y u ’ God go in wa ke up the de ad .

’ he n ou ette r min m S s ter m m other T y b , y i , y , m h o ld so n o nt a ne d wo rd s re a he r is s n . T e y p c , u g g c i s imil a r to the li n es j u s t given

M b udd er etter m nd how ou wal on de ro s s y r , b i y k c , ’ ’ ’ Fo r o oo t m ht s l a n o s o l it lo s t y f ig ip y u g , ett er m nd d a t s un a n d s ee how s he run B i , , ’ ’

An m n d d o n t l e t he r at h e wid er wo r s undo ne . i , c c y y k

SINNE R D IE

’ ’ m e is o m n h en s nn e r m u s die a nd the re Ti c i w i , is no n e s o t a l a s h lo s t S nn er pi i b e t e i . 74 TH E NEGRO A ND HI S SONGS

Th ey al s o s i n g O f b roth er a n d s i s ter a n d oth er s b e i n g

a d t th d s d e Th e ol d l ant at n s n f t c ll e o e b e i . p io o g o h e s am e n am e h a s a s imil ar ch or us b u t th e st a nz a s w ere t dif n qui e f er e t .

h en w u s a s n n er W I i , l o ed m dis t an e well I v y c , ’ But wh en om e t o ﬁn m s el I c y f, ’ w a a I s h n gin over h ell .

’ Ol e ata n s m ht s S ig y bu y , ’ He f oll er s m e ni ht a n d a g y, ’ ’ ’ An e er wh ere I m int e d v y ( p , ) ’ D ere s s om ething in my w ay .

’ ’ MY LORD S C OMIN AGAI N

Th e Lo rd w ill com e t o j ud ge th e w o rl d an d w ak e up

It is th e s r em e a m t on of th e s n er to t h e d e a d . up bi i i g

i h H st h a t b e r e ady to m e et h s Lo r d w en e com es . Ju w form th e Lo r d will t a k e th e N egro d oe s n ot s ay ; p erh ap s it w ill b e in a cl ou d o f ﬁr e o r He w ill com e a s “ ’ ’ ” y d a in th e d a s O f Mio s e s . My L o r s Comi n Ag i n give s a g en er al con c ep ti on .

’ ’ Oh m o rd s c om n a a n , y L i g i , ’ ’ Oh m o rd s o m n a a n , y L c i g i , (T al k ab ou t it :) ’ ’ Yes m o r d s com n a a n , y L i g i , ’ ’ y It m a b e l a s t im e I don t k now .

’ ’ ’ ’ Well h e s om n t o d e the w orl c i ju g , ’ ’ ’ ell h e s c om n to d e t he w orl W i ju g , (T al k ab ou t it :) ’ ’ ’ Yes m ord s c o rn n t o u d e the worl y L i j g , ’ ’ y d n w It m a b e l a s t im e I on t k o . EXAM PLE S OF RELIGIOU S SONG S

’ ell ou h a d ett er u t off l in s hoes W y b p y , ’ ell ou et t er u t off l in s h oe s W y b p y . (Tal k a b out it z) ’ et ter ut off l in s h oe s B p y , ’ ’ d ow Fo r it m a b e l a s tim e on t n . y , I k

’ An d s o h e s n s ett er u t oﬁ d an in s h o es i g B p c , “ ’ ’ o r th e s nn e s s b ette r put off g ambli n s h oe s . F i r h oe s “ ” will n o t b e s uit abl e t o w alk on th e c ro s s .

’ ’ GOD S GOIN To WAKE UP THE D E AD

’ G o in t o w a k e up t h e d e a d ’ G oin t o w a ke up t h e d ea d ’ Go d o n t o w a e th e d e a d g i k up . ’ ’ Wh o s a sl ee in in t h e ra e p g v ,

’ Go d is goi n t o w a ke up th e d ea d .

’ You h a d etter min my roth er h ow y ou w al on t h e b , b , k

’ ’ Go d s g oin t o wa ke up t h e d ea d ; ’ ’ ’ y o r ht oot s l th en o s o l b e l os If ig f ip , y u ’ w a God goin ak e up th e d e d .

’ ‘ h e n y ou ette r min my s s t er m y m oth er T \ b , i , ,

. d wo rd s m rea h er is s n . Th e ol d s on o n t ai n e y p c , u g g c s imil a r to th e l i n es j u s t given

I\l y b ru dd er e e n d w y u w a tt r m ho o l on d e r os s . b i k c . ’ " ’ Fo r v o oor m ht s l a n y o s o l it lo s t f ig ip u g .

et t er m n d d a t su n an d s ee how s h e ru n B i . ’ '

An m nd d on t l e t h e r at h v e wid y er w or s ndon e . i . c c k u

SINNE R D IE

’ ’ ‘ m e is om n wh en s n ner m u s die an d t h ere Ti c i i . is no n e s o tia a pi b l e s th e l o s t s i nn er . 76 TH E NEGRO A ND HIS SONG S

nne r die s nner die Si , i ,

nne r d es wid his head h n down Si i u g ,

nner die s nner die Si , i ,

nne r die in de m dni h d w Si i g t e .

nne r die s nne r die Si , i , ’ nner die w th a h n heart Si , i c i ,

n ne r ie nner die Si d , Si , Sinner die with we ary min

’ ’ ’ Stump ty up a n s tump ty d own ’ T m e is o m n when s n ner mus die i c i i ,

H rr home h rr home u y , u y ; ’ ’ me is a om n s n n i Ti c i i er mus d e .

’ ’ ’ on t ou let th at s nne r h an e o min D y i c g y , ’ ’ me is om n s nn s Ti c i i er mu die .

H rr h ome h rr hom e u y , u y ; ’ ’ ime is om n s n ne r mu s die T c i i .

Th e t a n s o n o f s om e e a rs a o s o met me s pl an ti o g y g , i ” all e d h n n e r You e tter G et e a d ha s the c O Si , B R y, “ ’ ’ s am e l n e re ra n m e is a o m n d at s nner m u s i f i , Ti c i i “ ” t n die The rep etitio n o f Si nn e r die is a n ew addi io . In th e old song w e re li n e s Simil a r to tho s e quoted

s nner man ou ette r ra O i , y b p y - d For it look a like ju gme nt e very d ay .

’ hea rd a l umb rin in d e s k I g y, ’ - D at m a ke a me t in k my time wa s n igh .

h ea rd of m e s s a-m an o ne s a I y J u y y, ’ ld e oo r s nn r s s n s a a Cou mov p i e i w y .

Ye s ra ther ra m sel awa , I p y y f y, ’ - D a n to lie in he ll a n bu rn a one da y .

I thi nk I hea rd my mothe r s a y ’ Twa s a p re tty thi ng to s e rve the Lord .

78 TH E NEGRO AND Hi s SONGS

And s o th e Sin n e r w ll th e n ru n to th e mo nta n i u i , “ “ a n d D e mo u n t ain ﬂy o p e n o r D e m o u nta in c ry m r Th e s n ne r m s t n ee d s b e ho el es s at his e cy . i u p d e a th and the re is n e th e r m r o r t fo r hi i e cy n pi y m . “ It is the idea of the Negro th at a t the gre at d ay we ’ won t b e bothered with them a ny A s a d p i ctu re “ h e m a ke s of the poo r an d fo rs a ken m an who dies with ’ “ a chi n he a rt with we ary a nd with his he a d n hu g down .

C R C OME , SINNE , OME

Co n s e qu ently it is no t s u rp ri s i n g to ﬁn d a pp e al s o f a ll so rt s m ade to the s i n n e r m a n ; now h e 1 3 to ld of his d oom now of o s s l e s al at on now o f th e o s of , p ib v i , j y

e n s a e d now o f mm e d ate s a t s a t o n n b i g v , i i i f c i Su g “ a o s o n is om e nn r o m l the e e e . ik e b v g C , Si , C

’ ’ on t ou om e wo n t ou o me ? W y c , y c

ome s nner ome C , i , c ; ’ G re a t d ay of wrath is comi n ;

o me s nne r ome . C , i , c

Loo k ove r yo nd er wha t I s ee ;

o me s n ne r om e C , i , c ; ’ Two tall a ngel s c o mi n afte r me ;

o m e s nner ome . C , i , c

n the s am e m a n n e r h e s n s a n n m e r of e rs e s as I i g y u b v ,

Ole a ta n l e a s n a e in de ra s s S ik k g , ’ Alw ay s in s ome s i s te r s p ath .

Ole S a ta n we a h s mighty lo o se ole s ho e ’ ’ Ef you don t min gwine s lip it on you . E X AMPLE S OF REL IGIOUS SONG S 79

o n h ll s de n e s s o e Up i i Ki g J u Sp k , ’ Out of his mou th come h e r a n s mo ke .

own in de alle dow n o n m nee s D v y, y k ,

As k de Lord to s ave m e if He ple a s e .

o w a a s o low s The old pl antati n so ng s f l .

’ 0 wh ar ou runnin s nne r ? y , i I do love de Lo rd ; ’ D e d m e n t d a is om n Ju g y c i , I do love de Lo rd ;

’ ’ o ll s ee de worl o n ﬁre Y u , I do love de Lord ; ’ ’ o ll s ee de eleme n t a m eltin Y u ,

I d o l ove the L o rd .

B e s id e s th e s e s ta nz a s the re we re s u ng th e va ri ou s o th e r w a rn i n gs s uch a s h ave b e en given in th e ide a o f

In th e o ld j udgmen t a n d re s u rre ctio n al re ady note d . s l ave s o ng th e s i n n er a s k s

? What Sha ll I do f o r hidi ng pl a ce

I run to de s ea b ut d e s e a run d ry .

I run to d e gate b ut de gate s hu t fa s t .

No h d n l a e f o r s nne r d ere i i g p c i , ’ For I a m gon e a n s ent to h ell .

I LOOK F O R JESUS A LL MY DAYS

I n s tea d o f th e regul a r refrai n whi ch is s u ng b y the

ho r s of o e s in re s o n s e to a l n e b th e l e a d er th e c u v ic p i y , “ ” Ne groe s Often re s p on d with um-u in a gen e ral “ f h a m n a n s r the m n l n o nt h m n d am e . O i g i g c , u i g F mos t p a rt th ey d o thi s wi th cl o s e d lip s ; th e vo lum e is

s r r s n l s tro n h owe e r a n d m a e s a s t rr n u p i i g y g , v , k i i g

he m e an n O f the e r s s o n is s om eth n effe ct . T i g xp e i i g 80 TH E NEGRO AND HIS SONGS l e Yes o r o rs e we now it is tr e o r ik Of c u , k u , “ ’ ” “ t r The s n e r s a s : re ou al n rothe . Su , y ki , b i g y I ” l oo f o r e s s a ll m d a s a n d the ho r s an s ers k J u y y , c u w , “ ” m- He then o nt n e s u u . c i u

An when o n d him th s is wh at he s a d um—u I f u i i , “ ’ ’ ’ ” - Yo s in or en a n o s o l s et ree um u . f giv y u f ,

’ ra a ll n ht a n ra a ll d a um—u u m-u I p y ig , I p y y, , ; - — The n m ord ta en m s ns awa um u um u . y L k y i y, ,

’ ’ ’ Nex d a nex d a wh l e wa l n alon um-u um-u y , y i ki g , , , he a rd a o e a n d s aw no o ne u m-u u m-u I v ic , , ; “ It s a d n ner m an ou ette r om e home u m-u i , Si , y b c , , - um u .

’ One d a wa s w a l n lo n d a t lo ne s ome ro ad um-u y I ki g , , um-u , ’ l l - n e sus s o e nto me a n ted off d at oad u m u . Ki g J p k u if ,

RO R YO U D R B E A-PRAYIN B THE , BETTE

’ ro the r o d ette r Be a wh le mo s tl B , Y u B i y

t on m a e s a lo n s o n wh en s n to its l m t rep eti i , k g g u g i i . “ ” “ ” “ ” “ ” “ s te r s nne r a s l de r m o rn er h ld Si , i , b ck i , u , c i ” n a h s e r e s to m a e a om le te s tan aeiOf e ht re , e c v k c p z ig lines

’ ’ rothe r o d e tte r b e a ra in B , y u b p y , ’ ’ rothe r o d ette r b e a ra in B , y u ‘b p y , ’ ’ r h r o d e r b i M ot e ett e a ra n . y b , y u b p y ’ ’ An I ll b e a rr e d a o e c i b v , ’ ’ An I ll b e a rr e d a o e c i b v , ’ ’ a d An I ll b e c rrie a b ove . ’ I ll s ee n e s s in his re n Ki g J u ig , ’ ’ An I ll b e c a rrie d a bove . EXAMPLE S OF RELIGIOUS SONG S 8 1

WHEEL IN MIDDLE OF WHEEL

The ho r s s o n he el in iddle of he el i c u g , W M W , s

l a a r a t o n o f the o ld s o n he e i mo s t like y v i i g , W l n a ” l om e t m e s the wh eel wa s o n e ed o f a s Whee . S i c c iv “ ’ ” n a ttl e wh eel- a-tu rn in in m h ea rt in wh b ei g Li y , ich

m r f c a s e it s ign iﬁ e d s o e s o t o feeli ng . The ph ra se m e an s nothi ng mo re th an a cho ru s in th e p re s e nt-d ay

so ng .

s inne r m a n how c a n it b e ? O , Wh eel in d e middle of whee l ; ’ ’ ou do n t s e r e G o d ou a n t s e r e me If y v y c v ,

Wheel in d e middle of whee l .

In the wh ee l in the whe el , ,

heel in d e m ddl e of wheel W i ,

n he whe el in the wheel I t , ,

Wheel in th e middle of wheel .

’ ’ ’ ell d on t ou now it s ra in time ? W , y k p y Wheel in m iddle of whee l ; ’ La down o w a a nd o to G o d y y y g , l Wh eel in m iddle of whee .

’ ’ ’ ell don t ou now it s mournin time ? W , y k Whee l in middle o f wheel ; ’ ’ ’ He ll he a r O ra e rs a n s a n ti y p y c fy, l i d l Whee n mi dle of whee .

’ JESUS Is LIST ENIN

’ J es u s and G o d a re rep re s e nte d a s lis te nin a ll th e ” d a lo n a nd th S t a h e e n ne r is d re te d o r . T y g , i i c p y “ ’ pl ant atio n s o ng c all ed to him : Wh e re yo u go i n ’ ” ? m a a An d s nner Oh o e do n t o d a t w . i , c b ck , g y “ ’ o ne o f the s i n ge rs a ffi rm e d th at abo ut the b re a k O ” “ ” d ay his s i n s we re fo rgiven a nd his so ul s et free . 82 TH E NEGRO AND HIS SONG S

’ Th e s on g J e s u s Is Lis te nin s eem s a t som e time to h a e een o n s d era l o rr t d Th e r v b c i b y c up e . Neg o e s “ ’ ’ h ave s u ng it : I v e b ee n a-lis tenin all th e d ay lo n g ” all n ht lon to h e a r s o m ) e s n n er ra . o e er ( ig g i p y H w v , th e corre ct ve rs io n n ow s eem s to b e

’ es s is a listenin a ll th e d a lon J u y g , ’ He ee lis te nin a ll d a lon k p y g , ’ He ee lis tenin a ll the d a lon k p y g ,

a Fo r to he r s ome s inne r p ray .

wa s a s inne r wo ld lea s e him If I I u p , ’ I would p ra y a n p ra y a ll d a y ; So when ot to he a en I g v ,

He could s a y h e hea rd m e p ray .

’ BEAR Y o BU RDEN

’ t in e ar Yo rde n nne r a nother e r s on is Bu B Bu , Si , v i

d a h s so n is a o l a r o n e n o f th e s a m e e . give i T i g p pu ,

a d n t o n t o n whil e the ﬁgu re s u se d give eﬁ i e c vic i .

’ Th e ord is a lis tenin a ll the d a lo n L y g , ’

ea r o rde n s in ne r . B y bu ,

ou w ll onl ra he w ll ea r ou o n If y i y p y, i b y ; ’ ’ h d a B e a r yo bu rd en in th e heat 0 t e y .

’ e a r o rde n s nne r B y bu , i , ’ e a r o rden s inner B y bu , , ’ ’ B e a r yo bu rden in the hea t 0 the d ay .

’ ’ I m o n home f er to s ee m o rd g i y L , ’ e a r o rden s nne r B y bu , i ; ’ ’ ’ An d o n t ou w sh ou o ld o lo n y i y c u g g , ’ in h h a ea r o rd en let t e e t . B y bu ,

’ ’ a o ea r o rden is to et down on o nee s The w y t b y bu g y k , ’ ea r o rd en s nne r et in th e he at B y bu , i , l ;

A o d to o r e ou ou l ea s e s k G f giv y if y p , ’ a B e a r yo bu rden in the he at of t he d y . EXAMPLE S OF RELIGIOUS SONG S 83

Thi s l a s t s tanza is a n imp ro vi s atio n m a de by a you ng

f s om e twe nt -ﬁv e e a rs altho h h e l a me d Negro o y y , ug c i

th s o n th at w a s re l a rl s n th at it b elo nge d to e g gu y u g , m a i nt a i n ing th at they o nly fo rgot to s i ng it in the c hu rch o n th at s p eci al o cc a s io n .

TRUE R ELIGION

Tru e Re ligi on give s o n e vi ew of th e re qui s ites of

Th e s o n is a s ed in orm o n him who will b e s a ve d . g b f a rrent s e l a r s o n an d elo n s to the l a s s o f cu cu g , b g c

ll e s co o qui .

‘ e ll ou m s t ha e tha t tr e rel o n W y u v u igi , ’ ’ You m s t ha e tha t t r e re l on a n o s o l on erted u v u igi y u c v , You mu s t h a ve th a t t ru e rel igion ’ r ou a t ro s s de re O y c n c .

’ here a re ou o n n ne r W y g i Si , ’ he re a re ou o n s a ? W y g i , I y ’ o n d own to de r er of o rd an I g i iv J , ’ ’ An you ca n t c ros s de re .

’ He ont n e s he re a re ou o n am le r a c i u , W y g i , g b b ck ” s l d e r d r n a rd l a r h o r te ? a n d a n swe rs ea h i , u k , i , yp c i c “ ’ ’ w th An ou an t ro s s d e re wh l e th e e nt re i , y c c , i i ” ho r s You m s t h a e th a t t r e rel o n is o te n c u , u v u igi , f re e ated a te r e a h Th e s n n e r is a s e s p f c . i k d till oth er

t o ns on e of wh h is en I h e s n t e n e t son . qu i , ic giv x g

H E IS WAITING

Wh does ou ta rr s nner y y y, i , Why does you w a it so lo n g ? ’ Fo r m ord is a wa itin y L , ’ Why do n t you come to His c a ll ? 84 TH E NEGRO AND HIS SONGS

’ He Is waitin o rd , L , ’ He i s wa itin ord , L , ’ He i s awaitin f e r the good Lord

To ome m or d . c , y L

But when m o rd e t here y L g , ’ You won t h a e t me to ra a t a ll v i p y , ’ Fo r he is o n to d e ou g i ju g y , ’ ll u b n d An he yo e b ou .

TALK ABOUT ME

ro re a h e r o te n re s hi The N eg , p c f buk e s ﬂ o ck fo r talk

in a o t o ne ano th e r in n o m l m ent ar term s g b u u c p i y . ” S om etim es th e s i s t ers wh o do no t lik e the p re a cher “ ’ ’ reto rt a r o sl h e a rd o u tal n o t SO-an d-So v i u y, I y ki b u , ” “ ’ ” a n d ou now I did o r We w n e t al o t ou y k , g i k b u y , “ ” ws it l a n der an d o r Ye s ou no . s s a re , y k S g ip fa st ru n n ers a n d th e a ve rag e Negro a s s um e s th at so meb o dy is t al n a o t him o r someth i n wh h h e h a s d ki g b u g ic o n e . “ ” Out o f thi s h a s g row n th e so ng Talk Ab ou t Me

an d oth ers .

’ ’ Ye s now ou o n ta l o t me , I k y g i k b u , ’ ’ Ye s now ou o n t a l o t me , I k y g i k b u , ’ ’ For you ta lk bout my fath er whe n h e s on his knee s ’ a prayin ’ ’ ’ n l An you k ow you goin t a k b ou t me .

’ Fo r you ta lk a bou t my mothe r when s he s on her b ed ’ a-dyin ; ’ ’ ’ An ou now ou oin ta l o y k y g k b u t me .

He a t all s n s a th er ro th er m other s s ter c u y i g , f , b , , i , ‘ ’ ” m rner re a h er to oth o n his n ee s a r a in ou , p c , b k p y ‘‘ ’ d a d in er o l a r s ta n a wh h a n d o n b e y . A v y p pu z ic is regul a rly s u ng i n a n umb er of s o ngs goes :

86 THE NEGRO AND Hi s SONGS commo n a mo ng the o ld s ongs is le s s frequ e ntly hea rd now ; it will b e fo u n d to s o me degree in the s ho uti n g

o n n a s gs an d s o gs o f h e ve n .

B Low BLOW , GABLE ,

Not l e a s t am o n g th e w a rn i n g s to the s i n ne r we re “ to b e recko ne d th e tim e s whe n G a bl e s hould blow

“ ‘ a l e h a s ro a amo n th his ho rn . G b b een p ve rbi l g e

e roe s a r el a nd th e t r m et a re h owe e r N g ; G b i u p , v , s ign iﬁc a nt in th e s am e w ay am o n g th e white s in the ’ ” l a r e e re n a n d a vu g r f c e . M y i e s o f G able s t rump e t h a e a e a re d in the ro s n s om et m e s it is v pp Neg o g . S i ” “ ’ ” lo lo d er a l e ! How l o d m u s lo ? b w u , G b u I b w “ ” Th e s on low a l e low h a s h a n ed c o n g B , G b , B c g s iderably from the O ld pl anta tio n s o n g s of the s am e m n a e .

low a le a t the d me nt B , G b , ju g ,

low a l e a t the d me nt b a r B , G b , ju g , ’ Fo r m G o d is a ta l n a t the d ment y ki ju g , ’ Fo r my G o d is a t a lkin a t the ju dgment b a r.

’ Now wo n t ou low a le a t the d ment ? y b , G b , ju g ’ F r m od is a r i a o y G p ea c h n a t the judgme n t b r .

’ Now won t ou low a le a t the d m en t b a r ? y b , G b , ju g ’ ’ e ll I m o n to meet m rea h er at the d men t b a r W , g i y p c ju g

n the s am e m an ne r m a n a o r—l n e s t an a of ea h I , ki g f u i z c “ ’ ” o n e a re s n o n to m eet ro the r mother , u g , G i b , ( , “ ’ ’

d al so o d is a al t r in etc . s s ter etc . a n w n i , ) , My G ki ( y , ) “ ’ i t m e at th e d m ent b a r . So too it is ra n j u g , , p y i ’ ’ ’ m ou rnin t me s n n t m e s houtin t m e tr in ’ ( i , i gi i , i , y ”

m t . at the m ent b a r h s s o n m a b e t e e c . i , ) j udg T i g y give n a s th e l a s t o n e o f the cl a s s p e culi a r to w a rn i ng s EXAMPLE S O F REL IG IOU S SONG S 87

o n s to S n n rs t lo s and admoni ti i e . I c e s with s till othe r

ers e s th at e d t re s o f th e d me nt b ar v giv vivi pic u ju g .

’ ll s nne rs ee a ra in a he d m en e t t t b a r . W , i , k p p y ju g ’ ll it s too la te to ra a t th e e d ment b a r . W , p y ju g ’ Why d idn t you ta ke h eed a t the judgment ?

r l a S om e come c ipp ed t judgment .

0 loo f o r m mother ro ther s s te r a t d e d me nt . , I k y , (b , i ) ju g

R ! OH , WHAT A HA D TIME

Th e s i n n e r a s well a s th e s eek er h a s a h ar d tim e d r n his e er e n Th e t e s o f e er d a e . l e u i g xp i c du i v y y if , too O te n s m h a rd ow o n his n e s n o -h ee . N e w s o t , f k , u in now s o rrow l a n d n ow l a d th e e ro om e s g , fu g , N g c “ “ ’ from h angi n g over h ell to die a n d s et by d e Fa dder s ” d Th e a e ra ro a a r t s e . e n e e s o t h m s el a n d i v g g pp pi y i f,

his s o n n ten s e s th e eel n Th e s o n s th at ollow g i iﬁ f i g . g f

“ m ay b e cl a s s e d a s th o s e th at give th e s ta te of u n

erta nt a nd do t to e th e r w th t m n l e d no c i y ub , g i pi y i g w “ a n d th e th th f tr h In h h at a n w e n ote o m . O i iu p , W ” ard me ! S s ters ro th ers h ldren re a he rs H Ti i , b , c i , p c , — s h s ffi eek ers a ll ave the am e di culti e s .

Oh wh a t a h a rd t m e ! Oh wh a t a h a rd t me ! , i , i — ’ Oh wh a t a h a rd t me a ll od s h ldre n h a e a h ard , i G c i v

tim e .

Oh w h a t a h a rd t me ! Oh wha t a h a rd t m e ! , i , i

Oh wh at a ha rd t me ! M ord h a d a ha rd t me too . , i y L i ,

In a no th e r div i s io n will b e g ive n th e s o ng My Tro ubl e ” Is ar d th etide a o f wh h s e e m s to b e d e r e d ro m H , ic iv f

d l a nt atio n s on s th o h th e n ew s o n ' is e n th e ol p g , ug g

Th e l a n tat o n tirely diff ere nt fro m th e O ld o n e s . p i “ N egro e s u s e d to Sign No b o dy know s th e troubl e ’ ” I v e s een in wh h the were s o m e tim e s s om e , ic y up , 88 TH E NEGR O AND Hi s SONGS

t me s dow n s o m et m es a lmo s to de ther i , i t O s “ ” “ ’ s an it o o d nows th e tro l e s ee o r I v e g N b y k ub I , ( “ a n d a s e d : rothe r s s te r re a h e r w ll k B , i , p c , i ” you p ray f o r m e ?

’ P o SINNE R MAN

In th e s am e p a thetic to n e th e s i n n er m a n n a no th e r ph a s e o f th e feeli g .

’ ’ ’ ’ M m o the r n o m othe r o th da d a n one y y b i g , ’ ’ ’ ’ M mo th er n o m othe r o th d a d a n one y y b i g , ’ ’ ’ ’ M mother n o mo the r oth da d a n o ne y y b i g , ’ PO s inne r m a n he s o ha rd to b elieve .

’ ’ ’ M ol s a n o ol s o th d a d a n one y f k y f k b i g , ’ a a d l Po s inne r m n he s o h r to b e ieve .

’ ’ ’ ’ M rother n . o rother oth d a d a n o ne y b y b b i g , ’ Po s inner ma n h e s o h a rd to b elieve .

m l etes th e so n w th As s al m s s ter e tc . o u u y i , , c p g , i “ ” “ a o rite l ne s own in d e alle o n m o nta n f v i , D v y , Up u i ” hob e s o t n s ert d a s t n a the e r e e c . e n e e s J p k , , b i g i Of y d a re nee e d .

’ HANGIN OVE R HELL

The next o ne gives m o re i n ten s i ty to th e feeli n g

He s a s th e s in ner . y

’ hen wu s ha n n o er h ell o er hell W I gi v , v , ’ hen wu s h a n n o e r hell o e r h e ll W I gi v , v ,

ll h a d n n t r r e o o e to oo me oo me . W , I pi y p , p

’ ell m mother s a n m athe r da d ather d a d W , y ick y f i , f i , ’ e ll m mother s a n m a the r d a d a the r da d W , y ick y f i , f i , ’ ll n n n e a t ot o o e to t oor me oor me . W , I i g pi y p , p

90 TH E NEGRO AND HIS SONGS n m er o f s ta n a s none of h h o n o rm s lo sel to u b z , w ic c f c y th e n ra t h m e g e l e e .

onder ome er s ster a ll d re s sed in la Y c i b ck , ’ loo l a i She k k er h perc rit je s g ot b a ck . ’ ’ ’ ’ I o n er r s d m b u t c o s Jo r n in dat mornin .

ro s s m e o er C v , rea t ehov er G J , ’ ’ ’ ’

M o rd I m o n ter ro s s ord n in dat mornin . y L , b u c J

See d a t h r s t an on his nee s C i i k , ’ ’ He s gwin te r c ro s s dem ja s p er s ea s . ’ ’ ’ ’ I m o n ter ro s s o r in da rnin b u c J d n t nio .

win low ha r ots in er l ne S g , c i , i ,

a C rry me ter glory in due time . ’ ’ ’ ’ o I m b u n ter c ro s s Jord n in d a t mornin .

’ ‘ ’ n t b ut the on e th n rie e m min Ai i g g v y , ’ ’ ’ s Si ter goin to he aven a n lea ve me b ehi n . ’ ’ ’ ’ I n m bou ter c ro s s Jo rd n in d at mo rnin .

F O R MY LO RD

It is a favo ri te theme of the Ne groe s to s i n g much “ ” “ o f the r o rd a n d d h h as een s a d of i L G o . Muc b i

' th e n am e s a nd attr ibu tes which D e i ty holds in th e

e r A d o l e es th at N g o s o n gs . S his fri e n the Ne gr b e i v G o d is alw ay s tru e ; c o ns equ en tly h e Si ngs his loya lty “ ” to him Th e O ld l ant a t o n s on ell e s s h a d . p i g T J u a s its cho ru s

Tell es s done done all c a n J u I , Tell es s done d one a ll c a n J u I , Tell J esu s done d on e a ll I c a n ; ’ d I c a n t o no mo re .

Ve ry much like it is th e s o ng Fo r My Lo rd th at is EXAMPLE S OF RELIGIOU S SONG S 9 1

m h in d em an d amo n th e re s e nt-d a e ro es uc g p y N g .

’ o n to do a ll c a n f or m ord I g i I y L , ’ o n to do a ll c a n f er m - o rd I g i I y L , ’ o n to do a ll c an f er m o rd I g i I y L , ’ o n to do a ll c a n f e r m ord I g i I y L , ’ I do a ll I c a n till I ca n t do no mo re ; ’ I go i n to do a ll I c a n f er my Lo rd .

’ Lik ewi s e h e s i n gs : I goi n w eep a ll I c an till I ’ ’ c an t w ee p n o m o re I go i n p ray all I c a n till I ’ ’ a n t ra n o m o re Th e h ra s e t ll an t do c p y p , i I c ’ no s o f t s ra rs i ch a ra cte ri s tic he N egro p ye . “ He s u all lo s e s his h r h r a e rs Now o rd wh en u y c c u c p y L , ’ ’ ’ ’ ’ ’ we s d on e p rayin a n c a n t p ray n o m o ; wh e n w e ’ ’ ’ don e The lo s n m eetin an c a n t m e e t n o etc . c i g

s en e th e n a l ac t o f l e s eem s to a e al to th e e ro c , ﬁ if , pp N g w th wo n d r l d ra m a r i e fu tic powe .

GWINE LAY DOWN MY LIFE F O R MY LORD

“ h s s o n is s m l a r in th em e to Fo r M o r d T i g i i y L , b ut e el s it in a r t o f s o n xc v i e y exp re s i .

’ ’ D e ord me m er tr m et a n to le m e ter low L giv u p b , ’ ’ He giv m e m er c ummis s ion a n to l e m e ter go .

Fer m o rd f er o rd f er o rd y L , my L , my L ,

wi n e l a down l f e r rd G y my ife my Lo .

’ You c a n h n d er me here b ut ou a n t h nder me dere i y c i ,

Fo r d o rd in e a n n a a e L H ve gwi e h e r my p r yer .

’ ’ D e nem s re at b ut m a n is s tro n e y g y C p g , ’ ’ ’ h in f d U m ﬁg t e r e city a n de t ime a in t long .

’ hen it da r I ll b e a l e f e r to tell W I g b , l How I whipp e d o e S a tan a t d e doo r ob he ll . 92 TH E NEGRO AND HIS SONG S

Me r hea d ot we t wid de m dn ht d ew g i ig , ’ ‘ ’ D m rnin s a r wa s 'h n at o t s i in too .

R R R DO , LO D , EMEMBE ME

It is b ut n a tu ra l th a t the Negro wo ul d c all upo n the

d t m m him The O ld a nt at n Lo r o re e b e r . pl l o so ng “ ” D O o rd eme m e r Me wa s a a re ntl a s ed , L , R b , pp y b upon the ide a o f b e i n g rememb ere d a t Ch ri s tm as time ; i n de e d th e N e g ro e s a lway s a s ke d to b e re “ m emb ere d a t s uch a tim e by th e white fo lk s The s o ng now cu rrent is ve ry likely a n e nti re ly different

o ne .

D o m o rd re mem e r me , y L , b , D o m o rd remem e r me , y L , b , D o m ord remem er me , y L , b ,

D o o rd remem e r me . , L , b

' ’ ’ on de ho s eto an a n t ome down Up u p c c ,

D O o rd remem e r me . , L , b ’ on de ho se a nd a n t ome down Up u c c ,

D O o rd remem er m e . , L , b

' he n a mh n r do eed me o rd W I u g y f , L ,

D o o rd remem e r me . , L , b hen a m thirs t do e m e d r n W I y giv i k ,

D o o rd re mem e r me . , L , b

KING JESUS IS TH E RO C K

The Neg ro es s o m e tim e s c all the followi ng so ng the ” “ r ddle s o n e a s e th e l e a d er a s s Who is th e i g , b c u k , ” “ o ? wh le t e a n swe r o m e s a K n e s s R ck i h c b ck , i g J u ” s i the Ro ck .

ea d me to the o le a d me to the o L R ck , R ck , ’

e a d me to the o that is h he r a n h her . L R ck , ig ig Oh l ea d m e to the o , R ck , ’ Yes lea d me to the o tha t is h her a n h her . , R ck ig ig

94 TH E NEGRO AND HIS SONG S n e s s s t a te r th e a r Th e e ro l a m s j u f Civil W . N g c i th at th e whi te m a n to o k him a t his wo rd whe n h e s an g “ e m e e s s You c a n h a e all th s a nd h a s Giv J u , v i l e t him noth n i th s d t s At l e a st f i g n i wo rl b u J es u . th s is o n e ew of the s o n h h is re re s en te d a s a i vi g , w ic p b a rg ai n which th e white m an w ant s th e N egro to

ee Th e s o n is a t a l a n d w ell- nown o n e k p . g ypic k ,

a r a h e r s id to h ave b een ﬁ rs t s u ng by a bli n d N eg ro p e c .

’ In de m ornin whe n I ri s e ’ In d e m ornin when r s e I i , ’ In d e morn in when I ri s e

Give me J esu s .

e m e e su s Giv J , e m e e s s Giv J u , ’ ’ You m ay h ab a l l dis worl .

’ Ef it s m dn ht whe n r se i ig I i , ’ Ef it s m dn ht whe n r s e i ig I i , ’ Ef it s m d n ht whe n r s e i ig I i ,

e me e s s Giv J u .

Je s fo re da y when I c rie d

e m s s Giv e J e u .

’ h e n wa de dea th s o ld s tre a m W I c , i e G v me J e su s .

LOVE TH E LOR D

’ Th e N eg ro s ays th at if o n e l ove s J e s u s h e c an t

e e it a n d th at he is d t o n d to l et th e wo rld k p , u y b u

t is a ommo n s tom to a s k m em ers k now it . I c cu b at th e cl a s s-m eeti n g a n d revival wh ethe r o r no t th ey “ ” t s th e d t o f th e l a s s l ea d e r l ove th e Lo rd . I i u y c

s The to s e e to th e religiou s welfa re O f th e m emb er . EXAMPLE S OF REL IGIOUS SONG S 95 so n o e The o rd re re s e nts th s h a s e o g, L v L , p i p f wo rs hip .

ell did ou s a th a t ou lo e e s s ? W , y y y v J u Did you s a y tha t you l ove the Lo rd ?

Ye s s a th a t lo e e s s , I y I v J u ;

Yes s a lo e th e o rd . , I y I v L

All wa nts to now is doe s ou lo e es s ? I k , y v J u

All wa nt s to now is doe s ou lo e the o rd ? I k , y v L

Y s lo e s s e s a tha t e . , I y I v J u Y e s s a lo e the o rd . , I y I v L

’ ou lo e e s s ou a n t ee it If y v J u , y c k p ,

All w a nts to now is doe s ou lo e the o rd ? I k , y v L

Ye s m mothe r lo e e s s , y , I v J u , Y e s m mo ther lo e the ord . , y , I v L

The ho r s th en a rie s ro m Ye s s a to Yes c u v f , I y , ” “ ” “ h ” m mo the r Ye s m s s te r Ye s m rot er . y , , y i , , y b

I G OT A HOME

In s tr n o nt ras t to his e a rthl l e the e ro iki g c y if , N g

r d a s h e h ad s i ng s o f his h e ave nly hom e . If in s l ave y y no hom e it w a s n a t ra l th at h e Sh o ld loo to he a en , u u k v fo r s h s o n e t o nte n s e d the hi hom e . n T i c c p i , i iﬁ by ’ e ro s em ot o n al n at re a nd s el - t is s t ll rom N g i u f pi y, i p ine nt No t o nl is his ho m e to b e a h a o n e b u t . y ppy , ‘ it is to b e e l us e o nl the o rt n ate of whom he xc iv ; y f u , is he h s t a t a s f s on s t e e m o h ere . h s l s o c i f , y g T i c g ‘ — O f he ave n a n d h om e is p erh a p s a s l a rge a s any . Th e N eg ro s i ng s 96 TH E NEGRO AND HIS SONGS

’ ot a hom e whe re l ar s a n t o I g i c g , ’ D on t you s ee ? ’ ’ u s etwee n the h ea en a n e arth J b v , ’ h ere m a o r led a n die d W y S vi u b , ’ ot a hom e whe re l a rs a n t o I g i c g , ’ D ont you s ee ?

’ ot a home where s nners a n t o I g i c g , ’ D o n t you s ee ? ’ ’ u s etween th e e a rth a n s k J b y, ’ here m a io r leed a n die W y S v u b , ’ D o n t you s ee ?

When the ea rth b egin to s h ake ’ D o n t you s ee ? ’ You etter et a t et or o ll b e late b g ick y u , ’ D on t you s ee ?

The s n ers re a t s n th e wo rd s dr n ard s i g pe , u i g u k , ” h d t r s n e rs om et mes n s tead o r te s a n o h e n . yp c i , i S i i “ ’ O f s a n I o t a h om e wh ere th e d r n ard s a n t yi g , g u k c ” “ ’ ome th e s n e r w ll s a wh e re the d r n ard s an t c , i g i y , u k c d ” ﬁn me . DON ’T YOU‘SEE ?

Anoth er vers io n of th e s am e s o ng is fou n d in diff erent lo c ali ti e s

ot a home in the o I g R ck , ’ D o n t you s ee ? ’ s t etwee n the he a e n a n ea rth Ju b v ,

ell e s ot a h ome in the o W , y , I g R ck , ’ D o n t you s ee ?

da s wa s a de eit l ma n Ju c fu , ’ D o nt you s ee ? ’ ell h e etra e d the innerc e nt La m W , b y ,

ell he l o st a hom e in the o W , R ck , ’ D on t you s ee ?

98 TH E NEG R O AND HIS SONGS

’ ” “ e n so h h o u a n t o o er it e a en “ 3 0 low ou ig y c g v , H v y ’ ” “ ’ a n t o n der it e a en SO d ee o u a n t o c g u , H v p y c g ” “ ’ thro h it a n d e a e n s o w d e ou a n t o ro n d ug , H v i y c g u ” “ i T mo s mm m f h s s t . h e t o on o r o t e on i e a en c f g H v , a ar at f s m l ers d an s o n o the a o e . n ner a er v i i b v Si , g b , c , l a rs d r n rd s r r wh re u t n t h a a e e e e b o In e a en . i , u k v y , v HEAVEN

ell there a re s nners he re a nd s n ners there W , i i , ’ ’ An there a re Sinners ev e ywhere ; But than G o d th at G od de l a re I k c , ’ n That there a in t no Si ners in heaven .

ea en ea en H v , H v , ’ ’ d a l n a n a Everybo y t ki bou t h e ve in t go in there . He a e n He a e n v , v , ’ ’ ’ Goin to s hine a ll rou nd God s heaven .

’ ell there a re dr n a rd s here a n dr n a rds there W , u k u k , ’ An there a re d ru n k a rd s eve ryw here ; ’ But I m so l a d th a t G od de l a re g c , ’ i n There a in t no d ru nka rd s n heave .

ea en e a e n H v , H v , ’ ’ ’ ’ P rea chers a ll preachin b ou t heaven a i n t goin

there .

He a en Hea en v , v , ’ ’ ’ Go in to s hine a ll rou nd God s heaven .

’ IF I KEEP PRAY IN ON

As h a s een n d ate d m a n of the e ro s o n s b i ic , y N g g co n s i s t o f s i ngl e li n e s rep e ate d in coupl ets Or b y fou rs

th t th s n n The mo s t in o rde r to give l en g o e i gi g . s impl e s ente n c e s th at co uld b e d evi s e d m ay s erve a s

s o n Th e e ro h a en s to th n o f a n o r a good g . N g pp i k -

din a ry t ruth ; h e then s i ng s it to his tu ne and cho ru s . EXAMPLE S OF RELIGIOU S SONG S 99

’ ’ ’ I m o n to b e a h r s t a n e e a- ra in on g i C i i if I k p p y , ’ ’ o n to b e a hr st a n ee a- ra in on I g i C i i if I k p p y , ’ ’ ’ o n to b e a h r st an I m o n to b e a h r st an I g i C i i , g i C i i , ’ — ’ I go in to b e a Ch ri s ti a n if I keep a prayin on .

’ ’ An i l n a— a in when t re o o n to ee r on . I g igi , I g i k p p y

’ - I go in to s ee my J e su s if I keep a prayin on .

’ - a i I goin to s ee my mother if I keep a pr y n on .

Th e s n er is o n to s ee his athe r roth e r m a s te r i g g i g f , b , ,

h r a o th rs H s n s a h n o r t m re a e nd e . e e l e es p c i g c i f u i , a lte ri n g h a s he d e s i re s an d putti ng in a ny cho ru s th a t a eal s to his a n pp f cy .

G R EAT JUDGMENT DAY

Th e n e t s o n s how s a t al a r at o n O f a l ne x g ypic v i i i ,

‘ an d the Negro s om etim e s s i n g s th e seco n d ver s ion with mo re determi n atio n th a n th e ﬁ rs t ;

’ ord wa nt to o to hea en f er to s ta n m tr a l s L , I g v y i , ’ ord wa nt to o to h ea en f er to s tan m tr a l s L , I g v y i , ’ Yes wa nt to o to hea en f er to stan m tr a l s , I g v y i ,

r a G e t judgment day .

’ ’ ’ ell I m o n to hea en f er to s ta n m t r al s W , g i v y i , ’ ’ ’ ’ An I m o n to hea en f e r to s ta n m tr al s g i v y i , ’ ’ ’ Ye s I m o n to h ea en f er to s ta n m tr a l s , g i v y i ,

Grea t ju dgment d ay .

’ I M ON MY JOURNEY HOME

’ Th e sl a e s s e d to s n a l h a l h a l I m w ne v u i g, H i , i , i , g i ’ i In n e s a n ts a o e I m o n m o rn e hom e . J i b v , y j u y “ l’ ” m a ny of th e i r s o n gs the p ro mi s e l a n wa s held out a h o s t e a l of t re h a n e s s So it is to d a . g fu u ppi . y 100 TH E NEGRO AND HIS SONG S

’ is ter whe n ou ra ou mu s ra to de ord S , y p y y p y L , For I hab s om e hop e s ob gl o ry ; ’ eel l e ee l l e I m on m o rne home I f ik , I f ik y j u y , l ’ eel e e e l l e I m o n m o rne ho me . I f ik , I f ik , y j u y

’ ’ ’ I ll awa ll a a d r la I w to e omis e n . y, y p ’ M a ther a ll s m e mu s o y F c , I g , ’ To e Hi i d s l a m et m n e p rom i e n .

’ I h ave a fa ther in the p romi s e la n ’ G o meet him in d e p roml s e l a n ; ’ eel l e e e l l e I m on m o rne home I f ik , I f ik y j u y , ’

eel l e eel l e I m o n m o rne home . I f ik , I f ik y j u y

Th e s n e r al so h a s a m oth er a s s te r a n a nt e a nd i g , i , u i “ o the rs in th e rom s e ew s e h e s a s in p i Lik i y , “ ” s tea d of s s ter wh en o u ra rothe r mem er i , y p y , b , b , mo rn er s a h a o h r n ner re er n d t e s . u , i , p c

IN THE MO RNING

AS a rul e mo rni ng s ign iﬁ e d to th e N eg ro th e time fo r

Th e mo rn o n to h e a en a n d fo r t h e re s rre t o n . g i g v , u c i in s ta r s ho e a s a w tn e s s to his o n e rs o n an d the g n i c v i , midnigh t d ew typiﬁ e d th e e a rly m o rn i n g tim e of his ” r n In th e Mo rn In is s n a s o f o ld . eligio . g u g

h a e een te m te d 0 e s I v b p , y , ’ An h a e een t r e d 0 es I v b i , y ; ’ ha e een to the r e r a n ee n a t e I v b iv b b p iz , ’ An I wa nt to g o to hea ven in the mo rn ing .

’ on t ou r de o n es s ? W y i , J u

de o n e s s r de on rown n n Ri , J u , i , C i g Ki g ;

Fo r I wa nt to go to he a ven in the mo rn ing .

ou s ee m mother e s If y y , O y ,

r fo r m e e s Plea se te ll he , O y ,

a n el s in he a v e n done ha n e m na me That the g c g y , ’ An I wa nt to go to hea ven in the m orn i ng .

’ ’ o n to s n o n to ra G i i g , g i p y, ’ o n to a all m th n s awa G i p ck y i g y, ’ ’ ’ ’ Fo r my s oul s go in to heaven je s s ho s you b orn ; ’ B roth er G ab rie l goin ter blow his horn .

’ D RY BONES GOIN RISE

’ ra o m e a n o wid m e s n s th e h r s t a n P y c g , i g C i i , “ ’ ” o m o rn e h om to th e er s al m f o r I m n y j u y e e N w J u e . “ ’ re s ed h e s a s Now do n t l et m e b e ou to If fu y , g y ’ ol l ow m e f o r I m o n m o rn e h om e a n d n all f , y j u y , ﬁ y “ ’ ” om d th e h e s n s e ll rother e a n o wi m e . i g , W b , c g If s i n ner n ee d s o th er exho rta ti o n h e m ay li s ten to th e “ ’ ” m e d s o n D r o ne s o n to s e r n in ix g , y B G i Ri E gi ,

h h th e re is r s t a rn n th n ho e of lo e r . w ic ﬁ w i g , p g y

’ ’ om e o ter m e etin to s in an s ho t S g g u , ’ D ry bones goin ter ri s e ergin ; ’ ore s ix mo nths de s a ll t rned out F y u , ’ D ry b ones goi n ter ri se ergin .

Oh little c hillun Oh l ttl e c hillun , , , i , ’

Oh l ttle c hillun d r one s o n r se er n . , i , y b g i i gi

’ ’ al e rbout me b ut ta n t m a lt T k i y f u , ’ D ry b ones goi n ter ri s e e rgin ; ’ ’ ’ But me a n G od-e r-m ht o n wal an ta l ig y g i k k , ’ D ry b one s go in ter ri s e ergin .

Ef ou wa nt ter o to he a en when ou die y g v y , ’ D ry bones goin ris e ergin ; ’ ’ ’ es s to o ton e rom tell n lies J p y gu f i , ’ D r n s r s y bo e go in te ri e ergin .

