Well, did you say that you love Jesus?Did you say that you love the Lord?Yes, I say that I love Jesus.Yes, I say I love the Lord.All I wants to know is, “Does you love Jesus?”All I wants to know is, “Does you love the Lord?”Yes, I say that I love Jesus,Yes, I say I love the Lord.If you love Jesus, you can’t keep it,All I want to know is, “Does you love the Lord?”Yes, my mother, I love Jesus,Yes, my mother, I love the Lord.
The chorus then varies from “Yes, Isay” to “Yes, mymother”, “Yes, mysister”, “Yes, mybrother”.
In striking contrast to his earthly life, the negro sings of his heavenly home. It will be seen in the study of his social songs that home plays a small part in their subject matter. It is true that the negro has little love of home or devotion to loved ones. Perhaps for this very reason he expects to have a better home in the beyond. He wants that which is ideal and impractical; he wants that which will come without effort. If in slavery days he had no home, it was natural that he should look to Heaven for his home. This conception, intensified by the negro’s emotional nature and self-pity, is still prominent. Not only is his home to be a happy one, but it is to be exclusive; only the fortunate, of whom he is the chiefest, may go there. This class of songs—of Heaven and home—is perhaps as large as any. The negro sings:
I got a home where liars can’t go,Don’t you see?Jus’ between the heaven an’ earth,Where my Saviour bled an’ died,I got a home where liars can’t go,Don’t you see?I got a home where sinners can’t go,Don’t you see?Jus’ between the earth an’ sky,Where my Saviour bleed an’ die,Don’t you see?When the earth begin to shake,Don’t you see?You better get a ticket or you’ll be late,Don’t you see?
In the same way the singers repeat, using the words “drunkards,” “hypocrits”, and other sinners. Sometimes instead of saying “I got a home where the drunkards can’t come”, the sinner will say “where the drunkards can’tfind me”. Another version of the same song is found in different localities:
I got a home in the Rock,Don’t you see?Just between the heaven an’ earth,Well, yes, I got a home in the Rock,Don’t you see?Judas was a deceitful man,Don’t you see?Well he betrayed the innercent Lam’,Well he lost a home in the Rock,Don’t you see?Well the sun refuse to shine,Don’t you see?The sun refuse to shine,An’ the sun refuse to shine,Don’t you see?God don’t talk like a natural man,Don’t you see?God don’t talk like a natural man,He talk so sinners can understan’,Don’t you see?Well I don’t want to stumble,Don’t you see?Well I don’t want to fall,I read that writin’ on de wall,Don’t you see?
The “Home in the Rock” and the “Rock of ages” mean little to the negroes; they are suitable terms and appeal to their sense of sound. Like other peoples, the negroes have inserted them into their religion as forceful symbols. Interesting comparisons may be madein a later chapter. The chorus of “Heaven” hummed in a monotone, with lips sometimes closed, makes a beautiful song, and one that appeals much to both old and young negroes.
You got a robe, I got a robe,All God’s children got a robe,Goin’ try on my robe an’ if it fits me,Goin’ to wear it all round God’s heaven.Heaben—heaben, ev’ybody goin’ to heabenAn’ I’m goin’ dere, too.Gamblers dere an’ gamblers here,I’m so glad dat God declare,Dere ain’t no gamblers in heaven.
This version and wording is rather that of the children, who are very fond of singing it. They continue “Heaven so high you can’t go over it”, “Heaven so low you can’t go under it”, “Heaven so deep you can’t go through it”, and “Heaven so wide you can’t go round it”. The most common form of the song is a variation of the above.Sinners,gamblers,dancers,liars,drunkardsareeverywhere, but not in Heaven.
Well there are sinners here and sinners there,An’ there are sinners everywhere,But I thank God that God declare,That there ain’t no sinners in heaven.Heaven, Heaven,Everybody talkin’ ’bout heaven an’ goin’ there,Heaven, Heaven,Goin’ to shine all ’round God’s heaven.Well there are drunkards here an’ drunkards there,An’ there are drunkards everywhere,But I’m so glad that God declare,There ain’t no drunkards in heaven.Heaven, Heaven,Preachers all preachin’ ’bout heaven an’ goin’ there,Heaven, Heaven,Goin’ to shine all ’round God’s heaven.
