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Negro Folk Expression: Spirituals, Seculars, Ballads and Work Songs

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Negro Folk Expression: Spirituals, Seculars, Ballads and Work Songs By STERLING BROWN Negro Folk Expression: Spirituals, Seculars, Ballads and Work Songs The Spirituals THOMAS WENTWORTHHIGGINSON, one of the very first to pay respect- ful attention to the Negro spiritual, called it a startling flower growing in dark soil. Using his figure, we might think of this flower as a hybrid, as the American Negro is a hybrid. And though flowers of its family grew in Africa, Europe, and other parts of America, this hybrid bloom is uniquely beautiful. A large amount of recent scholarship has proved that the spirituals are not African, either in music or meaning (a claim made once with par- tisan zeal), that the American Negro was influenced by the religious music of rural America from the Great Awakening on, that at the frontier camp meetings he found to his liking many tunes both doleful and brisk, and that he took over both tunes and texts and refashioned them more to his taste. But careful musicologists, from studying phonograph records of folk singing rather than, as earlier, inadequate, conventional notations of "art" spirituals, are coming around to the verdict of Alan Lomax that "no amount of scholarly analysis and discussion can ever make a Negro spiritual sound like a white spiritual." A new music, yes. But what of the poetry? Scholars have discovered that many phrases, lines, couplets, and even whole stanzas and songs, once thought to be Negro spirituals, were popular in white camp meet- ings. A full comparison of the words of white and Negro spirituals is out of the question here. It might be said that some of the parallels turn out to be tangents. Thus, "At his table we'll sit down, Christ will gird himself and serve us with sweet manna all around" is supposed to be the white source of "Gwine to sit down at the welcome table, gwine to feast off milk and honey," and "To hide yourself in the mountain top, to hide yourself from God" is supposed to have become "Went down to the rocks to hide my face, the rocks cried out no hiding place." Even when single lines were identical, the Negro made telling changes in the stanza. Briefly, the differences seem to result from a looser line, less tyrannized over by meter and rhyme, with the accent shifted unpredictably, from a more liberal use of refrains, and from imagery that is terser and starker. The improvising imagination seems freer. Some of the changes of words arose from confusion: "Paul and Silas bound in jail" has been sung: 45 46 PHYLON "bounded Cyrus born in jail;" and "I want to cross over into camp- ground" has been sung as "I want to cross over in a calm time." Some of the changes, however, result from the truly poetic imagination at work on material deeply felt and pondered: "Tone de bell easy, Jesus gonna make up my dying bed." "I'll lie in de grave and stretch out my arms, when I lay dis body down." "Steal away, steal away, steal away to Jesus. Steal away, steal away home; I ain't got long to stay here." Many spirituals tell of the joys of Christian fellowship. "Ain't you glad you got out de wilderness?" "I been bawn of God, no condemna- tion; no condemnation in my soul." "I been down in the valley; Never turn back no mo.'" I went down in the valley to pray My soul got happy and I stayed all day. "Just like a tree, planted by the waters, I shall not be moved." Be- longing to the glorious company, the slaves found comfort, protection. Sinners would find no hole in the ground, but those of the true faith had "a hiding place, around the throne of God." "I got a home in that rock, don't you see?" "In God's bosom gonna be my pillow." Their souls were witnesses for their Lord. "Done done my duty; Got on my travelin' shoes." "I done crossed the separatin' line; I done left the world behind." The world could be left behind in visions. I've got two wings for to veil my face I've got two wings for to fly away.... Gabriel and his trumpet caught the imagination. "Where will you be when the first trumpet sounds; sounds so loud its gonna wake up the dead?" "O My Lord, what a morning, when the stars begin to fall!" "When the sun refuse to shine, when the moon goes down in blood!" In that great getting up morning, "you see the stars a falling, the forked lightning, the coffins bursting, the righteous