In th e O ld pl ant a ti o n s o n g Ez e ki el was rep re s e n ted “ ” down in a valley full of b o n e s a s d ry as d u st and

He de one a m ht s h a e gib b ig y k , ’ Fin de ol e s inn ers t oo d ry to qu a ke . EXAMPLE S OF RELIGIOUS SONG S

JOIN D E HEAVEN WID D E ANGELS

In Jo i n D e He ave n Wid D e A n gel s th e rich vo ic e o f o n e or two l e a d ers a nd th e s welli n g ch o ru s p ro duce d a n eff e ct s c a rc ely s u rp a s s e .

Oh o n on o n m o rd , j i , j i y L , Jo in d e h e aven wid de a ngel s ;

Oh o n o n o n m o rd , j i , j i y L ,

Jo in d e h eaven wid de a ngel s .

’ " Wha t k in é r s hoe s is dem you wea r ? Jo in d e heaven wid de a ngel s ; D a t you k in wa lk up on de a ir ?

Jo i n de h ea ven wid d e a ngel s .

’ Oh Go d don t t a l l e a n at ra l ma n , k ik u , J o i n d e he aven wid de a ng el s ; ’ He ta l to d e s nner he nders t a n k i , u ,

i n l s Jo i n de heaven w d d e a ge .

’ ’ ’ ’ ’ I m a t s red an I m a tis o rn B p i b B p b , J o in de heaven wid de a nge l s ; ’ ’ ’ An whe n die de s a a t s o ne I y B p i g ,

a n l s J o in de heaven wid d e ge .

es s o de tre e all e s s o it lie J f j , J o in de h ea ven wid d e a ngel s ; i ’

e s s o d e _ s in ner lib es so he d e J , j i , l Join d e heaven wid de a nge s .

The s o n h a s een o n d in s e eral o rm s a mon g b f u v f , g whic h o ne h a s it th at o h n is to b e in d e h e a e n _ J v

th ro a e o r th th e a n el s . In a t e l n O f wi g f c , p b b igi “ ” j oi n o n s eem s to h ave b een J oh n s aw de h e ave n wid ” de a n n o n e of th old son s th S n gel s . I e g e i ger a n swers : TH E NEGRO AND HIS SONG S

D em s hoe s we a rs is o s el s hoe s I g p , ’ ’ V ew d e l a n ew de l a n i , vi ; ’ An ou c a n we a r d em ou hoo s e y if y c , ’ ’ d l a n l a n V ew e ew d e . i , vi

THE ANGEL BAND

Th e n el an d wh l e a e r s m l e s o n in A g B , i v y i p g wh h th e ho r s o n s t tute s th re ate r a rt is o n e ic c u c i e g p , o f th e m o s t a t th at th s S n Th e b e u iful e N eg ro e i g . powe r of the s on g s e em s to lie in th e ten d e r i nte re s t which c e nte rs ab o u t th e vivid po rtray al o f th e littl e a n Th e ho r s is r ate d gel s in the he avenly b and . c u ep e a te r ea h s ta n a wh l e e a h s t a n a is th e re et t o n of f c z , i c z p i i

m o n to t n ro m t n to t nt a S n l e l n e . ro e e e we i g i F , f y , a nd so o n to o n e h nd red is o rd n a r l s n th s u i i y u g , u m a n a l en th s o Th e h ld re n lo e to s n th e ki g g y ng . c i v i g

ho r s two o rm s a re o rd n a r l o n d a r n the c u ; f i i y f u , v yi g monoton no h to a s h ro y e ug pl e e t e N eg .

’ ere s o ne l ttl e two l ttle th ree l ttle a n el s D i , i , i g , ’ ' ' ere s o r l tle ﬁv e l ttle s ix l ttle a n e ls D f u it , i , i g , ’ ere s s e en l ttle e ht l ttle n ne l ttle a n el s D v i , ig i , i i g , ’ re s n l l n D e t e litt e a nge s i de b a nd .

’ ’ ’ ere s l e en d ere s twel e d ere s th rteen l ttle an el s D b , v , i i g , ’ ’ ’ ere s o rteen de re s teen dere s s teen l ttl e a n el s D f u , ﬁf , ix i g , ’ ’ ’ ere s s e enteen d ere s e hteen d ere s n neteen l ttl e D v , ig , i i

a n el s g , ’ r e n l t le a n l s in d a n D e e s tw ty i t ge e b .

’ ” Th e littl e in th e cho ru s is p refe rre d to the dere s

h a n s a s a r l e a are ntl s e r n to d e s r e t e el . u , pp y vi g c ib g The s ta n z a s o f th e s on g a re a s u nlimited a n d a s s impl e “ ” a n d a mo rn n is th e mo s t s th e cho ru s . Su y i g

commo n fa cto r in th e ve rs e s ; s om etim e s it is omitted .

106 TH E NEGR O AND HIS SONGS an d ewel s a n el ts of old h e re a re ro e s of j d b g . T b s potl e s s white a n d wmg s a ll b e-j ewe le d wi th h e avenly

m e o n d th e a s er s e a s h e w ll o ts h n e th ge s . B y j p i u i e s u n ; th e gold en s treet s a n d th e fruit o f th e tre e of life a re f ar s up erio r to a ny gold en a ppl e s o r s ilver ’ e ars f a t o o In a t th e e ro s a r p o Mo h e r G s e . f c N g f i y ’ s to ri e s c ente r o n h e ave n ; th e child re n s deﬁ nitio n s o f h e ave n c o n s i s t e nti rely o f pictu re s o f s pl e ndo r a nd

l To th s l a e the e ro m a n e s h e w ll o g ory . i p c N g i gi i g , and who k n ows b ut th at h e m ay ﬂy th ere ?

’ ’ ’ om e 0 de s e mornin s r ht a n a r S b ig f i , ’ Way in d e middle of deair ; ’ ’

h h o n m w n s a n tr d e air . Go in ‘itc y i g y ’ a in d ddl d a ir W y e mi e of e .

ome o e r den ohn s a w d e hol n m e r C v , , J y u b , ’ Way in d e middl e of d e a ir ; J ohn s aw d e holy numb er ’ l d air Way in de midd e of e .

er w a nter d rea m dem h ea e nl d rea ms If y v y , " Wa y in de middle of d e air ; ’ ’ ’ La o h e ad on o rd n s s tre am y y J , ’ a l f a W y in de midd e o de ir .

’ ’ ot a oo o n rea d it th r I g b k , g i u , ’ Way in d e middle of de air ot m e s s well a s ou I g y J u y , ’ Way in de middle of de a ir .

’ I GOIN TRY THE A IR

’ th a old e n an d all ro n d his wa s t a n d e Wi g b u i , ” alm s o b to r in—a his h a n ds the e ro s n s in p vic y , N g i g ’ ” real t ra om e a n o wid m e f o r s o d is i y , P y c g , vivi his pictu re th at he h a s b een known to s ta rt up a p o s t EXAMPLE S OF RELIGIOUS SONG S 107

o r ll a r in the h r h s a n ood b e ro the rs pi c u c , yi g, G y , b , ‘ ’ ” His s o n s m a e m h O f n d e re nt I m gone . g k uc ﬂyi g ; iff

rom th at s t e n is f j u giv ,

’ n mornin soon O e , ’ One mornin s oon m o rd , y L , ’ ne mornin s oon O , ’ o n tr the a ir I g i y , ’ I goin try th e a ir ; ’ Pra y come a n go wid m e .

’ ell o t on m trav elin s ho es W , I g y , ’ ell ot on m tra v elin s hoes W , I g y , ’ ell ot on m trav elin s hoes W , I g y ; ’ Pray come a n go wid m e .

’ He s n s too : I o n to ut m lo n wh te i g , g i p y g i ” “ ’ ro e e ll tr o n d e s li ah s ho e a nd we ar de b , W y pp ” go lden b elt .

I GOIN ’ PUT ON MY GOLDEN SHOES

Ag ai n he s i ngs of his do i ngs o n the g re at re s u rre ctio n d ay ' — In the morn n um-u i g— , In the morn n um-u i g , — In the mo rn n um-u i g , ’ n n I goi put on my golde Shoes . — In the m dn ht um-u i ig , — In the m dn ht um~ u i ig , — In the m d n ht um-u i ig , ’ o n I g i put o n my long white rob e . — T al a o t it um-u k b u , — Ta l a o t it um-u k b u , — Ta l a o t it um-u k b u , ’ I goin we a r that s ta rry crown . 108 TH E NEGR O AND HIS SONG S

JESUS WO RE THE C ROWN

Th e a ngel s a n d J e s u s w e a r s t arry c rown s and lo ng whi te ro b e s ; th ere will b e no s ep a ra ti n g li n e b etwee n

h h ow l o n to o us a n d o d in th e n e t wo rld . O I G x , g g ” d s n h O ld ro e s ow th e t ere too a t e e . N re , , g N g y pic u

a n f s s a gai n th e app e a r c e o J e u .

e s s h e wore the s tar r c f'own J u , y , es s h e wore th e s ta rr rown J u , y c wn es s h e wo re the s ta r rown s ta rr ro . J u , ry c , y c

? HO W do es you know he wo re the crown How does you know he wo re the crown ? How d oe s ou now he wo re the rown wore the rown ? y k c , c

Fo r the le it tell me s o Bib , Fo r th e l e it tell m e s o Bib , ll Fo r the le it te ll me s o te me SO. Bib , — es s h e wore the lon white ro e etc . J u , g b ,

’ I DON T CAR E F OR RI C HES

Mo re th a n th e wo rld o r rich e s o r d re s s the s i n ger

n th s cl a im s h e v alu e s th e tre a s u re s O f h e ave n . I i a s s e rt o n he is d o tl e s s s n ere o th e a s e h e is i ub i c , b b c u th n n o nl O f his rel o s s ta te wh le h e S n s a n d i ki g y igi u i i g , b e c a u s e h e h a s littl e o ppo rtunity fo r o b t a i n i n g the s e

a s h e e a rthly rich e s . S y

’ don t a re f or r he s I c ic , Ne it he r d res s s o ﬁne ; ’ ’ e s me m lo n wh te ro e J giv y g i b , ’ n a n m s ta rr row A I w t y y c n.

o r m o rd d one bin he re F y L , ’ s l a o a a Do ne bles s my ou n g ne w y .

1 10 TH E NEGRO AND HIS SONG S

l s h n h a f a m l tt e o l w n s e . So t e s n o othe r i u g i e i y g , “ ” ath er roth er in h e a en who o ts h n es d e s un f , b v u i ; “ ” a nd when we g et to h eave n we will o u ts hi ne d e ” s n er m h th e s a me wa e ro es s n u n . I v y uc y N g i g “ ’ to d a in o ne of th e r f av o rIte s o n to t s h ne de y i , G i Ou i

Sun .

’ ’ ell m mothe r s o n to he a en W , y g i v , ’ ’

h e s o n to o t s h ne the s un ord . S g i u i , O L ’ ’ ell m mo th er s o n to h ea en W , y g i v , ’ She o n to o t s h ne the su n g i u i , ’ ’ Ye s mothe r s o n to h ea e n to o ts h ne , my g i v u i ’ ’ ’ ’ An it s way b eyo n the moo n .

’ You ot a home in the rom s e l a n g p i , ’ o n to o t s h ne the su n o rd G i u i , O L , ’ ’ ’ ’ An it s way b eyo n the moo n .

The rown tha t m e s s e me c y J u giv , ’ o n to o ts h ne th e su n m ord G i u i , y L , ’ 0 ’ ’ An It s wa y b eyond the m oon .

’ o n to ut on m rown in lo r G i p y c g y, ’ An o ts h ne the s un o rd u i , O L ,

Way b eyon d the moon . CHAPTER Iv

EXAMPLES OF RELIGIOUS SONGS (Concluded)

Th e n ext gro up O f s on g s p res en ted will app e a r ve ry

tho a l re a d en e e t th a t th e Show much lik e s e y giv , xc p y m o n o rm t a l ttl e mo re l en th a n d in th e l a s t re u if i y , i g ,

d e f s o n h s h a ter m o re of th e m e t o . o f thi s c p , ix yp g T i

rou w ll deal w th s h th em es a s th e o s el tra n g p i i uc g p i ,

a d r o f h e a e n a n d th e d m ent th e im th e g r n e u v ju g ,

s ers o n al t e s o f th e le t al a r at o n s p re s ive p i i B ib , ypic v i i

d et e o ts to m a n w s o f so n an S e m en o r e e o n s . g , p ci p ic ff k g

WHEN D E TRAIN C OME ALONG

In th e s e illu s tra ti o n s it will b e s ee n th at th e N e gro ,

He s u s e s m a ny ﬁgu re s a n d symb ol s . ee s vividly th e

It too l a h erh a s it w h ar o t o f ﬁre . ll ta e c i k E ij , p p i k

h r s t a n d the an el s a s en d e e rh a s h e him . C i g c d ; p p

ll An d th ere is the o s el tra n the s a m a wi . g p i ; e tr i n th at took th e oth ers ! Wh a t fa s cin a tion th e tra i n h a s f o r “ ” th e e ro m a b e s ee n rth er ro m th e tra n so n N g y fu f i g ,

llu stra t on s o f wh h a re e n in h a ter i i ic giv C p VI .

’ e ll m a b e s a n a n not r se W , I y ick c i ,

Bu t I . mee t ou a t d e s ta t on whe n d e t ra n om l y i i c e a ong .

hen de tra n ome a l on W i c g , he n de tra n om e a lo n W i c g , ’ ll ou a d a I mee t y t e s t t ion wh e n d o t ra i n come a lo ng .

’ ell m a b e l nd a n a n not s ee W , I y b i c ,

But meet ou a t de s ta t on when d e tra n om e a lon I y i i c g ,

e ll m a b e l a me a n d a nno t wa l W , I y c k , ’ll But I meet yo u a t d e s ta tion wh e n de t ra i n com e a lo ng . 1 12 T H E NEGRO AND HIS SONGS

h le no m ent o n is m a d e O f the e a t nd o f tra n W i i x c ki i , it is e n erall n d e rs too d to me a n th e o s e a g y u g p l tr i n . Thi s s o n g al so h a s a p o pul a r va ri an t which is u s ed

a a n e th er a s e it e re s s e s in a in a s e cul r w y . I i c xp very

w a he m o rta n e of m eet n th tra fo rc eful y t i p c i g e in .

SAME TRAIN

In p rop o rt io n a s a pic tu re - re s embl e s real life o r m a n e s th a t wh h h a s een m a e d to th a t d e ree g iﬁ ic b i g , g ’ do s it r n hom e its t r th to th e e ro s m n d e b i g u N g i . Th e N eg ro c o nti n u e s to s i n g o f th e t ra i n o n which h e

o t K n dom a is to ride in t he i g . S ys he

a m ta l n o t the s ame tra n I ki b u i ,

a me tra n tha t a rr ed m a the r S i c i y f ,

S a me tra i n .

a me tra n tha t a rr e d m mother S i c i y , ame tra n S i ,

a me tra n w ll b e a tomo rrow S i i b ck ,

a a n S me tr i .

’ a me tra n w ll b e here tomorrow S i i , a m e t ra n S i , ell ou etter b e rea d W y b y, ’ It s t he s a me t ra i n .

The s am e tr a n a l so a rr ed his rother s s t e r i c i b , i ,

h r a d o t p rea c e n h e rs .

’ YOU BETTE R GIT Y o TI C KET

But th e t ra i n which will co m e b a ck tom o rrow will no t w a t a lw a s n e m s t no t o nl b e a t th e s ta t o n i y . O u y i b u s s a t t h n o f room t m t a l o h a e e . e re is le t u v ick T p y , ’ a o rd n to th e e ro s o n e t o n b u t there is no t cc i g N g c c p i ,

t w o ld b e a is t l e ro th at ple nty O f tim e . I u w fu N g

114 TH E NEGRO AND HIS SONG S

’ h e n de os el tra n o me lo n —um-u W g p i c g , ’ ’ a t ra n n a r — - Th t s the i go i c ry m e h ome u m u . — a e s nner ou w ll b e too l ate um-u W k up , i , y i , ’ s el ra n d ne a s — - Go p t i o p s yo gat e um u .

In th e o ld pl a ntatio n s ongs th e exh o rtatio n was “ ’ en to G it o n o a rd l ttl e h ld re n d e re s room giv b , i c i , m a ny a a n d

’ ’ D e o s e l tra n s a om n g p i c i , ’ hea r it u s a t h a nd I j , ’ he a r d e c a r wh eel s rumblin I , ’ l ’ An ro l i n th ru d e l a nd .

’ h e a r d e tra in a om n I c i , ’ ’ he s om n a ro nd de r e S c i u cu v , ’ ’ he s loo s ene d a ll her s tea m a n ra e s S b k , ’ ’ An s tra inin eb ry n erve .

’ D e a re is hea a n a ll c a n o f c p g , ’ D e r h a n ore a re dere ic p , No s e ond l a s s a o ard dis tra n c c b i ,

No diff eren ce in d e fa re .

O th er ver s e s o f Th e Gos p el Tra i n a s b y th e Jubil ee Si n gers a re :

’ Th ere s o s es a nd Noa h a nd ra ha m M Ab ,

And a ll the ro het s too p p , ; Ou r r end s in h r s t a re a ll o n oa rd f i C i b , l Oh wh a t a hea en rew . , v y c

We s oon s h all re a h the sta t o n c i , Oh how we then h a ll n , S Si g ;

th all th e hea enl a rm Wi v y y, ’ We ll ma k e th e welkin ri ng . EXAMPLE S OF REL IGIOU S SONG S 1 15

’ he s near n now the s ta t on S i g i , ’ 0 nner do n t b e a n Si , v i , ’ u om e a n et o r t et B t c g y u ick ,

An d b e rea dy f or the trai n .

o nal f or the o ther tra n N Sig i , To fo llow o n th e line ; ’ 0 s inner o re ore er l os t , y u f v , ’ If on ce you re l eft b ehind .

Whil e th e s on g a s repo rted by th e Jubil ee Si ngers

' do es no t p o s s e s s th e u s u al ch a ra cteri s tic s of fo rm a n d

d al e t it n e erth el e s s a e al s to th e e ro es a n d it is i c , v pp N g — om t m n s e i e s s u g .

I CANNOT STAY HE R E B Y MYS ELF

On e of th e fe a rs of th e Ne gro is th at o thers m ay g o

h a s h a s ee n to h e a en a n d h e b e l e t eh n d . s v f b i T i , b h n d ate d on s t t te s th e s um to t a l Of m s er . e i ic , c i u i y SO h a s a n umb e r o f s o n gs in which h e exp re s s e s thi s feeli n g a n d p ray s th a t h e m ay n ot b e l e ft b ehi nd in th e r a c e

t t a o a O n e of th e m o s t o h n of life f o r h e e e rn l g l . t uc i g O f th e s e s ongs rep re s e n t s the Negro a s an o rph a n who is u nwilli n g to s t ay a lon e I n th e wo rld :

’ M m ther a n m a the r oth a re dea d o th a re dea d , y u y f b , b ’ M m the r a n m athe r o th are d ea d y u y f b , ’ ’ ’ M m th er a n m a the r oth a re de a d y u y f b , l ood o rd a nn ot s ta he re b me rs e f . G L , I c y y

’ ’ I m e r . ore l t tl e o r h a n h l e in de wo rl h le in d e p i p c i , c i ’ wo rl , ’ ’ I m e r o re little o r ha n Ch le in d e worl p p i , ’ ‘ ’ I m a o re l ttle o r h a n h le in d e o rl p i p c i w ,

o o d o rd a n not s ta h e re b me rs e lf . G L , I c y y 1 16 TH E NE G R O AND HIS SONG S

’ D e tra n done wh s tl e d a n de a rs d one one a rs d one i i c g , c go ne ; ” D e tra n d o ne wh s tl e d a n d e a rs e r one i i c g , ’ D e t ra n do ne wh s tl e d a n d e a rs e r one i i c g ,

E e el a nnot ta h e re b m e rs elf . z ki , I c S y y

’ M roth er s a n m s te r s a re a ll o ne a ll o ne y b y Si g , g , ’ ’ M ro ther s a n m s s ters re a ll o ne all one y b y i g , g , ’ M rothe rs a n s ters a ll a re one y b Si g ,

Mer e s s an no t s ta here b me rs elf . J u , I c y y

Git me t t f er d e t ra n f er d e tra n icke i , i ,

G it m e t et f e r d e tra n ick i , ' o t m e r t et f e r de t ra n I g ick i , ’

Th a n G od a n t w ne t a he re b m erself . k , I i g i s y y

Ve ry much lik e th e so n g j u s t give n th e Negro e s u s ed “ ’ to s n : D a r s roo m in d a r roo m in d a r room in de i g , , ’ he a e n Lo rd I a n t s t a A a n th e s an v ; , c y g i y g “ ‘ ’ ’ th e oo d n ew s d e h a r o t s om n I d o a n w a nt h er g , c i c i , ” a-m h d In a ra er th e e ro s an to l e a ve e b e i n . p y N g g “ ’ ” his so n s to d a e s s do n t l e a e m e eh n d . In J u , v b i g y th e Ne gro s ay s

’ TH IS O LE WO R LD S A HELL T O ME

’ e a r roth e r d o n t ou l e a e D b , y v , ’ e a r rothe r d t ou l ea e D b , on y v , ’ e a r rothe r d o n t ou l ea e D b , y v , ’ l a ll Th i s O l e wo r d s h e to me .

’ Th s o le wo rld s a hell to m e i , ’ ld s h ell o e Thi s ole wor a t m .

’ Ye s blee ed to l ea e th s world I g v i , ’ Ye s blee e d to le a e th s world , I g v i , ’ ’ s ter b lee e d to l e a e th s world Si , I S g v i , ’

For it s a hell to me .

118 TH E NEGRO AND HIS SONGS

SO th at he m t ate s th e m a ne d m o t o n O f the Sh i i i gi i ip . The other sta n z a s o f th e s o n g a re p ra ctic a lly th e s am e

h h a d a a s t os e of t e e rli e r y s .

0 m ord h all b e the one ? y L , S I m ord s h all b e the o ne ? O y L , I O my Lo rd s h a ll I b e the o ne ? ’ M a kin fo r the p romi s e l a n ?

’ Yes tis that ood O l e h of Z on of on , g S ip i , Zi , ’ Yes tis that oo d o le h O f on of on , g S ip Zi , Zi , ’ Ye s tis that ood ole s h o f on , g ip Zi , ’ ’ a n f l a n M ki or th e p romi s e .

the h is hea lo a ded lo a de d loa ded O S ip vy , , , ’ ’ a n l a M ki f or the p romi s e n . ’ It s l oa de d w th m a n e r tho s an d tho s a nd tho s a nd i y u , u , u , ’ ’ a l M kin f er the p romi s e a n .

’ ’ THIS OLE WOR L S A R OLLIN

’ Thi s Ol e Wo rl IS A Rolli n is m o s t lik ely a ﬁgu re o f th h a n d d d a n owe e r e s ip m o el e o n th e s m e s o g . H v it o n e s a d ff erent de a o n e of d m ent a n d th e c v y i i , j u g e n d of h t e wo rld .

’ ’ ’ ’ ell the ole worl is a roll n roll n roll n W , i , i , i ’ ’ ’ Ye s ll th e Ol e worl is roll n ro n awa . , i , i y

’ ’ ell a n t ou o n to et re a d ? W , i y g i g y ’ ’ ’ ’ Ye s a n t ou o n to et rea d f o r it s roll n awa ? , i y g i g y , i y

ell et on o a rd littl e h ldren h ld ren h ldren W , g b , c i , c i , c i , ll l ’ ’ e et on o ard f or th s o e worl s roll n awa . W , g b , i i y

He S n s f o r th e s n n er mo rn e r a n d all his r en d s i g i , u , f i a n d a t e s to et o n o a d th d a s i ro s a rel iv g b r e wo rl t ll way . It remi n d s o ne som ewh a t of the so ng o n c e cu rren t “ ’ a mo ng the Neg ro e s : O d e o l e fe rry b o at s ta n ’ ’ ’ ” -w ai n a t de a n d n hill n s s a ll n ho m a i l C u we w e e . t i , , g i EXAMPLE S OF REL IGIOU S SONG S 1 19

I KNOW MY TIME AIN ’T LONG

Th e s am e ide a O f m otio n a n d th e e n d of the wo rld s n d te d in th e mo n o f th e t ra n s h a nd th e a s i i ic a vi g i , ip ,

s o n wo rld i ts elf is a l so reﬂ e cte d in th e n ext g .

’ ’ ’ ’ ’ Oh th e l htn n fla s hin a n th e th n der roll n roll n , ig i u i , i , ’ roll n i , ’ ’ ’ ’ ’ Oh the l htn n a s h n a n th e th nder roll n roll n , ig i fl i u i , i , ’ roll n i , - ’ ’ ’ ’ Oh the li htnin fla s hin a n th nder roll n , g u i , ’ awd now m t m e a n t l on awd now m L , I k y i i g ; L , I k y ’ l n time a i n t o g .

’ ’ ’ ’ The he ars e Wheel roll n a n ra e ard O enin O enin i g v y p , p , ’ O enin p , ’ ’ ’ ’ The hea rs e wheel ro ll n a n ra e a rd O enin O enin i g v y p , p , ’ o enin p , ’ ’ ’ Th e hea rs e wh eel roll n a n th e ra e ard o e nin i g v y p , ’ ’

a wd now t m e a n t lo n m t m e a n t lon . L , I k my i i g , y i i g

EVE RY DA Y

D a Ve ry much like th e fo rego i n g so n g is Eve ry y . It is SO s imili a r to o th e r s o n gs th a t o n e co n clud e s th at it is o n ly a putti ng togeth e r of wh a t th e Sin ger al re a dy “ ’ h e ah a m a e r e s h a e a so n Hev r n ew . T o k B N g v g , If y ” D a Wa s d m en t D a th a t h a s almo s t e a tl y Ju g y , x c y ‘ “ ” D a how th e s am e f n e an in a s th s o n e . er g i Ev y y, e er is ower l a nd s eem s to b e a n n in o l a r t v , p fu g i i g p pu i y

’ ell the hea rs e Wheel roll n W , i , E er d a e er d a v y y, v y y, ’ ’ C a rr in o rother to the ra e a rd y y b g v y ,

E er da e er d a mo e o n mo e . v y y, v y y ; v , Zi , v 120 TH E NEG R O AND HIS SONG S

’ ell a n t it a t t ? W , i pi y , pi y

E er d a e er d a . v y y, v y y ’ ’ ell a n t it a t a n t it a t ? W , i pi y, i pi y

d a e er d a m e n E er o o mo e . v y y, v y y ; v , Zi , v

’ ’ ’ ell the re c a rr in a s n n e r s n ner W , y y i , i ,

E er d a e e r da . v y y, v y y ’ ’ Ye s the re c a rr in a S nne r , y y i ,

d a E er d a e e r mo e on mo e . v y y, v y y ; v , Zi , v

o e on mo e f or ou o t to o to d me nt M v , Zi , v , y g g ju g ,

d e r d a E e r a e . v y y, v y y

Mo e o n mo e f o r ou ot to o to d ment v , Zi , v , y g g ju g ,

E e r da e e r d a mo e on mo e . v y y , v y y ; v , Zi , v

MY MOTH ER GOT A LETTE R

The ett n of m a l a n d e s e all of lette rs s all g i g i , p ci y , u u y

rh a m m e an s much to th e N e gro e s . P e p s it is Si ply

t To h a e a tte r ro b e c au s e th ey rec e ive li tl e m a il . v le f m a di s ti ngui s h e d p e rs o n is s up erl ative hono r a n d the

a m a e s th a t no e ra l recipi e nt us u lly k e f c k wn g n e l y . Jus t how th e N eg ro co n c eive d of re c eivi n g lette rs fro m

d o r wh h e m a n e d the a n el s a n d a o s tl e s a s G o , y i gi g p

t rs d o e s n o t a e a r l ear One ets a w ri ti ng l et e pp c . g

tter ano the r re a d s it o n e wr te s a l etter a n d al l e , ; i l

h a re ere n e is o n d in k now it s c o nte nts . Suc f c f u a

o n s th a t s e r e a s a w a rn n o r a dmo n t o n numb er of s g v i g i i .

ell m m o the r o t a l e tte r O h e s W , y g , , y ;

d it o h e ell She o ld no t rea s . W , c u , , y ? Wha t you re cko n th a t letter s a id ’ l n Tha t s he did n t h a ve o g to s tay he re .

’ ’ on t ou om e wo n t ou om e ? W y c , y c ’ ’ Won t you c o me a n g e t rea dy to die ? ’ ’ n t ou ome f o r m o rd is a ll n ou ? Wo y c , y L c i y

122 TH E NEGRO AND HIS SONGS

Th s nd e r rel on is etter th a n old i ki igi b g , ’ It s etter elt tha n e e r told b f v , A ’ ’ n it ju s s uit m e .

’ tell ou a l ttle th n ou a n t do I y i i g y c , ’ You an t s e r e G od a nd th e d e l too c v vi , , ’ But it ju s s ui t me

’ h en tro le is done a n o n ts ha e a s s ed W ub c ﬂic v p ,

r se to re n in ea e a t l a s t I i ig p c , A ’ ’ n it ju s s uit m e .

T H E B LOOD DONE SIGN MY NAME

It is g ra tifyi nig to th e Ne gro th at his Si ns h ave b ee n ” wa s he d n t o o am Th e e ro i h e blo d f th e L b . N g s i n gers h ave exhibite d a ch a racte ri stic s p ecim e n o f the r wo rd om n at o n s on rete t re s a n d theo i c bi i , c c pic u , “ lo a l r n l e s in the r s o n D e loo d o ne gic p i cip i g , B D ” Sign My N am e .

0 de lood 0 d e loo d b , b , O d e blood done Sign my na me ; 0 es s s a d so es s s a d so J u i , J u i ,

O de blood done Sign my name .

el e e it f or G o d h e tole m e I b i v , , Th at th e lood d one n m na me b Sig y ,

el e e it f or G o d h e tole m e I b i v , , Th a t the lood done n m na me b Sig y , Y es the lood do ne n m n a m e . , b Sig y

How d o ou now so ? G o d h e s a d s o y k i ,

l d a Th a t the b ood one Sign my n me .

’ ell it s wr tten in d e n dom W , i Ki g ,

Th a t the blood d one Sign my n a me . EXAMPLE S OF RELIGIOUS SONG S 123

’ ell in the a m s oo it is wr tten W , L b b k i ,

Th a t th e bloo d don e Sign my na me .

’ ’ ell th e wheels a tu rnin Wh eel s a tu rnin W , , ,

Blood don e Sign my n am e .

’ ’ ’ I m o n f or lor o n for lor b u g y, b u g y,

The blood done Sign my na me .

On d e mo nta n o n d e mo nta n u i , u i ,

S The bl ood don e ign my na me .

In th e a ll e in the a ll e v y, v y,

" n a Blood d one Sig my n me .

’ , D E U D D ER WORL IS NOT LAK D IS

But the Ch ri s ti a n doe s not h ave an e a sy tim e after hi o o n atan is alwa s a t h a n d a n d re a d to s c nvers i . S y y ‘ ’ m aw a he re is a h a n e Th e e ro s dea l e a d hi y if t c c . N g i

h a s n n o t d In his m a r h s o n s th e o f th e d evil b ee e . c g Neg ro im agi n e s th a t h e is m a rchi ng ag a i n s t his f o e ;

f o e is s om e t m es a t a n h m s el thi s i S i f .

’ er s w al n lon d e dd er d a I ki g u y, ’ d r D e u d er wo l is not l a k dis . met ol e atan on d e wa I S y, ’ D dd a k e u er worl is not l dis . “ ’

He s a d o n m a n o re too o n to ra . i , Y u g , y u y u g p y ’ D dd a e u er worl is not l k dis .

’ Tell a ll dis wo rl , ’ Tell a ll dis worl , ’ T ll a ll dis wo rl e , ’ D e dd e rl a k u r wo is not l dis .

went down in d e alle to ra AS I v y p y, ’ D e dd er wo rl is not l a k dis u ,

m et a l ttl e loo er on d e wa I i k y, ’ D e dd u er worl is not l a k dis .

He s a id : Loo k out f er d e jedgm ent d a y . ’ D e d r r is n a k di u d e wo l ot l s . 124 TH E NEGRO AND HIS SONGS

’ GOIN DOWN T o JO RDAN

’ A no ther m a rchi ng s o ng th a t is a f avo ri te is Go i n ” d a t r re s e nt s l s own to o r n . I e e th e o n e t D J p , ik ju

en th e a tt r te s o f a ta n a n d his rel a t o n t giv , ibu S i o the

h r s t a Th s e n e a s t re th e a rm m n . e ar h C i i c pic u d, y c i ng o n dow n to o rd a n th e m a n a r f o e a n d th e rh thm J , i gi y , y

f h m a it rres s t l e f o r th e r o t e s o ng k e i i ib N eg o .

" Halleluyer to the La m ’ o n on dow n to o rd a n G i J , ’ ’ ’ ord God s o n th a t n h an L givi , ’ a Go in on d own to J o rd n .

’ o n down to orda n G i J , ’ o n down to o rda n G i J , ’ ’ la te s wo rd an s h eld o t m re a s . I g y b p , i ’ o n down to o rd a n G i J , ’ ’ oldl m a r h n thr the eld B y c i u ﬁ , ’ a Goi n on d own to J ord n .

’ ’ l ed one lo out n a tan s wa ll I p uck b ck S , ’ o n on d own to ord a n G i J , ’ hea rd him s t m le a n s aw him a ll I u b f , ’ Go i n o n d own t o Jo rda n .

’ ’ Ole a ta n s a l a r a n a o n re r too S i c ju , , ’ Go in o n d own to J o rd a n . ’ ’ ou d on t m n d he ll o n re o u If y i c ju y , ’ Go in o n down to Jo rd a n .

’ Ole a t a n m a d a n a m l a d S I g , i He m s s e d a s ou l he tho ught he h a d .

Ole a ta n tho ht he had me a s t S ug f , ’ ’ ro e hi h a n a n r B k s c i I m f ee a t la s t .

’ ’ ’ I v e l a nd ed m e e t on ord a n s Sho y f J , ’ ’ Now I m ree ore e r mo f f v , ’ o n o n do n o rd a n G i w t J o .

126 TH E NEGRO AND HIS SONG S

’ An the na l him to the ros s h a ha ! y i c , , ’ An th e na l him to th e ro s s h a h a ! y i c , , ’ An n a hi they il m to the c ro s s on that d ay .

’ ’ An th e loo d ome runnin down h a h a ! b c , , ’ The loo d ome r nm n down h a ha ! b c u i , , ’ ’ An he l d e r nnin d a t oo om u own o n th t da . b c , y

’ ’ ’ An the ll th e f a t nin a l h a h a ! y ki c f, , ’ ’ ’ An the ll th e f at nin al h a h a ! y ki c f, , ’ ’ They kill th e f at nin c a lf o n tha t d ay .

’ An the a rr ed m ord aw a h a h a ! y c i y L y, , ’ An the a rr ed m ord awa h a h a ! y c i y L y, ,

The a rr ed m ord awa b h s s el . y c i y L y, y i f

PAUL A ND SILAS

a l a n d l a s e te r a n d o h n a re mo d el s fo r ro er P u Si , P J p p

o nt m at n n e of th e o ld s on s re re s ente d c e pl io . O g p

eter a n d a l a s o n d in a l To e dd a de s n P P u b u j i . g y u g , toge dd a d ey p rayed ; D e L awd he h e ard how dey s u ng ’ ’

a d D e h m o 8 el e s de ell d o ne r n . a n r e . n l e p y u b y v , b u g “ ’ a l a n l a s o n d In a l Th e h r s t a n s ra oth P u Si b u j i , C i i p y b n ht a n d d a re re s e nted a no th er so n o ne er s on ig y , p g , v i o h h a n d a o st of f whic s s urvive d a n d is cu rre t to y . M th e so n o n s s f r t o n g c i ts o e p eti i s .

P a l a nd l a s o nd in a l u Si b u j i ,

Pa l a nd la s o n d in a l u Si b u j i , Pa l a nd la s o nd in a l u Si b u j i ,

a a nd a l P ul Sil a s b ou nd in j i .

a l did n n l a er P u p ray o e mou r fu p r y .

’ ? Don t you wi sh yo u could p ray like Paul

’ i He p rayed a n th e good Lord s et h m free . EXAMPLE S OF REL IG IOU S SONG S 127

Ano th e r ve rs io n p rays fo r th e a ngels to com e down

h a s a n d u nlo ck th e d o o r o f th e j a il . It a s triki ng p a rall el am o ng th e s ecul a r so ng s a n d might h ave b een c omp o s e d with th e id e a of the Neg ro in j a il as b ei ng res cu e d .

ome down an el w th the k e C , g , i y, om e d own a n el w th the k e C , g , i y,

M o rd a n el ome down w th the k e . y L , g , c i y

nlo the doo r f or me-e-e U ck , n lo the door f or me-e-e U ck ,

M ord nlo the door for me . y L , u ck

P a l a nd l a s is in a l u Si j i , P a l a nd la s is in a l u Si j i ,

a l a nd la s is in l M ord P a . y L , u Si j i

nlo the a l-ho s e door U ck j i u , nlo th e a il-ho s e doo r-oor U ck j u ,

l a l- d M ord n o the ho se oor . y L , u ck j i u

’ FO HT Y DAYS AN NIGHTS

Among tho s e o f th e Bibl e who h ave b e en the Sp eci al

f s on o ah h a s a m a f s e t o ro nent l e . Re ubj c g , N p i p c

im h m a d a He is a a s e re n c e s to h ave b e en e lre ady . lw y

h e of th e oo d In m o s t of the s o n s where n a the ro ﬂ . g i s e al h a ra te r h a s an m o rta nt a rt it is in th e p ci c c i p p , “ ’ ” in Foht a s a hts ho r s o r re rain . n c u f SO y D y Nig , a en eral m t re O f s on s an d de a s o ah a nd th e g ix u g i , N

ﬂoo d m a ke th e cho ru s .

’ D e alls Bro Noah a ool s h ma n y c f i , ’ O ht d a s a n n hts F y y ig , ’ He lt d e ark o n d e l a n bui up , ’ Foh da s ty y an night s . 128 THE NEGRO AND HIS SONGS

’ ’ An ho ho d d n t It ra m ? , , , i i id e s ou now t d . O y , y k ’ Ho ho d d n t it ra n ? , , i i did e s ou now it . O y , y k

Ole a ta n w ea rs a ron s ho e S i , ’ ’ It s f o hty d ays a n n ight s ; ’ Ef ou d o n t m nd w n e s l it on ou y i g i ip y , ’ Fo hty d ay s a n n ights .

’ ome o to meetin to ut o n retens e S g p p , ’ Fo hty d ays a n n ights ;

nt l d e d a Ob ra e is s ent U i y g c p , ’ FO hty d ays a n n ight s .

’ ’ ome o to me etin to S n a n Sho t S g i g u , ’ Fo hty d ays a n n ights ; ’ ’ FO s ix mo nth s d e ll b e t rned out y u , ’ Fohty d ays a n n ights .

’ tell ou rother a n tell ou tw e I y b I y ic , ’ ’ It s f o hty d ays a n n ights ;

M s o l done a n hored in e s s h r s t y u c J u C i , ’ s Fo hty d ays a n night .

’ ou it d a r e o do If y g b f I , ’ Fohty d ays a n n ights ; ’ ’ oo out f er m e I s e o m n too L k , c i , ’ Fo hty d a ys a n n ight s .

’ You b a ptize Pete r an you b a ptize Pa ul ’ ’ It s f ohty d a ys a n n ights ; —— But d e Lo rd-G o d er mighty gwine b a ptize all ’ ’ It s f ohty d ays an n ights .

128 TH E NEGRO AND HIS SONG S

’ ’ An ho ho d d n t it ra n ? , , , i i

e s ou now it did . O y , y k ’ HO ho d dn t it ra n ? , , i i

es ou now it did . O y , y k

Ole ata n wea rs a ron hoe S i S , ’ ’ It s f ohty d a ys a n n ight s ; ’ Ef ou don t m n d w n e l it o n ou y i g i S ip y , ’ Fo d a a hty ys n nights .

’ ome o to meetin to ut on retens e S g p p , ’ Fohty d ays a n n ight s ;

nt l d e d a Ob ra e is s ent U i y g c p , ’ F h d a s a o ty y n n ight s .

’ ’ om e o to me etin to n a n s ho t S g Si g u , ’ Fo hty d ays a n n ights ; ’ ’ Fo Six month s de ll b e t rned out y u , ’ F a a n s o hty d ys night .

’ tell ou rother a n tell ou tw e I y b I y ic , ’ ’ It s fohty d ays a n nights ; My s oul done a n chore d in J es u s Ch ri st ’ Fo hty d ays a n n ights .

’ ou it d ar e o do If y g b f I , ’ Fo hty d ays a n nights ; ’ ’ oo out f er me 1 s e om n too L k , c i , ’ Fohty d ays a n n ight s .

’ You a t e Pete r an ou a ti e Pa l b p iz y b p z u , ’ ’ It s f ohty d a ys a n n ights ;

But d e o rd-G o d-er-m ht w ne a t e all L ig y g i b p iz , ’ ’ a It s f ohty d ys a n n ights . EXAMPLE S OF RELIGIOU S SONG S 129

’ DIDN T IT RAIN ?

D e Ole Ark A-Mo v erin w a s the title O f a pl a n tatio n s o ng which gave th e s to ry o f No a h a n d th e

oo d ﬂ .

’ ’ ’ es wa t a l ttle wh le I m w ne tell o u o t d e O l e J i i i , g i y b u

a rk ,

a l i a n l a D e Lo rd told No h f or to bui d h m o e rk . ’ D en Noah an d his s ons went to wo rk upon dry l an ; ’ ’ ’ D ey built dat ark jes ac co rdin to comm a n . ’ Noah a n his s o n s went to work upo n d e timb er ;

D e ro d e n to l a h the s ll to o nt d e n er . p u b gi ug , i y p i ﬁ g ’ ’ hen d e a rk w a s n s h ed e s a c co rdin to l a n W ﬁ i j p , ’ M a s s a Noa h too k his family both a nim al a n m a n .

h en d e ra n e n to all a n d dc a rk b e n to r s e W i b gi _ f gi i ,

D e wicked hu n g rou n d wid d er gro a n s a n d d er c ri e s . ’ ’ Foht d a a n d fo ht n hts d e ra n it k e a a ll n y y y ig i p f i , ’ ’ ll ’ D e wicked c lumb de tree s a n fo r h elp dey k ep c a i n . ’ D a t aw ul ra n Sh e sto ed a t l a s d e wa ter de s s ded f i pp , y ub i , ’ An d at ole a rk Wid a ll a bo a rd o n Ararat Sh e rided .

Thi s is the pictu re which th e pl a n ta tio n a n d sl ave

e ro h a a Th e re s ent-d a N g s m de f or his s ati s factio n . p y so ng th at app a re ntly o rigi n ate d in th e ab ove s o ng is

l es s el a o rate h a n o nl o rt o n s of th e O ld s o n a n d b , vi g y p i g “ ’ not n t is all e d n t It b ei g much in d em a n d . I c Did ” R ai n ?

’ G od told Noa h o t d e ra n ow n b u i b Sig , ’ awd d d n t it ra n ? L , i i ’ N more w a ter b u t e r mex t me O fi i , ' ’ Oh d d n t it ra in ? Hall elu er ! , i y

’ ’ Oh d dn t it ra n ? Oh d dn t it ra n ? , i i , i i ’ Ha ll elu er d dn t it ra n ? y , i i ’ S ome f ohty days a n n ight s . 130 TH E NEGRO AND HIS SONGS

’ ’ ell It ra In f oht d a s a n n hts Widout sto in W y y ig pp , ’ awd d dn t it ra n ? L , i i ’ ’ The s n ner ot m ad a se the ra n e t a dro in i g c u i k p pp , ’ Oh d dn t it ra n ? Ha ll elu e r ! , i i y

MY TR OUBLE IS HARD

Amo ng th e m o s t i n te re s ti ng o f a ll th e N egro Spi ri t n al s a re tho s e which h ave b e en compo s e d in recen t

e ars h e s e a re s n a nt in the r ea r n y . T ig iﬁc i b i g upo n th e tem erame nt a n d rel o n o f th e re s ent-d a e ro p igi p y N g .

h e s e s on s a re eff o rts a t o etr h l e a t th e s T g p y, w i ame t m e the n te B l al s to r w th s o n Th f i y u i ib ic y i g . e ol low n s on h h e ts its n am e rom the ho r is i g g , w ic g f c u s , “ ” e nt tl ed M ro le Is a rd a n d w a s o i y T ub H , c mpose d “ ” s te r owe r s It w a s r n te d o a by Si B . p i n Si ngl e s heet f o r di s tributio n ; e a ch p e rs o n who co nt ribute d to t h e colle ction w a s e ntitl e d to a co py o r a Copy c o uld b e

n e h e s n h er n e h a d f or a ick l . S u g w s ong to c rowd s wh e re er She en t a n d th e n wa s en a ro ra ta o f v w , giv p

l th th e ho r s r th e c oll e c tio n s . Wi c u ep e a te d a fter e a ch s ta n a a s th e e roes alw a s do it e o me s a s o n z , N g y , b c g of u n u s u al l en gth :

now a m an t ha t wa s here e o re hr s t I k b f C i ,

a a d a a n d His n me w s A m Ev e wa s his wife . ’ I ll tell ou how th s m a n l e d a r ed l e y i iv ugg if , ’ a Ju s t by t ki ng thi s wom a n s a dvice .

M t ro l e is ha rd O h e s ! y ub , , y M tro l e is ha rd o h es ! y ub , , y

M t ro l e is h a rd O h e s ! y ub , , y

Ye s ndee d m tro l e is h a rd . , i , y ub

h ls t ou a re s tt n o n o r s ea t W i y i i g y u ,

Let me tell you s o me thi ng tha t is sweet . ’ hen a ll o d s eo l e in lo r m eet W G p p g y ,

They will s lip a nd Slid e the go lden s tree t .

13 2 TH E NEGRO AND HIS SONGS

WITNESS F O R MY LORD

’ Almo s t e qu ally i n teres ti n g is Th at s Ano th er Wit ” ne s s f o r o rd It w ll b e n ot e d in th e s e s o n s My L . i ic g th a t refe re n c e s a n d ph ra s e s t a ke n fro m th e ol d s o ng s a re d t in d ff e re nt o m n at o n s h e ten s e b u . Of u , i c bi i T y th s o th t l s l s e th e r o rm e r wo r . I w l b e n tere t n u i f i i i g, ’ a l s o to om a re th e e ro s rel o s o n e t o n s o f , c p N g igi u c c p i the B ible a n d G o d a s exp res s e d in th es e s o n g s with tho s e r d in th ld e r ro d t s exp es s e e o p uc io n .

e a d in enes s ou nders ta nd R G i , y u ,

eth s elah w a s the olde s t m a n M u ,

ed n ne h n d red a n d t -n ne Liv i u Six y i ,

Die d a n d went to he ave n in du e t im e .

eth s ela h is a w tne s s f or m ord M u i y L ,

Methu s e l ah is a witne s s f o r my Lo rd .

You rea d a o t am s o n rom his rth b u S f bi ,

S tronge s t ma n tha t live d o n the e a rt h . ’ Wa a on der in a n en t t m e s y b ck y ci i ,

He Slayed three thou s a n d O f the Phili s ti ne s .

’ a m son he we nt wa n d e r n a o t S i b u , ’ Fo r his s trength h a d n t b een fo u nd out .