As has been indicated, many of the negro songs consist of single lines repeated in couplets or by fours in order to give length to the singing. The most simple sentences that could be devised may serve as a good song. The negro happens to think of an ordinary truth; he then sings it to his tune and chorus.
I’m goin’ to be a Christian if I keep a prayin’ on,I goin’ to be a Christian if I keep a prayin’ on,I goin’ to be a Christian, I’m goin’ to be a Christian,I goin’ to be a Christian if I keep a prayin’ on.An’ when I git religion, I goin’ to keep a prayin’ on.I goin’ to see my Jesus if I keep a prayin’ on.I goin’ to see my mother if I keep a prayin’ on.
In the same way he is “going to see” hisfather,brother,master,preacher, singing each line four times, altering them as he desires and putting in any chorus that appeals to his fancy. The next song shows a typical variation of a line, and the negro sometimes sings the second version with more determination than the first.
Lord, I want to go to heaven fer to stan’ my trials,Lord, I want to go to heaven fer to stan’ my trials,Yes, I want to go to heaven fer to stan’ my trials,Great Judgment day.Well,I’m goin’to heaven fer to stan’ my trials,An’I’m goin’to heaven fer to stan’ my trials,Yes,I’m goin’to heaven fer to stan’ my trials,Great Judgment day.
The darkeys used to sing, “Hail, hail, hail, I’m gwine jine saints above, I’m on my journey home”. So, too, in many of their songs the “promise Lan’” was held out as the goal of future happiness. So it is to-day. “On my journey home” and “Goin’ to Heaven” represent the common conception.
Sister when you pray you mus’ pray to de Lord,For I hab some hopes ob glory,I feel like, I feel like I’m on my journey home,I feel like, I feel like, I’m on my journey home.I’ll away, I’ll away to de promise lan’,My Father calls me, I mus’ go,To meet Him in de promise lan’.I have a father in the promise lan’,Go meet him in de promise lan’,I feel like, I feel like I’m on my journey home,I feel like, I feel like I’m on my journey home.
So, too, the singer has amother, asister, anauntieand others in the “promise lan’”. Likewise he says instead of “sister when you pray,” etc.,brother,member,mourner,sinner,preacher, and the others.As a rule morning signified to the negroes the time for going to heaven and for the resurrection. The morning star shining as a witness to his conversion, and the midnight dew typified the early morning time of his religion. “In the morning” is sung as of old.
I have been tempted,O yes,An’ I have been tried,O yes,I have been to the river an’ been baptize,An’ I want to go to heaven in the morning.Won’t you ride on Jesus?Ride on Jesus, ride on crowning King,For I want to go to heaven in the morning.If you see my mother,O yes,Please tell her for me,O yes,That the angels in heaven done change my name,An’ I want to go to heaven in the morning.
So if you see “brother John, sister Nancy,” and others makes the song complete. The song once so popular, “Yes, I’ll be dere, When gen’ral roll call” is still heard occasionally. Many of these songs have been corrupted and changed, consolidated and revised into new songs. Such a song is “Study war no mo’”, which combines the old camp meeting, “down by the river side”, and a new element ofpeace, the origin of which is not known.
Well there’s goin’ to be a big camp meetin’,Well there’s goin’ to be a big camp meetin’,Well there’s goin’ to be a big camp meetin’,Down by the river side.Well, I ain’t goin’ to study war no mo’,Well, I ain’t goin’ to study war no mo’,Well, I ain’t goin’ to study war no mo’.Well such a shoutin’ an’ prayin’Down by the riverside.Well I goin’ to meet my sister,Down by the riverside.Well the brothers got to shoutin’,Down by the riverside.