marching." "The blind will see, the dumb will talk; the deaf will hear; the lame will walk." This apocalyptic imagery, clear to the initiated, is a release, a flight, a mes- sage in code, frequently used by oppressed people. Then they'll cry out for cold water While the Christians shout in glory Saying Amen to their damnation Fare you well, fare you well. It was not only to the far-off future of Revelations that the dreams turned. Heaven was a refuge too. In contrast to the shacks of slave row and the slums of the cities, to the work clothes and the unsavory victuals, would be the throne of God, the streets of gold, the harps, the robes, the milk and honey. A-settin' down with Jesus Eatin' honey and drinkin' wine Marchin' round de throne Wid Peter, James, and John.... NEGRO FOLK EXPRESSION 47 But the dream was not always so extravagant. Heaven promised simple satisfactions, but they were of great import to the slaves. Shoes for in- stance, as well as a harp. Heaven meant home: "I'm gonna feast at de welcome table." Heaven meant rest: just sitting down was one of the high privileges often mentioned. And acceptance as a person: "I'm going to walk and talk with Jesus." Moreover, the Heaven of escape is not a Heaven bringing forgetfulness of the past. The River Jordan is not Lethe. I'm gonna tell God all my troubles, When I get home ... I'm gonna tell him the road was rocky When I get home. The makers of the spirituals, looking toward heaven, found their triumphs there. But they did not blink their eyes to the troubles here. As the best expression of the slaves' deepest thoughts and yearnings, they speak with convincing finality against the legend of contented slavery. This world was not their home. "Swing low, sweet chariot, coming for to carry me home." They never tell of joy in the "good old days." The only joy in the spirituals is in dreams of escape. That the spirituals were otherworldly, then, is less than half-truth. In more exact truth, they tell of this life, of "rollin' through an unfriendly world." "Oh, bye and bye, bye and bye, I'm going to lay down this heavy load." "My way is cloudy." "Oh, stand the storm, it won't be long, we'll anchor by and by." "Lord keep me from sinking down." And there is that couplet of tragic intensity: Don't know what my mother wants to stay here fuh, Dis ole world ain't been no friend to huh. Out of the workaday life came figures of speech: "Keep a-inchin' along lak a po' inch-worm"; such a couplet as: Better mind that sun and see how she run And mind! Don't let her catch you wid yo' work undone. And such an allegory: "You hear de lambs a-crying; oh, shepherd, feed-a my sheep." Out of folk wisdom came: "Oh de ole sheep, they know de road; young lambs gotta find de way," and "Ole Satan is like a snake in the grass." Sister, you better watch how you walk on the cross Yo' foot might slip, and' yo' soul git lost. The spirituals make an anthology of Biblical heroes and tales, from Genesis where Adam and Eve are in the Garden, picking up leaves, to John's calling the roll in Revelations. There are numerous gaps, of course, and many repetitions. Certain figures are seen in an unusual light; Paul, for instance, is generally bound in jail with Silas, to the ex- clusion of the rest of his busy career. Favored heroes are Noah, chosen of God to ride down the flood; Samson, who tore those buildings down; Joshua, who caused the walls of Jericho to fall (when the rams' lambs' sheephorns began to blow); Jonah, symbol of hard luck changed at last; 48 PHYLON and Job, the man of tribulation who still would not curse his God. These are victors over odds. But losers, the wretched and despised, also serve as symbols. There is Lazarus, "poor as I, don't you see?" who went to heaven, in contrast to "Rich man Dives, who lived so well; when he died he found a home in hell." And finally there is Blind Barnabas, whose tormented cry found echoes in slave cabins down through the long, dark years: Oh de blind man stood on de road an' cried Cried, "Lord, oh, Lord, save-a po' me!" In telling the story of Jesus, spirituals range from the tender "Mary had a little baby" and "Little Boy, how old are you" to the awe-inspir- ing "Were You There" and "He Never Said A Mumbalin' Word." Jesus is friend and brother, loving counselor, redeemer, Lord and King. The Negro slave's picturing of Calvary in such lines as Dey whupped him up de hill ... Dey crowned his head with thorns..
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