His w e d ro e d d ow n o n h e r ne e s if pp up k , “ ‘ a d : a m s on te ll me where o ur s tre n th l e s le a s e . S i S , y g i , p

el a ta l e d s o oo d a nd a r D i k g f i , He told her his s trength l ie in his h a i r ; “ h a e m hea d s t a s lea n a s o r h a nd s S v y ju c y u , ’ 9 3 , And my s treng th ll b e l ike a n a c hua l ma n s .

’ Wa s n t tha t a wit ne s s f o r my Lord ? ’ ? Wa s n t th at a witne s s f o r my Lo rd EXAMPLE S OF RELIGIOU S SONG S 13 3

’ s a a h mo nted on de wheel 0 t me I i u i , — spo ke to Go d-e r mighty way down the li ne ‘ “ a d o rd to m e re e a l S i , O L , v ; ” How c a n thi s vile ra ce b e he a le d ?

God s a d Te ll the so n s of me n i , , ’ Un to the m ll b e bo rn a ki ng .

he m tha t e l e e on his Wa T b i v up y, ” They s h a ll re s t in the la tter d ay .

sa a h w a s a w tnes s f o r m o rd I i i y L ,

I s a ia h w a s a wi tnes s f or my Lo rd .

The re wa s a m a n a mo ng s t the Pha ri s ee s ’ N a med Nico demu s a n d he d idn t b elieve

He we nt to th e a s te r in the n ht M ig ,

And to ld him to ta ke him out er hum an s ight .

’ ’ You a re the h r s t I m s re it s tr e C i , u u ,

Fo r no ne do d e mi ra cle s d a t you d o .

But how c a n a m a n now O ld in Sin , , ” Tu rn b a ck s till a nd b e bo rn aga i n ?

h r s t s a d Ma n ou w a n t to b e w s e C i i , , if y i , ’ You d b ette r re p ent a n d b e b a ptize d ;

el e e o n m e th e Son of Ma n B i v , , ’ ” he u ll r T n yo wi b e b o n d aga in .

J ’ Wa s nt th a t a witne s s f o r my Lord ? ’ Wa s n t t hat a wi tne s s f or my Lo rd ?

’ AFTER WHILE

’ Afte r Whil e give s a Slightly diff e re n t fo rm o f ve rs e b ut with s om ewh at th e s a m e ch a ra cte ri s tic s in o th er re s t s a s th o s e s t h er is ttl e re l a r t p ec j u given . T e li gu i y

h m a in t e etr l a rra n em e nt b ut it m a e s a oo d so n . ic g , k g g 134 THE NEGRO AND HIS SONGS

’ The worl is ll of o rms a nd han es fu f c g , ’ ‘ It s st now s o on se ju c fu , Yo u will ﬁn d s ome d anger n e er h n I v yt i g you u se . But thi s is consolation to every blood-wa s hed child ’ ’ ’ od o n o ha n e our sta ion a ter le s t t wh . G g i c g , f i

’ ’ ter wh le a ter wh le Af i , f i , ’ ’ ’ od s o n o han r a ion a ter w l t e ou st h e . G g i c g t , f i

Th e devil t rie s to th row down ’ Eve rything th at s good ; ’ He d ﬁx a w a y to con ﬁ ne

The righteou s if he could . Th an s b e to God alm ht who annot b e e led k ig y, c b gui , ’ ’ a Ole S atan will b e done fightin fter while .

ome men a nd women wo ld hel the world a lon S u p g, ’ ’ ons a n l om la n n of e r h n h a n By c t t y c p i i g ve yt i g t t s do e . They wa nt to b e c alled Chri s ti ans a nd all thei r b adnes s hide ; ’ ’ ’ God s goin to Open the s e cret afte r while .

Pre a hers in the r sermons s tand a nd tell the tr th c i up u , ’ They ll go a b ou t a nd mu rmu r with sl ander an d abu se ; They wa nt the whole arran gement to s uit their s elﬁ s h s t le y , ’ ’ ’ s a i e le God goi n to r n down ﬁr a fter whi .

WHAR SHALL I BE ?

In a en eral m t re o f O ld so n s a n d n ew s o n s o f g ix u g g ,

O ld tra ts an d n ew tra t s th e e ro s n s a ea t l i i , N g i g b u ifu ’ ” so n wh h h e h a s all ed h ar h all Be ? Th e g ic c , W S I

m a er is s een u su al i g y .

o se s l ed t ll he ot old M iv i g , Wh a r s h all I b e ? ’ r ed in d e mo nta n I m told Bu i u i , SO , Wh ar s ha ll I b e ?

136 TH E NEGRO AND HIS SONGS

’ So it s go a nd I go with you ;

en o r o a n a Op y u m u th d I s p e k for you . Shou t and I Shou t with you;

Th row out you r a rin s a nd I c atch you . ’ o and ell e a on t el If I g t th m wh at you s y they w b ieve me .

’ DRINKIN OF THE WINE

Anothe r s on g of the mo d ern typ e s e em s to a ppe al

to the e r es er s tro n a n h e is s ee n a N g o v y gly . Ag i i g

d t o But vivi pic u re of th e Ch ri s t in th e lo ng y e ars ag . Ju s t Wh ere h e ge ts t h e ex a ct id e a s by which to m ake th e

c omb in tl o n s it is d to a e h a s h ets th a ffi lt s . r e e , i cu y P p g

entral tho ht ro m th m a l e o f a n a c ug f e i r c C .

m mother a s k ou f or m e tell her one to G allerlee If y y , I g ,

o ht to a een there o r tho s a nd ea rs a o I ug b f u u y g ,

T r O d i nk O f the wi ne .

’ ’ D rink in of the w ne d rin kin of the w ne i , i , ’ ’ D k e he ne rin in of th w ne d rin kin of t w . i , i

hr s t wa s there o r tho s and ea rs a o C i f u u y g , ’ D r in k in o f the wi ne .

You m a mo rn n ner mo rn the ord hel ou to y u , Si , u , L p y mou rn ;

hr s t wa s the re o r tho s a nd ea rs a o C i f u u y g , ’ D ri k i he w ne n n O f t i .

TH E BLIND MAN STOOD B Y TH E WAY AND C RIED

In Th e Bli n d Ma n th e pictu re IS al so o ne of c on fu s i ng th e Sc rip tu r al s ce nes wi th tho s e o f th e p res en t - an d of pl aci n g him s elf in th e s te a d of th e c entral ch ar a cter of th e s to ry .

ell the l nd man s too d b the wa a nd r ed W , b i y y c i ,

ell t he l nd m a n stoo d b the wa a n d r ed W , b i y y c i ,

l n a n s od b the wa a n r ed Yes the d m to d . , b i y y c i EXAMPLE S OF RELIGIOU S SONG S 13 7

’ ’ ” He r ed ord don t ou hea r o me ? c i , O L , y p Ha r the l n d ma n stood b the wa a nd r ed k , b i y y c i , “ ’ ’ ” He r ed ord don t ou hea r o m e ? c i , O L , y p

’ rother don t ou ear the l nd r es l nd r es ? B , y h b i c i , b i c i ’ rother do n t ou hear the l nd r es l nd r es ? B , y b i c i , b i c i ’ rother don t ou hear the l nd r es ? O b , y b i c i

es s he e de l nd m an s ht l nd m an s ht J u giv b i ig , b i ig , e s s he e de l nd man ht l nd man s ht J u giv b i Sig , b i ig , Y es es s he e d e l n d m an ht . , J u giv b i Sig

WALKIN ’ IN THE LIGHT

A p eculi a r m o diﬁc a ti o n of Walki ng in th e Light

Is the son of the s a m e n am e amo n the e roes g g N g , which s eem s to h ave it s o rIg In In the Sc riptu ral in “ ” t on e a re the ht o f h ld n Y l t e wor . j u c i , ig

’ Let yo light s hine a ll over the world ; ’

al n in the l ht ea t l l ht . W ki ig , b u ifu ig

’ wo nder l l ht s h ne b n ht MOS fu ig , i y ig ; ’ Let yo light Shi ne a ll ove r the world .

a m the l ht mo st t l l ht I ig , pi ifu ig ; ’ Let o l s a l e y ight hine l ov r the world .

’ ollow the l ht mos ea t l l ht F ig , b u ifu ig ; ’ Le o h n a l o t y lig t Shi e l over the w rld .

’ nner wh at ou w ne do when the l a m sto s rn n Si , y g i p p bu i ’ Let o l ht h ne all he o l y ig S i over t w r d .

’ THE PILGR IM S SONG

’ The Pilgrim s So ng which h a s b ee n co n s id ered SO b e au tiful is s till a favor i te ; the wo rd s o f the s ta nzas d tt t m a b e a l d a t d d h m n o f the iff er li l e . I y c le s a n a r y 13 8 TH E NE GRO AND HIS SONGS

e roes here is a s t r th at s ho ll en t . o A h e N g T y Bi p ,

d r f th . E h r h d o n e o e . . om o se th f u A M C u c , c p e song

d d He w a s e r w ll d at d a o n his ying b e . v y e e uc e n d a m a f o n s dera e a l t a n d el n h l e th e n o c i bl bi i y fe i g . W i s a dly hop eful wo rd s o f th e s ong a re O f a high er typ e th an the a era e S r t al a n d h le its m etr al orm v g pi i u , w i ic f is f a a o e the s al th e so n s t ll o m ne s m a n o f r b v u u , g i c bi y the idea s an d phra se s of the favo ri te Spi ri tu al s O f the “ ’ S s Th e l r m s o n a s it is o n d is ° l ave . Pi g i S g f u

a m a oor wa arin s tran er I p yf g g , While j ou rneyin g through thi s world o f woe ;

But there is no n es s to l no d an er Sick , i , g ,

In th at bright world to which I go .

’ I m o n there to s ee m l a s s ma te s g i g y c , ’ They s a id th ey d meet me when I come ; ’ I m s t a o n o er ord an ju g i g v J , ’ I m ju st going ove r home .

’ ’ now d ar lo ds ll ather ro nd me I k k c u g u , I know my road is rough a nd s teep ;

Yet there r ht elds a re l n s t e ore me b ig ﬁ yi g ju b f , ’ Where God s redeemed the ir vigils keep .

’ I m o n there to s ee m mother g i g y , ’ She s a id s he d meet me when I come ; ’ I m st oin o er ord an ju g g v J , ’ I m st a o n o er home ju g i g v .

’ ll s oon b e ree rom e er tr al I f f v y i ,

My bo dy will s leep in the old chu rchya rd . ’ I ll t the ros s of s el —den al qui c f i ,

And en e m e a ard t r in y gr t rew .

’ I m o n there to s ee m mother g i g y , ’ She s a id s he d meet me when I com e ; ’ I m s t a o n o er ord an ju g i g v J , ’ I m ju s t a goin g over home .

140 TH E NEGRO AND HIS SONGS

’ ’ ord I m l nd a n want to s ee O L , b i I , ’ ’ 0 ord I m l nd a n want to s ee L , b i I , ’ ’ 0 ord I m l nd an w ant to see L , b i I ,

He al m e e s s alon the hea enl wa . , J u , g v y y

’ ’ o rd I m r led a n w ant to wal O L , c ipp I k , ’ ’ 0 ord I m r led a n w a nt to wa l L , c ipp I k , ’ ’ 0 ord I m r led a n wa nt to wa l L , c ipp I k ,

Hea l me e s s a lon the he a enl w a . , J u , g v y y

’ ’

0 ord I m dea a n want to hear etc . L , f ,

’ I HEARD THE ANGELS SINGIN

The e roe s a re re at el e e rs in d re s s a nd n rm N g g b i v u ifo .

o lo r too a e al s to th em a s SI niﬁc a nt a n d th e mo re C , , pp g , s triki ngly di s ti n ct th e colo r the s tro n ger imp re s s io n it m a es o n th e r m a n at o n s h s de a of olo r k up i i gi i . T i i c

a s o m t f The h b ec e in ero e n in m a ny O th e i r s o ngs . rh m e s t d h e y e h lp o give th e pictu re it s vivi n es s . T

ollow n s o n w th it s ar a nts is s t ll s n th f i g g , i v i , i u g wi

o n s d a s c i er ble ze t .

Who is that yon der a ll d res s e d in red ? ’ I hea rd the a ngel s s in gi n ; It loo l e th e h ld ren os e s led k ik c i M , ’ heard he a n el s n n I t g Si gi .

own o n m n ees D y k , D own on m nees y k , ’ hear he a n el s s n n I d t g i gi .

ell who th at onder a ll d re s s ed in l a ? W , y b ck ’ I heard th e a n gel s s i ngi n ; ’ ’ It loo s l e it s de mo rn ers u s ot a k ik u j g b ck , ’ ea a n s I h rd the gel s ingin .

’ Ye s who s th at ond er a ll d res s ed in l e ? , y b u

It loo l e the h ldren s t ome o k ik c i ju c thr ugh . EXAMPLE S OF RELIGIOU S SONG S 141

’ rs u s o t a th e e ro es s om e B e s ide s mou rn e j g b ck , N g “ ’ h o r t e t t m e s S n a S s ter a S n n e r a e c . u s i i g i ( i , yp c i , ) j

n o ne of th e o ld s o n s the a o e e rs es got b a ck . I g b v v

e re s n to th e h o r s w u g c u ,

0 wha t ou s a ohn ? y y, J 0 what ou s a oh n ? y y, J 0 what ou s a ohn ? y y , J ’ D e res rre t on drawin n h u c i ig , with thi s l a s t li ne a s a refra i n a fte r e a ch li n e O f th e “ ” so n o rres on d n to I h e a r d th e a n el s S n n g , c p i g g i gi g . In a noth e r o f th e o ld s o n g s th e ch o ru s w a s

’ G o a r a n r n d e ell , M y, i g b ,

ome oh n a nd all d e roll C , J , c ;

I th an k G od .

TH E BTG FISH

Th e Ne gro vi s u a lize s with \a go o d d e a l o f s ati s He m a n e s th at h e C a n s e e th e th n s factio n . i gi i g a bout

o h h a s told d which h e Si ng s . S e won e rful s to ri es “ a o t th e wh al e a n th e o r d ne a o t th e t r b u d g u vi , b u cu te ” m a a o ah Th e O ld s wo r s well s n . o n m od ed and J g, iﬁ a d ap te d with ch ara cteri s tic ph ra s eolo gy a n d exp re s “ “ ” Th ﬁs s on s t ll a eal s to him . e h or s h er i , i pp big k

re s e nts th e te rro r o f th e s e a to th ne rep e N egro . O o ld m a n expl a i n e d thi s fa ct b y s ayi ng th a t is wa s b ec a u s e th e N eg roe s we re terriﬁ e d a s th ey we re b rought “ o er ro m r a th at th e s aw d e wh al e s an d s h e s v f Af ic , y ﬁ ” “ ’ in de s e a a n d th a t d e r a e h a n t n ebb e r o t o e r it , c i g v ” noth er a s r e d th e e ar a n d m a n at on yet . A c ib f i gi i m t t a r ah uch o h e Biblic l s to y o f th e wh al e an d Jo n . P erh ap s n eith er d e termi n e s to a ny m a rk e d d egree “ th s eel n owe er th e s on s h w allow i f i g . H v , g, Big Fi S TH E NEGRO AND HIS SONGS

on ah w h h a s een so o l a r in its a ra h a s s J , hic b p pu p p r e

and in the l ee l s is s t ll rrent in th s o rm : g c ub , i cu i f

ord the fis h fis h fis h swa ll o w ole ona h L , big , big , big , J whole ;

The fis h the fis h the fis h swallow O le ona h big , big , big J ;

fis The fis h h fis h swallow ole ona h whole . big , big , big , J

Ole ona h r ed ord s a e m s o l J c i , L , v y u

Ole on ah ole on ah ol e on ah r ed a e m s a e J J , J c i , S v y, v

' ' m Y Y7

Ole onah r ed ord s a e m s o l . J c i , L , v y u

th e s am e m ann er a re s u ng other li n e s

ord th e o rd ne o rd ne o rd ine rowed L , g u vi , g u vi , g u v g

ove r J ona h .

ell the tter worm tter worm tter worm c ut W , cu , cu , cu ,

that vine down . — In a d ditio n to Jo n ah an d the l a s t two s ta nza s a re ” not mmo n in th e o ld s o n s ete r o n the s ea co g P , “ ’ ” ’ G a r el lo o tr m et and D a n el in the l o n s b i , b w y u p i i ” a n ho s e whoh a e h e a rd th e l ate st o rm d en re s u g . T v f of th1s s on g would h ardly im a gi ne th at it was a very

s o n a pp ro p ri ate chu rch g .

THE O LE TIME RELIGION

It h a s b e en s tate d th at the Neg ro m a k e s a so ng his

a t o f S n n he is nre own by the Simple c i gi g it . If u

a n e d a n d at the s am e t m e tho ro hl wro ht he s tr i i ug y ug up , a dd s e nough to his s o ng o r ch a nge s it s ufﬁci ently to

In a ommo o ld so n l make it a lmo s t u n iqu e . c n g ik e “ ld-t me e l o n s n h te s a nd e roe s The O i R igi , u g by w i N g

al e th e re a re a s m an e rs o n s a s th e e ro c an ik , y v i N g

144 TH E NEGRO AND HIS SO NGS

’ is It good when de lightni n ﬂ a s hes .

I is l t good when de thu nder ro l s .

’ It is oo d when de s a s a e a ll g t r r f in .

’ I is ood wh en de m o n is mel t g o tin .

’ e d r - It is good wh n e g a veya rds a openin .

In Sho rt a n l ne rom ano the r s o n wh h ﬁts h , y i f g ic t e “ ” rh thm is en a l a e in Th e Ol e-t m e el on y giv p c i R igi , a nd eve ry new s i ngi ng is lik ely to s ugge s t a ddition a l

ve rs e s to the Neg ro .

’ ’ BY AND BY I M GOIN T o SEE THEM

’ Thi s so ng is a no th e r goo d e xample of th e N eg ro s ten d

t is his e ncy to m a k e a ny s o n g his own . I v ers io n of “ ’ ” an d B e ll o a n d ee h The th e O ld By y W G S T em . choru s is

’ ’ B an d b I m o n to s ee th em y y g i , ’ ’ B a nd b I m o n to see th em y y g i , ’ ’ ell it s b a nd b I m o n to s ee them W , y y g i g ,

r On de u dd er s ho e .

It is va ri e d b y th e s ub s ti tutio n o f him o r her f o r “ ” al n m t he m The ers e s a re ra t l l ed . the . v p c ic y u i i T y

of a l n e re e ate d thre e or Six t mes a s th e c o n s i s t i p i , ” r re e r th th e re ra n On d e dder s ho re s i nge s p f , wi f i u

t a a added to the e nd o f e a ch s n z .

ot a rother o e r o nde r I g b v y ,

o t a ro th er o e r o n der I g b v y ,

ot a rothe r o er onder I g b v y ,

On de udder Shore . EXAMPLE S OF RELIGIOU S SONG S 145

ather mo th er Si s ter re a he r a l l a s o s es F , , , p c , P u , Si , M , “ a d a o o d d d e Sho om t s n others re al s n e u r re . S e ime a diff erent elem e nt is i ntro duc e d

’ ell mournin t me w ll soon b e o er W 7 i i v 7 ’ ell mournin t me w ll s oo n b e o e r W , i i v , ’ ’ e ll it s mournin t me w ll soo n b e o e r W , i i v ,

On d e udder s ho re .

’

Pra in t me w ll soon b e o e r etc . y i i v ,

’

Shoutin t me w ll soon b e o er etc . i i v ,

the o a s o n all s fo r w a rn n to th e s n ner othe rs If cc i c i g i , a re s u ng

’

nn n t me w ll s oon b e o er etc . Si i i i v ,

’ a l ll m n t me w soon b e o er etc . G b i i i v ,

’ Th e O ld pl a nt a tio n s o ng wa s : Wo nder Wher S dem ’ ’ e rew Ch ld re n doub tin hom a s S n n eter H b i ( T , i ki P , ’ a d a d his By n by w e ll go n m eet him . T

o rm i a a rentl n n a f s pp y ot s u g to d y .

e n the newe r s o n s m an of th em th e e s t eff orts Ev g , y b of th e wh te e a n el s ts o th ro h th s ro es s o f i v g i , g ug i p c t ra ns fo rm ati o n whe n th ey a re app ro p ri ated by th e

h o n n o Neg ro . T e y u ger generati on is tryi g t s ub s titu te n ew so ng s an d s ta n d a rd chu rch hym ns fo r t he

O ld s r t al s w th b ut l ttl e s e s s e e t in th e pi i u , i i ucc xc p l arge r a n d m o re fo rm alize d u rb an co ngreg atio n s . Occ a s io n ally a n e duc ate d mi ni s ter o r l aym a n writes a so n in o rm al s t le h a s it r n te d o n a s n le s h eet g f y , p i i g , a nd d s tr te s it d r n h r s r e s The fo l i ibu u i g c u ch e vic . ‘ low n s o n e n in th e e a t o rm in wh h it wa s i g g , giv x c f ic d s tr te d w ll s er e to ll s trate i ibu , i v i u 146 TH E NEGRO AND HIS SONG S

BLESSED HOP E W E . B By Rev . . ail ey

les s ed ho e th at in e s s is en B p J u giv ,

All ou r sorrow to heer a nd s sta n c u i , Th at soon in the m an s ion s of heaven

We s ha ll me et w th our lo e d ones a a n i v g i .

les s ed ho e l es s ed ho e B p , b p ,

We h all meet w th ou r lo ed one s a a n S i v g i , le s s e d hO e les s ed ho e B p , b p ,

e s ha ll m ee w ou l e ne W t ith r ov d o s aga i n .

le s s ed ho e in the wo rd G od h a s s o en B p p k ,

All our ea e b th at word we o t a n p c y b i , ’ An d a s s re a s o d s word w a s ne er ro en u G v b k ,

We s h all ee w o r l e d ne a a n m t ith u ov o s g i .

les s ed ho e how it s h nes in our s orrows B p , i , ’ e th e s ta r o er ethlehem s l a n Lik v B p i ,

We w ll s ee our ord e re the morrow i L ,

We s h a ll meet with our loved on e s again .

l es s e d ho e the r ht s tar of the morn n B p , b ig i g , Th at s h all h era ld his o m n to re n c i g ig ,

He w ll om e a nd reward all the a th l i c f i fu , a n We Sh a ll meet with our love d ones a g i .

h n T . (Sung b y Rev . J . Jo ns o )

h a so n is n o t a s r t al e t it h a s so m e of th e Suc g pi i u , y

a s ti s th e S r t a a n son s of th s ch ar cteri c of pi i u l . M y g i

n d a r ntrod e d a n d s n to a r o s t n e s b ut ki e i uc u g v i u u , th ey Ofte n u n d ergo v a ri a ti o n b e fo re th ey h ave b ee n

a m s Th e ld e r e ro e s s t ll l n to th e s ung m ny ti e . O N g i c i g

S r t al s an d th e a re o ten h e a r d to re m a r th at th e pi i u , y f k “ ’ ’ ” n ew s o ngs d o n t p ut a f eelin in you like th e O l e o n e s .

t m a b e th e n th at fo r s o m e t m e to o m e th e h r h I y , , i c c u c

CHAPTE R V

THE SOCIAL SONGS OF THE NEGRO

In crea s in Po ul a rit o the Soc a l n In th g p y f i So gs . e l a s t twen ty y e a rs th ere h a s b een a m a rk e d i n c re a s e in ’ th e o l ar t of th e e ro s So al s o n s 1 h ere a s p pu i y N g ci g . W du ri ng s l ave ry a n d fo r a l o ng t im e th e re a fter religio u s

th em e s re dom n ate d in th e s o n s of th e e ro th e re p i g N g , h a s n ow grown up a group of s e cul a r s o ng s m a gn iﬁc ent

n it s ro o rt o n s a n d r h i a a o n h e s e s o n s i p p i ic n v ri ti . T g ” va ry fro m th e ﬁl thie s t tho ught s of th e ro u n d e r to

th e lo t e s t s e nt m ent s of th e l o er a nd e e r e ro f i i v , v y N g Child in th e S o u th fall s h e i r to s om e p a rt o f thi s ap

m e h a h d m p a re ntly unli i te d b o dy o f s o n g . P r p s t e i i n is hing imp o rt a n c e of th e o lder religi o u s th em e s m e a n s th a t th e N e gro h a s ﬁ n ally o u tgrow n th at fo rm er dis po s it io n to s i n g him s elf a way f r om a wor ld o f s o rrow a n d tro ubl e a n d is c o mi n g mo re an d m o re to Si ng him

o s s elf a n d his t r ubl e through th a t wo rld .

Th e s o n s in th s o ll t Not Pure Fol/e Songs . g i c e c io n a re N eg ro s ong s in th a t th ey h ave h a d the i r o rigi n an d

rowth a mo n th e e ro e s o r h a e b ee n a d a t ed s o g g N g , v p co mpl etely th at th ey h ave b eco m e th e c o mmo n p rop

h AS r h D . o n e r h a s a d th e t t of t e e ro es . s e y N g J M i i , y “ a re ol - o e tr wh h rom wh ate e r so r e a nd f o r f k p y ic , f v u c

h ate e r re a so n h a s a s s e d nto th e o s s e s s o n o f th e w v , p i p i

o l th e o mm o n eo l e s o om l etel th at e a h f k , c p p , c p y c

1 1n one s ense all s on s are s ocial b ut th e term is se h erein to enote g , u d d the ordin ary s ongs of the Negro s everyday life as dis tinguis h ed from his pur ely religious s ongs . TH E SO C IAL SONG S OF THE NEGRO 149

is 1 h s i nge r o r re cite r feel s th e pi e c e to b e h ow n . E a c Si nger alters th e s o n g a cco rdi ng to his ow n th o ughts

e a rl m a n o f the so n s a re a d a te d a n d feeli ng s . Cl y y g p

m s of e l - no n b all a d s o th e rs wh h in a ll ro fo r w l k w ; , ic p b

h a d th i o ri in a m o n the e ro e s re s em l e ability e r g g N g , b very s tro ngly th e fo lk s o n gs of o th er p eopl e ; while s till o th ers co mbin e in a s triki n g w ay o rigin a l fe atu re s

In a n a s e th e s o n wh e n it w th th orrowe d . i e b y c , g , h a s b ec om e the co mm on d i s ti n ctive p rop erty of the

h ro ol so n e ro e s m s t b e l a s s e d w t e s . N g , u c i N g f k g

o rt n a tel m an of th Origins of the Socia l Son gs . F u y y e s o n g s cu rren t amo ng th e N egro e s to d ay a re o f s uch a n atu re th a t th e i r ge n e ral o rigi n s m ay b e tra c e d w ith

d r a e a r a All O f th e s on s o l a rl c o ns i e bl ccu cy . g p pu y “ ” c a lle d Nigge r so n gs a re by no m ea n s gen ui n e Ne gro

h r at m a s s O f re s e n t-d a s o n s . In a t t e e e ro g f c , g p y N g s o n s m a b e d d e d nto th ree l a s s e s th e th rd g y ivi i c , i “ o ns t t t n th e o l s o n s : F rs t the m o de rn er c i u i g f k g i , Nigg ” “ ” “ ” s on s o l a r h t s a n d l e s s e o n d s h g , p pu i b u ; c , uc s o ngs g re atly mo diﬁ e d a n d a d apted p a rti ally by th e

e ro e s th rd s o n s o r n at n w th th e e ro s N g ; i , g igi i g i N g e o r a d ap te d s o co mpl e tely a s to b ecom e comm o n N eg ro s o Th s d l a a s n gs . e e con c s s e as ily ri es from th e p opul ar s o ngs v a ried th ro ugh co n s t an t Si ngi n g o r th ro ugh m s nd ers tan d n o f th e o r n al rs o n s h es i u i g igi ve i . T e

' s o n g s app e a r to b e typic a l o f th e p ro c e s s o f s o n g m a ki ng a n d i n d ic ate th e fa cility o f the N egro e s in

ro d n th e r own so n s ro m m ater al o f a n s o rt p uci g i g f i y ,

” Th e thi rd cl a s s is m ad e up o f th e app ro xim a te fo lk s on s h th a a g . W il e e v ri tio n s o f th e s o n g s o f th e ﬁ rs t a n d s e co nd cl a s s e s wo uld a ffo rd m ateri a l f o r a n in

1 b r r ol . o M. Bel n J ourna l Am can Folklore V te P o esso H. e o eri Qu d y f d , f , XXI V, p . 3 . CHAPTE R V

THE SOCIAL SONGS OF THE NEGRO

r ea P a r In th In c s in g opul ity of the Socia l Son gs . e l a s t twe nty y e a rs the re h a s b ee n a m ark e d i n c re a s e in ’ h a t s 1 h e re a t e p opul ri y of the Negro s s o ci al s o ng . W s du ri ng s l avery a n d f o r a l o n g tim e th e re af ter religi ou s

th em e s re do m n ate d in th e s o n s o f th e e ro th e re p i g N g , h a s now grown up a group of s ecul a r s o n g s m a gniﬁc e nt

in it s ro o rt o n s a n d r h i a r a t o n h e s e s o n s p p i ic n v i i . T g ” v ary from th e ﬁlthie s t thought s o f the ro u nd e r to

th e lo t e st s e nt m ent s of th e lo e r a n d e e r e ro f i i v , v y N g child in th e S o uth fall s h ei r to s om e p a rt o f thi s ap ‘ m d o o n e h a s th e d m n p a re ntly u nli i te d b o y f s g . P r p i i is hing impo rt a n c e of th e o ld e r religi ou s th em e s m e a n s th at t h e N egro h a s ﬁ n ally o u tgrow n th at fo rm er dis p o s it io n to Si ng him s elf a way from a wo r ld o f s o rrow a n d t ro ubl e a n d is c o mi ng mo re a n d m o re to Si ng him

t o l e s r u h th t r d s elf a n d his r ub th o g a wo l .

Th e s o n s in th s o lle t o n Not Pure Folk Songs . g i c c i a re Ne gro s o n gs in th a t they h ave h a d the i r o rigi n an d

rowth amo n th e e ro e s o r h a e b ee n a d a ted s o g g N g , v p co mpl etely th at th ey h ave b e co m e th e co mmo n p rop

As D r . o h r h a a d th e rt of th e e ro e s . n Me s s e y N g J i i , y “ ol - o e t r wh h rom wh ate er s o r e a nd f o r a re f k p y ic , f v u c

h ate e r re a s o n h a s a s s e d nto th e o s s e s s o n of the w v , p i p i

ol th e o mmo n eo l e SO o m l e te l th a t e a h f k , c p p , c p y c

1 In one s ense all s on s are s ocial b ut th e term is s e h erein to enote g , u d d ’ the ordin ary s ongs of the Negro s everyday life as distinguis h ed from his purely religious s ongs .

150 TH E NEGRO AND HIS SONGS

tere s tin s t d the a re in re al t not ol so n s g u y, y i y f k g .

o rd n l Onl tho s e th at h a om Acc i g y , y ve b ec e ad ap ted

ar iv n ' in th s o t e g e i c ll ec io n .

i ins in White Ba ll a ds a t a i h Or . r ll n is so n g N u y , g m a ki ng the Negro do e s no t a d ap t o n ly thos e s ongs

h H a r a d h avi ng Ne gro t em e s . e pp ro p i tes i s ti n ctively white s ong s an d b all a d s a n d d evi s e s n ew vers io ns

h a r d s t n t el rO F r s a w h e Ne . o n t n e th ic i i c iv y g i c , e “ ’ ” e ro so n Kell e s Lo e th e ho r s o f h h is N g g y v , c u w ic ,

’ You ro e de he a rt 0 ma n a rl b k y gi , ’ But ou ne er w ll re a dis hea rt 0 m ne y v i b k i , is a rl a n a d a t on of a rts o f th e mo nta n son cl e y p i p u i g ,

She ro e the he a rt of m a n oor ellows b k y p f , ’ n But s he wo n t b rea k thi s heart of mi e .

o n e o a r e s te rn all ad a s e The c p pul W b , C y

h e n s whic b gi ,

ome a ll ou ro nders o u wa nt to hea r C , y u , if y The s tory a bou t a b ra ve e ngineer ; ’ as e ones wa s the ro nder s name C y J u ,

n a hea e ht-wheeler he won his a me O vy ig f , h a s its co u nterp a rt in th e Neg ro s o ng o f th e s am e n ame

h h e ns w ic b gi ,

a s e ones wa s a n en neer C y J gi , Told his ﬁ rema n not to fea r ;

ll he wanted wa s o ler hot A b i , ’ ’ Run into Ca nton bout fou r O clock .

” “ a rl s h e ro so n s a s es s e ames d d Simil y , uc N g g J J , E y ” “ ” “ ” “ ” “ o ne s o e rne r rad L ll Sta olee J , J Tu , B y, i y, g , ’ a n d o th e rs a re l a rgely m ade up o f th e Negro s eff o rts to TH E SO C IAL SONG S OF THE NEGRO 151 m a k e c erta i n white b allad s i n to n arrative s of Negro

es em l an e s m a al s o b e s hown etween th e life . R b c y b b all a d s a n d s o ng-g am e s o f w hite childre n and th e “ ’ Negro s on gs e ntitl e d Wo n t You M arry “ ’ s s e o n t You a rr a n d Th e Mi Lizzi , W M y ” n an d A gel B .

’ Th e m a o r t o f th e ro s Origins in Everyday Life . j i y N eg s o al s on s howe e r a re th e rod t of e er en e ci g , v , p uc xp i c

en in th o s e so n s wh h a re m o s t O f life its elf . Ev g ic

nm s t a a l o rrowed there wo ld b e l ttl e o f th e u i k b y b , u i ’ i ntere s ting l eft if th e Ne gro s own i nterp retatio n o f

is e d a l remo e d ere a n d th e h very y ife were v . H re rlggthm ic wo rd s o r ph ra s e s o ccu rrin g in co nvers ation o h s e s r s e to wh a r In th ough t are Stung . T i giv i t the

ro s a - r s o th s th e m e a n a Neg e c ll one ve s e n gs . By i y ° ‘ ’ S n le l n e re e ate d a a n a n d a a n on s t t t n the i g i , p g i g i , c i u i g en t re s o n s all th e lin e is re e ated th re i g . U u y p wi g ul arit s o th at it m ak e s a s t an a of two o r o r s ix y, z , f u ,

n e s som t m s th o Th e l a s t t l e e ree r ﬁv e . re e t on is i , i p i i

s all re e de d b som e word of e l am a t on a s u u y p c y xc i , “ h ” “ ” “ ” “ ” “ O m well s o e s a n d oth ers . , y , , , y , Th e m aj o rit y of N eg ro s on gs now cu rre nt are one

ers e s o n s a nd a lm o s t all h a e a r s e n a n d e elo ed v g , v i d v p al o n th o - m t o d n th s w a th e o r n g e n e vers e e h . I i y igi o a S a d r An wo rd m a e ad f so n g IS impl e n n atu al . y y l to a h ra s e wh h ts el e om e s a o n e- e rs e s o n a n d p ic i f b c v g , n a t all a l s f r a r m a d a dd t a r u r y c l o hy e n i ion l ve s es . A

e ro is dr n a d el e r w a o n th e e athe r is o ld N g ivi g iv y g ; w c , a n d wi n d a nd d rizzlin g r ai n ad d to th e gloomi n e s s of

e d a He ll s is o a t a ro n d him n d s a s th . y pu h c u a y , “Th e wi n d s ho do blow Not h avin g a ny s p e ci al s o n wh h h e w s he s to S n a t th e m om e n t h e s n s g ic i i g , i g

r a erh a s h e a dd s o th ers th e s e wo rd s fo While . P p 152 TH E NEGRO AND HIS SONG S

’ ’ ’ ’ ’ o n where h ll win do n t low o r n t o n G i c i y b , Ai g i to r ai n no Still o th er tho ught s m ay s ugge s t

l n e s wh h h e s n s in a s o rt o f m o n o to ne s h a s i ic i g , uc “ ’ — ” “ I b in wo rki n so lon g hu ng ry a s I c a n b e ; Whe re

’ ” “ ’ ’ ’ ” in d e wo rl you b in ? I m go i n way som e d ay “ ’ ” Ha d a m ht o o d tim e l a s ni ht o r a s m a n o the rs ig y g g ; y .

a s th e r a r o mmo s s in is re s en tl h e e c n c en e h life . P y e

m a e s a two-l n rh m e e t h e m ht recall two k i e y . N x ig o th e r li n e s o r a s i n gl e ch o ru s li n e fro m s om e o th e r s o n g

wh h s eem s a ro r ate a nd th e o m n at o n e a s l ic pp p i , c bi i i y ‘ m o - th e th em e is b e co e s a th ree o r a f u r li ne so ng . If

no t n s al e rs e s rom o the r s o n s s e s t th em u u u , v f g ugg

s Th e add t o n O f o n e o r m o re o f th e s e e rs e s s elve . i i v give s len gth a n d dign ity to th e n ew s o n g a n d pl e aSe s

th e s n e r altho h th e wo r d s th em s el es m a b e i g , ug v y a m a n n l e s s p r a ctic lly e i g . Littl e i ncidents o f eve ryd ay life thu s c o n sti tute a n

f s n n e a s o n is s n i n exh aust ible s o u rc e o o g . O c g u g

e o re a ro a n d is re e e d w th a o r th e o s s l t b f g up c iv i f v , p ibi i y d O f numb e rl e s s a ddition s an d v a ri a tio n s is c reate . “ ’ ” rl wu s luv in a n er e l a n e d o ne S n er A gi igg , xp i i g , ’ a n s h e tho ugh t h e did n o t go to se e a ny o ther gi rl ; ’ s h e o n d out h e did a n s h e m a d e a hol e in the w a ll f u , ’ o f h er h o u s e SO Sh e co uld wa tch aln s ee did h e r l ove r ’ h r Her l uv in m a n o nd g o t o s ee a ny o t e n igger . f u ’ ’

o ut a n it m a de him l a h a n h e wu s s o rf too . thi s ug ; y, Th e lo ve r m ak e s a s o n g

n ot a hole in d e wa ll D o y g ,

on ot a hol e in d e wa ll D y g ,

on ot a hole in d e wall D y g ,

Oh m on o t a hole in de wall . , y D y g

154 TH E NEGRO AND HIS SONG S i n cohe re n t line s an d it s l a ck of ch a ra cteri s tic folk song

a t Th e s on wh h o s qu li i es . g ic f llow is a very goo d e am l e of s h a ro f x p uc p c es s o c rea tion . MULE SONG

’ went on H ll th s mornin o n a wa on I up Zi i i g , ’ ’ I went on a w agon up Zion s Hill thi s mornin ;

Th e d rn O le m le s to r ht s t ll u u p ig i , ’ ’

Th s mornin th s mornin s oon . i , i , SO

’ ’ ’ ot out an went ro nd to his h ea d th s mornin I g u i , ’ ’ ’ I g ot out a n we nt rou nd to his h ea d thi s mornin ; ’ The d rn ole m le wa s s tand n there dead u u i , ’ ’

Th s mornin th s mornin s oon . i , i , SO

’ Yes ho llow at the m le a n the m le wo ld not ee , I u , u u g , ’ th s mornin i , ’ Yes hollow at the m le a n the m le wo ld no t ee , I u , u u g ; ’ An hit him on the hea d w th the s n le-tree I i i g , ’ ’

Th s mornin th s mornin s o s oon . i , i ,

Thus i s p ro duce d a s ong from im a gi nation a n d expe rie d s A rs t l a e nc e a e d ts of o th e son . t n i by bi r g ﬁ g c , ‘ thi s might a pp ear to b e a n a dvanc ed comp o s iti on which was th e re s o f ro tra t d m nt al eff ort b ut it is ul t p c e e , more o r l e s s a s p on t aneou s c re a tio n o r a s s embling of “ ’ m a mo rnin th s s o n ter al . Th e ho r s l ne h s g i c u i , T i , i ’ ” ’ mo rnin SO - s oo n s om et m es h s m o rn in th s , ( i T i , i ’ e en n s o is a er om mon one in e ro v i , v y c N g s o al s o n s h le the l a s t s t a n a is e r l el ta en ci g , w i z v y ik y k ’ fro m a child s rhym e lon g cu rrent a mon g th e Negroe s .

Th e o th er two s t a n a s howe e r a r e lea rl m ade to z , v , c y o rd er in the eff ort to m ak e s ong a n d rhym e . Fu rth er exampl e s of rath e r ro ugh s p onta neou s — compo s itio n s co nta i n i ng m a d e-to o rder el em ents are a s fo llows : THE SO C IAL SONG S OF THE NEGRO 155

WHOA MULE !

Sa loo he re ane ! y, k , J ’ ” D on t you wa nt to ta ke a ride ? “ ”

ell doa n are do . W , I c if I ’ So h e hitch up his m ul e a n s tarted out .

’ ’ ell it s who a m le it a n down W , , u , g up , - T ll s a whoa er m l e . i I y , u

’ ’ Well it s git up a n down ’ ’ u s f a s a s ou c a n J y , ’ Fer I goin to b uy you ’ All of de oat s a n b ra n .

’ ’ ’ An it s whoa-er m le it an down u , g up , - l Till I s ay whoa er mu e . “ ’ ”—“ — n t he a m le s s a ne ? U m huh . Ai u , Mi J

POOR JOHN

Ye s he a ht oo r ohn w th his haw -ta l oat , c ug p J i k i c , ’ An he s t a b him to the f at ; ’ ’ He run the ra ce a n he run s o f a s l Ti l he bu s t his b eave r h at .

Poor ohn ell down them w nd n s te s J f i i g p , Till he could not fall no fu rther ; ’ An the girl s all holl er mu rder ; G O tell all p olicemen on thi s bea t to s ee ’ a n he a C t t y c tch that coon .

’ What coon am you talkin a bou t ? ’ The coon tha t s ta b po J ohn ; ’ ’ ’ ’ ’ ’ I m o n I m o n to the s huc k in o de orn g i , g i , c , ’ ’ ’ ’ I o n m g i jus s ho s you born .

' ther ri i a m s wr tten w th O O g ns . Occ s io na lly a p oe i i i the a o e d ntent o n o f n en a o em v w i i maki n g a so g . Giv p

os s e s s n the ro er rh thm al ities it IS almo s t p i g p p y ic qu , 154 TH E NEGRO AND HIS SONGS i ncohe ren t li ne s a n d it s l a ck o f ch ar a cteri s tic fo lk song

al t es Th e s o n wh h ollows is a e r ood qu i i . g ic f v y g

a m f h a ro f ex pl e o s uc p c es s o c reation . MULE SONG

’ went on H ll th s mornin on a wa on I up Zi i i g , ’ ’ I went on a wa go n up Zio n s Hill this mornin ;

The d rn ol e m le s to r ht s t ll u u p ig i , ’ ’

Th s mornin th s m ornin s o s oon . i , i ,

’ ’ ’ ot out a n we nt ro nd to his hea d th s mornin I g u i , ’ ’ ’ I got out an went rou nd to his hea d thi s mornin ; ’ The d rn ole m le wa s s ta nd n there d e a d u u i , ’ ’

Th s mo rnin th s mornin so s oo n . i , i ,

’ Yes ho llow a t the m le a n the m le wo ld not ee , I u , u u g , ’ th s mornin i , ’ Yes hollow at the m le a n the m le wo ld not ee , I u , u u g ; ’ An hit him on the head w th the s n l e-tree I i i g , ’ ’

Th s mornin th s mornin soon . i , i , SO

Thu s 1 3 p ro duce d a s o ng fro m im agi n a tio n a nd expe At rs t l an e rie nc e a d d t s of o ther s o n s . i e by bi g ﬁ g c , ‘ thi s might a pp e a r to b e a n advanc e d compo s itio n which wa s the r s t of ro tra ted m en tal eff o rt b ut it is e ul p c , m o re o r l es s a s p o n tan eo u s c re a tio n o r a s s embli ng of “ ’ o n m h h n h s mornin th s s a te r al . T e or s l e g i c u i , T i , i ’ ” ’ m ornin SO s oon s om et m es h s m o rnin th s , ( i T i , i ’ e e n n s o is a er ommo n o ne in e ro v i , v y c N g s o al so n s h le the l a s t s ta n a is e r l el t a en ci g , w i z v y ik y k ’ from a child s rhyme lo n g cu rrent amon g th e Negroes .

Th e o th er two s t an a s h owe e r a r e l ea rl m ade to z , v , c y o rder in the effo rt to m ak e so ng a nd rhym e . Fu rth er exampl e s o f rath e r ro ugh s po nta neou s

— - compo s itio n s co nta i n i ng m ad e to o rd er el ements are a s follow s :

156 TH E NEGRO AND . HIS SONGS

n e ta le th h t it to m s O n e i vi b at t e Negro will p u u ic . th rifty te acher w ro te verse s o n th e s i n ki n g of the “ ’ ” Ma in e to b e s n to th e t ne of o h n row n s o d u g u J B B y , “ ’ ” whil e an o th er c all e d Hog Killi n Time to b e s u n g to “ h o ld-b e t e tu n e of Th e Old O ak en Bucket . A w u ’ p o e t cl o s ed his de s c rip tio n o f a d ay s pl owi ng in th e h o t m o nth o f n e w th Ju i ,

‘ ’ D em Sk eeterS d e all n me Co s n y c i u i , ’ D em n a ts d e all s me f rien g y c , ’ ’ D em s tin in e s a b uzzin g ﬂi , D is n igger do ne gone in : a nd do ub tl e s s his ve r s e s h ave Si n c e b een s u ng m o re

t th t h l e s h er s s Of en a n th ey h a ve b ee n re ci e d . W i uc v e

o n o t o rd n a r l e om e s tan d a rd ol s o n s th e d i i y b c f k g , y illu s tra te th e e a s e wi th which a ny s o rt o f s o ng m ay a r s a n d m r nt i e be co e cu re . ’ How much of th e N e gro s son g is b o rrowe d a n d how m h is o r n al C a n no t O f o rs e b e d s o ere d b ut uc igi , c u i c v , it is c ert a i n th a t th e m aj o rity o f his s o ci a l s o ng s owe th ei r o rigi n to his ab ility to c re a te s o ng from th e o rdi n a ry exp eri e n c e s o f his everyd ay life o r to m a k e e nt r o i ely n ew a d a p ti n s .

The Role o the Mus ic Ph s icia n er o rth o f y . W y f co n s id er ati on as m ak ers a nd di s s em i n ato rs of N egro “ ” “ ” s o n s a re the m s h s a n e rs m s a n ers g u ic p y ici , u ici , “ ” a n d s o n s t s h s rm s m a e s no n mo s er . e e te b g T y y y u , o r th e m a d en o te er son s o f d ff ren t h a t s I y y p i e bi . n “ ” en era l s on s ter is s e d to d en o te a n e ro wh o g , g u y N g “ ” regul a rly s i ngs o r m ak e s s o n g s ; m u s ici a n er appli e s o fte n to the i ndividu a l who cl a im s to b e exp e rt wi th “ ” the b a nj o o r ﬁd dl e ; while m u s ic phy s ici a ne r is u s ed to d en ote m o re n e a rly a p e rs o n wh o is accu s to m ed TH E SO C IAL SONG S OF THE NEGR O 157 to travel from pl a c e to pl a c e a nd wh o po s s e s s e s a c ombi n a tio n of th e s e qu a liti e s ; o r e a ch o r a ll O f th e te rm s m ay b e appli e d loo s ely to a ny p e rs o n w ho s i n g s

ro o f m a l s o r pl ays a n i n s trum en t . A g up s l b oy o r

o n m e n wh e n ath ere d to e th e r a n d w ro ht y u g , g g ug up to a h h d e re e o f a a n do n a e a r to b e a l e to s n ig g b , pp b i g

d f o o s e rh a s th e a n u n limite n umb e r o c mm n s on g . P p “ ” “ ’ m s h s an er n ow s the m o s t s o n s th u ic p y ici k e g . Wi “ ” a r e d b ox ddl e o r ta r erh a s his o nl p iz (ﬁ gui ) , p p y

ro e rt s h a e ro m a wa n d er ro m town to p p y , uc N g y f t own rom s e t o n to s e t o n lo a n in en e ral , f c i c i , fi g g , w o r n On l wh en om ell e d to d o s o a th e r n n ew ki g y c p , g i g s o n s a n d S n n g i gi g th e O ld o n e s .