Said the old singers: “Some o’ dese mornin’s, hope I’ll see my mother, hope I’ll jine de ban’, hope I’ll walk bout Zion, Talk wid de angels, Talk my trouble over” while they looked “away to hebben”. Now the negro sings:
Gwine to weep, gwine to mourn,Gwine to git up early in de morn,Fo’ my soul’s goin’ to heaven jes’ sho’s you born,Brother Gabriel goin’ to blow his horn.Goin’ to sing, goin’ to pray,Goin’ to pack all my things away,Fo’ my soul’s goin’ to heaven jes’ sho’s you born,Brother Gabriel gwine ter blow his horn.
“Pray come an’ go wid me” sings the Christian, for “I’m on my journey home to the New Jerusalem”. If refused he says, “Now don’t let me beg you to follow me, for I’m on my journey home”, and finally he sings, “Well, brother come an’ go wid me.” If the sinner needs other exhortation he may listen to the mixed song “Dry bones goin’ to rise ergain”, in which there is first warning, then hope of glory.
Some go ter meetin’ to sing an’ shout,Dry bones goin’ ter rise again;Fore six month deys all turned out,Dry bones goin’ ter rise again.O little chillun, O little childun,O lit’le childun, dry bones goin’ rise ergin.Talk erbout me but taint my fault,Dry bones goin ter rise ergin;But me an’ Godermighty goin’ walk an’ talk,Dry bones goin’ ter rise ergin.Ef you want ter go to heaven when you die,Dry bones goin’ rise ergin;Jes’ stop yo’ tongue from tellin’ lies,Dry bones goin’ ter rise ergin.
In the old plantation song Ezekiel was represented down in a valley “full of bones as dry as dust” and
He gib de bone a mighty shake,Fin’ de ole sinners too dry to quake,
Death for the Christian isshouting: death for the sinner isdoom. “When I git to heaven, goin’ shout on my knees” gives an accurate picture of what the negro conceives to be happiness. But he not only expects to shout while on earth and when he gets home, but even when he dies. For says he,
My mother dies a shoutin’, an’ I goin’ die shoutin’, too,Yes, my mother died a shoutin’ an’ I goin’ die shoutin’, too.My mother died a shoutin’, my mother died a shoutin’,Yes, my mother died a shoutin’ an’ I goin’ die shoutin’, too.
Still his mother is not the only one who has died shouting; he sings in the same way offather,preacher,brother,sisterand others; the slave song included “Missus” and “Marster” or “Massa”. But shouting must not be all. The negro and his brothers, sisters, mother are all to die “mournin’”, and “prayin’”. In “Join de Heaven wid de Angels” the rich voice of one or two leaders and the swelling chorus produce an effect scarcely surpassed.
O join on, join my Lord,Join de heaven wid de angels;O join on, join my Lord,Join de heaven wid de angels.What kin’ er shoes is dem you wear?Join de heaven wid de angels;Dat you kin’ walk upon de air,Join de heaven wid de angels.Oh, God don’t talk like a nat’al man,Join de heaven wid de angels;He talk to de sinner, he understan’,Join de heaven wid de angels.I’m Baptis’ bred an’ I’m Baptis’ bo’n,Join de heaven wid de angels;An’ when I die dey’s a Baptis’ gone,Join de heaven wid de angels.Jes’ so de tree fall jes’ so it lie,Join de heaven wid de angels;Jes so de sinner lib’ jes’ so he die,Join de heaven wid de angels.
The song has been found in several forms among which one has it thatJohnis to be in de heavens with the angels. In fact the probable origin of “join on” seems to have been “John saw de heaven wid de angels”. In one of the old songs the singer answers,
Dem shoes I wears is gospel shoes,View de lan’, view de lan’;An’ you can wear dem if you choose,View de lan’, view de lan’.
There are other references, too, besides the above, to the denominations of the negro churchmen. It has already been seen that the negro likes “bes’” the “shoutin’ Mefodes’”. So he says “There’s fire in deeas’ an’ fire in de wes; An’ fire among de Methodes’”. He is loyal and proclaims: “Methodist, Methodist is my name, Methodist till I die, I’ll be baptize in the Methodist name, An’ I’ll lib’ on the Methodist side”. In the same way he isBaptistandPresbyterian; theBaptistis the favorite church of the negro, however, and there are more Baptists than all other denominations combined.