Mo s t of th e s o n s rr en t amon th e e ro e s ar e g cu g N g , o f o rs s t In e n w tho m s a l a o m a n m ent . c u , u g i u u ic cc p i

en eral h owe e r th e m a o r t o f th e s o n s o f the g , v , j i y g

“ ' ” e v e n i n g a re a cco mp ani e d by th e b ox or ﬁddl e wh e n l arge o r s m all gro up s a r e g a th ered to geth er f o r g ayety ; wh e n a lon ely N egro s i ts o n his doo rs tep o r by th e

re s d e l a n a nd Sin in whe n o l es s ta l a te a t ﬁ i , p yi g g g ; c up y n igh t wi th th e i r lo v e s o n g s a n d j o llity ; wh e n gro up s g a th er a fter c hu rch to Si n g th e ligh t er m elo di e s ° wh en “ ” “ ” t h e m s an e r s m s i h s a n e rs an d so n u ici , u c p y ici , g ” s ters a th er to re nd e r m s f o r s e al o a s on s g u ic p ci cc i , “ ” s h a s h h a n d r a t e so al s d an e s an d uc c urc p iv ci , c , o th er s o a l a th e r n s o s t of th s e a th er n s an d ci g i g . M e g i g , e s e all th e d a n e re re o nt n o s m s f o r a p ci y c , qui c i u u u ic l on ger p erio d of tim e th an th e averag e s o n g will l a s t . It thu s h a pp e n s th a t th e N egro could Si n g th e m aj o rity

O f his s o ng s to a Si n gl e tu n e if th e n e c e s s i ty c all e d f o r it . “ ” Th e exp ert mu s ici a n er Oft en a d d s z e s t to th e “ ” ” o cc a s io n by m aki n g his i n s trum e nt talk a n d Si ng. Thi s h e do e s by s killfully ru n n i ng the b a ck of a k nife TH E NEGRO AND HIS SONGS alo n th e s tr n s O f th e n s tr m t f o en . A e e o n e g i g i u pi c b ,

ol s h e d a n d s mooth s o m et m e s s er e s th e s am e ur p i , i v p o s e b u t th e n e is m o re ommo nl s d en e p , k if c y u e . H c ” h e term n e s o n wh h is b o r n n s tr m ntal t k if g, ic y igi i u e o nl b u t wh h is now re l a rl a s so ate d w th s ev y, ic gu y ci i “ ” e ral s o n s s ee h a ter Th e mus aner g ( C p VII) . ici pl a c e s his k n ife by th e Sid e O f th e i n s trum ent whil e h e

s th e s tr n s a n d S n s He c a n e a s l t a e it pick i g i g . i y k up a nd u s e it a t th e p rop er tim e witho ut i nterruptin g the “ ” Th e so—all d tr a n o n a s f h h m s . e e m l e o w u ic c i s g , x p ic a re en in a l ater h a te r d er es its n am e ro m the giv c p , iv f m si al m tat o n of th r n n n ra in Th e tra n u c i i i e u i g t . i is m ad e to whi s tl e by a p ro lo nge d a n d co n s e cu tive s tr n O f s e er a l s tr n s wh l e th e ell is r n b th e iki g v i g , i b u g y s tr n of a Si n l s n AS th e l s te n ers m a ne iki g g e tri g . i i gi th em s el e s s er n th e tra n o r r d n o n it th e v Ob vi g i , i i g , .

er o r of th o a s o is n re a s d h e ollow th e f v e cc i n i c e . T y f “ ” “ tra n wh en Sh e low s f er th e s ta t o n a s it ll s i b i , pu ” out r m th e s t a t o n a s s e s ro s s n s o es h ll a nd f u i , p c i g , g up i down h ll wh s tl e s f o r s m all er s tat on s -s to s f o r ater i , i i , p w “ a n d o al a n d t a e s the s d n w h en Sh e m eet s th e c , k i i g ’ ” a s s h e is s t nta o nl th e f e re s . t e e n r e l xp If pi c i um y, m an a t th e guita r a nn o u n c e s th e v a rio u s s ta ges of th e r n To his rem a r s a re a dde d th e l am at on s O f u . k exc i “ ’ ’ th e o nlo o e rs s h a s L awd G o d s h e s a-runnin k , uc , , “ h o d a d o th rs Th S G o n e . e

ro s th s r a th he s ee it a n d h e a r N eg e u c e te e i r tra i n . T y it a s d i s tin tl a s it were a r al t n de ed wh en e . c y if i y I , “ ” ” th e tra n s o n is e e te d a n e ert m s an er i g x cu by xp u ici , on e c a n e a s ily im a gi ne th at h e h e a rs th e clicki ng o f

h train h e l s a s th e a s s th t t a s t e w e y p e j oi n s in h e r il .

’ Are the Negro s Songs a n Index to His Life ? Orig in ating a s th ey do fro m th e da ily life an d exp e

TH E NEGRO AND HIS SONGS

’ ‘ Out in d s de r al ne i w wo l . o i , ’ n o a Ai t g t pl a ce to call m y home .

But he re ally lo ath e s th e ide a of b e i ng attach ed to o ne ho m e o r o n e l a e erm a ne n tl All h e w an t s is p c p y .

Hat on m h ea d s h oe s o n m eet y , y f , ’ An a f ew ole cl othe s to we a r : ’ A pl a ce to eat a n a pl a ce to Sleep Wh at a-more need I c a re ?

Ma n O f wom a n o e a nd Woma n . on e t o n s l a nd C c p i , v , ’ s ex rel a tio n s m ay b e i n terp rete d from th e N egro s s on s om a h o d s rs t a e amo n h h g . W n l ﬁ pl c g t e t em e s s n b th e e ro b ut th ere is alm o s t a to t al l a O f u g y N g , ck a n s e s t o n o f h h er o n e t o n s o f lo e m a rr e y ugg i ig c c p i v , i d l e a n d the rel a t o n s of th e s e e s Th e e er t s th at if , i x . xc p follow a re typic al

’ ’ If I g it d ru n k who s go i n te r c a rry m e home ? - l rown s n wom a n s he ho o ate to de one . B ki , c c b

ot a l ttle l a w m a n hone nam e is a r Lou I g i b ck o , y , M y ; ’

Treats me ette r hone h ea b etter n ou . b , y, p y

’ ’ ’ She s long a n t a ll an cho col ate to de bone ; ’ ’ ’ a d n l a She m ke you m a rri e man a e ve yo ho me .

a ’ ot a wom a a n swé ethea rt too I g n , ; ’ ’ om d n l ov e s w e a r d o t e m eeth t o . W an ,

he on a s m a e m nine a wee L g I k y k, ‘ ’ ’ Rou nd yo b e d s ide I goin to c reep .

’ ’

D iamon oe ou etter ome a n it me . J , y b c g ’ D on t you s ee my m a n done quit m e ?

’ Wh ere we re you l a s night wh en I w a s Sick in b ed ? ’ own town wid s ome other a l wu s n t here to hole m D g , y

he a d . TH E SO C IAL SONG S OF THE NEGRO 161

’ D on t you let my ho ne y catch you here ; ’ He ll ou d e a d s ho s ou o rn ki y , y b

ot h s a nd sweethea rt too I g u b , , ; ’

H s an d d on t lo e s weethea rt do . u b v ,

Th e term s o m a n l o e s we e th e a rt a hon e w , v , , b by , y, a n d o th ers m a all b e s n o n mo s in th e r a l at on y y y u i pp ic i . “ Wh e n th e s i n ge r tell s of his wom a n it is m o re Often l a a a a In a dd t n to th a wom n th a n ny p rticul r o ne . i io e

h ara te r at on s e n a o e wom a n is o ten th o h t c c iz i giv b v , f ug o f a s e n o f e s t o n a l e al t the ollo n ts b i g qu i b qu i y , if f wi g bi of s ong m ea n a nythi ng :

’ Wom a n is a good thi ng a n b ad thi ng too ; ’ ’ h he wro n a n s tar o u ran n w T ey quit in t g t t b e .

’ ’ ’ on t ne er it o ne wom a n o n o min v g y ,

ee ou in tro l e a ll de t m e K p y ub i , ’ ’ D on t neve r let yo wom a n have her wa y ; l ’ Keep you in troub e all yo day . ’ ’ ’ \D on t ne e r h a e one wom a n f or o f rien v v y ; ’ in hen ou out nuther man . W y ,

’ ’ I thought I d tell you wha t n igger wom a n ll do ’ ’ la n She h a e nuther m a n a n S o ou . v , p y ick y

’ All ho e in dis r ht worl I p b ig , ’ l lo e an od don t let it b e a r . If I v yb y, gi

h r r Th e m rator h a ts o f th e e T e Wa nde e . ig y bi N gro are so we n own th a t th e n e d n a at o Th e ll k y e o expl n i n .

e o a d r h a s He h as N gr w n ere a te ch n iqu e a ll his own .

een to em h s tl a n t a rm n h am ew rl e ans b M p i , A , Bi i g , N O , “ ” a n d all de l a s He h a s s eldo m wo r e d a big p ce . k s tro e S n e h e l e t hom e et h e h a s a lw a s h a d l ent k i c f , y y p y to e at a n d a pl ac e to s tay a n d h a s s o m etim e s a ctu ally TH E NEGRO AND HIS SONG S h ad mo n e n d hus he wo ld h a e o ne b y t o s p e . T u v e

a a a t t His s o n s a l e e n d m h of his n rr e is r e . r i v , uc iv u g e t he m o s t a the t a n d l a nt e of all f o r h e de e nd s p ic p i iv , p upo n th em to a rou s e pi ty a n d to g a i n th e favo rs which

d s r s H a e s m h of his h ard t m his h e e e . e es i m k uc i , lo nel n e s s his l a of r en d s an s m a th e t h e i , ck f i d y p y ; y

’ d no t c h a n e th e s e o n t o n s h e o d He woul g c di i if c ul . m a e s o n d t o n s o f his own l n a n d the s e th n s k c i i iki g , i g “ ” d t n s the e r and re r con s titu te his goo im e . Si g N g o w e in pitiful to n e s

w s h so me s c us io n tr n wo ld run I i ai u ,

Ca rry me b a ck where I come frum .

’ ’ Now m mommer s d a d a n m sweet ole o er too y i , y p pp , ;

G ot no one f er to ca rry my troubles to .

’

An wu s todie f a r awa r m, home if I SO y f u , ’ T e l e l a n h fo k s f r mi e s rou would mou rn .

’ ’ I m o n te ll m mo mme r when it home g i y I g , ’ How people treated me f a r wa y frum home .

’ ’ ’ d on t t rn ood m a n r m o do O u g f u y , ’ ’

Ma b e f rien a e ou don t now . y , b b , y k

No need a e to th row me down , O b b , , ’ ’ Po b oy ju s co me to town .

’ ’ ’ I didn t b ri n g nu thi n in dis b right wo rl ; ’ ’ n I l a Nu thi l c rry away .

’ ’

ent down to de ra lro a d o ld n ﬁnd a f rien . W i , c u

h loo do wn da l n n c O t o esome roa d a d r . , k y

H a rk F r s a h e s n r The obo nd Wo . o the mo t rt t e p , i g

s dlenes s a nd s h ns wo r In the s o n s of th s love i u k . g i

164 TH E NEGRO AND HIS SONGS

’ Now whe n ou it a d oll a r ou ot a f rien y g , y g , ’ ll s Wi tick to you through thick a n thi n .

The r a a Th e dle e ro d e el s Neg o B d M n . i N g v o p “ ” rom th e a ra nt rn o r ho o to the ll b o f v g , bu , b , bu y y “ ” He n s of r m e s o f wh o r b a d m a n . s s e an d i g c i , i k y

e r of mo r h a d a f t l s a nd m rd r e n e n o n e o s o e s . b , p i c c i , pi u

He e tol s th r m n al a n oll ow s him w h a dm ra x e c i i d f it i tion .

He re el s in th e e lo ts o f Sta o l ee who r an his v xp i g , ’ enemy dow n and l a id him o n d e ﬂo with his fo rty

our u n o r of a l ro a d ll who w a s s o b a d th at he f g ; R i Bi , ’ s ho t all th e butto n s O ff th e high Sh e riff s coa t ; o r o f ’ ” d o n e s who d e d o n th e ool n o a r d w E d y J , i c i b ith “ ” “ his s e al in his h a n d s n n e a rer M od p ci i gi g N , y G , ” h s S n s th e e ro b a d m an : to Th e e . T u i g N g

ot d e l e s b ut too d a mn me a n to c r . I g b u , y

’ wa s ohn in a m ht b ad la n I b ig y , ’ Fo r my name is Ba d-la n S tone ; ’ I wa nt you all f e r to u n de rs t a n ’ I m a b a d m a n wid my licke r o n .

’ a e in d e mo rn in b t l o ell W k up y ci y c ck b , ’ Niggers up t own givi n co ca i n e he ll .

te ll ou on e a nd te ll ou tw e I y c I y ic , ’ ’

Next t me te ll ou o n t a e o l e . i I y , g i k y if

’ We n t up town wid my h a t in my h a n ; “ ’

oo d m o rnin ed e d o ne ll m m a n . G , j g , ki y ’ d n t te ll him b u t xe d him Di qui ki , I ﬁ SO ’ ’ He won t b o dder wid me no mo

A rre s t s o rt s e n e s o n t o n s a l s e nte n e s , c u c , c vic i , j i c

f d m a o l e a ll the s e a re t a k e n o r g ra n te d by th e b a n . P ic m e n a l e rs a n d d e s a re n o r en d s o f his th e a re , j i , j u g f i ; y - He h a s d o tle s s e e n to o rt a h ard h e a rte d m en . ub b c u d o en t m e s b ut he alw a s n s s t s t h at th e offi e r z i , y i i c

’ ’ a rr ed me ro nd to the o rt ho s e d o C i u c u u , ’ ’ Pla ce Where I a in t n ever b een b efo ;

a n d his im p re s s io n o f the c o u rt ro om is a lway s

’ ’ e d e a n r a ll in de s ta n J g ju y , ’ r a l a e G e t big w b ooks in d ir ha n .

Ju s t how much impo rta n ce the b a d m an a s s um e s in re al l e it is diﬂic ult to s a b u t th e h h l a e wh h if y , ig p c ic h e occupi e s in th e s o ng s of the N egro s e em s to j u s tify th e a s s umption th a t h e enj oy s a p re s tige o ut of p ro

o rt o n to h e l es s n e s s p i is wo rth a s a p e rs o nality . R ck a n d b raggado cio ch ara cte rize th e s o ngs o f th e N egro b ad m a n a nd th e r a re l s t d wo ld do tl e s s , i c fu u y u ub th row light up o n a fa cto r which is of no litt l e impo r

a n e in t h a a f t c e c u s tio n O N egro c rimi n ality .

Sadnes s in ocia l n s h le th re is m h re S So g . W i e uc ck ’ l e s s ne s s an d c are-free g aye ty in th e N eg ro s s o ci al s o n s the re is n e e rthel e s s a d e n te e n O f ' s a d ne s s g , , v , ﬁ i v i r nn n th ro h the m a o t f th m here a re u i g ug j ri y O e . T 7 ’ s ome of o rs e who o nten d th a t th e e ro s s a dn e s s , c u , c N g is no t r al d o e s no n But e t r e t an e a l ent e el . , eﬂ c quiv f i g s h a th e s s is tho t o n d at o n In rel at o n to his uc i wi u f u i . i ’ ‘ own l e e e r e n e s th e atho s e re s s e d in the e ro s if xp i c , p xp N g s o n s is S n ere a n n n Th e re a so n s fo r th s g i c d ge ui e . i s ad nes s howe e r a t h ff e ts of re no a a re nt . D o t e e , v , pp c s l ave ry s till li nge r In th e s o n gs o f to d ay ? Is it th at th e Negro feel s him s elf o pp re s s e d a n d dow n tro d de n by ? th e white s O r do e s t h e s a d n e s s In his s o n g s a ri s e n at ra ll a a rt ro m ra al o n s d era t o n s ro m th e u y , p f ci c i i , f ? life he live s Pe rh ap s no ne of th e s e fac to rs off e rs a n 166 TH E NEGRO AND HIS SONGS a d e a t But o nd d own a s e is e e l a n at o n . h b qu xp i , b u y th e e tern a l o r e of r m s t a n e s o n d em n e d to f c ci cu c , c live a life which is d e s tine d t o b ri ng him a ve ry s m all Sh are o f th e e nj oym e nts a n d d e ce n ci e s th a t chara c te rize th e l at o n o f wh h h e h a s e om e a a rt civi iz i ic b c p , it is no wo nd er th at h e e ith er fo rg ets him s elf in g ayety o r pu rge s his feeli ng s wi th his s a d a n d pl ai n tive ou t

rs t s bu .

Filth a nd l a ri n o h h a s een s a d to in Vu g ty . E ug b i dic a te in a ge n er a l w ay th e philo so phy a nd attitud e s O f th e cl a s s o f Neg ro e s rep re s e nte d by th e s o ng s in thi s

o ll e t n rth e r s t d o f th e s o n s m a b e m ade c c io . Fu u y g y in s ee d h a It i s to b e re rette d th a t a ucc i ng c pters . g gre at m a s s o f m a te ri a l c a n not b e publi s h e d b ec a u s e O f it s l a r a n he s e s o n s tell o f vu g d i nd e c en t co n te nt . T g e ve ry ph a s e o f immo rality a nd vic e a nd ﬁlth ; th ey rep

' re s e nt th rd n a r l e s up erl ative O f th e re pul s ive . O i i y the im a gi n a tion c a n pictu re co n ditio n s wo rs e th a n ~ th ey a re b u t in th e e ro s o n s th e t re s o f a r e o nd , N g g pic u g b y t h e o n e e re a l n th em e is c c ptio n o f th e re al . Th p v i i g th a t o f s e a l rel at o n s a nd th ere is no re s t ra nt in xu i , i e re s s d n th a xp io n . In co mp a ri s o n with th e I n ec e cy t h a s om e to l ht in th l a r s o n s O f othe r eo l e s c ig e vu g g p p , tho s e o f th e N egro s tan d o u t u n do ub tedly in a cl a s s o f the r o n h e ar s n in ro s O o s a nd i w . T y e u g g up f b y

rl s m en a n d om h d ren o f te n o r t el e w e n . l w gi , C i v

n ow s ore s o f th em a r n in a ll de r ee s O f s u k c , v yi g g g

’ t n th s s o n s a re th e a o r te s g e s tiv e ne s s . Of e e e g f v i ; a n d m a ny o f th e s o n g s in thi s volum e h a ve b e e n s h o rte ne d by the omi s s io n of s tanz a s u nﬁ t f or pub

i atio n l c .

CHAPTER VI

EXAMPLES OF SOCIAL SONGS ‘

In thi s ch apter will b e p resented th e s ong s which might b e cl a s sed in a ge ne ral way a s s ongs of th e Negro

a nd a nd s n s de al n r w th wom an An e w erer o g i g i . ff ort ‘ is m ade to a o d re et t on a s m h a s o s s le an d v i p i i uc p ib , a t th e s ame time to rep ort th e s o ng s in such a way a s to do s ti e to th e h a ra te ri s ti al t es f th s on Ju c c c c qu i i o e g . Hen ce s t a nz a s th at h ave b ee n given in - o ne s ong will not alway s b e give n in full in others in which they a re

Th e d a le t s th a t a s n n fou n d . i c i t of he verage i gi g ; f o r th e e ro in his s o a l a n d s e l ar s on s e en N g , ci cu g , v mo re th an in his rel o s s on s s e s no on s tent igi u g , u c i s

Th e l a n a e is n e th er th at of t e wh te s s p eech . gu g i h i no r th at of th e l a s b ut a reel m n led a n d a r ed b ck , f y i g v i

s a e o f d ale t an d o mmon s e h ollo al s m s u g i c c p ec . C qui i

re e n Th e o m s s o n of rono n s a n d c o n a frequ t . i i p u nectiv e s m a r s m an e ro e rs e s wh le th e n s ert o n k y N g v , i i i of i nterj e ction s a n d s en s el e s s ph ra s e s go e s to th e oth er

h a t d h en extreme . Suc p eculi riti e s m ay b e b es t no e w th e s on s a s t d d t s h o d e em em ere d th at g re u i e . I ul b r b th e s on g no t o nly b egi n s an d en d s with th e re gul a r

ho r s b ut e a h s ta n a is ollo e d b th e s am e h o r s c u , c z f w y c u ,

o l n thu s d ub i g th e l e ngth of the s on g . Perh ap s n o p ers on is s u n g mo re a mo ng the Negro e s th a n th e ho m ele s s a nd r en dle s s w an d e rer w th his f i , i

o ntme n ts in lo a n In no h a s es di s app i ve d adventu re . p of N e gro life d o s elf-feeli n g a nd s elf-pity m a nifes t th em s elve s m ore th a n in th e pl a i n tive app eal s o f th e EXAMPLE S OF SO C IAL SONG S 169

and th his h a ra ter s t m a n n er h e a eal s w erer . Wi c c i ic , pp

t a n d l a s f o r s m ath a nd a s s s ta n to b oth whi es b ck y p y i ce .

a ll a eals to his wo men r end s a nd th s He e s p eci y pp f i , u

t im His l e a s f o r th e r s m move s them to pi y h . p i y p athv a re u s u a lly eff ective ; a nd th e Negro thu s gets “ Th e wa nder n s on Shelte r oo d a n d attent o n . , f i i g g ” s te r ta k es gre at pride in Si ngi n g wi th skill his f a v o rite s ongs ; th e n he c an b o a st O f his a chi evem ents a s “ ” “ AS h e wan d rs r m a b a d m an with his b ox . e f o

mm n t nd s lo d n a n d s a commu n ity to co u i y h e ﬁ gi g ol ce . Th e N egroes a t e ach pl a c e take up the s o n gs an d s i ng

t em to th e r om an o n s th s o ns t t t n th e mo s t h i c p i , i c i u i g

h In the s e s o n s th effe ctive meth od of c ou rts ip . g e

ro n ram l n tho h ts of the e ro a re well ro ht vi g, b i g ug N g b ug ou t by the quick s hifti n g o f s cen e s ; s o his ra mbli ng a n d u n s te a dy h abits a re d epicte d with u nerri ng though

u ncon s ciou s s kill .

, PO B OY LONG WAY FROM HOME

In the ollow n s on wh h is s omet me s s n w th f i g g , ic i u g i t he n e n s tr men tal d es r e d in h a te r V e a h k if i u c ib C p , c

s ta n a on s s ts of a s n le l n e re e ate d s e e ral t m s z c i i g i p v i e .

’ ’ I m o b o lon wa rom home p y g y f , ’ ’ h I m o b o l on wa r O om home . , p y g y f

’ w s h a s cu s hio n tra n wo ld run I i i u ,

a rr me a w C y b ck here I cum frum .

’ M mother da d a n m a the r one a s tra y i y f g y,

You ne er m s s ou m other t ll s he done o ne awa v i y i g y .

N nee d 0 a e tr to throw me dow n O , b b , y , ’ ’ o l ttle b o u s om A p i y j c e to town .

w s h tha t ole en e neer wu s de a d I i g , ’ ro ht me wa ro m B ug y f my ho me . CHAPTER VI

EXAMPLES OF SOCIAL SONGS

In thi s ch apter will b e p res ente d the s o ng s which m igh t b e cl a s s ed in a gene ral way a s so ngs of th e Negro

s d e n r th om an An e f ort w anderer and on g s ali g wi w . f

IS m ade to a o d re et t o n a s m h a s os s le an d v i p i i uc p ib , at th e s am e tim e to rep o rt th e s o ng s in such a way a s

a t to do Ju s tic e to th e ch ara cteri s tic qu li ies of the s on g . Hen ce s ta nz a s th a t h ave b ee n given in o ne s o ng will not always b e given in full in o th ers in which th ey a re

The d ale t is th at of th e a e ra e s n n fou n d . i c v g i gi g ; fo r th e e ro in his s o al an d s e l a r s on s e e n N g , ci cu g , v more th an in his rel o s s on s s es no ons stent igi u g , u c i

Th e l a n a e is n e th er th at o f the wh tes sp ee ch . gu g i i no r th at o f th e l a s b ut a reel m n led a nd a r ed b ck , f y i g v i

f d ale t a n d o mmo n s ollo al s m s u s age O i c c p ee ch . C qui i

r n Th e o m is s io n of ro no n s an d c o n a e fre qu e t . p u n ec tiv e s m a r s m a n e ro ers e s wh le th e ns e rt o n k y N g v , i i i of in terj e ction s an d s en s e l e s s ph ra s es goes to th e oth er

h a t oted wh e n extrem e . Suc p e culi ri i e s m ay b e b es t n th s on s s t d d t s h d e remem ere d th at e g a re u i e . I oul b b th e s on g no t o nly b egi n s an d en d s with th e regul a r

h o r s b ut e a h s ta n a is ollo e d b the s am e ho r s c u , c z f w y c u ,

s do l n th n t f o n thu ub i g e le g h o th e s g . Perh a p s n o p ers on is s u n g mo re amo ng t he Negro e s

h an th e ho m eles s a nd r en dl e s s w an de rer w th his t f i , i

m In no h a s e s d i s appoi nt e n ts in love a n d a dve ntu re . p of N egro life do s elf-feeli n g an d s elf-pity m a n ifes t th e ms elves mo re tha n in the pla i ntive app eal s o f th e

wanderer . to both Whi He es peci al moves th em to pi p athy a re u s u a lly

te r oo d a nd s hel , f ” s ter ta kes gre a t v orite songs ; th e n he c a “ ” a b ad man wi t h his commu nity to commu ni ty The N eg roes a t e a ch pl a c e tak e

them to the r om a n o ns t i c p i , his effec tive me tho d o f ro n ra m l n tho h ts 0 vi g , b i g ug out by the quick s hifti ng o f u ns tea dy ha bi ts a re d e pic te d u ncons ciou s s kill .

’ PO BO Y LONG WAY n

In the o llow n so n w h h 8 s f i g g , ic ung t he k nife i ns tru me n ta l d e s ta nz a co ns i s ts o f a s i ngle d seve ral times

’ ’ I m po bo y lo ng wa y fro m ’ ' Oh I m o bo lo n wa i , p y g y

’ I wi s h a s c us hio n t ra in woul Ca rry me b a ck whe re I c um

’ M mo the r d a d a n m a th s tra y i y f y,

You ne e r m s s o u mo the e a v i y go n a w y.

No need 0 a e tr to th , b b , y ’ ’ A po li ttle boy jus c om

I wi s h tha t O le e nge nee r 170 TH E NEGRO AND Hrs SoNG s

’ entral i me lon -d stan e hone C , g g i c p , al to m a e all n T k y b b ight long .

’ die in tate of la a m If I S A b ,

end m a a rea l n le ra S y p p g t o g te g m .

’ ’ ’ m h ere a e a n i o e s t o n o a a s nee . C , b b , y p p k

’ ’ You ro h me e b ug t h re a n let em throw me down .

’ ’ n I a i t got a f rien in dis town .

’ ’ I m u in d e d l l o t wi e wor a one .

m s trea me ou s ho ll see n ou t wi it a a . If y i , y g i

’ me a o e r e e o w t o a a to it in a hom . C y G gi , b b , g

Sometimes th e followin g o ne-vers e songs are adde d

’ ’ l - Sha ke ha nd s a n te l yo b a be good bye .

Ba d l d e a l d ll in m sho Go e on me . uck f i y, , f

’ Ha e ou ot l b a e a n t hem ot ro e ? v y g ucky, b , g b k

’ ’ I m o n wa om n a some da g i y, c i b ck y .

l ’ ’ ood o e b o u s a n t trea te d r ht . G y, j i ig

’ m ennes see ra s e eor o n I T a h . i , G gi b

’ eor a ohn la a a a e I m m r s . G gi b , A b i

O N A H O G

er m h l e th e a o e s on is n a Ho V y uc ik b v g O g , “ ” which m e a ns th e con ditio n o f a b roke hob o o r tra mp . “ ” By b ro ke h e m e a n s th e u s u a l s tate of b e i ng without

o he so n mo n e o r l a e to s l ee o r oo d to e at . T y, p c p, f g

172 TH E NEGRO AND HIS SONG S son th ro h s h t n rom t me to t me ro m m a n to g ug , if i g f i i f wom an withou t s o much a s noticin g th e i n co ngruity o f wh h ollow th e s en es a re m e an n . n the e rs e s i g I v ic f , c

s n po rt raye d wi th cle a r V ISIO n by th e Negro i ger .

’ ’ ’

G ot in the m ornin o ldn t ee rom c r in . up , c u k p f y ’ ’ ’

G ot in the mornin o ldn t ee rom c r in . up , c u k p f y ’ ’ G ot in the morn in o ldn t e e rom c r in up , c u k p f y ; ’ ’ - Thin k in bou t tha t b rown s kin m an 0 mine .

’ ’ onder ome s tha t lo n m an 0 m ne Y c vi i , ’ ’ Comi n to pay his b aby s ﬁne .

’ ’ ell e ed the ed e to low m a s ﬁne W , I b gg j g y b by ,

aid de ed e done ﬁne her ler do ne wrote it down . S j g , c k

’ l o ldn t a d at ﬁne so ta en her to de a . C u p y , k j i

So She l a d in a l a to de wa ll i j i , b ck , - Dis b rown s kin ma n c a u s e of it all .

’ No need a e tr in to throw m e down , b b , y ’ ’ ’ e n Cau se I m po b oy jus com to tow .

’ ’ ’ But ou don t w ant me lea se don t do me ro n d if y , p g u ,

e me th s m one Sho w ll lea e th s town . Giv i y, i v i

’ ’ ’ ’ n t no u s e tr in to s end m e ro n Ai y u ,

o l n I g t p e ty money to pay my ﬁne .

It will b e o b s e rve d th at the l a s t-n a m ed vers e s a re p ra ctic ally th e s a me a s tho s e given in o th er s o ngs an d h ave no con n ectio n with th e them e with which th e s on g

wa s e n et the o rme d a n t a a f b gu ; y y f i n egr l p rt o the song . In th e s am e w ay s in gle li n e s rep e ated fou r tim es a re

s n a t le n th altho h on e wo ld need to s e ar h u g g , ug u c

d l ent fo r th e o nn e t o n of m an n i ig ly c c i e i g .

’ ’ o d n ﬁnd me here ome o La rk e s d an e u o t t . If y , c y c EXAMPLE S OF SO C IAL SONG S 173

’ ou don t ﬁnd me there ome to ole rmin h a m . If y , c Bi g

’ ’ l l Ain t goin to b e in ju ng es ong .

’ ’ - Yonder comes th at ea sy goin ma n 0 mine .

’ Ain t Jedg e B riles a h ard ole m an?

” Jedge B rile s IS o nly a lo c a l n am e which wa s a ppli ed

o f tl a nta His re tat on is w el t o Judge B r yle s o A . pu i id y

n a n s te ad o f th s known amo g the Negro e s o f Georgi . I i n ame a re o ten n s erted the n am e s o f lo al h a ra te rs f i c c c ,

n s e which s erve s to add co n c reten e s s to the s o ng . I t a d of rm n h am the e ro m a S n t an ta hat Bi i g , N g y i g A l , C

h e t th a t ra n s a s a a o r te t anoo a o r a n ot r . g , y ci y k f v i

LOOKED DOWN D E R OAD

Th e fo llowi ng s o ng might w ell b e a contin u atio n o f

is s n h er to a ff en tho s e s t en . It owe d er t j u giv u g, v , i

d h a n e d a a a at s n t n e an s o ld b e r s s e r e o . Its u , u k p g — fo rm is no t u nlike th a t alre ady cited rep etitio n of a s n le l ne tw e or in r are n s ta n es a rh m ed i g i ic , , i c , y l t coup e .

’ oo ed down de ro ad e s f a r a s o ld s ee L k j I c u , “

e ll th e a nd did l a N earer M G o d to Thee . W , b p y , y ,

ot the l e s b ut too d amn mean to c r . I g b u , y l ot the e s but too dam n m ean to c r . I g b u , y

’ ’ Now when ou it a dolla r ou ot a f rien y g , y g ’ Will s tick to y ou th rough thick a n thi n .

’ ’ d dn t om e h ere f er to ste al no od s ﬁnd I i c b y , ’ n I did t je s come here to s erve my time .

a s k a ler a ta n how c a n s lee ? I j i , C p i , I p ’ ” All rou nd my b eds ide p olice s creep . 174 TH E NEGRO AND HIS SONGS

’ The a ler s a Let m e tell ou what s es t j i id, y b ’ ’ ’ ’ Go w ay b a ck in yo d a rk cell a n ta ke yo rest .

m nd ma n t me m m a n ma n throw me down If y ki qui , y i , ’ ’ ’

o n run to de r er m o er oa rd n drown . I g i iv , ju p v b

The lo c al polic em an is alw ays s po ke n o f a s c reepi ng a o n d s It m a e s a n nteres t n c om r u th e b e d ide . k i i g p ari s on to note the co ntra s t b etw ee n th e police and

a d w - m Va r o s e rs on s the ngel s of th e ol i s h rhy e . i u v i of th e a o e s t a n a s a re e n s om e of wh h a re f ar b v z giv , ic

rom el e a nt ro an t is n s erted in th e so n s in f g . P f i y i g

ro o rtio n a s th e s n e r is a s tom ed to u s e it o r a s p p i g ccu , th e o cc a s io n d em a n d s o r p e rmits its u s e .

IF I D IE IN AR KANSAS

Ridiculo u s a nd a m u s mg In Its p atho s If I D ie in ” t is t Ark an s a s is typic a l a n d rep re s e nta tive . I qui e

n Th e e ro ets imp res s ive wh en s un g with feeli g . N g g a kin d of s ati s fa ction in b e lievi n g th at h e is utterly

d m a t o o rlo rn et e s to b e del e re ro s h on d n . f , y b g iv f uc c i i

d ie In r a ns aw If I A k , Oh die in r an s aw , if I A k die in r an s aw If I A k ,

- — Des s hip my body to my mo ther ih law.

m mother re s e me s h it to m a If y fu , ip y p ,

m mothe r re s e m e s h it to m a . If y fu , ip y p

m a a re s e me s h it to m rl If y p p fu , ip y gi ,

m a a re se me s h it to m rl . If y p p fu , ip y gi

m rl re s e me s ho e m e nto d e s ea If y gi fu , v i , ’ Whe re de ﬁ s hes a n de wh a le s ma ke a fu s s o ver me .

And then a ter th s re m a r a le rh me and s en t ment f i k b y i ,

176 TH E NEGRO AND HIS SONG S

a r es o nl a n e l a m at o n h s too . is a v i y by xc i T i , , n app eal “ ” to the b aby o r s weeth e a rt fo r pity an d a dmi s s io n

nto th e ho s e i u .

’ a ou s ho lo o n wa rm B by, y ki , ’ a ou s ho loo n wa rm B by, y ki , ’ l n w a ou s ho oo a rm . B by , y ki ’ ’ —m a e o s h lo O u o o n wa rm . y b b , y ki

’ ’ a I m f eelin so t re d B by, i , ’ ’ m f eelin m a e I s o t red . O y b b , i

G ot nowb a r to l a m wea r hea d y y y ,

m a e ot nowb a r to l a m wea r hea d O y b b , g y y y .

’ ’ S om etime s I m fa llin to my fa ce ’ m a e some me s m a ll n 0 t I to m a e . y b b , i f i y f c

’ ’ I m o n wh ar de water dr n s l e w ne g i i k ik i .

’ ’ w n a r n er een e G i e wh I ev b b fo .

lo h e loth es ou wea r a e t . B by, I v c y

’ Wh ar in de wo rl my b aby gone ?

me a no mo re one awa ne er o . G y, v c b ck

TAKE YO ’ TIME

Ta k e Yo ur Tim e rep re s e nts th e Ne gro in a mo re

t at f n d It ortra s tra n quil a n d i n dep en de n s t e o mi . p y

t a n e s ro m th e o m to th o rt It va rie d circums c f h e e c u . is a p opul a r favo rite .

’ a a d dn t ou s a B by, b by, i y y ’ You d wo rk f or me bc th n ight a nd day ? ’ ’

Ta e o t me ta e o t me . k y i , k y i EXAMPLE S OF SO C IAL SONG S 177

’ a a don t ou now B by, b by, y k I c a n git a gi rl a nywhere I go ? ’ ’

Ta e o t me ta e o t me . k y i , k y i

’ a a a n t ou s ee B by, b by, c y , How my gi rl git a wa y from me ? ’ ’ a e i ime t a e o t m e T o t . k y , k y i

’ ent down o ntr to s ee m f rien W c u y y , ’ ’ In o me aller do rn n t c y g bu i he win . ’ ’

Ta e o t me ta e o t me . k y i , k y i

’ ’ Ta i n t b ut the one thi ng grieve my min d ’ ’ ’ ’ o n wa a e a n l e a e ou eh n G i y , b b , v y b i . ’ ’

Ta e o t me t a e o t me . k y i , k y i

’ ’ ’ a rr ed me ro n to de o rtho s e do C i u c u u , ’ ’ Pl a e whe r ne e r h a d ee n e o c I v b b f , ’ ’

Ta e o t me t a e o t me . k y i , k y i

’ ’ e d e a n r a ll in d e s t a n J g ju y , ’ re a t l aw- o s n d e r a n G big b o k i i h . ’ ’

Ta e o t m e t a e o t me . k y i , k y i

’ ent town o t o r lo W up b u f u O c ck , ’ a do r a n d o r wa s l t o n o o o ed . R p , ck ’ ’

Ta e o t me ta e o t m e . k y i , k y i

’ ’ ’ TAIN T NOBODY S B IZNE SS BUT MY OWN

Ji n gli ng rhymes a re s ought a t th e s a c riﬁce of me a n i an d th e s en s e of s o n f th e ng g . If th e s entiment o s e t o f th e s on a e al s to th e s n er h e m a ta e ubj c g pp i g , y k it an d m a e his own rh m es d e a rt n ro m th e o r k y , p i g f ig

Th e r en t o m s s o of o d s a n d; th e ina l vers io n . f e qu i i n w r mixin g of di al ect a nd mo d ern Sl a ng u su a lly res ult . “ ’ ’ ” Tai n t Nobo dy s Biznes s b ut My Own rep res ent s

m a d th e mo re reckles s te pera me n t o f th e w n ere r . 178 TH E NEGR O AND HIS SONGS

a ou o ht-a tol e me B by, y ug , Six month s b efore you roll me ; ’ I had e l d som other p a ce to go . ’ ’ ’ a n n d i T i t obo y s b znes s b ut my own .

ome t me s m a ets oo S i y b by g b zy, ’ ’ An oolis h b out 'her h ea d f , ’ ’ An a n t r le her I c u , ’ ’ ’ Ta in t nobody s bizne s s b ut my own i

wa nt to s ee m Har mer I y , T rn tr s in m m a n ner u ick y , ’ ’ ’ Ta i n t nobo dy s biz ne s s b u t my own .

’ ’ o n t are don t m a e a doll a r D c if I k , ’ Je s s o I wea r my s hi rt a n coll a r . ’ ’ ’ Ta in t nobo dy s b izne s s b ut my own .

’ ’ I M GOING WAY

Th e swa er n tra m d e d e s to le a e th e town gg i g p ci v , a s in de ed h e is ofte n d o i n g ; b u t h e exp ect s to com e

He loo s orwa rd to th e a e t re s o f b ack a ga i n . k f dv n u th e tr th le a s re n o t w th e a r altho h h e ip Wi p u , i f , ug

nows h e m s t r d e th e ro d s o w th o t ood and k u i , g i u f ,

m He s n s s leep wh ere h e ay . i g

’ ’ I m o n wa omin a s ome da g i y , c b ck y, ’ ’ I m o n wa om n a s ome d a . g i y, c i b ck y ’ I m s t rom the o ntr ome to town ju f c u y, c

- — A zoo loo s h a ker from my h ea d on down . ’ ’ ’ If I git d ru nk who s goin ter carry m e home ’ - rown s n woma n s h e s ho ol a te tode one . B ki , c c b

0 BABE !

Th e o llow n s o n re all h a s l ttl e m ea n n b ut it f i g g y i i g , “ ’ ” is p rob ably th e ro u n d er s attem pt to bo a s t of his a n dve tu rou s life .

180 TH E NEGRO AND HIS SONG S

’ Negro s co n c eption of wom a n a s Seen in his s o ngs h a s

en o s er e d Few e alte d o n o n s of wom a n ttl e . l e b b v x pi i , i

erm an en t lo e f o r s weeth e art o r s tro n a nd re p v , g pu t love emoti o n s Will b e fo u n d in h e son gs . S en s u al lo e h s a l h a ra te r s t s a nd e alo s a re re v , p y ic c c i ic , j u y p a t Th e s n e r is no t d f e rent ro m th e wan d omi n n . i g i f f d erer who ﬁgu res a s th e h ero in th e cl a s s o f s o n gs ju s t

m a r is n ot nl o m a n th er Th n o n h e e e e . e give . W u ik w Negro s i ngs

’ ot a woman an sweethe a rt too I g , ’

wom a n don t lo e me s weethea rt do . If v , ’ ’

Yet a in t othe r et a n t other e t . , I b y , I i b y

’ Hone a e an t s e e y b b , I c

ne a a How my mo y got w y from me . ’ ’ he a n Yet ain t ot r et t other et . , I b y , i b y

Or th e wom an s i n gs in reto rt to th e hu s b an d who does

ot S o rt h e r ro erl o r h a s a l ed to leas e he r n upp p p y , f i p in s o m e m an n er

ot a h s a n d a sweethe a rt too I g u b , , , ’

H s a nd don t lo e m e b ut sweethe a rt do . u b v ,

’ I M ON MY LAST G O-ROUND

The N egro love r s ometim es gets mo re o r les s d e

Th e th em e of re e ted l o e is s tro n b ut on d ent . s p j c v g, h l e th s ee n a sts howe er e s o rrow s ho rt . l l th W i i f i g , v ,

in his al o s s h o s s at on om e th e lo er e w de er . v , j u y , p i S m n times h e is d eter i ed .

’ ’ It s no u s e ou send n n o word y i , ’ ’ ’ It s no us e o u s end n o r writin no letter y i , ’ ’ ho e a -d a I m comin m p y y . EXAMPLE S OF SO C IAL SONG S 18 1

’ I m on m la s t O-ro nd y g u , ’ I m on m la s t o-ro nd y g u , ’ — I m on my l a s t g o rou nd . ’ God knows Albirdie won t write to m e .

’ ’ ’ There s mo rett rl s a n one p y gi , ’ ’ ’ w n an l a n a n don t it l o s t S i g , c g g , ’ ’ There s mo p retty gi rl s an o ne .

LEAR N ME T O LET A LL WOMEN ALONE

The N egro is con s ta n tly s in gi ng of wom an and

In a l ar e e r en t of his arrel s a n d fi hts troubl e . g p c qu g ” a f th t o l e is th e wo m a n in th a s the c u s e o e r ub e c e . . It is Sh e who get s his mon ey a n d m ake s him do all

nn er o f r n h n s to l e a s h e a n He m a t iﬂi g t i g p e r f cy . cl a im s th at Sh e tu rn s from him a s soo n as s h e gets a ll “ is n o r r s to h e ar th e s on a h e h a s . It t s u p i i ng g Le rn ” Me to Let All Wo me n Alon e a s the exp re s s io n of a

r n tle d l a o r r di s g u b e .

’ One w a s a b o an one wa s a rl . y, gi ’ e er s e s to s ee em a a n If I v p c g i , ’ ’ ’ I ll see em in d e oth er wo rl

a l Le rn m e to le t a l women a lone .

’ All ho e in th s r ht worl I p i b ig , ’ lo e a n od don t let it b e a rl If I v yb y, gi e a r e L n m t o le t a ll wo men a lone .

’ ’ ’ rs rl lo e She i m her r a e ht h n . Fi gi I v , g ig ’ She s quit me in de wrong f e r a nudder m a n e a rn e l l L m to et a l women a lone .

’ oman is a ood th n a n a b a d th n too W g i g, i g , ’ They quit in the wron g a n sta rt out b ra n-new earn me to l ll L et a wo men a lone . 182 THE NEGRO AND HIS SONGS

’ ’ ’ ’ ot ea rl nex mornin to meet fo da train I g up y , y , ’ Goin up th e ra il roa d to ﬁnd me a ma n :

Lea rn me to l et a ll women a lone .

’ In Talley s c oll e ctio n o ccu rs a s on g in Which a ” ro u s tab ou t n arra te s in s om e d et a il th e s to ry of how

im Th e s en h e rid him s elf of a wife wh o a bu s ed h . tim e nt of th e Clo s i n g s tan za is Simil a r to Le arn Me ” to All Wom en Al o ne

WHEN I WA S A ROUSTABOUT

Ta l . 14 ( l ey, p 5)

’ ’ On a nd mo rnin a s l a d on m b ed Su y , I i y , ’ I did n h ave n o nigger wife to bothe r m y hea d . ’ ’ ’ ’ Now wh s e a n ra nd s m es b es r end i k y b y jug y bigg f i , ’ ’ An my long wee k s wu k is a bou t a t its e nd .

’ 0 C ? MY BABE , WON T YOU OME HOME

’ ’ The e ro s n s do n t now h at I ll do ! Oh N g i g , I k W , ’ ’ ” “ ’ do n t no h at I ll do ! Oh I ll t a e t me to I k w w , k i ’ n dle m lo the s ! Oh I ll t a e t m e to ndle bu up y c , k i bu ’ m loth es ! Oh I ll ta e t me to ndl e m up y c , k i bu up y ” lothe s and he is off b ut h e is soo n n ol e d a a n c , ; i v v g i , an s n s his rom s o s a l e a n e d i g p i cu u l gi c .

’ lo e m a e a nd wo ldn t ut her out of doors I v y b b u p , ’ I d l ove to s ee her kill a k id wid f ohty-dollar s u it 0 lothes c , ’ 0 m a e won t ou ome home ? y b b , y c

ome eo le e ou n el some e ou d me S p p giv y ick , giv y i ; ’ ’ ’ ’ a n t o n e ou f razzlin th n ou a n t no rl I i g i giv y i g , y i gi ’ ne 0 mi . ’ m a e won t ou ome home ? O y b b , y c

184 TH E NEGRO AND HIS SONGS

’ ’ o n town o n h rr r ht a G i up , g i u y ig b ck , ’ o ne ot sum in r n l l a k H y g p I ce ta i y . ’ ’ orr sorr an t b e o wa r le r a n mo ! S y, y, c y b y

NO MOR E GOOD TIMES

The Negro add s much zes t a n d fu n to his s on g when

ntro a h a ra n th e n e t s on i h e i duce s loc l c cte rs . I x g it s “ ’ s omet m es ol e oh n s o n wo m an no n at d e i P ic J , , k cki o r In o th er lo c aliti e s it is th e n am e of th e mos t

d d o i e He s n th s a n d l a h s h a rt d rea e r . s e e e l ff c i g ug i y, “ o a s t n now a nd then of o rt n at ex a o b i g f u e c pe s . N

o re ood m es o rtr a s a om mon s e ne M G Ti p y c c .

No more ood t me s wom a n l e we s ed to ha e g i , , ik u v , ’ Po l e no n woma n a t m a do ! ic k cki , , y b ck

eet me at the de ot r n m d rt lothes M p , b i g y i y c , eet me a t the de ot woma n when the train omes M p , , c

down .

’ ’ ’ Fo r oin wa to lea e ou a n t o m n a no mo I g y v y , i c i b ck ; ’ ’ ’

You trea te d me so d rt a n t o m n a no mo . i y, i c i b ck

’ ’ ot a l ttle la woman hone an her name s M a r I g i b ck , y , y Lou ,

She treat me e tter a hea etter than ou . b , b by, p b y

’ D IAMO N JOE

r m h l e th e a o e in eneral ton e b ut s n Ve y uc ik b v g , u g “ ’ ” a wo m a n D ia mo n oe t e s a s tom all too by , J ypiﬁ cu

ro omm n t It is a lo e s o n . common in the Neg c u i y . v g

’ ’ D ia mon oe ou etter ome a n it me J , y b c g ’ D on t you s ee my m an done quit ? ’ ’ ’

Dia mon oe com n it m e . J , g EXAMPLE S OF SO C IAL SONG S 185

’ a mou oe he h ad a w e the a rte d e er n h t. Di J if , y p v y ig hen the wea the r it ot ool W g c , l a a l Ole Joe he come b a ck to that b ck g .

But t me ome to a s s i c p , When O ld Jo e quit his la s t ; ’ ’ An he never went to s ee he r a ny mo .

? BABY , WHAT HAVE I DONE

” a h at a e one ? ntrod es oth er B by , W H v I D i uc “ ’ Th s am w a l of no s cene s of Negro love life . e e i k ckin — at d e do is he a rd ag a i n a n d a gai n a hi nt at in

f o d el t wh h is s o o ten s n in th e n e t ew s n s . ﬁ i y, ic f u g x g

’ ’ ’ ate la s n ht an n ht e o L ig ig b f , ’ ’ ea rd s h a no n a t m do H uc k cki y , ’ ’ um ed in s toc k in eet s ed a ros s the ﬂo J p up f , kipp c ’ ’ ’

a don t ne er no a t m do no mo . B by, v k ck y

me m ! a wha t ha e done ? O , O y b by, v I 0 me m ! a wh at ha e done ? , O y b by, v I m e m ! a what h a e done ? O , O y b by, v I

me m ! a wh at ha e done ? O , O y b by, v I

’ here were ou l a s a t rd a n ht W y S u y ig , ? When I l ay s ick in my b e d

You down town wid s ome other ole rl gi , ’ a s n t h er ol d W e to h d my hea .

’ ’ Ain t it h ard to love a n not b e loved ?

Othe r ve rs es of o n e lo ng li ne a re divid ed i nto two s hort li nes o r rep e ate d e a ch fou r time s to m a ke th e

a s tanz .

’ It s n net -s ix m le s rom rm n ha m i y i f Bi i g ,

ram ed i d a I t p t y by d ay . 186 THE NEGRO AND HIS SONGS

’ ’ ’ It s teen c ents wuth o mo r h ne ﬁf _ p i , ’ la s A dol r a ll I Gra ve .

’ ’ ’ d dn t r n n th n in th s r ht worl I i b i g u i i b ig , ’ ’ Nu thin I ll ca rry awa y .

I l a id my hea d in b a r-room do ’ ’ Ain t goin to ge t d ru n k no mo

’ Ha n me down my grip-s a ck ’ An a ll my ole di rty clothes .

m a a s k f or me If y b by , ’ Te ll he r I b ou n to g o .

’ ’ C THINGS AIN T SAME , BABE , SIN E I WENT WAY

B oth me n a n d wo me n a pp e a r ch a nge able in their

h s a an arr l t r o aff e ctio n s . A u b n d d wife qu e h e ﬁ s t f the wee s e a ra te v ow n e e r to s e a a a n b ut the k , p , v p k g i ;

a f th n a h s l atte r p rt o e we ek m ay ﬁ d th em b a ck gai n . T i d o s ot h a n n t m an m ro m an e n e o e b u t e s . A e pp c , y i N g ’ ’ will o ften give his e nti re week s o r month s w age s in o rde r to p acify his Wife who h a s th re ate n e d to go live

th m o th e r m a n Sh e s e n d s th e mone and wi so e . p y

r n th s am wa th e w b egi n s to qu a r el a ga i n . I e e y ife m ay o fte n b eg to b e rec e ived b a ck a fter s h e h a s l eft

heis o te n re e e d s o m t m es w th a eat n him . S e f c iv , i i b i g, s m t m s n ot a t a ll t a l a eal of the s e o e i e . A ypic pp ch a ra cters is s u ng :

’ ’ Th n s a n t s a me a e s n e went wa i g i , b b , i c I y ; l l ’ Now ret rn ea se et me s ta . I u , p y ’ ’ ’ I m s orry I lef you in thi s worl a lone ; ’ ’ ’

I m on m wa a e I m om n home . y y, b b , c i

188 TH E NEGRO AND HIS SONGS

’ ’ ell I m o n to b u me a l ttle ra lroad of m own W , g i y i i y ; ’ ’ Ai n t go in to let nobody ride b ut the cho col ate to the

bone .

’ ell o n to b u me a hotel of m own W , I g i y y ; ’ ’ Ain t go in to let nob ody eat but the chocolate to the

bone .

’ ’ ’ She s lon g a n ta ll a n chocol a te to the bo ne .

’ e ll o n to s ta rt a l ttle ra e a rd of m own W , I g i i g v y y , ’ d n ou o n t o le er let m wo m a n alo ne . If y , igg , y

’ ’ ’ She s lo ng a n ta ll a n cho cola te to the bone . ’

She m a e ou m a rr e d m a n then l ea e o ho me . k y i , v y

’ ’ ’ ’ ell tha t s o m a n o d e tte r b u a lo an k e W , if y , y u b y ck y , O b a b e ! ’ ’ ’ - - An s to p yo m a n from runnin a fter me e e .

’ ell o n a to sweet e m h s Te nnes s ee 0 a e ! W , I g i b ck M p i , , b b ’ d - Where e good lookin wimmins ta ke on over me .

’ Now a ood-loo n m an c a n it a ho me a n wha re he o , g ki g y g , T h e re a son wh is the wimmin s te ll me so . y ,

’ ’ She Cha n e a do lla r a n e m e a lo n d me g giv vi i , ’ I ll see n l n her whe her troub e like mi e .

STARTED T O LEAVE

Th e s en s e of humo r is very m a rke d in m a ny of the

ers b h o o mmon l a e e s s n t e e r e s . Th e v u g y N g c p c , m - — a tter of fa ct s tatem ent in th e fo llowi ng illu s trates .

a s th e e ro S y N g ,

’ I m o n wa g i y, ’ Goin s leep u nd er the tree s till weather gits w a rmer . ’ ’ e ll me a n m a a n t a ree W , y b by c g , ’ ’ ’ l Oh th a t s the rea son I m o n to ea e . , g i v EXAMPLE S OF SO C IAL SONG S 189

But a s in oth e r a s e s th e e ro do e s no t s ta lo , c , N g y ng . Pe rh ap s it is too cold u n d er th e tree s f o r him ; p e rh ap s

n h a s it a ll wro n a n wa . th e s o g g, y y

’ ’ ell s ta rted to lea e a n o t wa down the tra W , I v , g y ck ; ’ ’ ’ Got to thin kin o t m wom a n ome runnin a b u y , c b ck , 0 b a be !

’ ’ She h a e ot a b ad m an a n he s a s b a d a s he ll now v g , , I k , ’

Fo r ev b od Sho od tell me so . y , G ,

’ ’ ’ I thought I d te ll you wh at yo nigger woma n ll do ’ e l She ha ve ano th r m a n a n p a y s ick on you .

’ I C OULDN T GIT IN

The s r t o f n d e l t a l re a d to he d o n in th pi i i ﬁ i y , y uc up e “ ’ s o n s e n m a b e s hown rth e r in o ldn g giv , y fu I C u t ”

G it In .

’ ’ awd went to m wom an s do L , I y , ’ ’ ’ Ju s l a k I bin go in befo ;

ot m a ll-n ht tr a I g y ig ick , b by, ’ ’ An you c a n t git in .

’ ’ ’ ome a o t h a l a s fo C b ck b u f p , ’ ’ ’ do ne ll o e I m I n de do . If , p

Got m a ll-n ht tr a y ig ick , b by, ’ ’ ” u An yo can t git in .

’ ’ ’ ee ra n on m wom an s do I k p ppi y , ’ La k I neve r h ad b een dere b efo ;

She ot a m dn ht re e er de re g i ig c p , ’ ’ An I cou ldn t git in .

dd ou o hter to do la k me Bu y , y ug

Git a ood wom a n let the he a o ne s be g , c p ,

Fu r de a lwa s ot a m dn ht ree er y y g i ig c p , ’ ’ An u a n yo c t come in . 190 TH E NEGRO AND His SONGS

’ dd sto an let m e tell o u Bu y, p y ’ ’ Wh at yo wom an ll do : ’

She ha e nuther m a n in l a s on ou . v , p y ick y

Sh e ot a ll-n ht ree er dd g ig c p , bu y, A ’ ’ n you can t git in .

’ You o h ome well s he la n in b ed g ; , yi , ’ With red rag tied all rou nd h er he ad . ’ ’ She done h a d fo -d a ree er in here y c p , ’ l ’ D at s de rea son you cou d n t git in .

’ ’ STIRRIN ? WHAT S , BABE

’ Th e Si nger u s e s th e comm on s l an g falli n d en fo r his b d As h h a s s n f i o a n alo s s e . e o h s l e d e e u g v j u i , so h e s n s of a r e d a e t o n a n d n d el t b ut w th i g v i ff c i i ﬁ i y , i a ando n b .

’ We nt up town bout fou r o clock : ’ ’ h at s s tirrin a e s tirrin a e ? W , b b ; b b hen ot d ere door wa s lo ed W I g , ck ; ’ ’ ’ ’ hat s s tirrin a e wh at s s tirrin a e ? W , b b , , b b

’ Went to d e window a n den p eepe d in ’ ’ ’ ha t s s tirrin a e s tirrin a e ? W , b b ; , b b ’ S om ebody in my fallin d en ’ ’ ’ ” h a t s s tirrin a e s tirrin a e ? W , b b ; , b b

The wom a n tell s th e c re ep e r th a t h e h a d b e s t b e wat h l wh l h is o s e At th e s a m e c fu i e e ab out h er h u . t me e s d e s his e n e ral ro wd s m h e is erh a s i , b i g yi , p p e a t n al th o Sh e s n s i g l e p r vi s i on s in th e h ou s e . i g

’ Don t you let my honey c atch you here ’ ’ ’ He ll kill you de ad ju s s ho s you b orn .

H O P RIGHT

It Will thu s b e s een th at th e s o n g s o f th e m o s t ch ar

f r m l a h e o e o nd ac teris tic typ e a re a r f o e e g nt . T y g b y

192 TH E NEGRO AND HIS SONG S

’ IF YOU WANT TO G o A C OURTIN

h le the re is not m h s en s e to th e n e t s on W i uc x g, it give s s ome i n s ight i nto th e life of th e commo n

e roes N g .

’ ou want to o a o rt n s how ou wh ere to o If y g c u i , I y g , ht down onder in de ho l w Rig y u se be o .

’ ’ Clothe s a ll dirty an a in t go t no b room ’ l d rt lothes all h a n n i o O e i y c gi n de ro m .

’ ’ k o a l As d m e t t e tho ht I d ta e a s eat . b , ug k ’ r n s a a s Fi s t thi g I w w big chu n k o m eat .

a s m head hard a s a m a l Big y , u ’ ’ - - As h a e orn read ran a n all . c k , c b , b

IF Y O U WANT T O MARRY

’ Simil a r to s om e o f th e s o ngs u se d in ch ild re n s games “ ” a Th e son h as in th e Colo ni al d ays is M rry Me . g

ome tou e tho ht a e ro s o n b ut is a a re ntl a c b ug N g g, pp y “ orm of th e o ld rh m e ou w ll m arr m a rr f y , If y i y, y, ” w ll m m Th e ro s n s m arr I ou arr e . e y, f y i y N g i g

’ ou want to marr ome a n m a rr m e-e-e If y y, c y ’ l an s at n ou s h a ll wea r b ut tro le ou shall Si k i y , ub y

- - s ee e e .

’ If ou w ant to m a rr m a rr the s a lor s d a hter y y, y i ug ; ’ ' - Put her in a coffee pot a n d s en her cros s the water .

‘ m a rr l a al s he wa s l a ou now I y b ck g ; b ck, y k ,

For wh en went to s ee h e r sh e loo l e a row-ow I , k ik c ,

r — - She look like a c ow ow ow . O H NEY, TAKE A ONE ON ME

a o n of h e o n e o l r so n on e a A v ri ati t c p pu a g , H y, T k e ” a n on Me h as a rea t n m er of ers es th at a re O e , g u b v

o s t f th s howe n o tedl e ro ers e s . o e e er u d ub y N g v M , v ,

An d ea m a are no t s uitabl e fo r public ation . i y b e given

s n of th e o g .

’ ’ om n down tate treet om n down a n C i S S , c i M i , ’ Lookin for de woma n d at u s e coca i ne . Hone ta e a one on me ! y, k

’ ’ o n down Pete r tre e t om n down a in G i S , c i M , ’ ’ a n a n n Lookin f or de wom i t g ot o m a n . Hone ta e a one on m e ! y, k

ON ME HONEY, TAKE A WHIFF

nother e rs on of o n e a e a One o n Me A v i H y , T k

h s h f a t a m an s ows omet in g o the titude tow rd wo .

A yellow girl I do des pi se But a ut- la irl c a n t de n e s j b ck g I i ,

O honey ! ta ke a whiff o n me .

’ ut la n er u s la a s ta r A j b ck igg , j b ck , ’ Tryin to git to he ave n on elig ater c a r .

hon O ey ! t a ke a whiff o n m e .

’ Hatt e d o n t lo e me E s ther doe s i v , , e a s e wea r m nd a lot he s B c u I y Su y c ,

Ho ne ta e a wh on me . y, k iff

0 D o I LOVE THAT MAN , GOD , I

Mo re s eriou s an d of much b etter s e ntimen t is the ’ lo er s son o rd n a r l s n a s th l a me n t o f a wo m an . v g , i i y u g e 194 THE NEGRO AND HIS SONGS

lo e that m a n God do I v , O , I , I love him till the d ay he die ; ’ tho ht th at he d dn t lo e me If I ug i v , ’ ’ I d e at morphine a n die .

' If I h ad l stene d to wha t m a mma s a d i i , ’ I wouldn t a be en h ere to day ; ’ But e n s o o n throwed b i y u g , I ’ Tha t you ng b ody 0 mine awa y .

’ oo down o lo ne some ro a d L k p ,

H a cks a ll de a d in line . ome e n el s ome e d me S giv ick , giv i , ’ ’ To bu ry dis po body 0 mine .

KELLY ’S LOVE

’ In Kelly s Love the note of di s appoi nte d aff ec tion is so unded :

’ o e ell s lo e L v , K y v , ’ o e ell s lo e L v , K y v , ’

o e ell s lo e . L v , K y v

" ’ You ro e de hea rt m an a irl b k O y g , ’ ‘ You neve r b re a k dis he a rt 0 mine .

’ hen wo m a rons low W I y p , ’ hen wo m a ron s low W I y p , ’ hen wo m a ron s low W I y p , ’ ’ Couldn t keep you fro m my do .

Now weah s m a rons h h I y p ig , ’ l ’ Sc a c e y e ve r s ee you p a s s in by .

Now we a hs m a ron s to m h n I y p y c i , ’ ’ You pa s s my do b ut c a n t come in .

’ d See what Kelly s lo ve h a ve one . ’ See what Kelly s love ha ve done .

CHAPTER VII

EXAMPLES OF SOCIAL SONGS (Concl uded)

Th e s o ngs in thi s ch ap te r a re in m a ny re s pects like

tho s e in th n h e a re howe er e re e h a ter . p c di g c p T y , v ,

s all lo n er a nd th e s om et m e s a ro m ate all a d u u y g , y i pp xi b a nd epic in combi n ation s fe a rfully a nd wo nd erfully m a d e f a . Difficulti e s o cl a s s iﬁc atio n a re at onc e p

are nt . One l a s s of s o n s s ta nd s out l e a rl how p c g c y , e er n am el th e s o n s h a n to do w th th e e ro v , y , g vi g i N g “ Ba d Ma n o r he s e a re res e nted rs t . bully . T p ﬁ

Oth er ro s n l d e tra s on s d a n e s o n s a nd g up i c u i n g , c g ,

a r o s m s ell an eo s t e s v i u i c u yp .

STAG O LE E

e The no to riou s ch a ra cte r is s u ng a s a he ro of th e tr ib .

His d d s r s n ee a re m a r elo s his ers o n al t is nte e t . v u , p i y i i g ’ He i s a dmi red by yo u ng a n d o ld in s o ng an d s to ry an d u ndoubtedly h a s a n impo rt ant i nﬂu enc e upon the group .

’ ’ Sta olee Sta olee wh a t s d at in ou r ? g , g , y g ip ’ ’ ’ Noth n b ut m nd a l othes I m o n to ta e a tr . i y Su y c , g i k ip

h d a a n b ad a O t m m n Sta olee do ne ome . , , , g c

Sta olee Sta olee whe re ou een s o lon ? g , g , y b g ’ ’ ’ ’ e I b e n out o n de b attle ﬁel s hootin a n b avin f un .

h d a a n a d a O t m b m n Sta olee do ne ome . , , , g c

’ ’ Sta olee wa s a ll m a n a n ev bod nowed g bu y , y y k , ’ When d ey s eed Sta gol ee comin to give Stag ol ee de roa d .

h an b a d m a n a e O d at m St ole done ome . , , , g c EXAMPLE S OF SO C IAL SONG S 197

The re ra n Oh d at m a n b a d m a n Sta olee do ne f i , , , g ” o me is s n a t th e en d of e a h s ta n a a nd add s c , u g c z m h to th e h a rm of th e s on n h a ra ter s t uc c g, givi g c c i ic thought to th e wo rd s an d rhythmic al swi ng to th e m s Th e s n e r o nt n e s his n a rrat e : u ic . i g c i u iv

’ Sta olee s ta rted out he e his w e his ha n g , giv if ; ’ ’ ’ ”

oo d b e d a rl n I m o n to ll a m a n . G y , i , g i ki

’ ’ Sta olee lled a m an a n l a d him on de ﬂo g ki i , ’ ’ - Wh at s dat he kill him wid ? D at s ame ole fohty fo .

’ Sta olee lled a ma n an l a d him on his s de g ki i i , ’ a D a a - v Wh at s d t he kill him wid ? t s me ole f ohty ﬁ e .

’ Out of ho s e a n down d e street Sta olee did run u g , ’ ’ In his h a nd e e d a re a s k n un h h l g t big mo g .

’ ’ Sta olee Sta olee I ll tell ou wha t I ll do g , g , y ’ ’ ’ If you ll git me out n dis troubl e I ll do a s much f or you .

’ ’ n t it a t a n t it a s h ame ? Ai pi y, i ’

Sta ol ee wa s s hot b ut he don t wa nt no nam e . g ,

Sta olee Sta olee loo wh at ou done done g , g , k y l ’ Ki led d e best ole c it erzen ; now you ll h ave to b e hu ng .

’ l e Sta o e r ed to de r Ple a s e don t ta e m l e . g c i ju y, k y if ’ ’ I h ave o nly three li ttle children a n one little lovi n wife .

Oh dat ma n b ad ma n Sta olee d one ome . , , , g c

STAG O LE E DONE KILL DAT BULLY

The fo re goi ng vers ion is mo re u s u ally s u ng in Mis s is si i Lo s a n a and en n es s ee th o h it is nown pp , ui i T , ug k in Al a am a an d Geo r a e s de s e n s n the b gi , b i b i g u g by

e ro a ra t a n oth er v er N g v g n s ll over th e co u n try . A s o n mo re o mmo n in G eor a ele rate s Sta olee as i , c gi , c b g 198 TH E NEGRO AND HIS SONG S

a somewh at d ff eren t h a ra te r a n d the s on is s n i c c , g u g

to d ff r n m i e e t u s ic .

’ ’ I got up one mo rnin jes bou t fou r O clock ; ’ ’ Sta n n gol ee a big bully d one have one ﬁ i s h ﬁght . ’ h a ? Al n W t b ou t l bou t dat rawhide Stetso h at .

Stag olee s hot bully ; bully fell d own o n de ﬂo “ ’ - Bully c ry o ut : D a t fohty fo it hu rt s m e so .

Sta olee d one ll d a n g ki t bully ow .

’ ent fo r de wa o n w a on d dn t ome S g , g i c , ’ ’ a Lo ded down wid pi s tol s a n all d at gatlin gun .

Sta olee done l d a n g ki l t bully ow .

ome e a n el some e a d me S giv ick , giv i ; ’ ’ ’ 3 d d n t e a re d o e r en a s e he s no r end 0 I i giv c pp c t , c u f i

m ne i .

Stag olee do ne kill d a t bully now .

Foht doll ar o n e ht doll a r h a y c ffi , ig y ck , ’ a rr ed o m a n to c em eter b ut a led to r n him C i p y , f i b i g

a b ck , ’ i ’ ' Ev yb ody been dodg n Stag olee .

F ro m the hom e to th e ceme te ry he h a s gone th e ro a d “ ” f o n om et me s th e m an o m any a Negro r u der . S i

lled is a t a n o r l a th e r n s ome t me s ki pic ic pub ic g i g , i

s T e s n s of th r a w th its s tom s el ewhere . h e e e l c bu i , i cu , are b ut a a rt of the l e h en e the a re o rtra ed p if , c y p y with equ al diligenc e .

RAILR OAD BILL

But Sta ol ee h a s his e al not his s e r o r . g qu , if up i ” R a il ro a d Bill h a s h a d a w on d e rful c a ree r in s ong an d ' ’ f h ra On e He is th e e ro s h ero o t e t . s to ry . N g ck mu s t ta ke all th e ve rs ion s of th e s o ng in o rder to

a f h r a pp reci ate fully th e ide l o s uch a c a ra ct e .

200 THE NEGRO AND HIS SONGS

’ ’ An jus a s I ca ught tha t Numb er Fo S omebo dy s hot a t m e with a f ohty-f o ’ a ll It s that b a d R a ilro d Bi .

went a on N m er e I b ck u b Fiv , ’ n r n him a de ad a l o to o r i e . G i b i g b ck , v ’ l a Loo kin f er Ra i ro d Bill .

hen ome on N m r W I c up u be Six, a All the p eople s h d done g ot s ick . ’ a l a Loo kin f er R i ro d Bill .

hen went down on N m er e en W I u b S v , l ’ ’ i All the p eop es wis h d they s n he aven . ’ -l n r a lro ad l A ooki f e R i Bi l .

ome a on N m er E ht I c b ck u b ig ,

l s a wa s a n o la The fo k s y I mi it t o te . ’ ’ It s loo ki n f er Ra ilroa d Bill .

he n ome a on N m er N ne W I c b ck u b i , “ ’ ol s s a o re st in t me F k y, Y u ju i

To c a tch th a t R a ilroa d Bill .

h en ot m men the a mo nted to ten W I g y , y u ; ’ ’ a l An th t s wh en I run po Ra i roa d Bill in . ’ ’ An a l a l a that w s s t of po Ra i ro d Bill .

’ ’ IT S LOOKIN F ER RAILROAD BILL

But a l ro a d ll s oo n a e ars a a n an d now h e is R i Bi pp g i ,

rs th a n e o re Th e n e t ers on d f ers o nl wo e b f . x v i if y

l htl rom the o re o n o ne O ne m st rem em er s ig y f f g i g . u b

h at th e h o r s l ne o llow s e a h o l et a nd th e t c u i f c c up ,

a n n m a contra st in me i g ke s a mo st i ntere sti ng s o ng .

a lroa d ll m ht b a d m an R i Bi ig y , ’ ’ ’ ho e l hts u o de ra e an s ha n S ot d m ig o t b k m . ’ ’ a l a ll It s loo ki n f er R i ro d Bi . EXAMPLE S OF SO C IAL SONGS 201

a lroa d ll m ht b ad man R i Bi ig y , Shoot the l amp s a ll off the ’ ’ ’ An it s loo kin f er Ra il roa d Bill .

rs t on ta le ne t on wall Fi b , x ; a l Ole corn whi s key cau se of it l . ’ ’ a lr a d ll It s lookin f er R i o Bi .

Ole McMilla n ha d a s p ecial tra m ; n When he got there wa s s hower of ra i . ’ Wus looki n f er Ra ilroa d Bill .

’ Ev ybody tole him he better tu rn b ack ; ’ R a ilroad Bill wus go in down tra ck . ’ ’ ’ An it s lookin fer Ra il roa d Bill .

e ll the ol emen a ll d res s ed in l e W , p ic b u , ’ om n down s dewal two b two C i i k y , ’ s a a Wu lookin fer R ilro d Bill .

a lroa d ll ha d no w e R i Bi if , l ’ ’ A ways lookin f er some body s life . A ’ i ’ ’ l n t s loo kin f er Ra ilroad Bil .

Railroa d Bill wa s the wors t ole coon ll ’ Ki ed McMill a n by de light 0 de moon . ’ ’ It s loo n ki fer R a il road Bill .

One l e er went on N m er ﬁv e Cu p pp up u b , ’ o n n him a d ea d or a li e . G i bri g b ck , v ’ Wus loo n f e d ki r Ra ilroa Bill .

The e roe s Si n d ff erent o rm s o f thes e ers es as N g g i f v , they a re s ugge s te d at th e mome nt

McMillan ha d a s e al tra n p ci i ,

hen he ot there it wa s s r n W g , p i g .

Two p olicem en a ll dres s ed in blu e ’ C ome down s ree in t t two a n two . 202 TH E NEGRO AND HIS S ONGS

a lroad ll le d a m ht b a d l e R i Bi ig y if , ’ Alwa ys a fter s om e other m a n s wife .

’ a l ro a d ll we nt out We s R i Bi , ’ a b e s Thought he h d dem cowb oys .

a l roa d ll m ht b a d m a n R i Bi ig y , ’ Kill McG rud er by d e l ight o de m oon .

R RA IGHT ON , DESPE DO BILL

It is n ot s u rp ri s i n g th a t a s o ng s o p o pu l a r a s Ra il ” ro a d Bill Sh oul d ﬁn d its w ay i n to o th e rs o f s imil a r t n oth e r e rs o n of th e s a m e s o n add s re yp e . A v i g ck les s n e s s to th e a chi eve m e nt s of th e d e s p era do a n d ' o m ne s am l n r m n al te n den e s a nd his en c bi g b i g, c i i ci , g

ra t n n Th e o llow n ers o n is e ra l mmo l i o e . i i y, f i g v i “ ” s om ewh at m ed b ut is now n a s a a l ro a d ll ix , k R i Bi

h ere a re two o rm s of th e Ch o r s a n d th e s on . g T f u , y

rs t a re given ﬁ .

— ’ os e los e I d on t eer L , k ;

win let m e win la k a m a n . If I , ’ ’ lo s e a ll m m o ne I ll b e am l n f o r m hon e If I y y , g b i y y ; ’ v a n e E y m n ought to know whe h lose .

’ o s e lo s e don t ee r L , , I k ;

win let m e win la k a m a n . If I , ’ Lo s t f ohty-one doll a rs tryin to win a dime ’ v a a E y m n pl ys in tough luck s om e time .

a l roa d ll wa s m ht s ort R i Bi ig y p , ’ hot all tton s off h h her ff s oat S bu ig S i c , “ ” D en holl ered ht on e s era do ll ! , Rig , D p Bi

Hone a e ho ne a e where ou een so lon ? y b b , y b b , y b g ’ a n e a s n I i t b e n h ppy i ce you b een gone . ’ ’

a t s a ll r ht d a t s a ll r ht hon e a e . D ig , ig , y b b

204 TH E NEGRO AND HIS SONGS

Th a t Bully of Thi s town re p re s en ts a mo re general

on d t o n t IS I'l in rtr a l s o f r c i i . I ch po ay Neg o life a nd tho ht ug .

’ onda wa s rested T es d a wa s ned M y I , u y I ﬁ , ent to ha n a n done s er e m t m e S c i g g , v y i ; ’ ’ S till I m loo kin f or that bully of thi s town .

’ The ll the ll the ll an t b e o nd bu y, bu y, bu y c f u ; ’ ’ ﬁ a l n a n th t l o to l his od down . If I bu y, g i y b y ’ ’ I loo n f or ha ll of h s to n m ki t t bu y t i w .

’ The ol e town the re all s a red p ic up y c , ’ ’ ’ But ﬁn tha t ll o n to l a his od wa if I bu y, I g i y b y y, ’ ’ For I m l ookin f or that bully of thi s town .

’ ’ I m goin down on Peter Street ; ’ ﬁn th a t ll w ll b e loo d meet If I bu y, i b y , ’ ’ For I m loo ki n f or that bully of thi s town .

went d own town th e othe r d a I y, ’ k v b od did h a ll ome this wa I a s e y y t t bu y c y. ’ l I wus loo kin f or tha t bul y o f thi s town .

’ Oh the uV ne r of th s State off ere d one h ndred doll a rs , g i u

rew a rd ’ ll b To a nybo dy s a rres ted tha t bu y oy . ’ ll f h s o I s ho lookin f or that bu y o t i t wn .

ell o nd tha t ll on a r d a n ht W , I f u bu y F i y ig , ’ I told th a t bully I s e gwine to ta ke his life ;

I fou nd th a t bully of thi s town .

’ ll out m un a n e in to ﬁre I pu y g b g , I s hot that bully right th rough the eye ; ’ ll f An I kill that bu y o thi s town .

a ll the wimmins ome to town all dre ssed in red Now c , Wh en they hea rd th at bu lly b oy wa s dea d ; ’ An it wa s the la st of that bully of this town . EXAMPLE S OF SO C IAL SONGS 205

Wh at a pictu re th e s o n g give s o f th e bully an d his pu rs u er ! Th e b o a s ti ng b ra gg a rt s ee s him s elf th e h ero

h a o n m n f t hole omm n t b u t e m th e wo e . o he w c u i y , c i ﬂy g He is b etter th an th e po lic e : they will eve n th a nk

s al or Th e o e rn o r w ll i e him his him f or hi v . g v i g v

a d e r o d h e me ets h e as s a o t th e ll rew r . Ev yb y k b u bu y

Th e e n e of th o an d ta e s o n a n ew swa er . Sc e b y , k gg “ s hoot n th e re a h n f o r th e s to l a nd th e l a n i g, c i g pi , yi ” ’ — down of th e bully s b ody th es e off er u n alloyed

t th S n r lto ether it is a rea t s ati s fa ctio n o e i ge . A g g

d s a s er o r t re so n a n d e e . g , ﬁ up i pic u EDDY JONES

Oth er no to rio u s ch a ra cters a re s u ng with the s am e

a Th e h a ra te r st le a s r an d o l o s ati s f ctio n . c c i ic p u e b ivi n

f t m a om an th s n n h le a t or o o i e cc p y e i gi g . W i w k ne m a S n th e wo rd s wh s tl e th e t n e s a nd s al e y i g , i u vi u iz the t re th s ett n a r h er d f s n el o o . h n pic u , u g i g ic ﬁ vi i W e alo ne th e e ro ets m h s at s a t o n out of s on , N g g uc i f c i gs

o r ew s e s h a like th s e h e e given . Lik i uc so n gs re s u n g in rou s a t wh h t me s th e s n e rs tal a n d l a h g p , ic i i g k ug ,

eer on e a nothe r an d retort th s a r n th e s on j , , u v yi g g . “ ” Eddy Jo ne s s eem s ve ry Sim il a r in ch a ra cte r to ” ta ol ee S g .

’ low t ra n run th r r a ns a s S i u A k , ’ Ca rr in dd o ne s y E y J .

Edd d ed w th a s e al in his h a nd y i i p ci ,

dd one s dd e E E on s . y J , y J

’ Edd ones all for th e ool n - oa rd y J c c i b , awd l awd lawd ! L y, y,

’ Edd one s loo ed ro nd a n s a d y J k u i , “ ’ ’ an h a k ill d e wo n M t t m t h ave no luck . 206 TH E NEGRO AND HIS SONGS

’ ’ ’ Ain t it s ad b ou t po Eddy be in dea d ?

dd one s wa s le d own in h s ra e E y J t i g v .

Wh at did Eddy s ay b e fo re he d ied ?

H d a r e s a Ne re M G od to Thee . i , , y ,

’ Edd s mo the r s he wee ed a d a y p y, awd Edd o ne s Edd one s ! L y, y J , y J

Th e s n er t rn s to the wo m en the b e re s en t i g u , if y p , and s ings :

You wa nt me to do like Eddy Jo ne s ? ’ You m u s wa nt me to l a d own a nd die f or y you .

’ The s p eci a l is a well-k now n term f o r the Negro s ” “ ” un wh h is s all a s to l th e 44 is alw a s g , ic u u y pi ; y “ ’ ” Th e o ol n - o a is h - th e a o r te . r t e d eath b ed f v i c i b d , ’ an d is a co m m on e xp re s s io n u s e d to s ignify th a t o ne s

t m e is a t a n e n th at is when h e is to b e o n th i d, , e “ ’ ” - a rd Th e e ro r mn al a lmo s coo li n b o . N g c i i t i nva

d s a t e a w th o d Th n riab ly ie p c e i G . e co c eptio n co m

mo nl o n d a m on the e ro e s a n d o n e wh h th e y f u g N g , ic y

lt ate is th at th e r m nal w ll alw a s b e re o n led cu iv , c i i i y c ci

o in th s a s e dd o n s di s b efo re his d e ath . S i c E y J e e “ d to h s n n e a re r M G o e e . i gi g N , y , T

JOE TU RNE R

In much the s a me way th e m a n who h a s b een to the ch a i n ga ng o r p ri s o n is lo o ke d up o n with s ome s ort

a f n o f admi ratio n at th e s a m e time th t h e is e a re d . I “ ” a h is Joe Tu rne r a n id e al is hi n te d a t . E c li n e m a a a s u ng th ree time s to ke a s t n z .

D e tell me o e T rne r he d on e o me y J u c ,

D e tell me oe T rne r he d one ome y J u c ,

Oh de tell me oe T rne r he done ome . , y J u c

208 TH E NEGRO AND HIS SONGS

omens in a ns a s all d res s ed in red W K ,

Got de new s d a t Ca s ey wa s dead . D e womens in a s o n a ll dres sed in la J ck , b ck,

d i a h e wa s a ra er—a a n t . S i , f c , c ck j ck

The vers e abo u t b eggi ng his h oney is i nte nded to

o rtra the s e n e a te r th e wre wh en the rem an p y c f ck , ﬁ ,

h o did not s ta on th e e n n e w th a s e wa s w y gi i C y, out ” “ a n to n an d a so n a re re l a o f a job . C J ck gu rly

n in s s s s wh le e m h s is mo re o t n s u g Mi i ippi , i M p i f e s u ng in Tennes s ee .

JOSEPH MI CA

Ano the r ve rs io n o f the son g a s fou nd in Geo rgi a an d ” ma is s n in hono r o f o s e h a tl an a Alab a u g J p Mic . A t

m a th l a l l a and Bi rmi ngh a re e o c p ce s .

ose h a wa s ood e n ineer J p Mic g g ,

a a Told his ﬁ rem n not to fe r . ’ ’ All he wa nt is wa ter n oal c ,

Po e his head out s ee d r ers roll . k , iv

’ E arl o ne mornin loo li e rain y k k , ’ Rou nd de cu rve com e p a s s enger tra in .

On owers lie ole im ones p J J , ’ b u d a n ood O le en neer t d a one . G gi , i g

’ e t tla nta ho r eh n L f A u b i , ole his rema n to m a e the t e T ﬁ k up im .

All he wa nt is o ler hot b i , ’ Run n h o o i t ere b u t f u r o clock .

B RADY

m r m d s en e is t re d i ere o e e n rad . ix c pic u B y H , too th e wo me n h e a r o f th e n ews a s nd eed the , , , i , y always do ; b u t thi s tim e th ey a re gl ad o f his d eath . EXAMPLE S OF SO C IAL SONGS 209

Wh th s is th e so n do es no t t ll . rad ho e er y i , g e B y, w v ,

ee n a rett b ad e llow fo r he did n mu s t h ave b p y f , o t

ell s tay in h .

’

rad went to hell b ut he d dn t o to s ta . B y , i g y “ ’ ’ D e l s a ra d s te ro n dis wa vi y, B y, p u y, ’ ’ ’ ” I m lookin f or you mo s every d ay .

rad ra d ou now ou done wron B y, B y, y k y g , ’ You come in wh en g ame wa s goin on ' ’ ’ An d ey l a id po B rady d own .

’ ’ wid de row ar b us o en de do Up c b , p , ’ ’ ’ Lef him lyin dea d on p ool-room ﬂo ; ’ ’ d wn An they l a id his po b o y do .

en s in Iow de hea rd de news Wom y y , Wrote it down on O le red s hoes ’ a d D at dey gl ad po B ra dy wus de .

Th e s cene is o ne of a killi ng in a g a m e o f p o ke r o r “ ’ ” a h e l a d his o o d down is the ommo c r p s . T y i p b y c n

f Th e e re s s on way o s ayin g they killed him . xp i h a s

in n m er of rs s e o l b een met a u b ve e p r vi u s y give n . Ju st wh at the con clu s ion of the s c ene with the d evil

h ro n r do s no t s em to no wa s t e e s e e e . , N g i g k w

FRANK AND JESSE JAMES

While th ere a re s till many s o n g fragm e nts cu rrent a o t the noto r o s e s s e am e s th e on l s on o nd b u i u J J , y g f u which w a s in a ny way co mplete is a s follows :

’ ’ 0 moth er I m d ream n mo ther I m d re am n , i g ; O , i g , ’ ’ mother I m d ream n o t ran and es s e a mes . O , i g b u F k J J

es s e ames h ad a w e She mo rned all her l e J J if , u if , ’ ld ren r ed f r r ad J es se J ames s chi c i o b e . 210 TH E NEGRO AND HIS SONGS

e nt on the w all tho ht hea rd a all W up , ug I c , ’ ’ Tho ht h ea rd a all o t ran an s s ug I c b u F k J e e J a mes .

TH E NEGRO B U M

The N egro Bum is th e n a m e o f a s ho rt s on g th a t

a o od e o s t o n of th e eel n s of th e a ra n g xp i i f i g v g t .

’ ’ wu s o n down th e ra lro a d h n r an wa nted I g i i , u g y to e at ’ a s k wh te l a d f or s ome r a d a n I i y b e m eat . ’ ’ ’ Sh e e me re a d a n off ee a n t re a ted m e m ht k in giv b c , ig y ; ’ o ld it t hem ood h a nd o ts I d t wor rn If I c u g g u , qui k , bu

a ll the tim e .

ell t he ra lroa d om le ed he a he a t t rs on t tr . W i c p , c up ck Yonder comes two di rty hob o s with grip-s a cks on d ere b a ck s ;

loo l e m rothe r the other m ro h -i -l aw One t er n . k ik y b , y b They wal k a ll the wa y from Mi s s i s s ippi to the St a te of

Arka n s a s .

’ ONE MO R OUNDE R GONE

The term ro nder is a l e d no t o nl to m e n b u t u pp i y ,

In en er al th e nter reta t o n is th t wo m e al so . at o n g , i p i o f a wo rthl e s s a n d w an d e rin g p e rs on who p ride s him

It is a l s o a te rm of llo s h n dl e . s elf O n b e i g i fe w ip . “ ’ th e s on s th at ollow th e ho r s On e m o ro n de r In g f , c u u ” gon e will b e fo u n d to exp re s s ﬁtti n g s entim ent to the

Th e s on th at n ame e s a ccomp a nyi ng s cen e s . g by giv a rep etiti on of th e bu ri a l s c en e s a n d ge neral feeli ng

d a f Its n s al which wa s c a u s e d by th e e th o a gi rl . u u u

th e a t th at th e s n a e s to a rl fe atu re li e s in f c o g ppli gi . Th e mo de rn ve rsio n with th e au to mo bil e h a s n o t b een d fou n .

e r-t red d o l e—s ea ted ha Rubb i buggy, ub ck , ’ ell it a rr ed o el a to ra e a rd a l ed to rin her W , c i p D i g v y , f i b g

b a ck . ’ de o ne awd o ne mo ro n r . L y, u g

212 TH E NEGRO AND HIS SONGS

’ a e ol e ro nder it s me to o W k up , u , ti g ,

n he a rd d a s le l w I thi k I t whi t b o .

You s te out l e t wor -ox s te in p , k p ; ’ ’ re a n a a l- ohn a s man o c a n o tu E t u ome a n . Y u b , y c gi

’ Carry me d own t o the s tation-hou s e do ; ’ a a a e n Find nuther E s tm n n l t me k ow .

a e ole ro nde r ou s lee too l a te W k up , u , y p ,

’ “ ’ - Money m a kin ma n d one p a s s yo gate . ’ You s te out let m one -m a n m a n s te in p , y ki p ; ’ — You a n atu al ohn E a stm a n ou c an om e a n . b , y c gi

’ BAD-LA N STONE

h e ro lo e s to o a s t o f e n a b ad m an T e N g v b b i g . ” b in b ad m an in m d a s a s th e old er ellow to I a y y , y f

a t im h the s am e s en t m nt s th e b oys b ou h . Muc i e i here

t s s s un g a s th a in th e ongs j u t given .

’ wa s ohn in a m ht b a d l an I b ig y , ’ is B d- a n n Fo r my nam e a L Sto e . ’ ell wa nt all ou oons f e r to ndersta n W , I y c u , i I a m d a ngerou s w d my licker o n .

’ You m a r n a ll o ns rom de attles h y b i g y gu f b ip ,

I m ake a coon climb a tree . ’ on t ou ne er d are s l ht m re ertation D y v ig y p , ’ a Or I ll b rea k up thi s j mb eree .

’ ell well wus ohn in a m ht b ad la n W , , I b ig y , — — r n am na me is Ba - a n ne Fo my e d M Sto .

In his volum e T all ey give s s everal rhyme s which “ a re s imil a rly de s criptive of th e b ad m a n s uch as “ “ 106 a nd t o n n d s h a s al . a T e R c (p ) S r g H (p . Two othe rs a re a s follows EXAMPLE S OF SO C IAL SONG S 213

WILD NEGRO BILL T 4 ( all ey, p . 9 )

’ I s e wild Nigger Bill

F rum Redpepper Hill . ’ ’ ll ne er did wo k a n ne er w . I v , I v i

’ l I s e done kil ed de b os s . ’ I s e knocked down d e bos s . I eats up raw goose widout a pple s auce !

’ I s e Run-a-w a ll y Bi , I knows d ey mought kill ; ’ ’ But ole os s e r h a n t ot h me a n h e ne er w ll M i c c , v i !

LOOKING FO R A FIGHT 1 1 (Tall ey, p . 8)

went down town d e udder n ht I y ig , ’ ’ ’ ’ - - A ra is in s a n a n a wantin a ﬁght . ’ ’ Had a o rt -do lla r ra er an a atl n un f y zz , g i g ,

Fer to s hoot dem n iggers down one by one .

Y OU MAY B U T R Y OU C LEAVE , THIS WILL B ING BA K

It will b e s een th at the Negro love s to s i ng of tri al s

t a r s t dl nes s r me a nd ra a d h in o r re e o . T e c u , , i , c i , b v “ ” “ ” t ram a nd the ro n der th e a stm a n an d th e p u , E “ ” a h c reepe r a re b ut typic l extrem e s . T e notoriou s ch ara cters su n g a re th e o bj e ctive Sp ecim en s of the c om f - ow omes the s on t mon s pi rit o s elf feelin g . N c g wi h

o n al o a s t a n d th re l s s ra e d th th e p ers b e ck e b g . Mix wi — ’ — it all is th e h appy-go lucky s en se of do n t c are a nd

a t o s f h s It is a re h l o h o l e th e e ro a . humor . g p i p y if N g

at s ed t le d to d ea th S i ﬁ , ick , ’ G ot a b ottle 0 whi s key o n my s h elf .

You m a lea e b ut th s w ll rin ou a . y v , i i b g y b ck 214 TH E NEGRO AND HIS SONGS

at s ed s at s ed S i ﬁ , i ﬁ ,

G ot my honey by my s ide .

You ma lea e b ut th s w ll r n ou a . y v , i i b i g y b ck

’ ’ ’ An I m us r m the o ntr ome to town j f u c u y c , - - A too loo s h a ke r from my hea d on down .

You m a lea e b ut th s w ll r n ou a . y v , i i b i g y b ck

’ ’ MO RNIN s o THIS , THIS EVENIN , SOON

Wh at do e s it m atte r to him if h e h a s b een in s eriou s tro le ? Is not th e a l a o t a s oo d a s h om e the ub j i b u g , ? ch a in gan g a s go od a s his everyd ay life He will g et

o a a n d a l a e o S e Th e e ro s n s enough t e t p c t le p . N g i g

“ ’ “ w th h a ra te r s t h m o r h s Mornin h s Ev e i c c i ic u , T i , T i ’ ” nin So oo n a n d m n l e s his s e ne s in s h a wa , S , i g c uc y

n n o s h m a ll th at the s i ger e j y t e .

’ ’ ent town wid m h at in m h an dis m o rnin W up y y , ’ e d a W nt up town wi my h t in my h an . “ ’ ood m o rnin ed e done lled m m an G , j g , ki y , ’ ’

Th s mo rnin th s e e n n s o s oon . i , i v i ,

’ ’ d dn t te ll him b ut ed him so th s mornin I i qui ki , I ﬁx , i ; ’ I did n t quite kill him b ut I ﬁxe d him s o ’ He won t b odd er wid m e no mo

’ ’

This mo rnin th s e en n s o s oon . , i v i ,

’ All wa nt is m s tron h a nd-out th s mornin I y g , i , All I wa nt is my stron g ha nd-out ;

It w ll a e e s r n a i m k m t o g nd s tou t . ’ "

Th s m o rnin th s e en n s o s oon . i , i v i ,

Oth er coupl et s a re s u n g afte r th e s tyl e of the ve rs e s j u s t given

hen ou ll a h en s a e m e the eet W y ki c ick , v f , ’ ’ ’ ’

he n ou th n I m wo r n I m wa l n the street . W y i k ki , ki

216 THE NEGRO AND HIS SONGS

a ntonnes s an d s m l t of the e ro is s n at w i p ici y N g , u g

len th a h s tan a is m a de to o nta n s ix l n es g . E c z c i i by

rep e ating e ach li ne th ree times .

’ ’ Ev s n e lef d at o ntr a rm y i c I c u y f , ’ E b in o n n e v yb ody d w o m .

lled a m a n lled a ma n I ki , ki

Nobody to pay my ﬁne .

went down to de ra lroad I i , ’ Could not ﬁnd a f rien .

hen it de ro ad W I g up , ’ a n Wonder who ll p y my ﬁ e .

on a s ma e m n ne a wee L g I k y i k , ’ ’ ’ Rou nd yo b ed s ide I go in to creep .

’ NOBODY S B IZNE SS BUT MINE

Rep e ated much in the s a me w ay is the s ong No ’ b o dy s Bizne s s b ut Min e Th e s en time nt is some ’ ’ wh at s im ilar to the so ng Ta i n t Nob ody s Biznes s

b ut Ow n b ut is mo re arel es s a nd a re—ree h My , c c f . T e

ho r s wh h is re e ate d a te r e a h s ta n a o r o m t d c u , ic p f c z i te

at w ll is a s o llows i , f

eor ia e how do ou do ? G g Luk , y D O l ak u se ter God nows ! I , k D o l ak us e ter God nows ! I , k

And in th e s ta n za s the thi rd o r cho ru s li ne is repe ated

m e s th s do l n h r n o r t t e le th . f u i , u ub i g i g

’ o n to m s ha G i y ck , ’ ’ Ain t comin b a ck . ’ o d s bi nes b n N bo y z s ut mi e . EXAMPLE S OF SO CIAL SONGS 217

Git o n m n up y bu k , oo in m tr n L k y u k , l ’ l Cou nt my Si ver a n my go d .