The “Angel Band”, while a very simple song in which the chorus constitutes the greater part, is one of the most beautiful that the negroes sing. The tune is a variation of a well-known hymn used by the whites. The power of the song seems to lie in the tender interest which centres about the vivid portrayal of the little angels in the heavenly band. The chorus is repeated after each stanza, while each stanza itself is the repetition of a single line. From one to ten; from ten to twenty and so on to one hundred is ordinarily sung, thus making a lengthy song. The children love to sing the chorus; two forms are ordinarily found, varying the monotony enough to please the negro.
Dere’s one little, two little, three little angels,Dere’s four little, five little, six little angels.Dere’s seven little, eight little, nine little angels,Dere’s ten little angels in de band.Dere’s leben, dere’s twelve, dere’s thir’een little angels,Dere’s fourteen, dere’s fifteen, dere’s sixteen little angels.Dere’s seventeen, dere’s eighteen, dere’s nineteen little angels,Dere’s twenty little angels in de band.
The “little” in the chorus is preferred to the “dere’s” as a rule, apparently serving to describe the angels. The stanzas of the song are equally as unlimited and as simple as the chorus. “Sunday morning” is the common factor to all of the verses; sometimes it is omitted.
Jesus rose on Sunday mornin’,Jesus rose on Sunday mornin’,Jesus rose on Sunday mornin’,On Sunday mornin’ so soon.He rose an’ flew away on Sunday mornin’.My mother died on Sunday mornin’.Oh wasn’t that sad on Sunday mornin’?Dere’s goin’ to be a big camp meetin’ on Sunday mornin’.Dere’s goin’ to be a mournin’ on Sunday mornin’.Mourners got to shoutin’ on Sunday mornin’.I’m goin’ away to leave you on Sunday mornin’.Well, my sister’s goin’ to heaven on Sunday mornin’.
While this form of the song may be continued indefinitely, other verses may also be inserted. Instead of the “On Sunday mornin’” is often substituted “Fer to see my Lord”.
Well, my sister’s goin’ to heaven fer to see my Lord,To see my Lord, to see my Lord;Well, my sister’s goin’ to heaven fer to see my Lord,What’s de onbelievin’ soul?
And so he continues withpreacher,brother,mother,auntieand any others that he wishes to enumerate. As a shouting song or as a “collection” song, it is not surpassed.
The negro’s fancies of the “Heaven’s bright home” are not exceeded by the world’s fairy tales. There are silver and golden slippers; there are crowns of stars and jewels and belts of gold. There are robes of spotless white and wings all bejewelled with heavenly gems. Beyond the jasper seas he will outshine the sun; the golden streets and the fruit of the tree of life are far superior to any golden apples or silver pears of a Mother Goose. In fact the negro’s fairy stories centre on heaven; the children’s definitions of heaven consisted entirely of pictures of splendor and glory. To this place the negro imagines he will go and who knows but that he may fly there?
Some o’ dese mornin’s bright an’ fair,Way in de middle of de air;Gwi’ hitch on my wings an’ try de air,Way in de middle of de air.Come over, den, John saw de holy number,Way in de middle of de air;John saw de holy number,Way in de middle of de air;If yer wanter dream dem heavenly dreams,Way in de middle of de air;Lay yo’ head on Jord’n’s stream,Way in de middle of de air.I got a book goin’ read it thru’,Way in de middle of de air,I got my Jesus well as you,Way in de middle of de air.
With a golden “band all round his waist, An’ de palms ob victory in a-his hands”, the negro sings in reality: “Pray come an’ go wid me”, for so vivid is his picture that he has been known to start up a post or pillar in the church, saying, “Good bye brothers, I’m gone”. His songs make much of flying; different from that just quoted he repeats:
One mornin’ soon,One mornin’ soon, my Lord,One mornin’ soon,I goin’ try the air,I goin’ try the air,Pray come an’ go wid me.Well I got on my travellin’ shoes,Well I got on my travellin’ shoes,Well I got on my travellin’ shoes,Pray come an’ go wid me.