’ ’ ou d on t el e e I m ﬁne If y b i v , ’ i e h n a ine G t m b e i p . Tre at ou la k a l a d G d now s ! y y, o k

’ ’ o n a No th G i b ck up , ’ o n ll m r t he s off G i pu y b i c , ’ - l Goin s lee p in my long s hirt ta i .

’ o n to m s ha G i y ck , ’ Go in h ave hump o n my b a ck ; ’ Nobody s biznes s i t mine .

’ Go in b e hump o n my b ack

So m any chicken s in d e s ack . ’ Nob ody s biznes s b ut mine .

h ens in m s a C ick y ck , ho nds on m tra Big u y ck , ’ Nobody s biznes s b ut mi ne .

Th e ab o ve s ong p erh ap s re a ch e s a clim ax of the

ro h appy a n d c a reles s di s po s ition o f th e v audevill e Neg .

h t res a s h e a n ts there h e s ees dl a n d en Suc pic u p i , vivi y o s h e re a re m an oth er ers e s wh h a re s n j y . T y v ic u g, b ut wh h w ll not r ro d tion ic i p e mit rep uc .

’ ’ I M GOIN BAC K

In m h th e s ame s r t b ut w th erh a s a uc pi i , i p p more re les s n es s th e e ro m an s n s ck , N g i g

M n ame is n le Sa m y U c , ’ An I do not give a d a m n ; ’ I ta kes a litt le t oddy now an then ’ ’ I m o n a g i b ck . 218 TH E NEGRO AND HIS SONGS

ell some ol s do s a W , f k y

D at it is not a s in

’ If I ta ke s a little toddy now a n then ’ ’ I m go i n b a ck .

’ wa s orn in sweet ole l a am I b A b , ’ An d o n ot e a damn I giv , Where I ta ke s a little toddy now a nd the n l ’ e l I m o n a . W , g i b ck

C O CAINE HABIT

Th e Negro s in ger p ays his re s p e cts to th e coc a ine h a t a d Th m a o r t o f the e s o n s a re bi n whi s k ey . e j i y s g

n de e nt in th r An e am l e of th e ette r i c ei s ugge s tio n . x p b

ers es w l l s t v i l i lu rate .

’ ell the o a ne h a t is m ht b ad W , c c i bi ig , ’ It ll ev b o d now it to h a e ha d ki y y I k v , O my b ab e !

’ ell wa e in de mo rnin b the t - lo ell W , I k y ci y c ck b , ’ ’ An the n iggers up town givi n co ca ine hell . O m a e 0 m a e ! y b b , y b b

went to the dr -s tore went in a lO e I ug , I p ; ’ ’ ” Sign o n the d oor : Th ere s no mo co ke . m a e m a e m a e ! O y b b , O y b b , O y b b

’ ROLLIN MILL

’ ’ In th e Ro lli n Mill th e s i n ger s ays th ere s no mo re r n t t o m et m es h e me a n s h e i o o s hip o town . S i w ll not h a e to wo r e a s e th e m ate r a l is e h a s te d i v k b c u i x u , s o m etim es h e m e an s th ere w ill b e no mo re ch a i n s f o r him ut it is m o s t l el th at h e s m o l es l o r , b ik y y b iz iqu

the ro n by i .

220 TH E NEGRO AND HIS SONG S

’

P t me s ir f or am o . i y , , I p o nder ome ra ema n on o ts de Y c b k u i , ’ ’ Goin s hut up b ox-c a r do

’ wa s o n down to o s lle I b u L ui vi ,

G ot stuck on Loui s ville gi rl . ’ ’ ’ You b et o l e s he s out o ht y if Sig ,

She wore the Lou i s vill e cu rl .

THOUGHT I HEARD THAT K . C . WHISTLE BLOW

’ Much h as al re ady b een s a id of th e Neg ro s attitude toward His s o n s a o nd in th e ra il ro a d a n d tra i n . g b u refe re nc e s to th e tr a i n a s a n agent f o r his d es i res . “ ’ ” — Fro m ridi n th e ro d s to a lo ng de s i red trip b a ck to his s weeth e a rt th e e ro is th e re ent a tro n of , N g f qu p the tra n om e e a s a th e a nt s f o r s o m e of th e i . S y r go ge We s tern bu s i n e s s co n c ern s Off e re d attra ctive i nduc e m ents to N egro e s to m igrate f o r p e rm an en t wo rk .

he s e a e n ts we nt th ro h o t th e o th s e r n T g ug u S u , cu i g l ar e n m ers o f l a o r rs an a a m l d s o s e d g u b b e . M y f i y i p o f th ei r good s f or a triﬂ e in o rd er to a cc ept th e ﬂ a tter in te rm s o ere d f o r th e th o h t th at in th e n ew g ff , y ug envi ronm ent th eywould s oo m b e com e we althy an d

ro s ero s Th e h s to r of the ir e er en e is well p p u . i y xp i c

nown he we re a rr d o t n oo r tre atm e n t . e u e k T y c i , giv p , w th no m t s i oney and o ften n o t e nough to e at . I i needle s s to s ay th at a ll wh o c ould ob ta i n mon e y en o h a n d e s a e a m m ug c p c e b a ck to th ei r old ho e s . So m e o f th e mo s t i n te re s ti n g an d p ath etic s to ri es told by th e Negro e s a re tho s e of a dventu re a n d p riva tio n

n rre d in th e r eff o rt t r an o f i cu i o etu rn ho m e . M y th em a h mo ro s Th e o ll ow n s o n re r s ent s o n e re u u . f i g g p e of thes e l abo rers w a iti n g a t the s tation f o r th e tra i n “ ” to a rr him a wh ere h ome r m The s on c y b ck e c f u . g

s i p athetic in its app eal . EXAMPLE S OF SO C IAL SONG S 221

Tho ht he a rd tha t . . wh stle low ug I K C i b , ea r a wh stle l w ! Oh tho ht h d th t . . o , I ug I K C i b

’ low l a k s he ne er low e o B v b b f , ’ awd s he low l ak s he ne er low e o ! L , b v b b f

is h to G od som e o l e tra in wo ld ru n W u , ‘

Ca rry me b ack wh ere I come frum .

’ Out in the wide worl a lone .

a Ta ke m e b ck to sweet ole Birmi ngh am .

’ a -hone ome a n o w th me . B by y, c g i

’ Ev yb ody d own o n us .

(Whi s tle blows )

' Tho ht I hea rd wh s tle whe n it low ug ;” i b , ’ ’ ’ Blow l a k She a in t go in blow no mo

Tra n h a s ome now mo es awa ( i c , v y)

-b e a l ood a l it o ne . G y , b by, c g

’ r ma n ut in a l t le o a l e t m o . Fi , p i c

’ ’ n we ll we re l n rema h h . Fi , , ivi ig

’ ’ ond er ome s th at ea s - o n a n n Y c y g i m 0 mi e .

’ ’ ’ n t no u s e ou tr in s e nd me ro n Ai y y u , ’ o nuf on e I g t m y to p ay my ﬁne .

’ Out in th s w d e worl to roam i i , ’ n t ot no l aCe to all Ai g p c my home .

Still anoth e r ve rs io n o f the s o ng rep re s ents a lon e l abo re r wo rki n g ne a r th e ra il ro ad a nd w atching th e TH E NEGRO AND HIS SONGS tra n s H n r a t o . e h as ot th e mo n e no c n h e e i g by y , g awa b ut h o s m As h e w s h e e l n to o h o e . o y, g g rk ,

t res th es e s ene s m a n e s h m s el o n o a rd th e pic u c , i gi i f b “ tra n oin a to th e n n o th w h ere s un i g g b ck Su y S u , ’ ” s h ne s o n his a ho s r a s a tra n o m e s i b by s u e . O i c

ro m his hom e h e m a n e s th at so m e of h s r en d s f , i gi i f i h a e om e to s ee him He s n s : v c . i g

le low C . wh s t ell tho ht he ard that . W , I ug I K i b , ’ Blow la k s he ne ver blow b efo

’ el e e m woman s on th at tra n I b i v y i , ’ O b ab e ! I b elieve my woman s on th at tra i n .

’ ’ She om n a rom sweet ole l a am c i b ck f A b , ’ ’ Sh e o n c mi to s ee her lovin m a n .

’ rem an ut in a l ttle m o oal Fi , p i c ;

Run dat train in s ome lonesome ho le .

L . ! N .

son of the s a me o r n an d e r m h l e the A g igi , v y uc ik “ ” d of K . is a no h r a d s te a . C t e lle . 85 . n , c L N I d h s o th e r ro a d m a b e des n ate . L . 8: s y ig T i Negro m an l ab o rs with the ho p e th at h e will s oo n go “ h o m h m h m a n h e omm n t e agai n . By o e e e s t c u i y

h ere he no s th e mo s t o l t is a s on of th e w k w p e p e . I g wa n d erer a nd re e a ts m c h th e s am e s e nt ment a s , p u i th at fou n d in m any of th e s o ngs u n de r th at cl a s s . Thi s son g an d the on e j u s t given a re s u ng to th e “ ” F r s o Ra -tim e o r tr a n-s on m s de s r ed in i c g , i g u ic c ib

h a Th e t ra in is h e ard r t nin th e wheel s ter V . C p n g , u l d s t n tl ro a r a s th e ro s s th e o nt s of ra l the wh s tle i i c y y c j i i , i

lows etween e a h ers e a n d th e ell r n s ano n f o r b b c v , b i g

h r t e c o s s i n g .

224 TH E NEGRO AND HIS SONG S

’ ’ ’ ’ Fo lon hone fo lon hone g, y, g , y, ’ ’ ’ ’ Fo lon hone f o lon hone g , y, g , y ; L-a-w-d l-a-w-d l-a-w-d ! , , ’ ’ ’ ’ Fo lon h one f o lon hone g, y, g, y, ’ ’ ’ ’ Fo lon hone f o lon hone g, y, g , y; -a-w-d l-a-w-d l-a-w—d ! L , ,

’ ’ ’ on t ne e it one woma n On o min r. D v g y , ’ e al Keep you in t roubl l yo tim e . L-a-w-d l-a—w—d l-a-w-d l , , ’ ’ ’ on t ne er it one woman on o min D v g y , ’ l a Keep you in troub e ll yo time . -a-w—d l-a-w—d l-a-w-d ! L , ,

’ ’ D on t never let yo b a by h a ve her wa y ; ’ e i r l a ll d a Ke p you n t oub e yo y .

’ ’ ’ D on t never ta ke one wom a n f or yo f ric n ; ’ a i When you out mu ther m n n .

I hate to hear my honey c all my name ; l ’ Ca l me so lone som e a n s o s a d .

’ ’ I got de blu es a n c an t b e s atis ﬁed ;

r -s n f i a l B own kin wom a c au se o t l .

’ Th at wom a n w ll b e the d eath 0 me i , ’ S ome gi rl will b e the death 0 me .

’

Hone ome a n o with me . y , c g ’ When I m gone wha t yer gwine ter s ay ?

n l e th e rs t s t an a e n a re m a n o n e- ers e Su g ik ﬁ z giv , y v

h n ert on s on s No r a re th e l e s s attra t e . T e s g . y c iv i i

Be of the choru s li n e tak e s aw ay a ny monotony .

d s th n dd s s e e e a es t . i , k if z

’ ’ I m o n wa wo n t b e l on g i y, g , ’ ’ I m o n wa won t b e lo n g i y, g ; L-a-w-d l-a-w—d l-a-w-d ! , , EXAMPLE S OF SO C IAL SONGS 225

own to e m t ro les awa Went up t giv y ub y,

Went up town to give my y troubles away ;

L—a-w—d l—a-w—d l-a-w-d l , ,

Too good a m an to b e s lided down .

— ’ - Slide me down I ll s low s lide up a gin .

’ l in a ou a wa s on m m . B by, y y y

’ Th e girl I love s the gi rl I cra ve to s ee .

a do ou e e r th n o f me ? B by, y v i k

a wh a t h a e done to ou ? B by, v I y

’ e l h Won der wh ar my hon y Stay a s nig t .

’

G ot a a don t are wha r s he oe s . b by, c g

’ o n a m r it rther down de roa d . I g i p ck y g ip , g fu

’ Gwine to l eave if I h a f ter ride de rod .

’ ’ Ridin de rod a in t no e a s y job .

G IVE ME A LITTLE BUTTE RMILK

s The Negro n e a rly a lw ay s s i n gs wh e n h e d an c e . Many of his s on gs a re e a s ily co nve rted i nto d an c e s o n s b ut s o me a re e s e all a d a t a le to th e rh thm g , p ci y p b y an d s w n of th e d an e a lth o h the r th emes a re i g c , ug i o ten er rrel e a Th e n tr m nt is m ore in f v y i v nt . i s u e c e ntiv e to th e d an e th an th e s o n b ut wo ld b e f a r c g , u l es s eff e t e w tho t th s n c iv i u e i gin g .

’ e me a l ttl e tterm l m a a m Giv i bu i k , , ’ e m e a l ttl e tterm l m a am Giv i bu i k , , ’ e me a l ttle tterm l m a a m Giv i bu i k, , ’

Plea s e e me a l ttle tterm l ma am . giv i bu i k, 226 TH E NEG R O AND HIS SONGS

’ n t h a d n o ne s o l on s o lon Ai g , g ,

i ’ n t h a d none s o lon so lon Ai g , g , ’ n t h a d none s o l on s o lon Ai g , g , ’ Oh a n t h a d none s o lo n ! , I i g

Th e re et t o n is n ot n l e a s a nt b u t a dd s wh ate e r of p i i u p , v

h a m The s n e r on tin e s c r th ere is to th e li ne . i g c u

Cow in d e b ottom done gone d ry .

” Sister g ot s o s he wo n t chu rn .

’ ’ ’ Goi n to te ll a u nt i e f o long .

G REASY G R EENS

But butterm ilk is not mo re attractive th a n g re asy

reen s In th s rem ar a l e s o n th e roe s d a n e g . i k b g e N g c w th m err m ent e a h n a l l ne e n s ta l e to the i i , c ﬁ i b i g ui b “ ” s-w-i-n- —o—-n- — f Th e t re c r e r o th e d an e . g c pic u ,

h l e no t e a tl el e a nt is at lea s t a s tro n o ne . w i x c y g , g

’ amm a o n t o oo so m e M g i c k , ’ amm a o n to oo s ome M g i c k , ’ M a mm a go i n t o cook s ome G rea sy greens !

How lo e them I v ,

Ho w lo e t hem I v , How I l ove t hem G rea s y g reen s !

’ Mamm a go i n t er b oil them G rea s y greens !

’ Siste r go in pick them G re a s y g reens !

’ I go in e at them G rea s y greens !

228 TH E NEGRO AND HIS SONGS

LILLY

h s s on s omet mes all e d res e t el a l T i g, i c p c iv y P u y, ” “ ” ran e ll h a s m an ers ons oth a mo n F ki , Li y, y v i b g

h h s and h ro s 1 It is th e s to r of a t e w ite t e Neg e . y

m rder and th o n t on of th e m rdere The u e c vic i u r .

atho s is t al a n d re—e ho es th e s ent m ent of p ypic , c i

t o o n s Th e s en e is t an a o s n r o h er e r s . l t n e e N g g c A , i g s ays ; anoth er s ays Memphi s ; Th e rea der will rec

o g nize vers e s commo n to Negro s ongs in gen eral . The song is a n u n u su ally s tro ng p o rtrayal of Negro

n th o h t life a d ug .

’ Lilly wa s a goo d girl ev y body k nows ; ’ Spe nt a hu nd red dollars to b uy her fa the r s uit 0 cl othe s .

He r m a n certa i n ly g ot to trea t her right .

She went to e ll t reet o ht a ottle of eer B S , b ug b b ; ’ ’ ood mo rnin b a r- ee e r h a s m lo n m an een here ? G , k p , y vi b ” My ma n ce rta inly g ot to treat me right .

’ ’ ’ It is Su nd ay a n I a in t goin to te ll you no lie ’ ’ He wu s s tan di n ove r there ju s a n ho u r ago . “ “ ” a r l re My m n ce ta in y g ot to t at m e right .

- She went down to rs t en e to awn ro er . Fi Av u , p b k ’ ” ood m ornin nd la d what w ll ou h a e ? G , ki y, i y v ’ wa nt to it a f o ht -fo un f o r I g y g , ’ All I g ot s d o ne gone .

“ ’ He s a to the lad It s a a n s t m l aw y y, g i y ’ ’ To rent a n wom an ort -f o s mo kin un y f y g , ’ ’ ” b a Fo r a ll you g ot ll e d id a n gone .

She went to the a ll e do s e n to a r y, g b gi b k , ’ ’ Saw her lo n m a n s ta nd n in d e d a r vi i k , ’ La id his po b ody d own .

1 Har ar U ni ers it Pres s See Cox J . H . Folk Son s o the South , , g f , v d v y ,

1924 f or s e eral of th es e . , v EXAMPLE S OF SO C IAL SONGS 229

T rn me o er ll t rn me o er s low u v , Li y, u v , ’ ’ Ma b e l a s t me don t now y i , I k , ’ ’ ” All you g ot s d a id an gone . — ent f or t e do tors do tors all did o e She s h c c c m .

ometime s the wal s omet mes the run S y k , i y ; ’ ’ ’ r nd e r o n An it s one m o ou g e .

d a l a rr ed im o inﬁ he e P h t rma r . T y pick up u y, c i y ’ He told the doctors he s a gamblin m an ; ’ ’ ’ An it s one mo rou nder gone .

’ News boys come runnin to t ell de mother de news . “ ’ She s a d to the l ad s Th t an t b e tr e i , a c u , ’ I see d my s on bout an hou r ag o .

’ ’ ome he re ohn a n it o hat C , J , g y ; ’ r G o down the s t ee t an s ee whe re my son is at . ” Is he one is he one ? g , g

The ol emen a ll dres s e d in l e p ic b u , ’ e s D y come down de treet b y t wo a n two . ’ One mo rou nd er gone .

’ ’ it o onne t ! ohnn e it o hat ! Lucy, g y b J i , g y ’ G O down on ell ree t an ee where s n i a B S t s my o s t . ” Is he o ne is b e one ? g , g

’ da Sh o e n e t res t d T es d a s he was ned . Su y g , u y ﬁ

e dnes d a s he le aded fo r a ll-l e tr a l W y p if i , ’ ’ ’ An it s a ll s e h s go t done gone .

ll s a d to a le r How c a n it b e ? Li y i j i , ’ d all r soners ee won t eed me . F p i , f ’ ” awd ha e mer o n o s o l ! L , v cy y u

a ler s a d to ll tell ou wh at to do J i i Li y, I y ’ ” G o b a ck in yO da rk cell a n ta ke a good s lee p ! ’ ’ ’ An it s a ll s he s o d ne g t o gone . 230 TH E NEGRO AND HIS SONGS

She s a d to the a ler How c a n s lee ? i j i , I p ’ ’ All rou nd m y b ed s id e lovi n Paul do c reep ; ’ ’ ” s all It I g ot s gone .

The wimmins in tla n t a de hea rd de news A , y , Ru n e xcu rs io n s with new re d s hoe s ; ’ ’ ’ An i t s one m o rou nd er dote gone .

om e e a n el s ome e a d me S giv ick , giv i , ’ S om e didn t give na ry re d c opp er ce nt ; ’ ’ ’ An i e t s on mo rou n de r gone .

’ ’ e ll it s f oht -d oll a r he a rs e a n r e r-t re ha W , y , ubb i ck , ’ arr o Pa l t o emet er bu t a l to r n him a C y p u c y, f i b i g b ck ; ’ ’ ’ An it s one mo rou nder gone .

’ ell the P a l a n la d him to rest W , y pick up u y, i ; ’ Prea her s a d d e erem on s a n c i c y, yi , “ ’ ’ ’

ell it s a ll d at ou ot s d a d a n one . W , y g i g

LET TH E G O BABY , DEAL DOWN

’ ’ Th e N egro s p rop en s iti e s f or s hoo ti n c rap s and

n He o a st s of s gambling in gen eral a re well k own . b hi “ n Let th a o goo d a n d b a d luck . I e D e l G Down h e gives a ch a rac teris tic p ictu re

a let the dea l o d own B by, g ,

a let the d ea l o d own B by, g ,

a le t the d e a l o d own . B by, g

I am l e a ll o er ent g b v K ucky ,

Pa rt of eor a to o . G gi , Everywhere I h a ng my h a t

s h ome s wee t home to me . I , ,

’ lose m wa t h a n lo s e m ha n I y c y c i , ’ ’ Lo s e ev ything b ut my diam on rin g .

o me here a ll ou rm n ham s o t s ! C , y Bi i g c u ’ r i Set down yO money o n numb e S x .

23 2 TH E NEGRO AND HIS SONGS

went to Odd ellow s H a ll I up F ,

Ha d a ood t me d at wa s a ll g i , , ’ ’ ’ Hats a n ff s all l n on de ﬂo cu yi , — Ib et Six bits a ll I h a d ; - Nigger b et s even m a de m e m ad . To d at coon I could not help b ut s ay

“ ’ Git O ff m mone don t ou hit m mone y y, y y y, ’ ’ ’

a s e I m a n er don t t s no ﬁ er . C u igg , cu gg ’ ’ ’ I m ga mblin f or my S a dy -She s a l ady : ’ ’ ’

I m a hu stlin oon tha t s wh at am . c , I

I G OT MINE — vers ion o f th e o n c e popul a r s on g I Got Mine h a s b een a d apte d by th e Negro an d is s u ng with

a r t hil i y .

ot m ne b o s ot m ne ! I g i , y , I g i ’ om e 0 them ot s ix lo n m onths S g g , ’ o h a d S me 0 t em p i thei r ﬁne . ’ th a ll s a nd ha n s a ll ro nd m le s Wi b c i u y g ,

I g ot mine .

went d own to a n e r ra ame I igg c p g ,

e a ll wa s a R y ga ins t my will . ’ ’ Los e ev ything I h ad but b ra n new doll ar ’ ’ ell a ﬁv e-dolla r b e t wa s l in on de ﬂo W , y , ’ ’ An t e n e h igg r s p o int w a s n ine . When the Cop s com e in ll e ot m ne . W , I g i

’ hen the ro ht them ha ns ro nd W y b ug c i u , ’ How them n igge rs eye s did s hine . ’ With b all s a nd ch a ins a ll rou nd the ir leg s

Like I g ot mine .

FALSE ALARM

Very much lik e th e ab ove is a s c ene given in a c ol

o n t tw o e roes l quy which m ay h ave b ee b e ween N g , EXAMPLE S OF SO C IAL SONGS 23 3

ur h e a re l a n b ut m o re likely b etwee n fo . T y p yi g a

am e a n d e n in on s ta nt e a r of e n a reh en d ed g ; , b i g c f b i g pp ,

t h e t r th ey he ar s ou n ds th at do not exis . T y pic u e it

m r with hu o .

’ t s to s a ! on t ou hea r ? Qui , p , I y D y ’ S ome o ne s at that do ! ’ ’

ord h a e mer ! Th e e ot u s a t l a s . O L , v cy y v g

’ Why don t you niggers stop all th a t fu s s ? ’ ’ ’ If you wus n t s hooti n c ra p s they d thin k s o . ’ ’ Now you done giv ev ything away .

’ ’ ? Why don t yo u op en th a t do ’ ell ou wa nt it en o d ette r W , if y Op , y b ’ Come an d op en it yo s elf .

’

Sa ou n e rs ou ette r s to um in out . y, y igg , y b p j p

s e O ' a nd Gu es I b ett r g out th t wi ow mys elf . ’ An there wa s nob ody a t the door .

Y O U SHALL B E FR EE

No o ne app re ci ate s mo re th a n him s elf the ridiculou s

re d am nts in h h th e e ro o ten t His wit p ic e w ic N g f ge s . is hi arte e is ff e t h a t d s t on s re e e . a e c r quick , p c iv W ip i h e es of h m s el an d his e n ronm ent m n le d giv i f vi , i g

w th a s rd t e s in th e ollow n s o n . i b u i i , f i g g

N er b e n er wh ate er he do igg igg , v ’ Tie red r on ro nd toe of his s hoe ibb u ,

er his est o n o er his oat J k v v c , ’ ’ Sn atc h his r t hes ro nd his throat j b i c up u , ’ - Sin in hi h ste er awd ou s h all b e ree . g a g pp , L , y f 234 TH E NEGRO AND HIS SO NGS

’ reat n er s ett n o n lo G big igg , i g ,

One e e on tr er o ne e e on h o . y igg , y g “ ” “ ” G un s a id bl op ! hog s a id s ip ! ’ An h e m e d on d e h o Wid a ll his r ju p g g ip , ’ n n h - e e a d u h a ll b e re h st r w o e . Si gi ig pp , L , y S f

ho t to l or awd ou s h a ll b e ree ! S u g y, L , y f

ho t to lor awd ou s h a ll b e ree ! S u g y, L , y f

ho t mo rn e r awd ou s h a ll b e re e ! S u , u , L , y f Sh out wh en de goo d L awd set you free !

we nt down to ho —e e town I g y , D ey s ot m e down to ta ble ; et s o m h d at ho -e e re a s e I uc g y g ,

ll de re a s e un ou n a el Ti g r t my b .

Run lon hom e s s Ho -e e g , Mi g y , ’ n n h h-ste er awd ou s h a ll b e Si gi ig pp , L , y

’ N er a n roo ste r h a d a ht igg ﬁg , ’ oo s te r no ni e r l ea n ou t o s ht R k ck gg c ig , “ ’ N er s a oo ster d at s a ll r ht igg y R , ig , ’ ee t ou at hen-ho s e d o tomorrow n ht M y u ig , ’ - n n h h s te er awd ou s h a ll b e ree . Si gi ig pp , L , y f

Two a rrel s a les three a rrels hees e b pp , b c ; i ’ h en t to he a en o n s ho t on m nee s . W I g v , g i u y k

ho t to lo r awd ou s h all b e ree S u g y, L , y f ,

ho t to lor mo rner ou s h all b e ree . S u g y, u , y f

th the c rok us s a ou s hall b e ree Wi ck y f ,

With th e c rok us s a ck you s h a ll b e free .

ho l a t to or wd ou s hall b e ree . S u g y, L , y f

hen d e oo d awd s W g L et you free .

’ A nigger we nt up town a ctin a h os s ; ’ D e ed e he o nd hi e a s j g f u m t n n co t .

ho t m o rner ou Sh a ll b e ree S u , u , y f , Wh en d e good Lawd s ha ll s et you free !

236 TH E NEGRO AND HIS SONGS

Mus k eter fl h h m u s k eter fl low y ig , y ; ’ ’ it m oot on him he won t fl no mo If I g y f , y ; ’ ell it s whoa m le whoa ! ho a dere s a ! W , , u , W , I y ’ ee o s e at s s a a ne ! Hold on to de s lei h ! K p y , Mi Liz J g

’ Had ole an o one t me s tr n s ma de out 0 tw ne b j i , i g i ; “ ” All s ong I could s in g wa s Wi s h d a t G a l wa s Mine ! ’ ’ An i s ho a m le who a ! oa d ere s a t w h etc . , u , W , I y,

E ach o f th e foll owi n g s tanza s (s u n g with emph a s i s an d a s e a s o r s h o rt l n e s is lo s e d w th the p u if f u i ) , c i “ ” “ ho a-m le re r a n h l e the o r n al ho r s h n W u f i , W i igi C u , W e ” h an d e n s to l a ollows a h s t n a t e e a . b b gi p y , f c z

ou want to s ee dat m le If y u kick ,

ou wa nt to hea r him holle r If y ,

Tie a not in his ta l k i , ’ An o e his head hro lla p k t ugh a co r .

’ ent runnin down to t r e -roos e W u k y , Fell down on his knees ; ’ Liked to killed hi sself a -l aughin ’ a s e he heard a r e s nee C u tu k y ze .

Ole a s s a o ht a aller al M b ug y g ,

o B r ught h er from de S ou th . He wra ed h er h a r s o m a en t ht pp i z ig ,

e Sh could not s hu t her mouth .

He ta en her down to l a s mith sho k b ck p ,

To h a e he r mo t c s v u h ut m a ll . She m a de a whoo s he ma de a s all p , qu , ’ D en swallowed s h o p a n a ll .

’ On Sat d a n ht he s tole a h ee y ig S p ,

On nda he wa s a Su y t ken . Mond a y wa s his tri a l d a y T es d a he h n l e b a n u y u g ik c . EXAMPLE S OF SO C IAL SONGS 23 7

’ ee o s eat s s a a ne ! K p y , Mi Liz J ’ ’ l D o n t a c t je s ak afool . ’ n t ot t me to s s ou Ai g i ki y , ’ ’ ’ i l ’ Cau s e I m tendi n to d s mu e .

Ol e a s s a he ra s e a c ow M i , n He k owed de d ay s h e wa s bohn . — Hit too k a j ay bird s event een years ’ ’ To ﬂy from h o n to h o n .

Ole as s a ra s ed ole ra m le M i g y u ,

He knowe d d e d ay he wu s b o rn . ’ Ev y too th in his hea d ’ Would hold a b arrel 0 co rn .

Ole as s a h a d l ttle ole m le M i u ,

N a me wa s Sim on Slick .

D e t ed a not in his ta l y i k i , Oh how dat th n did ! , i g kick

Ole Mis tus ra sed a l ttle la hen i i b ck , Bla ck a s any c row; ’ She la d three e s ev d a i gg y y, ’ On Su nd ay s he l a id f o .

Wh en the B and B egi n s to Pl ay is full of a nim al

h es s ta n a s o r a r at on s of them a r s lore . T e z v i i e u n g by

th s o th e Negroe s all o ve r th e S ou th . In i c nn ection ’ it might b e s t ated th a t Talley s wo rk conta i n s at le as t s ixty s o ng s o r rhym e s which m ay b e cl a s s ed u n der

nt r t n a r a t o n s f s m f an im al lo re . I e e s i g v i i o o e o the a o e s ta n a s a re o n d in his wo r two of wh h a re b v z f u k , ic a s follows

FRIGHTENED AWAY FR OM A C HI C KEN ROOST

T l . ( al ey, p 95)

went down to de hen-ho s e on m nees I u y k , ’ An I thought I heard dat chicken s neeze . 23 8 TH E NEGR O AND HIS SONGS

’ o d o hte r s eed dis N er a- tt n w a r m dere Y u ug igg gi i y f u , ’ ’ ’ ’ But twu s n t noth n b u t a roo s te r s a n his ra i yi p yer . ’ ’ How w s h d at roos ter s ra er wo ld e n I i p y u ,

D en erh a s m o a p p I ught e t d at O le g ray hen .

’ SIMON SLI C K S MULE T ll 4 ( a ey p . 7)

’ ere wus a l ddle k ic k in man D i , His na m e q Sim on Slick . He h a d a mule wid cherry eye s ;

Oh how a l l d t m e o d . , u c u kick

SHE ROLL D EM TWO WHITE EYES

As in the rel o s s o n s of th e e ro SO in his igi u g N g , s o al ol so n s h e l a d a ts n ew s o n s to his ci f k g , quick y p g

n m Th e m s d o e s not h an a own e nvi ro ent . u ic c ge s

th of h a Th e s o n much a s in e c as e t e s pi ritu l s . g its elf o fte n b eco m e s a m u s i ng b e c au s e o f it s p a ra “ ” oo—o o e s w a s s n a s m h a mo n ph ra s es . G g Ey u g uc g

Th e ro s th e N egro es a s a m o ng th e white s . Neg e

a e m ro s e d mo re th an a s o re o f e rs e s s o m e h v i p vi c v , o f which m ay b e give n .

’ Nex d a whe n s how wus one y g , i n His b a by threw h m d ow . “ ’ She s a to him I ll h a e ou in hed y , v y p c ’ If you l ay ro u n dis town .

Now let m e tell m t a le of woe . , y

ell de st t me s eed m rother-in-law W , fu i I y b ,

He h a d some chicken s fo r s a le . ’ D e nex t me s eed m rother-in-l aw i I y b ,

He wus l a id up in Co lli ns j a il . s D en he rolled dem two white eye .

240 TH E NEGR O AND HIS SONGS

ou th n he is a ool If y i k f , ’ Climb in up the golden s ta irs ; He w ll treat ou m ht r de i y ig y u , ’ li bin e l C m up th go den s ta i rs .

’ CARVE IM TO DE HEART

’ Ca rve D at Po s s um s m a ck s with good tim es fo r

His re e is te a t n ro e . h s is a the N eg . cip qui pp izi g T i

- d m h o t d well nown s o n a n e . k g , uc qu

’ ’ ’ ell os s m meat s so n e a n sweet W , p u ic , ’ Carve im to de heart ; ’ ll a lwa s ﬁnd hi ood er ea You y t g t t . ’ Ca rve im to d e hea rt .

’ a r e d at os s m C v p u , ’ a d a ll n r e t os s m c hi u . C v p u , ’ a r e dat o s s m C v p u , ’

Oh ar e im to de hea rt . , c v

M ole do treed went to s ee y g , I , ’ Ca rve im to de hea rt ; ’ D ar wu s a pos s um in d a t tree . ’ a e e e C rv im to d h art .

’ went da r to et h im d own I up f c , ’ Carve im to de heart . ’ ’ ’ bus im en a n d e ro n I Op gi g u , ’ Carve im to d e heart .

’ D e wa ter oo d e os s m n e y c k p u ic , ’ a r e im to d e hea rt C v , ’ ’ ust a rbile im s t r im tw e F p , i ic ,

’ ' Ca rve im to d e hea rt .

D en l a sweet taters in d e a n y p , ’ Ca rve im to de hea rt ; ’ ’ n eats d a i d e l a Nuthi b t n n . ’ Carve im to d e h eart . EXA MPLE S OF SO C IAL SONG S 241

Ta lley gives th e wo rds a nd mu s ic o f a s lightly dif f erent vers ion of thi s s ong

AN OPOSSUM HUNT T ll 2 ( a ey, p . 3 )

’ ’ Pos s um meat is good an sweet e I a lways ﬁ nd s it good to at .

M d o tree went to s ee . y g , I ’ d a ee A gre at big po s s um up t tr . ’ ret h an ll him in I c up pu , ’ ’ D en d a t o le pos sum gin to grin .

’ t him hom e a n dres s ed him off I uck , ’ D at n ight I la id him in d e fro s . ’ D e w a oo ed d a t os s m s o nd y I c k p u u ,

s t ar o led d en a ed him rown . I fu p b i , b k b

ut sweet taters in de a n I p p , ’ ’ ’ ’ Twu s de bigges ea tin in de lan — C ROSS EYED SALLY

’ Th e Negro s tend en cy to put eve rythi ng i nto s ong

s tr d th o llow n mo no to n s n i well illu s ate by e f i g e o g . The s n e r a e a red to b e m a n it a s h e s an a ll th e w i g pp ki g g , hile picki ng his guita r in th e regul a r w ay ; b ut he rep e ate d it in th e exa ct wo rd s except f o r th e u s u al v a ri ation s in

d al e t . h s h o ld d o as ten as re re d i c T i e c u Of qui . Th e s on g is on e of m any s to ri es which the Negroe s devi s e

t tells of a r d a n d to tell of th ei r adventu res . I v i e life

s tom it h nts at n d e r rrents o f e ro tho h t cu , i u cu N g ug , it tells a a n o f wom a n in h er rel at o n to m a n it e s g i i , giv s ple n did i n s ight i nto Negro ch a racte ri s tic s in th e rol e of th e Clown who h a s m ed his tho ht wit its of ix ug , , b

a a d s o ng a n d bu rl e s qu e With th e c rud e j o ke s h e h s he r . 242 TH E NEGR O AND HIS SONGS

Ha d ol e a l one t me n a me wa s ro s s-e ed a ll g i , C y S y . She wa s the la es t a l in Pa ra d s e lle b ck g i A y . ’ he n ne S h ad liver lip s a kid y feet . ’ Did n t know s h e wa s s o bla ck Till I too k a ﬁre-co al one morni ng ’ e a e a r on h er a e An m a k whit m k f c . ’ ’ An I did n t know s h e w a s SO cros s-eyed ’ Till o ne mo rn ing s he com e up to m e a n s ay “ ” oo here b o wa nt to e at ! L k , y, I I tol e h er if s he h a d a nythi ng ’ a e a n i Sh e h d b etter g o to ti t . ’ e e h a d n h n I n v r u t i . It hu rt my g a l s o b a d whe n I tol e her thi s ’ — That s he c ried ; a n in c ryi n g s he s o cro s s eyed Till the tea rs run down he r b a ck !

’ Tho ht elt so rr f or m rl a n ug I f y y gi , ’ I ta ken her up to ole m a s s a s home d a t d ay ; ’ ’ An w e s een a hea p o chickens ’ n a ll All s ort s a s izes . ’ An I tol e h er to hole qui et till d at n ight ’ When we g o up a n s ee wh a t we could d o h n To d em c icke s .

’ ’ SO we loo ke d a ll rou nd d e h ou s e ’ l ’ ’ An w e cou d n t ﬁnd nothi n . ’ We l ooked in d e t ree s a n ya rd ’ ’ ’ An o ld n ﬁnd n n c u t u thi .

So m rl ot o n eas tho ht y gi g y, ug ’ e re wa s n h e n e D o c ick ns rou d d re . ’ ’ ’ ’ Long b ou t leven o r twelve clock d at night I hea rd o l e roos te r c row in hollow

d e - a of hen ho s e . s a s B ck u I y , “ ’ ’ h ere rl e e s oo d r h ens h ere . L k , gi c ick ’ ’ He couldn t s et up an not crow ’ r dn h nor n Fo mi ig t mor in n either .

244 TH E NEG R O AND HIS SONG S

o e to ﬁnd out it wu s l ttl e ol e an e C m i b t r r oos ter . ’ ra ed hi a n o ed n o I g bb m j bb i t my s ack . “

s a s oo out rl here de omes . I y , L k , gi , y c “ ’ She s a s Naw d o n t throw d em h en s down y , , c ick ” You m a rea o r r se or ll s m e uv the y b k b ui ki o m . “ ’ ’ She s a How in d e wo rl o u o n y, y g i ” G it down d at tree wid all d em chickens ? ’ ’ I wus s ettin out on big lim . I goes out To d e od of d e tree then s la m s a b y , I p y ck You o hter s een In my mou th . ug me ’ l din d n d a e You o hter s een m e S i ow t tre . ug ’ e s r k Slidin down d at tree . W t uc right out o h ad Th r ugh de wood s f er h ome . I ’ Chickens enuf to l a s a whole week !

But let me tell you wh at a jet-bl ack g al ’ e e all - n ll do s s he s ro s s e ed l e m e . Wi , p ci y if c y ik i

en d e h ens e b d al Wh c ick giv ut e g give out too . ’ o She quit m e nex mornin . I g t up ’ ’

e s done one . Looki n f er my g al . Sh g

a me wa s l b u t we alled h e r ro s s-e e d all Her n . Lu u , c C y S y

So loo ed f er l a ll th a t d a I k Lu u y,

But could n ot ﬁn d her nowhe re . ’ ’ ’ e You now tol e ou SO I fou n her d e nex ev n in . k I y She wa s so bl a ck I could ta ke a ﬁre-c oa l ’ ll An ma e a wh te m a r on her a e . e k i k f c W , ’ ’ She wa s s ettin up cou rtin a great big n igger

Twice a s bla ck a s s h e q . He look jes p re ci s e la k bla ck ca lf ’ Lookin th rough cra ck of whitewa s hed fence .

ea s on h e loo d a t wa wa s he ha d on R k y , ’ One 0 des e dee p tu rn-down colla rs ; b ut ’ h en h e ut it on h e d dn t t rn it down W p i u , ’ ’ He t rn it s ettin wa to his ears . u up , y up y ’ He loo k la k h ors e wid blin b ridl e on . “ ’ SO oes a n s a s ood e en n l . I g up y , G v i , Lu u ’ Sh e would n t s ay a word . “ ” ’ s a s How a re ou m s ter ? An I y , y , i ’ He wouldn t s ay a word n either . EXAMPLE S OF SO CIAL SONG S 245

’ - I go es out d oors a n gits me a b rick . ” Sa ! How do ou d o m ster ? y y , i ’ e l drawed a H wou dn t s ay a word . I b ck d him in de hea d Wid m r . no e y b ick I k ck ,

An o a me lled e b ut d t ti I thought I ki him d a d . ’ ’ rea hed a n ot m hat a n holl ered I c up g y , ’ ’ - — ood b e s s l I m one I m on e . G y , Mi Lu u , g g CHAPTER VIII

THE WORK SONGS OF THE NEGRO

I th e e ro s n e r in his rel o s e a l is a e al n f N g i g igi u z pp i g , the e ro l a o rer s n n wh le h e wo r s wo r n N g b , i gi g i k , ki g wh l e h e s n s h s all o r et l o f ro t n e is i i g , p y ic y f g fu u i , s c a rcely l es s ch a ra cte ri s tic of s o m ethi n g in d eﬁn able in ’ e ro s s r t al m a e- Th t n d f th e u . e e en o th e , N g pi i u k p cy

e ro to s n h a s een o s er e d m an t m e th N g i g b b v y i s . Wi th e wo r m an it is n ten s e d a n d wh l e h e m a not k i iﬁ , i y

a s m h a s of r h i t ll a re at S s n o e e s s n e r . i g uc y , i g i g

h o e e r h a s s een in th e rin -ti m e a s o re of e ro W v , Sp g , c N g l a o rers ho n otton in th e el d s to a h ant b c ppi g c ﬁ c , m a n rh thm m o t o n a n d l n of h o e h a rmon e ki g y , i c i k iz ; who e er h as he a rd in th e a t m n a om a n of v , u u , c p y cotto n pickers s i ngi ng th e m o rn in g ch allen ge to the d ay a n d u n itin g in s ong an d ch o ru s a t th e s etti ng of the s u n an d we h n t m e w ll no t s oon o r et th e ig i g i , i f g

Th e e ro e s s t ll wo r a nd s n th e s n s c ene . N g i k i g ; y i g

h le o n to a n d om n rom th e eld s wh le d r n w i g i g c i g f ﬁ , i ivi g

d rm n s d s d An d tea m s an p erfo i g u n ry t a k s ot h e ay . th e plo wm an h a s b een k nown to s i ng a gai n a n d agai n his so n g u n til his mul e wa ite d f o r th e a ccu s tomed vo ic e

s w n n n to th e s t a d a f th d a In b efore i gi g i e y w lk or e y . town a nd o ntr in th e t an d at the am s e er c u y, ci y c p , v y

a cl as s of wo rk ers ﬁ nd s a s o ng goo d s uppl ement to wo rk .

Th e ra l road a nd s e t on a n s th e o n tra to rs i c i g g , c c , “ ” h and s th e m n n ro s a n d o n t a m s a ll , i i g g up c vic c p

s n ech o with th e s ou n d of s h ovel a nd pick a nd o g .

Th e mo re eff ent th e s o n le a d er is th e etter wo r ici g , b k

248 TH E NEGR O AND HIS SONG S in te re s ti ng a s p o rtraya l s o f the rel atio n of th e wo rke r

his o r his ellow-l a o re rs an d is to h em lo e r . w k , f b , p y

t ll oth e rs e a s e of th e r rh thm al t es a re S i , b c u i y ic qu i i , mo re s uite d to wo rk th at re quire s regul ar o r rhythmic

i m en t the a rt o f a wo r e r o r ro o f move o n p k g up work ers .

tr t Cl a s s at o n is o f o rs e m o s s l e but th S ic iﬁc i , c u , i p ib , e s on gs will b e p re s e nte d in th es e th ree gen era l gro up s : The ﬁ rs t Six s ong s given b elow a re n ot p rim arily wo rk son s b ut th e a re e s e a ll s ited to th e mood s of g , y p ci y u

o As th e e ro o e s a o t his wo r th n the w r e r . k N g g b u k , i k “ ” in of his mon e a nd o f his a it is no wonde r g y b by ,

ow n s o n a a s to hi th at the foll i g g pp e l m .

BABY ’S IN MEMPHIS

’ ’ s B a by s in Memphi layin a rou nd . ’ ’ e h s l B a by s in M mp i ayin a rou n d . ’ ’ a s in e h s l n n B by M mp i ayi a rou d . ’ Wa itin f or de dolla h d one o n d done o nd I f u , I f u ; ’ Wa itin fo r de doll a h I done fou nd .

r l el his a o a h e And e ets the d ll r . T , v y ik y , b by g ’ Negro s ays th at th e wo m a n s fa ce is o n th e doll ar

a s e s he alwa s et s it awa rom th e m a n t ll b ec u y g y f . S i h e ma nt a n s th at th e re is a l m t a nd s n s rth e r i i i i , i g fu

’ wn I p a my wa tch a n I pawn my cha in . ’ ll aw e n m wa t h a n awn m ha n . W , I p y c I p y c i ’ awn m wa t h a n awn m ha n I p y c I p y c i , ’ ’ ’ ’ ’ An I awn ev thin b ut m o l diamon r n ol p y g y g i g , g ’ diamon ring ; ’ ’ ’ An a n t o n to awn it m a m a ! I i g i p , y b by, y b by

JAY C OOZE

’ Th e Negro s fo n dn e s s f o r the ra il ro a d h a s b ee n “ ’ ” no te d d n d e ro d s is not on l a h ero d ee d b ut . Ri i y ic , TH E WORK SONGS OF THE NEGRO

a n a s me Th e wo r o f th e ra l ro a d s ta d s an eng gi g p ti . k i n out a s o n e of th e mo st p ro min ent ﬁ eld s of l ab o r fo r th e

Th e ollow n e rs es a o t a o ld a r Negro . f i g v b u J y G u e , favo rite s with Negro ra il ro ad wo rkers .

’ a Gooze s a d-a e o he d ed J y i b f i , ’ Two m o roa d s he wa nter rid e . ’ ’ ’ Ef d ere s n th n els e o n r de de rods u i , g i i , ’ ’ Goi n to lea ve a ll d e copp ers in d e han s of G od .

’ a G ooze sa d-a e o he d ed J y i b f i , “ ’ Fix de ca rs so de bums ca n t ride . ’ Ef d e r de let em r de de rods y i , i ’ ’ ’ An tru st d ey lives in de ha n s o G od . SATISFIED

o r n of th e oll ow n n le is n e rta n b ut igi f i g j i g u c i , it is a dmi rably s ui ted to th e h appy-go-lucky mood o f th e l ab orer wh en h e is pl ea s ed with him s elf a nd his

o w rk .

’ h ol s worr es o t tro le Ric f k i b u ub , ’ ’ ol s worr o wea lt PO f k y b u t h . ’ ’ ’ I d on t worry b out nu thin ; Al ’ l I wa nt s my h ea lth .

Six l ong m onth s ha ve p a s sed n e h Si c I a ve s lept in b ed . ’ ’ a n t ea t a s a re m ea l 0 ttles in three lon wee s I i qu Vi g k , ’ on e th n s I d ea d M y i k m .

’ Bu I s a t m ti s ﬁed . ’ es ! s a s O y I m ti ﬁ ed .

om e one stol e a h en in ou r ne h orhood S c ick ig b , ’ Th e re sted m e on s s on it wa s nderstood . y u pici , u ’ ’ — Th ey c a rried me fo d e ju ry how guilty I did ﬂee . ’ a s e m nam e wa s s ned a de h ea d de r s a d C u y ig t , ju y i

wa s me . 250 TH E NEGR O AND HIS SONGS

I THOUGHT I HA D A FR IEND

‘ As a lo n ely wo rk e r plo d s a lon g h e s o m etim es b e

om e s h lo s Th e e ro o ten S n s his c p i ophic al . N g f i g tho h t s rh a s ug in a s o rt of mo n o ton e a s h e wo rk s . Pe p th at is a d how thi s b it o f s o ng o rigi n te .