He sings, too, “I goin’ to put on my long white robe”, “We’ll try on de slippah shoe an’ wear de golden belt”. Again he sings of his doings in themorning,noontime, andmidnight.
In the morning—um-u’,In the morning—um-u’,In the morning—um-u’,I goin’ put on my golden shoes.In the midnight—um-u’,In the midnight—um-u’,In the midnight—um-u’,I goin’ put on my long white robe.Talk about it—um-u’,Talk about it—um-u’,Talk about it—um-u’,I goin’ wear that starry crown.
The angels and Jesus wear the starry crown and long white robes; there will be no separating line between us and God in the new world. “Oh how I long to go dere, too”, sang the old negroes. Now he pictures again the appearance of Jesus.
Jesus, he wore the starry crown,Jesus he wore the starry crown,Jesus he wore the starry crown, starry crown.How does you know he wore the crown?How does you know he wore the crown?How does you know he wore the crown? wore the crown?For the Bible it tell me so,For the Bible it tell me so,For the Bible it tell me so, tell me so.
Then, too, Jesus “he wore the long white robe, for the Bible it tell me so.” More than theworldorrichesordressthe singer claims he values the treasures of heaven. In this assertion he is doubtless sincere, both because he is thinking only of his religious state while he sings, and because he has little opportunity for obtaining these earthly riches. Says he:
I don’t care fur riches,Neither dress so fine,Jes’ giv’ me my long white robe,An’ I want my starry crown.For my Lord done bin here,Done bless my soul an’ gone away.Po’ man goin’ to heaven,Rich man goin’ to hell,For po’ man got his starry crown,Rich man got his wealth.
This “ole worl’ bin a hell to me” indicates the contrast between the everyday life of the world and that which the negro will enjoy after death. In his eagerness and impatience to rest in the “promise lan’,” the negro does not always think kindly of the world and he does not care even though “Death is in dis lan’.”
Ever since my Lord has set me free,Death is in dis lan’,This ole worl’ bin a hell to me,Death is in dis lan’.I’m so glad death is in dis lan’,I’m so glad death is in dis lan’.O run ’long mourner ’n git yo’ crown,Death is in dis lan’,By yo’ father’s side set down,Death is in dis lan’.Some er dese mornin’s bright and fair,Death is in dis lan’,Gwin’r hitch on my wings an’ try de air,Death is in dis lan’.
If the negro expects to go to heaven and there mingle with God, the angels and his loved ones, he also expects to sing in all the gloryand splendor imaginable. The negroes used to sing of “jinin’ de association, climbin’ Jacob’s ladder, climbin’ higher an’ higher, sittin’ down at de welcome table, feastin’ off’n milk an’ honey, tell God how you served me, jine de big baptizin”, after which “den my little soul gwine shine.” So they sang of a mother, father, brother in heaven who “outshines de sun”, and ended by declaring that when they got to heaven “we will outshine de sun.” In very much the same way the negroes sing to-day in one of their favorites, “Goin’ to Outshine de Sun.”
Well, my mother’s goin’ to heaven,She’s goin’ to outshine the sun,O Lord,Well, my mother’s goin’ to heaven,She’s goin’ to outshine the sun,Yes, my mother’s goin’ to heaven to outshine the sun,An’ it’s way beyon’ the moon.You got a home in the promise lan’,Goin’ to outshine the sun,O Lord,An’ it’s way beyon’ the moon.The crown that my Jesus give me,Goin’ to outshine the sun,my Lord,An’ it’s way beyond the moon.Goin’ to put on my crown in glory,An’ outshine the sun,O Lord.’Way beyon’ de moon.
Other verses sing of putting on slippers, long white robe, in each case the singer is to “outshine the sun.” The dazzling splendor of it all makes anticipation full of staying qualities; it makes the picture one of reality because of the vigor of an imaginative power. Who knows if the negroes often dream of the grandeurs of the sky?
The negro uses many figures and symbols in his religion. He can see the chariot wheel and the chariot of fire taking him to heaven as easily as Elijah. He can imagine that he, too, can ascend even as Christ and the angels. Besides these methods he has the Gospel Train and the Ship of Zion. The train has much fascination for the negro: much will be seen of this in his social songs. It is but natural that he should bring it into his religious songs. The negro often goes to meet the train at the station, even when sick. It is a great social event of a Sunday. So again, he wishes to go on an excursion; few things can hinder him. Very much in the same strain is the religious song, “When the train come along.”
Well, I may be sick an’ cannot rise,But I meet you at de station when de train come along.When de train come along,When de train come along,I’ll meet you at de station when de train come along.Well, I may be blind an’ cannot see,But I’ll meet you at de station when de train come along.Well, I may be lame and cannot walk,But I’ll meet you at de station when de train come along.
While no mention is made of the exact kind of train, it is generally understood to mean the Gospel train. This song also has a popular variant which is used in a secular way. In either case it expresses in a very forceful way the importance of meeting the train. In proportion as a picture resembles real life or magnifies that which has been imaged, to that degree does it bring home its truth to the negro’s mind. The negro continues to sing of the train on which he is to ride into the Kingdom. Says he:
I am talkin’ ’bout the same train,Same train that carried my father,Same train.Same train that carried my mother,Same train,Same train will be back to-morrow,Same train.Same train will be here to-morrow,Same train,Well you better be ready,It’s the same train.
The “same train” also carried hisbrother,sister,preacherand others. But the train which will come back to-morrow will not wait always. One must not only be at the station but must also have a ticket. There is plenty of room, according to the negro’s conception, but there is not plenty of time. It would be a wistful negro that looked upon the train pulling out for heaven and he all alone is left behind. He sings,
Well you better git yo’ ticket,Well you better git yo’ ticket,Well you better git yo’ ticket,Bye and bye.There’s a great day er comin’,There’s a great day er comin’,There’s a great day er comin’,Bye and bye.For the train it’s er comin’,For the train it’s er comin’,For the train it’s er comin’,Bye and bye.I am sure God is ready,I am sure God is ready,I am sure God is ready,Bye and bye.
Instead of the chorus just given he often sings: “I sure God am ready,” and “I sho’ God is ready.” With this in view he is willing and glad for the train to come along. If he is ready, all the better for him to be on his journey. So he continues in another song and at another time:
If God was to call me I would not care—um-u’,For he done move away my fears—um-u’.I’m goin’ to heaven, an’ I’m goin’ fo’ long—um-u’,All don’t see me will hear my song—um-u’.When de gospel train come ’long—um-u’,That’s the train carry me home—um-u’.Wake up, sinner, you will be too late—um-u’,Gospel train done pass yo’ gate—um-u’.
In the old plantation songs the exhortation was given to “Git on board little children, dere’s room for many a mo’.” So also they sang:
De gospel train’s a comin’,I hear it jus’ at hand,I hear de car wheels rumblin’,An’ rollin’ thru de land.I hear de train a comin’,She’s comin’ round de curve,She’s loosened all her steam an’ brakes,An’ strainin’ eb’ry nerve.De fare is cheap an’ all can go,De rich an’ pore are dere,No second class abord dis train,No difference in de fare.
In addition to the above stanzas the Jubilee singers added others. They heard the bell and whistle and “she’s playin’ all her steam an’power.” The rhyme and imagery of the old song struck a more responsive chord than the present song; this is due to the fact that the negro of to-day sings his railroad songs and enjoys them in his secular music. There he pictures the train with such vividness that the train may be easily heard and seen in his imagination. Other verses of theGospel Trainas it was sung by the Jubilee singers are:
There’s Moses and Noah and Abraham,And all the prophets, too,Our friends in Christ are all on board,O what a heavenly crew.We soon shall reach the station,O how we then shall sing,With all the heavenly army,We’ll make the welkin ring.She’s nearing now the station,O sinner, don’t be vain,But come an’ get your ticket,And be ready for the train.No signal for the other train,To follow on the line,O sinner, you’re forever lost,If once you’re left behind.