I thought I ha d a friend wa s tru e ; n nd n d D o e fo u out friends wo t o .

It s ee m s to m e s o aw l h a m e fu S ,

You g it c o ngfu s e over s uch s mall thing .

’ ’ IT S MOVIN D A Y

’ Fo r s ome rea s o n Mo n D a a ea l s to th e , vi y pp

e ro wo r e r e rh a s it is e a s e th e s on h a s a N g k . P p b c u g sw n wh h ﬁts n to his m o ement s o r it m a b e i g ic i v , y th at th e th em e is s uite d to his moo d wh en h e is wo rk ing .

It rea s m h ea rt to s ee m a a rt b k y y b by p , And then b e le t eh nd f b i , An then b e le t a lone B —b e m a ! B —b e ! f , y y , y b by y y

’ Pa m tr n a m tr n a n s teal awa ck up y u k , p ck up y u k y, ’ P a o r tr n a o r tr n a n s tea l awa ck up y u u k , p ck up y u u k y, ’ ’ ’ ’

Oh it s me a n m d a rl n o n stea l awa rom home . , y i g i y f

’ ’ ’ ’ It s mo n d a it s mo n d a vi y, vi y , ’ I m n atc h el- ohn it awa b g y, ’ — n ev ent o a m in a te nt I Spi y c g c p , ’ ’ ord it s mo n d a ! L , vi y

’ ’ ’ ’ ell u s a n t he l rom lo n th at a 0 m ne W , I j c p f vi b by i , ’ ’ ’ - I m crazy b ou t that b rown Ski n b aby 0 mine .

’ ot no u s e for Sl ee a n t ot no u s e f o r lee I g p , I i g S p , I h a te to fee l it upo n m e c reep ;

he n a m s l ee oe s to b ed W I py, I g ; d hen a m dead b e a lon t me de a . W I , g i

252 TH E NEGRO AND HIS SONG S

GRADE SONG

The G ra d e So n g is on e of the m o s t typic al o f a ll

r s o s e re m a b e s een th e h mo r an d wit Neg o n g . H y u “ ” f h ro o r m a n an d his rel a t on to th s s o t e e w e o . N g k , i b In thi s so ng h e e pito mize s the events of the camp an d

f It re athe s th e re le s s n e s s o f th e w an to n o the d ay . b ck wo r m an a n d s hows m h of th e tren d of o mmo n k , uc c

t e s h e a t t d e o f th e e ro an d th th ought . I giv t t i u N g e “ ” reply of th e c ap ta i n a s th ey a re co n c e ive d by th e

o ette r t re of th e e ro wo r m a n workman . N b pic u N g k c an b e fou n d th a n th a t which is reﬂe c te d in the ve rs es

th a llow t fo .

ell tole m a ta n m eet wus old W , I y c p i y f c “ ’ ” PO water o n ﬁre let wheelers ro ll ! ,

’ To ld my c aptain my ha n s wu s co ld . “ ’ ” od d amn o h a nd s let the wheelers r ll ! G y , o

’ ’ ell a tain a ta n ou mu s b e l n W , c p , c p i , y b i ; ’ ’ ’ Loo k at yo watch ! See a in t it quittin time ?

ell a t a n a ta n how c an it b e ? W , c p i , c p i , ’ ’ l - - h st es ee a b lowin ou ee a wor n me . W i k p , y k p ki

’ ’ ell a ta n a ta n ou mus b e l n W , c p i , c p i , y b i ; ’ ’ ee a-hollerin at me nners d a mn n h ﬂ in K p , Ski ig y

’ ell hea r m ht rumblin a t water-tro h W , I ig y ug ; ’ ’

ell it mu s b e m a ta n a n water os s . W , y c p i b

’ ell de a tain a n wa l er ra s e a n a ll d a W , c p k i C i y ;

e ll a ta n ta e a st run wa l er awa . W , c p i k ick , k y

’ ’ — Wa s n t d at t er ble time s o d ey a ll did s ay ’ ’ ’ When c ap n ta ke hic k ry s tick a n run wa lker awa y ? TH E WORK SONGS OF THE NEGRO 253

’ ell hea r m ht rumblin in de s k W I ig up y, ’ ‘ Mu s b e my Lo rd g o p a s s in by.

’ ell de ma in dem wheelers on de e s tern lan W , y k W p , ’ - e h a n D ey mOS too heavy f or light w ig t m .

’ nner nner o u now o r le Ski , Ski , y k y u , ’ ’ D en go to d e s ta ble a n cu rry yo mul e .

’ ’ ’ e ll rr O m le a n rub o hos s W , cu y y u y , ’ ’ An l eave yo t roubl e wid d e s ta ble bo s s .

ell h a d m we ht in l me W , if I y ig i , ’ - I d whip my c a pta in till I went s tone blind .

’ ell a ta n a ta n d dn t ou s a W , c p i , c p i , i y y ’ You wouldn t work me in ra in a ll da y ?

’ ’ ell ou an t do me l e ou do o h ne W , y c ik y p S i , ’ ’

You ta e h ne s mone b ut ou a n t ta ke mine . k S i y , y c

’ ’ e ll d e oats de ri er a n de won t ome down W , b up v y c , ’ ’ - ell el e e o n m s o l d at de s water o n . W , I b i v , y u , y b u

ell a -d a om es a nd de done a d off W , p y y c , y p i , ’ ’ ne I got mo mo y d an de walkin bos s .

’ ell ot on l e el loo a s a r s c a n W , I g up v , k f I , ’ n - Nu thi wus a comin b ut a big c a pta in .

’ Well I went to m d nner at twel e o lo , _ y i v c ck, ’ ” lo ed n l - I o k o tab e ; f ohty f o s wa s out .

’ G et in mornin when d n —don r n s up i g g i g ,

oo a a l —e L k t t b e s e s a me d a mn things .

’ Oh a ta n edm a n he s m ht d amn m ea n , C p i R , ig y , h n I t i k h e com e from New Orlean s .

’ The Negro s a ttitude towa rd his c apt a i n is es 254 TH E NEGR O AND HIS SONG S

e iall s Th e s o n re re s e t p c y di tin ct . g p n s th e kin d of ’ co nve rs atio n th e Negro e s h ave a t th e white m a n s “ ” e en s h at d o s it m atte r to th xp e . W e e bo s s if h a n ds a n d eet a re old o r th e l a o re rs m s t o r i f c , if b u w k n th e “ ” ra i n a ll d ay ? On with th e wo rk ! is th e o nly re ply th at th r l a m s h m o r th a e Neg o c i s i given i . M e n any th n th e l a o rer is l o ath to wo r a S n l e mo m n i g , b k i g e t o r t m He wa t s f o r th e m n te an d s to s ve i e . i i u p in th e m d s t of his wo r e b r to o s h e e e d o . h is i k , if f If e res tra ne d his rown a nd re s tles s n es s Show wh at h e is i , f

" n n a m et me s h e wo r s in s th o t . o le n e th en i ki g b u S i k i c , b u rs ts ou t

’ ’ You h rt m f eelin s b ut won t let o n u y , I then a to s len e re s ent n th e a t th at h e is b ck i c , i g f c wo r e d e o n d th e m wh n h s tl e s low It is k b y ti e e w i b . “ th en th at h e think s th e c apta i n is m ighty d amn

But th e e ro a l s o th n s his a t a n h a s m e an . N g i k c p i

d o f im t th r wo r m n re at owe rs an o ten a s t s o h o o e e . g p , f b k So in thi s c a s e his c a pta i n get s th e b ette r of th e ﬁght “ ” an d r n s th e w al er aw a b u t a o r d n to th e u k y ; , cc i g ’ e ro s on e t o n o f th n s it m s t h a e ee n a N g c c p i i g , u v b

f th e son is re at ht . owe e r th e en e ral ton e o g ﬁg H v , g g o o f om a t Th e e ro is o m l a n n of his n e c pl i n . N g c p i i g B t al s an d s how s at th e s am e t me his h mo r . vic u , i u y “ ” o rt - o r n a Th e o m n at on o f f y f u s h e m e a s p e s . c bi i s c en e s with th e ch a ra cte ri s tic im age ry m ake s an um

s all t al s on u u y ypic g .

’ AIN T IT HARD TO BE A NIGGER ?

Ano th er a o r te of th e wo r m an wh h re e al s f v i k , ic v s om ething of th e a ttitu de o f th e Negro towa rd th e wh te m an b t wh h th e wh te m an ra rel h a s th e i , u ic i y

r l e e of he a r n is a s ollows : p ivi g i g , f

256 TH E NEGRO AND HIS SONGS of form an d m atter th at is s o common in all Negro “ ” “ ” “ ld n his h ead o n ra s on s . o ll n h g H i g , g i g c zy , ki i g im “ ” mmon th m d ea d and l e r a re o e e s . , ick c

Run here m am a ! ru n here m am a ! , , ’ R here a n hold m hea d 0 ord ! un y , L ’ Run here an hold my head !

Th s Ole h a mm er th s ole h a mmer i , i ’ ’ ord it s o t to ll m e d ea d ord ! L , b u ki , O L ’ ’

ord it s o t to ll m e d ea d . L , b u ki

’ ’ ’ ’ I m oin ra I m o n ra g c zy , g i c zy, ’ ell orn wh s e one a n ll m e dea d ord ! W , c i k y g ki , O L ’ orn wh s e one a n ll m e dea d C i k y g ki .

0 ord a ta n ord a t a n ! L , c p i , O L , c p i ’ don t now wh at to do ord ! I k , O L ’ n a I don t k ow wh t to do .

0 ord a ta n ord a tain ! L , c p i , O L , c p ’ ’ ell it s a ta in didn t ou s a ord ! W , c p , y y, O L ’ You wouldn t wo rk me in the ra in a ll d ay ?

Ho ne a hone ab y b by, y b y, ’ Hone don t let the b a r-room los e 0 o rd ! y, c , L ’ Hone don t let the b a r-room lo s e ! y, c

Hone m ne hone m ne y i , y i , ’ d e l er s a ll one le t m e now ord ! If ick g , k , O L ’ d e l er s a ll one l et me now . If ick g , k

M hone a e m hone a e y y b b , y y b b , ou h a e a n oo d th n s s a e m e s ome 0 ord ! If y v y g i g , v , L

If ou h a e an ood th n s s a e me s ome . y v y g i g , v

’ IF Y OU DON T LIKE TH E WAY I WO RK

Th e them e of thi s s o n g is exa ctly s uite d to th e s ulky mood o f a you n g Ne gro l ab o re r . TH E WORK SONG S OF THE NEGRO

’ ’ he wa wor u s a ou don t l e t m e O ff . If y ik y I k , j p y ’ want to s e a one luv in word b ef ore o I p k , I g ’ ’ ’ ’ now ou th n I m ow ful e a s but a n t so s of I k y i k p y, I i ; ’ I ca n git a nother job an b e my bos s .

’ ’ For the a n t o n to b e no r ne y i g i i , ’ I ll tal b izne s s to ou s om e other time k y , ’ a termelon ood a n sweet W g , ’ ’ eed s onl th n don t eat S y i g I , ’ ’ You c a n judge from tha t a in t goin to b e no ri ne .

! LAWDY , LAWDY, LAWDY

The re ckles s di s po s ition o f th e ra il ro a d wo rker is again reﬂecte d in the favo ri te s on g of th e ga ng :

’ ’ ’ Me n my pa hd ner an two r three mo ’ ’ ’— ’ n d a - a d —a Go i n ra is e h ell rou p y c h o pay c h do . ’ ’ Goin ter rai s e hell rou n d pay-c ah do !

awd awd awd ! L y, L y, L y

It is an in te re s ti ng s p ect acl e to w atch a s co re of Negro

a r rs ﬁle nto the a - a r to re e e th r a Th l bo e i p y c c iv ei p y . e ea er m ann e r in wh h th e wa t the e l a r ex g ic y i , p cu i ’ res s on o n e a h m a n s a e a s h e e nters and re t rn s p i c f c u , the putti ng of th e money in to his po cket an d the pl an s f or s en d n it th e s e a re a ll re e te d in the t al p i g , ﬂ c ypic

In th e ers e s t e n th ro is re re s en e . e e c _ v ju giv , N g p s ented a s e n m at ent an d th re aten s to do o len e b i g i p i , vi c to th e p aym as ter ; o r h e is bo is te rou s with th e knowl ed e th a t h e w ll s oon h a e mon e an d ra s e h ell g i v y, i

mon his ellow s wh le the rowd a ts h a a g f i c w i . Suc s ene is a omm on on e altho h mo s t of the rowd s m c c , ug yi

is fun . A HINT TO T H E WISE

The s ugge s tiven e s s in th e followi ng sta n za is re “ The s n e r r des h m s l o n e n a b ad m ark able . i g p i i e f b i g 258 THE NEGRO AND HIS SONG S m an an d n ten d s th at a h nt to th e w s e s h ld , i i i ou b e

nders tood a s h e tell s o f his o rm er a rtn r Th e u f p e . “ s p rawlin m an an d th e g rave a re s ugges tive of th e commo n exp e rien c e s wh ich m ay a ri s e a mong the wo rkmen .

’ ’ D on t you rem ember one m ornin ’ In ne a o t e ht o lo Ju , b u ig c ck , ’ My p ahdner fell sprawlin ? D ey ca rried him to his grave ’ ’ I a in t go in to s ay h ow he died .

SH E ASK ME IN D E R R 1 WELL , PA LO

h l e th e th em e of th s son is th at o f th e lo e r W i i g v ,

it is s ute d in its te h n e to ll n s tr n di i , c iqu , pu i g, iki g , g

n o r a n wo r th at all s f o r lon a nd rh thm i gi g, y k c g y c

s of the d a h l in e h a s it movem en t b o y . E c s regul a r

a su ral a s e at wh h a s tro e is n s h e d a n d s i c p u , ic k ﬁ i g “ ” d b th e n d erto n e of th e al a ta l whu k The n iﬁe y u p . s c en e s p re s en ted in th e s on g a re g ra phic in co ntra s t to th e bu rn i n g s u n o r the d rizzli n g r a in in which th e

The rl a n d th e a rlo e ro wo r s . r the n t a t on N g k gi p , i vi i

n s de th e ool f an a n d th e a f e t o n s of th e wom an i i , c , f c i

dl o rt a d th e lo er a re r e . Th d a m a i f o r v , vivi y p y e r t c touch in which th e refu s a l b ri ngs fo rth th e de s p ai r of ” th e d ark-eyed m an to uch e s a ch a ra cte ri s tic chord ;

a s s al the e ro o m e s out to r o s itho t b ut u u , N g c vic i u w u

rth e r d eta l s a l wo r s givin g fu i . H ppi y k the du sky ﬁgu re while h e an d his co mp an io n s i ng : — — — ell s he a s k me whu k in de a rlor whu k W , p ,

’ — — — An s he ooled me whu k wid he r f a n whuk c ,

1 ” m r M 1 1 Tall Ne ro Folk Co a e She H e Me a d Kisse e . 3 e p ugg d n d , p , y, g

Rhymes .

260 TH E NEGRO AND HIS SONGS then goe s gack to his mu s in gs on th e routi ne of his a d ily wo rk .

’— — ’ ’— The d a y I lef huh my mother s b ou s huh ’— — Wa s he d a lef huh m o — t y I y h me huh . ’ — — ’ — tin s der huh don t te m e huh O bi pi , bi ! ’ — — ’ t n s der h u h la wd don t te m e ! O bi i pi , y, bi

’ EARLY IN DE MO RNIN

Th e next so n g is th at of the min i n g o r ra il ro a d

am l a or r omet m e s the a s e in th e l n s c p b e . S i p u i e is on e of s len e a n d the tho ht wo r s out th e rh thm i c , ug k y .

’ — ’ ’ E a rl in de morn in hone I m o n r s e y , y, g i i , ’ — ’ ’ Ye s e a rl in d e mornin ho ne I m o n r se , y , y, g i i , ’ ’ — Goin h a ve pick a n s hovel right by my s ide .

” ’ ’ a a n el — n Goin t ke my pick s hov goi deep down in mine . ’ ’ — ’ I m goin where d e su n don t never s hine .

’ ’ ’ ell wo e th s mornin — o ld n t ee rom c r in W , I k up i c u k p f y , ’ — ’ Fo r think in a bou t tha t b ab e 0 mine .

’ — ’ ell wo e th s morn in rindin on m m nd . W , I k up i , g y i ’ — - o n to r nd ho ne if o s tone l nd . G i g i , y, I g b i

UNDE R THE RAIL

Un d er the Ra il exp re s se s the s entim ent o f th e

e r at th e s ame t me th a t it m a e s a rh thmic af work , i k y “ ” - awd l awd l awd ! s n s the s e t o n wo rk s o ng . L y, y , y i g c i d h an .

nder the ra l n der the tie U i , u ,

n der the ra l nder the tie U i , u ,

nder the ra l n der the tie U i , u , ’ ’ h ar o dolla h lie W y , ’ ’ ’ ’ a o dolla h lie wh ar o dollah lie . Wh r y , y TH E WORK SONGS OF THE NEGRO 26 1

— H 0 HO

Often th e wo rk s ong is little m ore th an a co llectio n a n d combi n atio n o f wo rd s an d ph ra s es for regul ar r s n l re e ren ll l el on s t t t e a h hythm . A i g e f ce wi ik y c i u e c s tan a nn er a nd tt n -t m e om n and o n z . Di qui i g i , c i g g i g a n d th e wo r o f th e mom en t a re th e tho hts of the k , ug

ollow n s on In th s a s e th e a s e is towa rd the f i g g . i c p u

d f d rat o n t m a b e en o the l n e an d of lon e r . I i , g u i y

ll ed w th a wo rd of e l am at io n b ut o rd n ar l is ﬁ i xc , i i y

n at d nl i dic e by th e clo s in g of the lip s o y .

’ — in t it d nner ho ho ! A i , ’ — Ai n t it dinner ? tell me so !

’ ’ Goi n to leave you ! L et s g o ! ’ Won t you tell m e ? Why so ! — lea e ou ho ho ! If I v y , ’ Pleas e don t leave me ! Why so ?

l ’ ’ e l let s o ! I m r ht . W , g ig ll ’ ’ e let s o ! I m r ht . W , g ig

- ’ Good b ye ! I m gone . ’ ood- G bye ! I m gone .

— ' To the ottom ho ho ! b , , — To the ottom ho ho ! b , , BABY MINE

In the ne t s on ns te a d of th e s al two a rts of x g , i u u p

the l ne w th s e s s e re et t on s the re a re th ree in i i ucc iv p i i , ,

/ which the thi r d p art almo st equ al s in tim e th e f ull “ len th of th e o th er two Th e d e s n at on s a g . ig i b by, “ ” “ ” “ ” wom a n a l rl a re b ut th e o rd n a r na mes , g , gi , i y

s ed in so n s an d o n ers at o n u g c v i . 260 TH E NEGRO AND HIS SONG S then go e s ga ck to his mu s in g s o n the routi ne d a r ily wo k .

’ — — ’ ’— The d ay I lef huh my mother s bou s huh ’— — Wa s the da lef huh m home —u y I y h h . ’ — — ’ — t n s der huh don t te me huh ! O bi i pi , bi ’ — — ’ t n s der h uh l a wd don t ite me ! O bi i pi , y , b

’ EAR LY IN DE MO RNIN

The n ext s on g is th at o f the min in g o r ra il ro a d

a o r r om et m es the a s e in the l n s c amp l b e . S i p u i e is one of S len e a n d th e tho ht o r s out th rh thm i c , ug w k e y .

’ ’ ’ E a rl in de morn in -ho ne I m o n ris e y , y, g i , ’ — ’ ’ Ye s earl in de m ornin hone I m o n r s e , y , y, g i i , ’ ’ — e a n s e Goin h av pick hov l right by my s ide .

” ’ — ’ n el n Goin ta ke my pick a s hov go i deep down in mi ne . ’ ’ ’ u — n e I m goin where d e s n do t nev r s hine .

’— ’ ’ e ll wo e th s m ornin o ld n t ee rom cr in W , I k up i c u k p f y , ’ ’ — a a For think in a bou t th t b be 0 mine .

’ — ’ ell wo e th s mornin rindin on m m nd . W , I k up i , g y i ’ — - o n to r nd ho ne ii o s tone l nd . G i g i , y, I g b i

UNDER TH E RAIL

Un d er th e Ra il exp re s s e s th e s entiment of the

r a t the s am e t m e th at it m a e s a rh thm al wo rke , i k y ic “ ” - awd l awd l awd ! s n s the se t on work song . L y , y , y i g c i

h and .

nder the ra l nder the tie U i , u ,

n der the ra l nder the tie U i , u ,

n der the ra l n der the tie U i , u , ’ ’ a r o doll a h lie Wh y , ’ ’ ’ ’ a o do lla h lie wh a r o dollah lie . Wh r y , y

262 TH E NEGRO AND HIS SONGS

ha d it— ou o ld et it If I y c u g , B-a- — - -n-e b y m i .

’ — ’ ’ a n t ot it an ou a n t it it . I i g , y c g ’ Woman 0 mine .

’ ’ ord I m oin - awa to lea e L , g y v , ’ G a l 0 mine .

’ ’ ‘ — ’ ou mu s o a n lea e m e don t o now If y g v , g ,

a My m n .

’ — ell o n ros s the water to m lon ha home W , I g i c , y g ppy , ' Poor girl ! — a nt ot no mone but will h a e s om e I i g y, v ,

- Pay day .

RAISE T HE I RON

“ ’ Th e o rem an of th e an r es out C an t ou l ne f g g c i , y i

’ ” em a l ttl b it ? Th e l a d r r i t affirm t i e e e epli e s n h e a ive .

He th en s ets the s tan d a rd a n d th e all ll to ether , y pu g f o t d s d o r o m s a o d o n h e r w . r e i e k The f r ul a i g o e .

rother a t rother ear B R bbi , B B , ’ Ca n t you line them ju st a ha ir ?

h a e the r on um-uh ! S k i ,

own the ra lroa d um-uh ! D i ,

ell ra s e th e ron um-uh ! W , i i ,

a s e the ron um-uh ! R i i ,

ell is ou ot it um-uh ! W , y g ,

ell ra s e the ro n um-uh ! W , i i , ais e the ron um—uh ! R i ,

Throw the iron u m-uh ! —, Throw the iro n throw it away ! TH E WORK SONGS OF THE NEGRO 263

r al o r -s on an d th at ro m wh h m a The e w k g, f ic ny of

th e e ro so n s o r n all s ran is the wo r -son N g g igi y p g, k g “ Th e o rm l a s b wh h th e ll to eth er ph ras e . f u y i c y pu g a re often s impl e exp re s s ion s of wo rd o r ph ra s e o rig

The n ent en s s in ated in commun a l work . i v iv e of th e Negro wo rki n g in con c ert with his f ellow s is u nu su ally

on s e en tl th e re is an nl m te d n m m a rke d . C qu y u i i u b er ” - - s is s o n of he ave a ho ra in h g voc a bul a ry . The “ ” yo-ho theo ry m ay well b e appli e d to th e o rigi n of

- n a s a h ro of wor men h a th e wo rk s o g ph r e . E c g up k s its le a d e r : th e s n al s a re en b him an d th e lea d n ig giv y , i g

im In th e m a o r t o f t p a rt is always s u ng by h . j i y he — om t m wo rk ph ra s es h e is th e s o l e s i nger . S e i es he

re s n s to a n other m em er o f th e ro o r the s e e r ig b g up , v al m emb ers a re d e s ign ated a s l e ade rs in a p a rticul ar

f r le ad er o rd n a r l h a s at his omm a d ki n d o wo k . A i i y c n

f a ot n r t s everal s co re o app rop ri te ph ra s es . N i f equ en ly th e a c t of th e mo m e nt is put i n to s ou n d a nd b e co me s th e wo rk-s ong ; ag a in th e n atu ral s ou n d a ris i ng fro m th e wo r m a o ten e om e th e rh thm o r k y f b c y ic f c e .

GANG-SONGS

B e fo re givi n g exa mples th a t a re typic al of the ex c l am a tion s of son in en e ral the re a len t m tho d g g , p v e of wo r m a b e ll s tra ted b t al rs The k y i u y ypic ve e s . _ rh thm m a b e o ta n e d ro m th e s an s on A l eade r y y b i f c i . wa ts fo r th e om an to l H l o r s h . e s a i c p y pu pu ys , “ ” Is ou rea d ? ter a s l ht a s e a s e o n d ma y y Af ig p u , c n “ ” an swers ead ! an d the l eader on t n s , R y c i u e ,

— ’ — — ’ oe em u he hea em J pick p vy , pick up ,

— — ’ o he heav em J e y , pick up , and so on nt l the wor s d A a n he and u i k i fin i she . g i , 264 TH E NEGRO AND HIS SONGS his comp an io n s a re exp e cted to pull a l a rge we igh t o n th ro n w th h a n d s ho ld n r ad f o e e . e l e e p Th y i up i i g, y r “ ” the l The leader th en s ho ts ll e ! th e ll pu l . u , Wi i y pu out on th e fi rs t s yll able an d o n th e s e con d syll able g et “ ” th Th e le a d er re e ats ll e w th th e e new hold . p Wi i i s ame o s He th en n s h e s th e rh thmf o r th p r c e s . fi i y e — — ” h ard es t ll o f th e th ree w th ll e ll ll e pu i Wi i bu y Wi i , in which th e do l e pull is given with on e h old o n th e “ _ ub ” rst ll e th e n ew ho ld o n th e ll an d th e fi Wi i , bu y, “ ” s e con d pull o n th e l a s t Willi e . Th e le a der th en co nti nu e s with a s m a ny o f th e p erio dic ph ra s e s a s is ‘ s n am e s to s his a ne e s s a r s n a r o t n . c y , u i g v i u ui f cy

— Willie ! Willi e ! Willie-_ bu lly Willie !

— — Mandy ! Ma n dy ! Ma ndy bully Mand y !

— — J a nie ! J an ie ! J an ie bu lly J an ie !

— ﬁ H aul it ! h aul it ! h a u l it bu lly haul it !

’ ’ ’ — — Tear em ! tear em ! tea r em u ll tea r up up p, bu y ’ em up !

” “ ” “ h s he s n s s e att e a nd o ther T u i g Su i , P y, Lizzi , n am e s wh h o m e to m n d a n a er s m l a r ic c i . Ag i , v y i i m etho d an d on e th a t m a re r s ent th e en era l , y p e g h a t f s h s o t s s is th e oll w n o n t e h r er h ra e o . bi u i g p , f i g

Th e wor m Th e a b e ll n s h n o r l t n . k y pu i g , pu i g, if i g ﬁ rs t h alf of th e li ne s erve s to give th e s ign al a nd imp etu s to th e t pull ; th e s e con d is th e retu rn s rok e .

’ ’ Won t you pick em up -in h eaven ?

’ ’ — Won t You haul em in heaven ?

266 TH E NEGRO AND HIS SONGS

’ — ’ ear em -a e a T up t r em up . e a rd a Com h gin it s o .

rea it o s rea it . B k , b y , b k — k’ H e h e h e a . ik , ik , ik b c

e e Com on h er . ’ — Wh a t s a m atter fagged out ? ’ ’— Wh a t s a m a tter white-eyed ? ’ — Wha t s a m atter mon key got you ?

a — H ul it h aul it b ack . — — Here e ah here ou . y , y — — Tu rn tu rn it tu rn her on . ’ ’ Let s tu rn em over . ’ r i Tu n t one mo time . How a bout it ?

Knock d own on it .

h h wid it men . Up ig , — G et u e i —an to it it p g t t up y g up .

Yonder s he g o . ’ Put yo nugs on it . ’ Lay yo ha nd s on it . ’ Put im up on it . G et a r up , M y , — — Hello hello hello ! ’ — ’ Ya ng em Ya ng em .

H a ta n too hea here . y, C p i , vy l Ho d it o s t ll ome . , b y , i I c N l ’ ll ow et s o es . , g , bu i l — — Ho d hold hold . — n — r O ce m o e boys . — — Little lower down . ’ ’ a —u — a — W y p w y up . — a d Go a he go a head . — — H—e- h-e- h-e- y y y . — — raw a n i D b ck o t . — — r — ll D o fa e you we . — — — —e Here you tight white ye . — — — Jump up jump now . — — — — G et up dere l a s t down . ’ — — ——— Ev y qu ack d o w n . TH E WORK SONGS OF THE NEGRO 267

— — — — — Bow down ba ck up b a ck off . — n— - -l Wh a ck ma a l . - —- —— P r i z e em . —’ — — ’ — Hit em hit em high . - Whoa Reub en . ’ — — ll — — l le— — Whoa head pu em a itt over there .

Git b a ck on de right Side now . — — D rive drive d rive . ’ ’ Pull em over jus a h a ir . ’

a em m en . J ck up ,

Ma ny of thes e excl am ation s in tim e b e come c on

d s t n s n s The s o n ec te d a nd m a e more t o . n s , k i i c g g

a a r in o l ets a re of th s t a h th t e given c up i yp e . E c

“ o l et re re s en ts a s a r l e o r a rts e a h l n e tw c up p , u , f u p , c i o d s o n s e a h d s o n a s n l e h ra s e l e tho s e s t ivi i , c ivi i i g p ik j u

a Th e t h n n The ro e s s is a n t ra l on e . e give . p c u c iqu e is o ften not a s cle a rly n otice able a s in th e following r a il ro ad ph ra s e — Ole au nt Dina h ha s a ga rde n — On one Sid e is sweet pertaters — On other s de ood r e te rm aters i g ip , — H-o—l-d h—o—l—d

A s n l e l an e h owe e r s how s th at e a h l ne is i g g c , v , c i n at r all d d e d nto two e r o ds e a h of h h u y ivi i p i , c w ic

a f — i m a ke s n ef e ctive wo rk ph ra s e . So n the following :

ﬁ

H—i——h—t red rd ﬂ in ro n d here g , bi y u , Mon key s ho gwine git s omebody ; ’ ee im wid his a l S t i tu rned up . — H-O -l-d h—O-l—d

ro e down on de eam s o lon I b k b g , ’ ll done lo s de u s e Ti I t 0 my right arm .

’ ome on mens es let s the ron C , pick up i , ’ Ain t it heavy a ll de time ? 268 THE NEGRO AND Hi s SONGS

to m l s down l et he r s l s Up y ip , ip , ’ Where m any qu a rts a n gallon s g o .

In th e s am e w ay e a ch p a rticul a r ki n d of wo rk m ay s e s t a s e al o rm of th e h ra s e o r er s e ugg p ci f p v . The

e ro e s l o a n th e e s s el s a s th e r s h a s t e a N g di g v , y u p ch oth e r w th th e re h t a n d ee r at e a h other s n i f ig j c , i g , “ ” “ ’ ” “ G it out of d e way dere ! Git c ro s s de way ! Git ’ ” “ ” “ ’ to o l a e ! al to m e-e ! Oh e s ! t m a y p c T k , y i e i n t ” “ ” “ lo n ! O-o—h ro s s o e r o n m a n ! — m g c v , y u g O o e ” b ab e ! a n d o th er excl a m ation s diff eri n g on ly Slightly ’ r h e f o m th e co mmon l abo rer s ph ra s e s . T Negro s al is on r h p eci ize s h s gs wh en eve r h e d e s i e s . T ei r

l t and his m a r a nd t a s t r n t d s or n ﬂexibi i y i ge y e a e o i c da t .

th th e e ro th en s o n h el s wo r a nd wo r Wi N g , , g p k k

n h eth er h e s n s to n rd en his s o l h elp s so g . W i g u bu u of eel n s h h th re aten to o erwh elm him wh eth e r f i g w ic v , h e s n s to ee his m n d off his wo r or h ethe r he i g k p i k , W “ ” s n s to h el him th his wor his reat on s are i g p wi k , c i

n e n o h th a i a a a rt evide c e ug t he s re l i s t .

270 TH E NEGRO AND HIS SONGS dic rou s is o rmed w th n h an e a l e deﬁn iten e s s , f i u c g b . — A numb er of typic al wo rd pictu re s a re given p ro mi s

w s m l e e er ment w ll Sh th c uous ly b elo . A i p xp i i ow e ability o f th e Negro to vi s u alize an d at th e s am e time n n t offe r pl e a s a nt ent ertai m e . Let e a ch s ta nza b e taken s ep a ra tely a n d rea d ; l et th e im p res s ion b e fo rme d quickly a n d th e exten t o f th e co mpl eten e s s of th e m en

t a n h e n o m a tal pictu re a s c e rt a i n e d wi h ex ct e s s . T c p re thi s with th e a ctu a l s c en e d e s crib e d an d s ee with wh at u n erri ng pow e r th e pictu re h a s b ee n fo rc ed up on th e m n d It m a well b e ent red th at s h ma e r i . y v u uc i g y c ann ot b e s u rp a s s e d .

’ ’ d e a n r all in d e s t a n Ju g ju y , ’ G reat big l aw books in de i r ha n .

’ lothes a ll d rt a n t ot no ro om C i y, i g b , ’ Ol e d irty cloth es a ll h a ngin in de room .

’ As k me to d e ta le tho ht I d ta e a s eat b , ug k , ’ First thing I s eed wu s big chu n k o m ea t .

’ ’ a rr ed o ll to emeta r eo le a ll sta nd n ro nd C i p bu y c y, p p i u , ’

hen d e re a her s a a m en l a o od down . W p c y , y p b y

Pol em ens a ll dres s ed in l e ic b u , ’ Comin down the s id ewalk two by two .

’ ’ ta nd n on d e orne r d dn t m e a n no h a rm S i c , i ,

Policem a n gr a b m e by my a rm .

’ ent down to o ntr to s ee m f rien W c u y y , ’ ’ In come ya ll er dog bu rn in the win .

ent to s ea s ea l oo so w de W , k i , ’

Tho ht a o t m a e h n m hea d an r ed . ug b u y b b , u g y c i

a l roa d ll m ht b ad m a n R i Bi ig y , ’ ’ ’ an Shoot dem l a nterns ou t u de b ra kema n s h . C 271 IMAGERY, STYLE , AND POETI EFFORT

— ent town r da n ht went to ll a k id W up F i y ig ki , ’ ’ — n ll Reach my h a n in my pocket nu thi to ki him wid .

All d e wimmins ome to town a ll d res sed in red c , When d ey hea rd d a t bully wa s dead

’ All he wa nt is water a n oa l c ,

Po e his hea d out in dow s ee dr ers roll . k W , iv

’ ll out m un a n e n to ﬁre I pu y g b gi ,

Shot th at bully right through the eye .

at s ed t led to d eath S i ﬁ , ick ,

G ot a b ottl e of whis key o n my s h elf .

Went up town wid my h at in my h a nd; “ ’

ood mornin d e done lled m m a n . G ju g , ki y

’ o n h a e h m on m a SO m a n h ens in G i v u p y b ck , y c ick

s a ck,

ho nds on m tra ne er did lo o a . Big u y ck , v k b ck

’ ell wo e this m ornin b it Clo ell W I k up y c y ck b , ’ e n a ine l Nigg rs up town givi coc hel .

a rr ed him O ff on ho o-doo wa on C i g , ’ e B rought him b a ck wid his f et a draggin .

T rn me o er ill t rn m e o er s low u v L y, u v , ’ ’ b e l a s t m e don no Ma t w . y i , I k

S aid to j a iler how c a n I s leep ? ’ All ro nd m ed s d e l e en ree u y b i p o ic m s c p .

Ag a i n th e re a d er h a s al re ady fo rm ed a d eﬁ n ite opinio n ’ of Stagol ee s a pp ea ran c e from

’ ’ Sta olee Sta olee what s d at in o r ? g , g , y g ip ’ ’ ’

N th n b ut m nd a lothe s I m o n to ta e a tr . u i y Su y c , g i k ip

Sta olee Sta olee wh ere ou een s o lon ? g , g y b g ’ ’ ’ I b een out on b attle ﬁ eld s hootin a n b avin fun . 272 THE NEGRO AND HIS SONGS

’ And eve ryb ody k nowe d wh en d ey s ee Stagole e comi n ” a to give Stag olee d e ro d . Likewi se h e h a s the “ ” ll a e a ran e wh en h e tell s his e ood-b e bu y pp c wif g y , when h e go e s out of th e h ou s e with a s mo ki ng gun a n d “ wh e n h e l ay s th e m a n on th e ﬂoo r with d at s a m e ol e foh ty One b u t n eed s to rec all th e m a ny pictu re s po rtrayed ’ in the s pi ritu al s to s ee th at th e Negro s im agery is even mo re vivid in his religious s tate of feeli ng th a n

h e re is l a e f o r o nl a r r at othe r tim e s . T p c y efe e nc e to

hem t .

ell ou o ht to een dere to s ee de s ht W y ug b ig , ’ ’ ’ eo le e runnin ll d a n P p s com both c u u white .

on mo nta n ehob a h s o e Up u i J p k , ’ f e Out o his mouth com ﬁre a n s mo ke .

Wh ere wa s Eze kiel wh en d e chu rch fell down ?

o n in d e alle wid his he a d n D w v y hu g down .

’ E e el s a d he s ed d e tra n a om n z ki i pi i c i , ’ ’ We ot on oa rd a n She ne er sto ed r nmn g b v pp u i .

’ omet m es h a n s m head a n ries S i I g y c , ’ Bu e n t J su s gwi e to wip e my weepin eyes .

’ ’ ’ ome 0 des e mornin s r ht a n a r S b ig f i , ’ w ne G i to hitch my win gs a n try d e air.

No more V ivid s cen e s h ave b een po rtraye d th a n th e d e s r t on s o f h ea en an d h ell Th e rande r of th e c ip i v . g u gold en s treets a nd th e terro rs of th e d a rk an d th e d s m al l a s tan d o t s tro n a n d a The w al i p c e u g cle r . k in and t al n w th th e Lo rd and w th e s s th e g ki g i i J u , s eeing of the an gel s a nd th e e ati n g of goo d thi ng s while e tern a l re s t obta i n s a re u n mi s ta k ably b righ t pictu res .

274 TH E NEGRO AND HIS SONG S

’ Po b oy long way from home .

- B rown s kin man .

’ ’ Luv in m an 0 mine .

’ - Th at easy going man 0 min e .

N owhere to lay my wea ry head .

ll ill Ba d man m an es erado . , bu y , D p B

’ A luv in dime .

d a h ell n w b a d m a n b a s o . A , , I k

e Ole corn whis k y .

’ One ﬁ nis h ﬁght .

- la a l Jet b ck g .

l ’ Coo in board . — Hoo doo wagon .

l ’ F a lin den .

’ B yin d ay .

’ a n s h es D cin o .

’ Y lo n a ou s ho oki w rm .

’ ’ an l s a B oozy foo i h bout her he d .

- wo a l rown n m n ho o ate to de one . B Ski , c c b

M M Li s ten z Qis Th e re a re al s o m any auditory im age s gM Q izﬂ a n d th ey a re not le s s di s tin ct an d co n c rete th an a re “ ” Th r is rd a- the vi s u al o n e s . e Negro hea s h Lo c alli ng C IMAGERY, STYLE , AND POETI EFFORT 275 to him he h e a rs his es s s e a n to hi ; J u p ki g m . He “ ’ ” hea rs his Lo rd a—rumblin in th e s k h e he a rs . y ; G ab riel blow his trump et and h e he a rs th e to mb

He h e a rs th e s nn ers s ton es bu rs ti ng . i c ryi ng an d

al n a n d h e he a rs th e th n d er roll n He h ea r s c li g u i g . the a n s s ho t n a n d h e h e a rs at a n s t m l n H gel u i g S u b i g . e is a l ert his e e s s tra n e d to a n n ew s on s , quick , y i g i vi i , his e a rs tu n e d to c atch eve ry s ou n d ; an d h e a ppli es th e s to h m s el a s well a s to the t re s tate He e i f fu u . s n s too i g , ,

’ ’ ’ I m o n to hea en on ea le s w n g i v g i g, ’ ’ All don t s ee me go in to h ea r me s i ng .

Could he co mbi n e Sight a n d h e a ri n g f o r a m o re vivid pictu re ? Ag ai n th e Ne gro h a s u n u s u a l powers f o r pictu ri ng the s ou n d of th e ru nn in g t ra i n ; h e h e a rs it s h s tl e an its ell h e h e ar s th e fi n of th e w i d b , puf g

He en gi n e an d s ee s th e ﬁ rem a n pu tti n g in th e co al . “ ” he a rs the ringi n g of the city clo ck b ell a nd th e no i s e ‘ f f — deed h e a n o th e th ron o e roe s u town . I n c g N g p ,

hea r a s well a s he c a n s e e .

h le l w Tho ht h ea rd tha t . . w st o ug I K C i b , Blow l ak s h e n ever blow b efo !

’ a e ole ro nder it s t m e to 0 W k uPa u a i 8 a l Thought I hea rd d at whi stle b ow .

a ta n a ta n how c a n it b e C p i , c p i , , ’ ’ h stles ee blowin ou ee a-wo r n W i k p , y k p ki

’ Hea rd a m ht rumblin in d e s k ig y y, ’ ’ b e m o rd a a s s n b Mus y L p i y .

’ eard a rumblin at d e wat e r tro h H ug , ’ ’ Mu s b e my capta in a n water bos s . 274 THE NEGRO AND HIS SONG S

’ PO b oy long way from hom e .

- n B rown s kin m a .

’ ’ Luv in m an 0 mine .

’ - Th at eas y going ma n 0 min e .

Nowhere to l ay my weary hea d .

ll ll Ba d m an m an es erado . , bu y , D p Bi

’ A luv in dim e .

d a ell n b a d m an b a s h ow . A , , I k

e Ole corn whis k y .

’ One ﬁ n is h ﬁght .

- la al Jet b ck g .

’ l a Coo in bo rd . — Hoo doo wa gon .

’ F allin den .

’ D yin day .

’ D an cin Shoes .

’ Y u s o loo n wa o h ki rm .

’ ’ o a n ool s o e ea d B o zy f i h b ut h r h .

wn-s n wom an l a ne ro ho o te to de o . B ki , c c b - l M m 'K f M m G " , Lis tening iiit Th ere a re al s o m any auditory images “Q — ﬁ J ‘m ﬂ a nd th ey a re not le s s di s ti n ct an d co nc rete th an a re “ ” Th e e ro h rs his o rd a— the vi s u al o ne s . N g ea L c alling

276 TH E NEGR O AND HIS SONG S

’ ’ ’ ’ Me n m y p a hd ner a n two r three mo ’ ’ ’ o n ra is e hell ro nd a a r G i u p y c d o .

’ Git u in morn in when d n -don r n s p i g g i g , o a le s a me ol e h oo n t t n s . L k b , i g

h ate to h ea r m h on e a ll m na me I y y c y , ’ a ll m e s o l one s om e an s o ad C s .

’ ’ h e a rd s h a no in at mu d o I uc k ck , ’ ’ h a no n a s n e e r a r Suc k cki I v h e d b efo .

h Pers on a lities . a n t e e ro s al es ers o s Ag i , N g vi u iz p n

t a rat a n d o tr l h o e er is m wi h ccu e vivid p r aya . W v en

o d in his s o n s t an d s out a d s t n t h ti ne g i i c ﬁgu re . T e pl a ce h e o ccupi es an d th e th ough ts a s so ci ate d with h im

d s t n tn s s of s m s o r The a rt al an al s s of give him i i c e o e t . p i y i th e religiou s s on gs s howe d th e p romin en c e given to the s cri tur l h a ra ters . Mo s e s and A rah am Eze w p a c c b , 4 “ Mu m el an d I s a ah ete r an d o h n M ar a n d M arth a ki i , P J , y , togeth er with th e o th e rs a re pictu re d in n o u n c ert a i n

ho ah s s o rd a d th e d e l a re th e term s . e e n J v , J u , L , vi

ers on a e s th e a th e r an d on ar m a n d ch ief p g ; F S e g iﬁ e .

The an el s too a re en on s o s l a e s . So g , , giv c picu u p c , m w m m a m s i n-s . ﬁ i too the Sf if ifgr h am l in an d d iic m m an th e , g b g , , c m g M , M m o r te an d the m o rne r th e re a h er roth e rs a nd hyp c i u , p c , b ,

’ Inthe s ecul a r s on g s p erson a ge s O in th e tot al of s o ng ; th e N egro h a s no c el eb riti e s to

s n no h ero e s to ra s e s a e th e n o to r o s ha ra te r . i g, p i , v i u c c Th e l atter is given due p romin en c e ; h e is d es c ribe d

a d w th s But f o r th e mo s t a rt th e an d vi s u lize i kill . p ch a ra cter s a re i n deﬁn ite p ers on age s d epicte d with

a ra t r s t s Th e se l ar so n s tell of the d eﬁn ite ch c e i ic . cu g

a ler th e a ta n th e d e th e ol e the s h er ff j i , c p i , j u g , p ic , i , C R IMAGERY, STYLE , AND POETI EFFO T 277

a d er th e do to r th e en n h th e rten eer . e b , c , gi T y s i n g

of th e e a s tm an th e ro n d er th ho o th e b um h , u , e b , , t e “ ” ll Th e l o e r a nd th e a s e er th e . e a c re p , bu y v , b bi n d “ ” hon e s th e athe r a n d moth er th e moth er—in-l aw y , f ; ,

d th e roth er-in-l aw m a e the l s t almos t o m l e t an b k i c p e . “ ” “ ” a rs t r a nd M s s s o r on l o a s o n all M e i u ccu y cc i y .

a m e an d l a e fo r th e e ro h a Time a nd Pl ce . Ti p c N g ve

d e n e an d a n n de n te s n an t b oth a fi it i fi i ig ific ce . Wi h ” n him lon g y e ars a re a s a wa tch in th e ight . There is no tim e u n ity in his s o ngs ; h e m ay a s e a s ily s hift th e pl a c e of a cti on from on e lo c ality to a no th er a s’ to

“ t we er in e a h t r ollow its n . o e ts el f u i y H v , c pic u i f,

m d a a r d s t n t Th e e r both ti e a n pl c e e i i c . N g o re m emb e rs th e tim e a n d th e exa ct ci rcum s ta n c e th a t his

a t s f o r th a t mom t In th e s a i m a gery p i n en . e cul r so n g s tim e is almo s t a lw ay s in th e p a s t ; in th e reli

s so n it is o ten in th e ut r Th e re s ent is of giou g f f u e . p

m r a t th He s ees t m e littl e i po t n ce wi h e Negro . i with “ ” s s d h ree lon wee s h e s a l s his e e lo e . e y c T g k vi u iz , ” “ Si n ce I et a goo d s qu are m ea l ° s ix lon g month s ” n d But mo s t o f the e nt s a r s i n c e I h ave s l ept i b e . ve e “ ” in h re nt a s t is h a s s n t e e t . I t e l t wee o r u g c p k , “ ” l a s t r d a n ht o r e s d a at rd a o r nd a F i y ig , Tu y , S u y Su y “ ” “ h a n h a d h o h n t . s t t n the n t e re t e d a ig L ig ig b f , y ” “ ” “ l e t m h m e s n e ou een o ne s o lon I f y o , i c y b g , g, ” lo an d s m l a r d n a n a r m ommo so ng i i e s ig tio s e o st c n . “ ” ” “ ” All n ight lon g an d a ll d ay o r all th e tim e an d ’ ” all yo tim e a re exp re s s ive of th e comm o n con c eption

f Th e e ro th s h a s a en e ral s tand ard of o time . N g u g de s ign ation r ather th an an ex a ct m e a s u rem en t ; b ut his im a gery tran s po s e s e a ch in to its p rop er vi s u al

h th l o t m e is m o s tl s ett n . t e re o s s n i g Wi igi u g , i y looki ng towa rd the judgmen t d ay an d the tim e for th e 278 TH E NEGRO AND HIS SONG S

s n er to die t m is wh en h a t ou i n ; i e . W y gwm e do ” wh en de devil git yo ? ce rta inly h a s th e time el e m en t

a nd is mo s t a s s re dl d eno h f o r th e s n er b u t u y vivi ug i g ,

a o d a n i s It is loo n a a r he h s n i e whe t i . ki g b ckw d to “ ” th e tim e wh en th e Lo rd do n e s et m e free an d f o r _ “ ” ‘ h o m s d a d h er th a n this t wa rd to t e r e l n . rt h ere p i Fu ,

i f Th e r n f s little d e s ignatio n o time . c uciﬁxio o Ch ri s t,

th e ee n an d m o rn n of Ma r a n d M arth a th e w pi g u i g y , d rinkin g of th e wine a n d th e prayi n g in the wild ern e s s are b u t e mbl em atic of th e ide a l of th e futu re p ro

r m th e a s t jec ted f o p .

th e l a e rel at on s it is e th e r h ell o r th e to an In p c i , i u pi

t re w th l ttl e of th e o rm e r o r the l a e d e s fu u , i i f ; p c ign ated is th at whe re a religiou s exp e ri en ce of th e

a r h e mo n t a n i r o r a s nt h a s o r ed . On t n s in ge i ccu u i ,

h alle e o n d th e o rd an at th e ool in th e r s on t e v y, b y J , p , p i , o n th e s e a a re hi s to ric a l pl a c e s th a t l ea d to th e vivid con cep tion of a mom en t wh ich is sudd enly tran s po s ed

s n t o r t re Fo r d n e s s a n d ra d i nto th e p re e fu u . vivi pi

t o f Sh t n s en e s th e e ro s n e r is h a r d to i y if i g c , N g i g

h th e s am e is tr e in th e s e l a r s o n s b e a t . Muc u cu g

ra d s n at o n s a r n d a te d Bu t n wh ere gen e l e ig i e i ic . i a smuc h a s his e a rthly s o ngs de al m o re with e arthly

a l t e s th ere m s t n e e s s a r l b e a d e ren e in the lo c i i , u c i y iff c

f a e re th e e o is a t o n in vi su aliz atio n o pl c e s . H N gr ce his hom e a n d o n th e ro a d ; b o th h e re an d t h ere a nd “ ’ d ﬁn d m e in tl an ta o to h e re . I ou o n t A anyw f y , g ’ ’ ’ La rk ey s d a n c e ; if yo u do n t ﬁn d m e a t Lark ey s ” t e t rm n a m d he r d an e om e o swe h an s o o n . e c , c Bi i g , T is no S outh ern s t ate in which his s c en e s a re n o t l a id

And th e town s mo s t o mmo nl n own b a d libitum . c y k y th e Negro e s a re mo s t o ften s u n g ; th e N e gro lo c a lize s

d r s t d Th e s a me everythin g wh en h e es i e o o so .