While the song as reported by the Jubilee singers does not possess the mere characteristics of form and dialect, it nevertheless appeals to the negroes and it is sometimes sung. One of the fears of the negro is that others may go to heaven and he be left behind. This, as has been indicated, constitutes the sum total of misery. So he has a number of songs in which he expresses this feeling and prays that he may not be left behind in the race of life for the eternal goal. One of the most touching of these songs represents the negro as an orphan who is unwilling to stay alone in the world:
My muther an’ my father both are daid, both are daid,My muther an’ my father both are dead,My mother an’ my father both are dead,Good Lord, I cannot stay here by merself.I’m er pore little orphan chile in de worl’, chile in de worl’,I’m er pore little orphan chile in the worl’,I’m a pore little orphan chile in de worl’,Good Lord, I cannot stay here by merself.De train done whistled an’ de cars done gone, cars done gone,De train done whistled an’ de cars ere gone,De train done whistled an’ de cars ere gone,Ezekiel, I cannot stay here by merself.My brothers an’ my sisters are all gone, all gone,My brothers an’ my sister’re all gone, all gone,My brothers an’ sisters all are gone,Mer Jesus, I cannot stay here by merself.Git me ticket fer de train, fer de train,Git me ticket fer de train,I gotmer ticket fer de train,Thank God, Iain’t gwinestay here by merself.
Very much like the song just given the negroes used to sing: “Dar’s room in dar, room in dar, room in de heaven, Lord, I can’t stay behin’”. So, too, “I can’t or don’t want to stay here no longer” are common and classic verses of negro song. Again they sang the “good news” because “De chariot’s comin’, I doan want her to leave a-me behind, Gwine get upon dat chariot, Carry me home”. In a prayer the negro sang: “Jesus, don’t leave me behind”. In his songs to-day the negro says:
Dear brother, don’t you leave,Dear brother, don’t you leave,This ole world’s a hell to me.This ole world’s a hell to me,This ole world’s a hell to me.Yes, I bleedzed to leave this world,Yes, I bleedzed to leave this world,Sister, I’s bleedzed to leave this world,For it’s a hell to me.
While the old negroes used to sing “Oh brother, sisters, mourners, don’t stay away, For my Lord says there’s room enough”, the modern negro sings “You can’t stay away”.
Sister, you can’t stay away,Sister, you can’t stay away,Sister, you can’t stay away, stay away.My Lord is a callin’ an’ you can’t stay away,My Lord is a callin’ an’ you can’t stay away,Yes, my Lord is a callin’ an’ you can’t stay away,An’ you can’t stay away.King Jesus is a ridin’ an’ you can’t stay away,O preacher, you can’t stay away.
There have been a great many versions of the song “Ole Ship of Zion”, none of which differ materially. The four or five versions most common in the slave and plantation song represented the Ship of Zion somewhat as follows: “She has landed many a thousand, She can land as many more, Do you think she will be able, For to take us all home? You can tell ’em I’m comin’ home”, “Dis de good ole ship of Zion, An’ she’s maken’ fer de promise lan’. She hab angels fer de sailors. An’ how you know dey’s angels? Dat ship is out a sailin’ she’s a sailin’ mighty steady. She’ll neither reel nor totter, She’s a sailin’ ’way cold Jordan. King Jesus is de captain, captain”. “De gospel ship is sailin’, O Jesus is de captain, De angels are de sailors, O is yo’ bundle ready? O have you got yo’ ticket!” Another version has “her loaded down with angels”; Another “wid a-bright angels”. Another asks what ship is that “you’re enlisted upon”? and answers that it is the “Good ship of Zion”, which “sails like she’s heavy loaded”, and “has King Jesus for the captain”, and “the Holy Ghost is de pilot” The coast negroes had many songs that originated in ideas suggested by the boats. To-day the river negroes have songs of their own, but they do not go into the church songs. The Old Ship of Zion, however, is sung, but only as a remnant of the former song, less elaborate.