280 THE NEGRO AND HIS SONGS

orta n e o f the rs t e rs o n in a ll a t on p c ﬁ p c i s . Th e Negro s i ngs :

’ ’ ’ ’ I m oin to h e a e n a n I don t wa nt to sto g v p , ’ ’ ’ An I don t wa nt to b e no s t m l n l u b i b ock .

All m s ins d one a y t ken awa y .

I went down in d e va lley to p ra y ; ’ M s o l ot h a an I sta ed all d a y u g ppy y y .

’ ’ ’ I m oin to ride on mornin train g , ’ ’ All don t see me oin o ear s n g t h me i g .

’ I wo ld n t b e s in ner tell ou the rea s on wh : u , y y ’ od m ht all me a n wo ldn t b e rea d e G ig c u y to di .

E er s n e m ord d one s et me ree v i c y L f , ’ l worl een a ell o This o e b h t me .

I went d own in d e a lle I ell on m nees v y, f up y k , ’ I e ed an ried f or a rdon d e ord did i e m e ea se . b gg c p , L g v

And s o it is th ro ughout the e nti re m a s s of religiou s

s In the s e l ar s o n th e rs t erso n a l rono n son g . cu g ﬁ p p u

s eem s e en mo re ro m n en t th an in th e s r t al s v p i pi i u . Th e third p ers o n an d th e ci rcum s tan ces do n ot exis t e xc ept a s th e Singer s ee s th em ; a s in th e religiou s s on g the s e con d p ers o n is u s ed o nly in it s rel atio n to th e ) s t ne n ee d s onl to s e s t th e s on s th em s el e s ﬁ r . O y ugg g v “ ’ ’ d r to re all th e m a er of th e s n er I m O in o r e c i g y i g . p ” “ ’ b o lon w a rom ho m e I a n t otta r e d in y g y f , i g f i n ” “ ” “ th s wo rld t al to m a e all n ht l on i , I k y b b ig g, I ’ ’ ’ ot in th e m o rn in o ld n t e e rom c r in g up , c u k p f y , ’ ’ ’ ” “ think in o t th at ro n-s n m an 0 n e ot b u b w ki mi , I g ” “ ’ d e l e s b ut too dam n m ean to c r wu s o n b u y , I g i ” “ ’ ’ ” “ ’ d o n ra l ro ad I m loo n f o r d e ll b o I m w i , ki bu y y, ’ ” “ a m l n fbr m ho ne h a d l s ten ed to h at g b i y y, If I i w C 28 1 IMAGERY, STYLE , AND POETI EFFORT

” “ m mommer s a d I I die in Ar an s a s an d almo s t y i , f k , innumerable s imil a r re fere n c e s to th e ﬁ rs t p ers on Show th at th e vi s u aliz atio n reﬂects th e s am e con c rete

im agery th at h a s b een ob s erve d el s ewh e re .

Th e ollo al s t l e of Contra s t a nd Antithes is . c qui y ’ th e Negro s s on g l an gu age is b u t a reﬂe ction of his

m a Fo r the e ro th er is l a r el h m s el and i ge ry . N g e g y i f

th e o th r rs o He is tell n s ometh n to s ome e p e n . i g i g b o dy o r h e is a s ki n g s om ethin g o r co mm an ding an d

ad s n m n Th e on e rs at on al ton e re vi i g so ethi g . c v i p

s on s h s it is va il s in gen eral t h roughou t th e g . T u th at th e s e con d p e rs on a s s i s ts th e ﬁ rs t p e rson in th e

om f h s in the rel o s so n s : c pletion o th e im age . T u igi u g

You oughter been dere to s e e the s ight .

Wh at you gwine do when d e d evil g it you ?

You etter it rea d el e e . b g y , I b i v

l a e You m ay ta lk a bout me ju s t a s yo u p e s .

’ ’ on t le t th s har e s t a s s d o ou die a n o to hell . D i v p , y g

’ ’ nd how ou w al on d e ro s s ou oot m a s li an Mi y k c , y f y p ’ l l yo s ou git o s t .

’ a L y down yo s inful ways .

Where are you going ?

Why does you t arry ?

l n You mu s t h ave tha t tru e re igio .

’ n a n G O a n tell it o the mo u nt i .

The re is much a dmon ition a nd feelin g of superiority “ ” “ ” o n th e p art of th e I ove r the you in the religiou s 282 TH E NEGRO AND HIS SONGS

' s In th e s ec ul a r s on s th ere is l e s s of t s on . h s s r t g g , i pi i — a n d mo re of the i n te r r el a ti on b etween th e s i nge r a n d

Fo r n s ta n e th a tmo the erson s o en to . e s he r p p k i c , p e o f th e followin g colloqui e s reﬂ ects th e ge ne ral atti tud e :

You b rought me here a nd threw me down .

’ - Tell yo b aby go od bye .

’ ’ ’ d n a n m e le a s e do n d e ou o t w t t o m ro nd . If y , p g u

’ ’ ’ i n Ain t n o u s e f or you try n to s e d me ro u nd .

’ Y in ou s ho loo k wa rm .

’ You ro e de hea rt 0 m a n a irl but ou ne e r w ll b k y g , y v i ’ b rea k dis hea rt 0 mine .

“ ” Ju s t a s th e I s t an d s out in th e con tra s t to ” ou s o th e o mm on m a er o ten de ts s en es y , c i g y f pic c

The ontras t of s ene s is in a ntith es i s to e a ch o the r . c c a favo rite p o rtrayal with th e Negro ; h e thu s v is

ho ht h e h a d m e u ali e s th two at on e . ata n t z e c S ug , but I b rok e his ch a i n s a nd a m fre e at l a s t ; S a ta n th rew

a lo a th m o r r a nd tho ht it wo ld hit him b ck t e u n e ug u , “ ’ ”

but the ro fo r h ell an me fo r he a en . a n ck v Ag i ,

’

You c an hin der me here but ou ca n t h nder me d e re . , y i ’ You m a tal a o t me u s a s ou lea s e y k b u j y p , ’ ’ But I goi n t a lk bou t you when I git o n my knee s .

hen wu s a s nner lo ed m d st a n e well W I i I v y i c , ’ But when I come to know mys elf wa s s tandi n over hell .

’ od don t t a l l e a nat ra l man G k ik u , ’ But he ta lk s o ma n c a n u nd ers ta n .

284 TH E NEGRO AND HIS SONGS

h s m a b e in th e n at re of rh thm an d m s alo ne T i y u y u ic , o r it m ay b e th e i n s e rtion of wo rd s an d ph ra s e s a t th e e nd of th e lin e s in which th e im age ry re ach e s its

l m a ten th l a s t s tro e o f his r sh re sem les c i x . Of e k b u b the wipi n g off o f the colo rs rath er th an a n in tegral

a rt o f t h s Sta ol ee is re re s ente d a s p h e pictu re . T u g p

e n in s e e ral o s t o n s b u t a te r e a h th e e ro b i g v p i i , f c N g “ ” s n s d at m an b a d m a n Sta ol ee do ne o me i g , O , , g c , o r s om o th r m a h ra So it is th a lroad e e s i il r p se . wi R i “ ” ll a n d th o th s It o ld s eem th at th e Bi e er bulli e . w u d e s ire f o r h a rm on izi n g p au s e and im agery nee d s th e

ho r f s m o n The c u s li ne o r excl am atio n o r it co pl eti . “ ’ e ro tell s a s to r an d a dd s n t a s to r -teller N g y , Ai I y , ” L awd ! Lawd l ; h e s i ngs a son g b ut feel s th at he is “ ” o d He d an e s a b ut en d s it s h G o a s on s te r . g c j ig, “ ” ra e ll w th a s w n - o rne r mot o n of his l e g c fu y i i g c i g ,

a we of a rm a n d od n o th er o rd s th e o r s e s . I p b y w ,

d e s en d n rh thm is not o nl n e es s a r but al so c i g y y c y, in co rpo rates in it th e ten den cy towa rd re ckles s nes s a n d

o a e so m e give s po li s h to th e ﬁ n a l s c ene o r th ught . T k typic al cho ru s es in th e ‘ Neg ro song s f or fu rthe r illu s tration

’ ’

Ta e o t me t a e o t me . k y i , k y i ’ ’ ’ T a in t nob ody s b iznes s b ut my own . ’ ’ Ye t a n t other et a n t other et . , I i b , y , I i b y

Lea rn me to l et a ll women a lone . ’ m a e wo n t ou o me home ? O y b b , y c m e m a wh a t h a e don e ? O , O y, b by, v I

0 m a m a h one a e . y b by, O y b by , y b b ’ ’ ’ Ain t goin ter ra in no mo . ’ ’ ’

orr s orr an t b e o wa r l er a n mo . S y, y, c y b y

ll d a ll n Stag o lee done ki t bu y ow. ’ l Wus loo ki n f er Ra ilroad Bi l . ’ ’ I nf looki n f er d e bully of this town . IMAGERY, STYLE , AND POETI C EFFORT 285

’ ’ n e It s one mo rou d r gone . M m a n e rta n l ot to treat me r h y c i y g ig t .

awd awd awd . L , L , L

a le t the de a l o d own. B by , g

l ord ou ha ll b ee ho t to or s e r . S u g y , L , y f

In the religiou s s on g s th e ch o ru s rep re s en ts mo re u n ity in its rel ation to th e m a in th em e of th e religiou s

ho ht The hor s l n e ts el howe r is n t . e ot o r ug c u i i f, v , din arily of ki n d re d m e an in g to th e i nd ividu al s tan za s

an of th s o n s e re th e ho r s s er e s ra th of m y e g . H c u v er to a s s i s t in th e mu s ic an d rhythm th an to a s s i s t th e

f t f o he eel n m a m a er o the son . e r t er i g y g Exc p f i g i g y , th e Cho r us of th e s pi ri tu al s rep re s ent s o nly a s a ti s fa ction g a in e d from th e s en s e of ﬁtn e s s in sou n d an d

d Th e h o r s is o t n h al o f s on i w wo r s . e the n h h c u f f g , ic

Fo r n s an c a s e a n exc eption to th e rule fo llow s . i t c e ’ th e e ro s ee s a e r d s t n t t re in ere s o ne N g v y i i c pic u D , ’ ’ ” d e re s two dere s th ree l ttle a n el s . , i g

h a h ho r s l ne Excl a ma tion a nd Va ria tion . W t t e c u i is to th e s ta n a th e a dded e l am at o n s a d n ter z , xc i n i

tion s a r to Th e s a m e eff o rt at n s h n jec e th e li n e . ﬁ i i g th e pictu re a s it is fel t by th e Negro is s een in the in s e rtion of m any wo rd s at th e b eginn i n g of a lin e o r s tan a an d at the en d o me ll s trat on s o f th s z . S i u i i

n d e n h a e Th e e ro s n s a o ne te cy v b een give n . N g i g ” e rs e s on m a n th e s ta n a on s s t o f th e l ne v g , ki g z c i i rep e a ted fou r tim e s ; b ut it is almo s t imp e rative with him th a t h e a dd at th e b egi nn i n g of th e l a s t rep etitio n “ ” “ ” o r a t the en d o f all s o m e s h wo rd a s o h m uc , O y , ” r w ll ew s e s h a n e re s s ion i s o te n o e . Lik i uc xp f adde d a t th end of th e s e on d a n d th rd l n e s l e a n e c i i , vi g

Th mo st o mmon wo rd s th e ﬁ rs t an d fou rth fre e . e c ’ s s ed a re : well e s a n d it s s a s a d et Lord thu u , y , , , y, i , y , 284 TH E NEGRO AND HIS SONGS

h s m a b e in th e n at re of rh thm an d m s alone T i y u y u ic , o r it m ay b e the i n s ertion of wo rd s an d ph ra s e s at th e en d of th e lin e s in which th e im a ge ry re a che s its

l m a ten th a s t s tro e o f his r s h re s em les c i x . Of e l k b u b the wipi n g off of th e colo rs rath er th an a n integral

a rt o f t h s t a o l ee is re re s ente d a s p h e pictu re . T u S g p

e n in s e e ral o s t o n s b u t a te r e a h th e e ro b i g v p i i , f c N g “ ” s n s O d at m an b ad m a n Sta ol ee do n e ome i g , , , g c ,

o r s ome o t r m h ra So it is th a l ro a d h e s i il ar p se . wi R i “ ” ll a n th o th s It o ld s eem th at th e B i d e er bullie . w u d e s ire f o r h a rm onizi ng p a u s e an d im agery nee d s the

ho f i s o m t o n Th e c ru s li ne o r excl am atio n o r t c ple i . “ ’ e ro tell s a s to r an d a dd s n t a sto r -teller N g y , Ai I y , L awd ! he s i ng s a son g b ut feel s th at h e is “ ” ho od a s on st r He d an e s a b ut end s it s G e . g c j ig, “ ” ra e ll th a sw n —o rn e r mot on of his le g c fu y wi i g c i g ,

w of a m a n d od n oth er word s th e o r a s ee r s . I p b y ,

d e s end n rh thm is not o nl n e es s ar b ut al so c i g y y c y , in co rporates in it th e ten den cy towa rd re ckle s s nes s an d

e s s h t n a s n o r th o h a s om e giv poli o th e ﬁ l ce e ug t . T ke typic al cho ru s es in th e Negro s on gs f or fu rthe r illu s tration

’ ’

Ta e o t me ta e o t me . k y i , k y i ’ ’ ’ a n n b i ne b u m n T i t obody s z s s t y ow . ’ ’

Yet a n t oth er et a n t other et . , I i b , y , I i b y

e l ne L arn m e to let a l women alo . ’ 0 m a e won t ou om e h om e ? y b b , y c me m a wh at h a e done ? O , O y , b by , v I

m a 0 m a hone a e . O y b by, y b by, y b b ’ ’ ’ Ai n t go i n te r ra in no mo . ’ ’ ‘’ b e r l e orr s orr a n t o wa r a n mo . S y, y, c y b y l Stag o l ee done kil d a t bully now . ’ a l ll Wus loo kin f er R i road Bi . ’ ’ I ni loo kin f er d e bully of thi s town .

286 TH E NEGRO AND HIS SONG S

a e a 0 m a e ho ne s ho od and fo r b b , b by, y b b , y, G , . To illu strate fu rth e r :

’ ’ d n r er idn a tan on de o n d t mean no h rm . S i c , Pol em a n ra me b d e a rm ic g b y , ’ Wu s lookin f o r R a ilroa d Bill .

’ Now in th e l a s t l ne h e m a S n e th er Wu s loo n i y i g i , ki ” “ ’ f or a l ro a d ll o r s m l oo n f or a lro a d R i Bi , i p y L ki R i

l a h e m a s n it a s n dee d h do es do l . n e Bi Ag i y i g , i “ ’ ” o te n s h s oOk in f o r a l ro a l a e wu l d l . In f , S y R i Bi e ach c a se th e im age ry is s lightly diff erent a n d th e

e ro o s to m a th e a r a o n As h a s een N g l ve k e v i ti . b ,

n d ate d th e s ll l a r at on h h th e s n er e i ic , ki fu v i i w ic i g giv s to vers e s of his s o n g m ak e s his rep etiti on pl e a s an t ra th er th a n t r n n th s tr t s en s e o f th e word i i g . I e ic , th e o n e om et m e s th e a r at o n Negr ve r rep e ats . S i v i i is in m s a n d ton e s om et m e s it is in d ale t wh l e u ic , i i c , i a a n it is in th e o rm of th e a dd e d wor d s s t e n g i f j u giv .

In th e l a s t ll s tr at o n whe n h e S n s a s h e wu s i u i , i g , S y ’ ” lo o n f er a l ro a d ll th e e ro s ee s an add t onal ki R i Bi , N g i i s ce ne o f h im s elf pl e a di ng i n noc en t a n d the expl an a ti o n of th e p olic em an th at h e h a d mi s t a ken him f o r

l h s a dd d m a r is e a s l u t h a ra t r Bi l . T i e i ge y i y b c c e is tic ally m a de by th e s impl e i n s e rtio n of th e extra

o w rd s .

a o e i r h ere a re ewer onom a to Onom t po t c Wo ds . T f p oetic wo rd s a nd l i n e s th a n would b e exp ected of th e

e ro h l e m an of his wo r —s on h ra s es a r s e N g . W i y k g p i ' ro m the n at ral-so n d ro e s s th e re a re om a r f u u p c , c p ativ ely f ew wo rd s th a t m a n ife s tly h ave th e i r o rigi n in t d of s n te d ow r th h e so the o e t re re e . e e e u n bj c p H v , R C IMAGE Y, STYLE , AND POETI EFFO RT 287

’ Negro s im agery o fte n c ombin e s rhythm ic wo rd s i n to ph ra s e s th at c e rta i nly imitate th e s ou n d repre s ente d

h s e eren e h a s alre ad e in t e ver e . R f c y b en m ade to th e ra lro a d s o n s w th the a om a n in m s i g i cc p y g u ic . Thi s is u n doubte dly o n e of th e mo s t eff e ctive of th e

- B s h s o n s a n atu ral s ou n d combi n atio n s . ut uc g re m o s t ly i n s trum enta l ; th e wo rd s d o n o t att empt th e i mit a tion of th e tra i n exc ept in p erh ap s a ccident al c a s e s a d a s h a m n th t m Th s l ow n t ey re co bi e d wi h e u s ic . e Singin g of Wh en d e t ra i n com e alo ng I m eet you a t ” d e s ta t on wh e n d e tra n om e a lo n s eem s to o nta n i , i c g c i th e p ri ncip al co n c eptio n emb o di ed in th e s ou n d of th e “ t n t o l w tr a n r n th ro h r an s a s ra . o o u A i SO , , S i ug k , ’ ” c a rryin Eddy Jo n e s is Su n g to th e fu ne ra l ch a nt th at might p e rh ap s b e re p re s ente d in th e s low tra in ;

h e e ro o te n o n e s it s o a n in a t le a s t t e . N g f c c iv Ag i ,

“ ' h a wh s tl e bl ow hlow l ak ho h t e rd d at K . . T ug I C i , s h e neve r bl ow hef o th e Negro cle a rly h e ars th e “ ” tra in blow a nd put s th e s ou n d i nto his s i n gi n g .

O the r eff o rts a re :

’ ’ ’ ’ Hea r d e c ar wheel rollin a n a rumblin through the l an .

’ ’ ’ He ars e wheel rolli n a n gra veya rd openin !

’ Ra in keep a droppin !

’ ’ n Lightning ﬂa s hin a n thu n der rolli ng a nd roari g .

’ l ’ ’ ’ Ship s a ree in a n a rockin .

’ ’ ’ ’ l l e el This o e wor s a r in a n a rockin .

- When the ding dong s ou nd s .

’ ’ l a ed o n do do wa s o ed . R pp , ck TH E NEGRO AND HIS SONG S

’ ’ ’ Swing a n cl a ng a n don t get los t .

’ n Come wid a f o hty li n ks 0 cha i .

ll She ma de a whoo s he ma d e a s a . p , qu

G un s a blo h o s a s l . y p , g y ip

Rh me a n o h h a s een s a d c on y nd Rhythm . E ug b i ’ cern i ng th e ch a racte ri s tic ve rs e s o f th e Negro s s o ngs to in dic a te th e n atu re of th e dyn am ic s o f his menta l

m a The n o n s o s o rt tow a rd rh m e m a i gery . u c ci u eff y y almo h e s at s a t o n de s t b e term e d a tro pi s m . T i f c i ri e d rom the s a l n h e a r n a n d ro no n n v f vi u izi g, i g, p u ci g of big-s ou n di ng wo r d s m ay b e m o re th a n euphon is tic ; “ ” it a It is not onl m y b e c a lled m eg apho nis tic . y rh thm h h the e ro s e e s in his e rs e s b u t rh m e y w ic N g k v , y a s o Th m n do dl on e of th e es s ent al s l . e rhy e is u ub te y i to rh thm h m e h el s m ot o n mo t o n m a e s y . R y p i , i k h a rm on an d h arm on o m l ete s the rh thm of his y, y c p y m s l th s b u t rh m e is a n e s s ent al to . No t o n u ic y i , y i th e full exp re s s ion o f th e rhythmic feeli n g an d it a s s s ts h a e ro e s rem em e r m an ers e s i t e im ge ry . N g b y v b y th e rhym e r ath e r th a n b y th e m e an i n g ; b u t th ey m s on u s t g et into th e swi ng b efore th ey c an re c all th e g . Th e s ucces s ful re c alli n g o f th e ﬁrst li n e i nva ri ably s s m d h med erse s ugge ts th e oth er if it b e rhy e . R y v - Be a re e s s e nti a lly ple a s u re givi ng to the Sin ge r . s d e s h e o t n re ate s n s al t re s e a s e his i , f e c u u u pic u b c u effo rt a t rhym e h a s le d him to i ntro duce a word not om e of th e lo gic ally con ne cte d with th e s e n s e . S i ’ ch a ra cteri s t ic s o f th e Negro s song an d v e rs e m ay se rve to illu s t rate fu rth e r th e n atu ral dynamic s of his

m a er i g y . ’ In vi ew o f th e N egro s u n co n sciou s effort a t

290 THE NEGRO AND Hi s SONG S

’ ’ h l s t o re s ttin on o r s eat W i y u i y u , ’ Let me tell you s omething that s sweet .

In th e n ext ex amples it will b e ob s e rved th at the ﬁ rs t li ne of th e coupl et con s titu te s an o rigi n al p a rt of the so n g ; it h a s s en s e a n d is lo gic ally co n nected with

Bu t a s n l l n e is no no th e o ther s tan za s . i g e i t e ugh ; “ ” d Th e a o r te s on n Ho it mu s t b e rhyme . f v i g O a g “ ’ ’ h a s the l n e I d d n t om e h ere to b e no o d s do i i c b y g , an d th s th th e othe rs is o rd n a r l re eated th ree i , wi i i y p

f a s a a h le o ne e ro wa s s n n time s o r t nz . W i N g i gi g th s another wh o wa s s t an d n nterr ted i , i g by i up by s a n th at h e n ew a noth er e rs e to the so n He yi g k v g . “ ’ ’ the n adde d : I d d n t om e h e re to b e no od s do i c b y g , ’ ” T r Jus c om e h e re to git off d at h og . he ve se w a s

h s it is w th m an o a t d a s a tter on . t ccep e b e e T u i y hers .

Fo r e am le in x p ,

had a listened to what m mam a s aid If I y , ’ I would a been a t home in mama s bed , th e o r n al e rs es w ere h ad-a lis tened to wh at igi v , If I ’ ” m mommer s a d wo l d n t a een here to—d a y i , I u b y . Th e rhym e wa s mad e from th e ﬁ rs t line and e a s ily dis

a o a a n in th one- ers e pl c e d th e e arlier lin e . S g i , e v “ ” so n of th e K s o n th e e ro h a s o a rded th e g . C . g , N g b tra n and i m s o nl oo s l f o r h m He s a s t o e t o i . i v y wly y , “ ’ ” reman ut in a l ttle mo o al a nd reman Fi , p i c , Fi , ’ ’ ” a i n t we livi n high ? The tim e com e s when a rhyme is wan ted a n d the Ne gro h a s a dded th e n eeded line :

’ rema n ut in a l ttle mo oal Fi , p i c ,

Run this ol e engine in some lones ome hole . ’ ’ rema n a n t we l n h h ? Fi , i ivi ig ’ See them trees a p a ssi n by ? C 29 1 IMAGERY, STYLE , AND POETI EFFORT

etric L ce s e h a re th h a ra f M i n . Suc e c cteri s tic s o the ’ w ll e t d Ne gro s rhymes . It i b e xp ec e th at h e is n ot

a a r a m r of r on n p rticul b out th e ete his ve s e . L g li e s a re c oOrdin ate with s ho rt o ne s a n d long word s o r

ph ra s es s c anned exactly a s th e s horte r wo rds . This ’ m a b e alle d a rolo n e d rh m e in wh h th e e ro s y c p g y , ic N g im agery s ee s th e rhymi n g el em en t b efo re h e p ro

o th al a o rd n l his ers at le n un c es e ﬁn syll bl e s . Acc i g y v i

ill ot p ro s o dy p ermit s him to exten d th e li n e at W . N e th e o llow n l n e s om a r n th e s ho rt an d lon f i g i , c p i g g verses m etric ally

om e e ou a n el som e e ou a d me . S giv y ick , giv y i ’ ’ ’ I a i n t go in to give you a red copp er cent f or you a i n t ’ no girl 0 mine

’ e ed the d e to lowe r m a s ﬁne I b gg ju g y b by , ’ He s a id the ju dge done ﬁned he r a n the cl erk done wrote

it d own .

’ ’ do rs I love my b a b e a n wouldn t put her out of o . ’ ’ I d love to s ee her kill a k id wid f ohty-doll ar suit 0

l o c thes .

’ o n to b u m e ra lro ad of m own G i y i y , ’ ’ Ai n t goi n to l et nobody ride b ut the chocol ate to the

b one .

ent to de s ea s ea loo so w de W , k i , ’ Tho ht a o t m a e h n m head an r ed . ug b u y b b , u g y c i

’ ’ Stagolee wa s a bully m an an ev ybody knowed ’ When dey s eed Stag olee a comi n to give Stagolee de roa d .

Six long months h ave p as sed n l Si ce I h ave s ep t in b ed . ’ ’ I a in t et a s qu a re mea l 0 V ittels in three long weeks ; ’ one th n s I m dea d M y i k . 292 TH E NEGRO AND HIS SONGS

’ ’ a tain a tain ou mus b e l n ! C p , c p , y b i ’ ’ ’ ’ a Loo k t yo watch a n s ee a i n t it quittin time .

Th e e r th s m lo s s n e s s in its r t a N g o u e p y y iz i f ees u s ge . He no t on ly m ake s two syll abl e s cou n t fo r on e in th e me tr a l n t b ut h e reel rowd s mo re than o ne o rd ic u i , f y c w

into a s i ngl e tim e me a s u re . Th e s am e ﬂexibility of vers e an d im agery le a d s to th e ree o m s s o n of rono n s a nd o n n t o n f i i p u c j u c i s . A s yndeton is mo s t m a rk ed in th e h abitu al o mi s s io n of the rs t ers o n al ro no n a n d of o mm on o n ne t e s ﬁ p p u c c c iv ,

ut i o s n d ee no n s b t is not re s tricte d to a ny w rd . I d u and e r s ad e t es an d ron o n s a re o ten e res s e d v b , j c iv p u f xp , o nly in th e i r context ; so the p repo s itio n s a n d Sign of the

n n t e a r l a r o m tt al a s n de to n i ﬁ i iv e regu ly i e d . Typic y m a b f r a y e illu strate d by a ew ch a ra cte i s tic ex mple s . Th e m aj o rity of the s o n gs h ave fo r th ei r s ubj ect the

rs t e rs o n Yet alm o s t n net er ent of th e s e t ﬁ p . i y p c ubj c

ro no a o p u n s re thu s o mitted in co mmon collo qui al s ng . Note th e applic ation fu rthe r in the s o ng s them s elve s ; s o it is w th o th o m o n s n t re h ra s e s a re i e r i s s i . E i p abb revi a te d with a s i ngle wo rd which exp re s s e s the m n h m n e d h h a t ea n . T e a er is not we a e b t i g i g y k y i s bi , b t In th e u s eem s to b e p e culi a rly s tren gthen e d . followi n g typic al illu s tration s of the mo s t c o mmon

“ fo rm s of a sy nd eton the wo rd s h abitu ally omitted

a re l a d p c e in p a renth e s i s .

ent town one r da ni ht (I) W up ( ) F i y g ,

(I) Went to kill a k id . ea h m h and into m o et (I) R c y y p ck , ’ (There wa s) Nu thin to kill him wid .

’ ent to de w ndow a n ee ed in (I) W i p p , ’ (There was) S omebody in my fallin den .

294 TH E NEGRO AND HIS SONGS

T wo rd following li s t . he s in each line have the s ame

f o r s o nd in rh m valu e u y e . — — s topw block top — young run — — redeemed stream dreams — — — l augh l ast p ath p as t — — — m ou rned th rone gone s tone — fi— — — s ing tra in wing ring vain — valley h a ppy — — — — long on Lord s trong song — — — — — h — along no onc a lon e own foa m down home — b one done — — na me s h a me ch a in — — firs t earth birth — — — — — — — more b efore s o know su re (s ho) door go floor

— — — — ’ n 1ne s hine b ehin d min d divi ne — — — — time mind line s ign n ine — s een s in — — — — hell we a lth fa rewell well tell — — s on run from — — l ate s ha ke ga te — — — — m an lamb h a nd u n derstan d l a nd — — — mou rn gone horn done — ta lk fault — — s hoe s pOOl goos e — — c a re s fears p rayer s — — — — Chris t advice twice life wife — ﬁxed trick s — — — — while chi! d beguiled hide strife — long phone — — frien d thin wind — clock locked — South hou s e — doors clothes — — b a ck like track . C IMAGERY, STYLE , AND POETI EFFORT 295

also re gul a rly rhymed togethe r — world girl — ﬁne time — hollow dollar — dime m ine s ide—ﬁv e — — n ine time kind — s port coat — fou nd down — s hirt wor k — wha ng thing — North O ff — wagon d ra gging — yard rod — come run

Many of the group s O f word s in th e fo rego ing li s t h ave no common rhyme va lu es whe n p ronou n c ed — orre tl b ut th e e ro s n e r e s th em e a tl the c c y, N g i g giv x c y s h a d n o r ntonat on needed to om le t is rh m i g i i c p e h y e . The li s tene r is ra rely eve r awa re Of cl a shing sou n ds or

o r ed rh mes s o s ll ll do e s the s n er h a rmon e f c y , ki fu y i g iz

is rd h wo s . Thu s it app e a rs th at in the so ng s of the Negro one of th e ele men ta l d rive s is the ple a s u re Ob taine d from the

on str t o n of rh thm rh m e s re at a s his d e sc ri c uc i y ic y . G p

we rs a re th d t s n t e o e ar s e on a r . n a a tr iv p , y e c y I f c , iki g

’ d es c riptiv e ph ra s e Often ﬁn ds exp res s io n o nly b ec au s e

r s m f the N eg o tu bled upon it in his qu e s t o r rhyme . He o mits wo rd s a n d even ph ra s e s in o rd er th at h e m ht h a th a O f r n n rh med wo rd s ig ve e s ti s factio n . b i gi g y

nt r r a H s t r t h s s ho rt l n es a nd i o p o p er el tion s hip . e e c e i s p eed s th rough lo n g o n es in o rde r to co me o u t in pe rfe ct time with th e p a t of his foo t o r th e rhythm O f his ta r He as s ns the s am h me a l e to wo rd s gui . ig e r y v u 296 TH E NEGRO AND Hrs SONG S of va stly diff e ren t sou n d value ; an d he even m ake s j i n gl e s of li nes th at are po s itively l a ckin g in s e n s e

n It is tr e th at h e h a s m an e rs s h con n e ctio . u y v e w ich a re not rh m ed b u t it is al so er l el tr e th a t s h y , v y ik y u uc ver s e s a re u n s ta ble a nd will u n dergo va ri ou s tra n s fo rm a tion s u ntil s om e s i nger ch an c e s upo n a s ati s

m th e n ew ers e om n es s en s e a n d fa cto ry rhy e . If v c bi

d oo d th s ns e do e s o t a d rh m e well a n . e e n s t y , g If j u

f o h m e a d r t t s el s o m h th e wo rs e r It . n h hm i f, uc R y y mu st su rvive .

298 TH E NEGRO AND HIS SONGS

- l o s E. a F n A ro Americ n o k S . . h rmer R H . K EHB IEL, , f g G Sc i , 1 a re l d of e ol New or a nd o ndon 19 4 . st N ro Y k L , A c fu u y g f k

o n s songs from the p oint of view of the s killed mu s ici a n . S g and mu s ic from Africa a nd other s ou rces a re a na lyzed a nd o o o e of comp ared with Ame ric an Negr p r ducti n s . Th mu s ic i s ixty or more s ong s and d ance a irs s given .

R . . T . The Stor o the ubilee Sin ers . oston 1880. MA SH , J B , y f j g B ,

An a o nt of the ilee n ers w th their s on s . cc u Jub Si g , i g

le S n s r m e r eans . R . reo N . G C o o N w O l ew PETE SON , C , g f

rleans 1902 . O ,

D . he ubilee in ers . os on and New or P . T S t IKE , G , j g B Y k , - t one rel o s s on s . 1873 . Six y igi u g

ll r Rh mes . a an N W. Ne o Folk m ew TALLEY, THOMAS , , g y M c i , h s ol me on ains a o t 50 rh mes a nd s o n or 1922 . T t 3 s Y k , i v u c b u y g a nd a St d O f the or n de elo me nt a nd hara t er s t s Of u y igi , v p , c c i ic i e a ene al nde o s n s a e ro rh mes . es d s r f o om a rati e N g y B g i x g , c p v i ndex is included .

Folk on o he A R S t merica n Ne ro . WO K , JOHN WESLEY, g f g

s l T e or s - s n ers t Pres Na sh e 19 15 . h w d Of ﬁft ﬁv e Fi k U iv i y , vi l , y s on s and m s O f n ne to ether wit h a s t d Of the or n a nd g u ic i , g u y igi n on growth of certai s gs .

PERIODICALS

C E . M. Ne ro Sd n s rom eor a ourna l o BA KUS , , g g f G gi , j f L 1 . 1 2 21 o l . 1 r a n Folk ore v ol . 2 22 . Ame c 0 1 6 0 6 v 1 . 60 i , , pp , , ; , pp ,

Six religiou s s ongs .

hr s m a a rol o C E . M. t s s r m Ge o r a ournal o BA KUS , , C i C f gi , j f l v 12 . 2 2 . Two son . Ameri ca n Folk Lore o . 7 s , , p g

E. m ns R . H Of Ne roes New En l a nd Ma a zine BA TON , W , y g , g g ,

1 . et s e . 70 e s e . n n v o l . 9 669 6 t m e r of s o s w th , pp q , q A u b g i n s ome mu s ic a l notation a d dis cu s s io n . SELE CT BI B LIOGRAPHY 299

R MRS . F. D . On the E astern hore ournal BE GEN , , S , j of - American Folk Lore v ol . 2 . 296 298 . TWO ra ments wi , , pp f g , th a rie dis s sion of the Ne roes Of t he eas tern shore of a r la n b f cu g M y d .

n s of he la e Li in ott l R M. o t c s v o . 2 . . 617 B OWN , J , S g S v , pp , , pp

e eral s on s with r e omments . 623 . S v g b i f c

l l a n W. reo e e o s Centur R v ol . 1 CABLE , GEO GE , C S v S g , y, 3 , - l e so n s with some ra men . 807 828 . Twe t s m s pp v g f g , u ic of n s eve .

R R on a me s of Ne ro ld CLA KE , MA Y ALMSTED , S g G g Chi ren ” n rica n Folk Lor v l - i r n rnal o Ame e o . Vi i ia ou 3 . 28 2 g , j f , , pp 8 90.

Nine s ong games a nd rhyme s .

l tl o i a s u o k v ol . 1 A. ir t O 3 0 . R . h 589 . T ree GA NETT, L , Sp u , , , p l n e er he a ea r to ha n re o s s o s . H ow t e ee ol s e igi u g v , y pp v b p i h d

cons iderably by the writer.

it a l s C tur A. e ro r en v ol . . 6 . H N 3 577 . ASKELL , M , g Spi u , y, , pp

e e o en s on s w th m s i . t s q . Ab ut t g i u c

m ns of e roes t a . A l ntic t H T . W H N Mon hl IGGINSON , , y g , y, - i el n l . hirt s x r o s a d v o 1 5 et s e . two l 9 . 68 T s e a r , pp q y igi u cu

s on s wi h m si al notation . g , t u c

LEMM m ro s ed e ro on s ew R ERMAN K. N N e ublic , , I p vi g S g , p , l - l n 13 . re io s s o s or m ro e n v o . 1 me s . 214 2 5. s d ra t , pp Six ig u g i p vi f g

- n l n A. el i i e ro o o a t on l . 1 X . t N N i v o 05 LOMA , J , S f p y g F k S g , , , - . 141 1 en s on s s ome new thers uo ed 45 . o t tw t t pp Ab u y g , , O q

rom errow and Odurri w th d s s s on . f P , i i cu i

e ro mn Of Da of d ment ournal o America n N g Hy y Ju g , j f

Folk L l . 1 . ne re o s s on ore v ol . 9 . 2 0 O , , p igi u g

K. Ne ro ol on s rom Te nnes s e e ournal ODUM , ANNA , g F k S g f , j - - o 2 5 2 . wen one re A m r a Fo L re v o l 27 . 5 65 t e ic n l k o . T f , , pp y li io s l a g u and fou r s ecu r s ongs . 3 00 TH E NEGRO AND HIS SONGS

“ l i l R W. e o s o on s of ODUM , HOWA D , R ig u F k S g the S o u thern

Ne roes ournal o Reli ious Ps chol o a d Edu n ca tion v ol . g , j f g y gy , 3 , - dred s on s . 265 365. o t one h n pp . Ab u u g

l on a nd ol R W. o oetr a s ODUM , HOWA D , F k S g F k P y Fo u nd in

the e l ar on s O f th e o thern N e roes ournal S cu S g S u g , j of America n l - 1- 24 . 2 2 4 3 5 3 96 . o Folk Lore v o . 55 9 t 12 0 son s . , , pp ; Ab u g

” ls e E. r t a rom th Far P R IN A . S S o th ournal o E K S , , pi i u f - u , j f - l 223 249 . or American Folk Lore v o . 3 5 . t s e en s o , , pp F y v ngs .

d o C . on s an h m e s r m t RR E . he o th ourn PE OW , , S g R y f S u , j al l - - 25 . 13 7 1 o l o a Folk Lor v o . 5 Americ n e 5 v . 2 12 6 . 3 173 f , , pp ; , pp ; -1 12 . enera l olle t o n on v ol . 28 . 9 90 tain n 11 N e , pp A g c c i c i g 8 gro l son s mos tl s e a r . g , y cu

m eor ia R . on s ro ourn al o Amer a REDFEA N , S F S g f G g , j f ic n - 121 124 . ne s e l ar Folk Lore v ol . 34 . O a nd th ree reli io s , , pp cu g u s ongs .

l . e ro on nd F. s a o ore ur R . N o nal o SPEE S , M W , g S g F k L , j f - v l . 3 5 439 . ne rel o s an d o American Folk Lore o . 23 4 O ne , , pp igi u

secul ar s ong .

m a er w u R . e r Ne Re blic v ol 12 T . G N o . STEWA D , , g I g y , p , ,

wi h d s on . 4 . ne rel io s m ro s at on t s s . 2 8 O p ig u i p vi i , i cu i

T C radle on s Of Ne roes in North arolina HANET , O TAVE , C S g g C , l l l 7 . 3 1 . Two l a ie . ournal o America n Folk Lore v o . 0 s j f , , p u b

TR R C on s rom ent ournal o UITT, FLO EN E , S g f K ucky, j f l - 7 . o h e s n o America n Folk Lore v o . 36 . 3 6 3 79 r w t o s ne , , pp F u i g , l n n Of which cont ains s evera vers es Ofte fou d in Negro s ongs .

o e on l ore f e a s ournal o . P . N t s o o T WEBB , W , F k L x , j f l - l 2 . 29 2 . e e a r s on s . America n Folk Lore v o . 8 0 99 s , , pp Fiv cu g

302 INDE X TO SONG S

HEAVEN HE IS WAITING ’ ’ I AIN T GOIN TO STUDY WAR NO MORE ’ I AM DE LIGHT UV DE WOR L I CANNOT STAY HER E BY MYSELF ’ I DON T CARE FOR RI CHES I GOIN ’ PUT ON MY GOLDEN SHOES ’ I GOIN TRY THE AIR I G OT A HOME ’ I HEAR D THE ANGELS SINGIN I KNOW MY TIME AIN ’T LONG

/ I LO O K FO R JESUS ALL MY DAYS ’ IF I KEEP PRAY IN ON IF I WAS A MOUR NER ’ I M ON MY JOUR NEY HOME IN THE MOR NING IT JUST SUITS ME JESUS DONE BLESS MY SOUL ’ JESUS IS LISTENIN JESUS WOR E THE CR OWN JOIN DE HEAVEN WID DE ANGELS ’ KEEP INCHIN ALONG KING JESUS IS THE RO C K R N LO D , BLESS THE AME R G OT R LO D , I JUST OVE LOVE THE LORD ’ ’ MY LOR D S COMIN AGAIN MY MOTHE R G OT A LETTE R MY SOUL ’S GOIN ’ TO HEAVEN MY TR OUBLE IS HARD OH ! , THE SUNSHINE OH H R T ! , WHAT A A D IME OLE SHIP OF ZION P'AUL AND SILAS ’ PO SINNER MAN SAME TRAIN SINNER D IE STEAL AWAY INDE X T o SONG S 03

TALK ABOUT M E TH E ANGEL BAN D TH E BIG FISH TH E BLIND MAN STOOD BY THE WAY AND CRIED TH E DOWNWARD R OAD IS CROWDED TH E GOSPEL TRAI N TH E OLE TIME R ELIGION ’ TH E PILGRIM S S ONG THEY NAIL HIM TO THE CRO SS ’ THIS OLE WOR LD S A HELL TO ME ’ ’ THIS O LD WO R LD S A ROLLIN TR UE RELIGION ’ WALKIN IN THE LIGHT ’ WAY IN DE MI DDLE OF DE AIR ’ WHAR SHALL I BE ? ’ WHAT YOU GOIN D O ? WHEEL IN MIDDLE OF WHEEL WHEN DE TRAIN COME ALONG WITNESS F OR MY LOR D WOR KING ON THE BUILDING ’ YOU BETTER G IT YO TI C KET YOU CAN ’T STAY AWAY YOU G OT A ROBE

SOCIAL SONGS

AN OPOSSUM HUNT (Tall ey) R C H BABY , LET ME B ING MY CLOTHES BA K OME G O BABY , LET THE DEAL DOWN ? BABY , WHAT HAVE I DONE ’ SHO R BABY , YOU LOOKIN WA M ’ BAD LAN STONE BRADY BR ER RAB B IT

’ ’ ’ CAN T BE Yo TURTLE ANY MO ’ CAR VE IM TO DE HEART CASEY JONES CO CAINE HABIT 3 04 INDEX TO SONG S

CROSS-EYED SALLY ’ D IAM O N JO E ’ DON T NEVER G IT ONE WOMAN ON YOUR MIND EDDY JONES ’ EV Y B O DY BIN DOWN ON ME FALSE ALARM FAR EWELL FRANK AND JESSE JAMES FR IGHTENED AWAY FROM A CHI C KEN ROOST (T alley) FR IS C O RAG TIME

’ G ET THAT MONEY GIVE ME A LITTLE BUTTERMILK G OT NOWHER E TO LAY MY WEARY HEAD G R EASY GREENS ONE HONEY, TAKE A ON ME

HONEY, TAKE A WHIFF ON ME HO P RIGHT ’ I AIN T BOTHER YET ’ I COULDN T G IT IN I G OT MINE V T G O D D O I LO E HAT MAN , O , I IF I D IE IN AR KANSAS ’ IF YOU WANT TO G O A COURTIN IF YOU WANT To MARRY ’ ’ I M A NATU A L-BOHN EASTMAN ’ ’ I M GOIN BA C K ’ ’ I M GOING WAY ’ I M ON MY LAST G O -ROUND ’ ’ IT S LOOKIN F ER RAILROAD BILL ’ IT S THAT BAD RAILR OAD BILL JO E TUR NER JOSEPH MI CA JULIA WATER S

K . C . KELLY ’S LOVE

L . AND N . LEAR N ME To LET ALL WOMEN ALONE LILLY

06 IN DEX T O SONG S

WILD NEGRO BILL (Tall ey) YOU R C MAY LEAVE , BUT THIS WILL B ING YOU BA K YOU SHALL BE FR EE

WORK SONGS A HINT TO THE WISE ’ AIN T IT HAR D T o BE A NIGGER ? BABY MINE BABY ’S IN MEMPHIS ’ EAR LY IN DE MO R NIN GANG SONGS " GR ADE SONG HEAVE -A-HOR A HO -HO I THOUGHT I HAD A FR IEND ’ IF YOU DON T LIKE THE WAY I WOR K ’ ’ IT S MOVIN D AY JAY G O OZE

LAWDY, LAWDY , LAWDY PI C K-AND -SHOVEL SONG RAISE THE IR ON SATISFIED ’ THE DAY I LEF MY HOME UNDER THE RAIL SH E P R R WELL , ASK ME IN DE A LO ’ WOR KMEN S JINGLES