This ole ship is a reelin’ an’ a rockin’,This ole ship is a reelin’ an’ a rockin’ rockin’ rockin’Makin’ fer de promise lan’.
While the negro sings, he sees the ship reelin’ an’ rockin’, and repeats these phrases enough and in a rhythmic manner, so that he imitates the imagined motion of the ship. The other stanzas of the song are practically the same as those of the earlier days.
O my Lord, shall I be the one?O my Lord, shall I be the one?O my Lord, shall I be the one?Makin’ for the promise lan’?Yes, ’tis that good ole ship of Zion, of Zion,Yes, ’tis that good ole ship of Zion, of Zion,Yes, ’tis that good ole ship of Zion,Makin’ for the promise lan’.O the ship is heavy loaded, loaded, loaded,Makin’ for the promise lan’.It’s loaded with many er thousand, thousand, thousand,Makin’ fer the promise lan’.
“This ole worl’s a rollin’” is most likely a figure of the ship and modelled on the same song. However, it conveys a different idea, one of judgment and the end of the world. The negro sings:
Well the ole worl’ is a rollin’, rollin’, rollin’,Yes, the ole worl’ is rollin’, rollin’ away.Well ain’t you goin’ to get ready?Yes, ain’t you goin’ to get ready? for it’s rollin’ away.Well get on board little children, children, children,Well get on board, for this ole worl’s rollin’ away.
He sings for thesinner,mourner, and all hisfriendsandrelativesto get on board the world as she rolls away. It reminds one somewhat of the song once current among the negroes: “O de ole ferry boat stan’ a-waitin’ at de landin’, Chilluns we’se all gwine home”. The same feeling of motion and the end of the world as is indicated in the moving of the train, ship, and the world itself is also reflected in the opening of the graveyards and the rolling of the hearse wheel. The same rhythmic effect of motion and words give a strikingly appropriate attitude to the singer.
O the lightening flashin’ an’ the thunder rollin’, rollin’, rollin’,O the lightening flashin’ an’ thunder rollin’, rollin’, rollin’,O the light’ning flashin’ an’ thunder rollin’,Lawd, I know my time ain’t long; Lawd, I know my time ain’t long.The hearse wheel rollin’ an’ graveyard openin’, openin’, openin’,The hearse wheel rollin’ an’ graveyard openin’, openin’, openin’,The hearse wheel rollin’ an’ the graveyard openin’,Lawd, I know my time ain’t long, my time ain’t long.
And very much like the above song is “Every Day”. However, it is so similar to other songs that one concludes that it is only a putting together of what the singer already knew. The Bahama negroes have a song, “If hev’ry day was judgment day”, that is almost exactly the same in meaning as this one. The song, however, is a powerful one and seems to be gaining in popularity.
Well the hearse wheel rollin’,Every day, every day,Carryin’ yo’ brother to the graveyard,Every day, every day—move, Zion, move.Well ain’t it a pity, pity?Every day, every day,Well ain’t it a pity, ain’t it a pity?Every day, every day,move, Zion, move.Well they’re carryin’ a sinner, sinner,Every day, every day,Yes, they’re carryin’ a sinner,Every day, every day,move, Zion, move.Move, Zion, move, for you got to go to judgment,Every day, every day,Move, Zion, move, for you got to go to judgment,Every day, every day,move, Zion, move.
The getting of mail, and especially of letters, usually means much to the negroes; perhaps simply because they receive little mail. To have a letter from a distinguished person is superlative honor and the recipient usually makes the fact known generally. Just how the negro conceived of receiving letters from God, or why he imagined the angels and apostles as writing letters does not appear clear. One gets a letter, another reads it; one writes a letter and all know its contents. Such a reference is found in a number of songs, that serve as a warning or admonition.
Well my mother got a letter, O yes,Well she could not read it, O yes,What you reckon that letter said?That she didn’t have long to stay here.Won’t you come, won’t you come?Won’t you come an’ get ready to die?Won’t you come, for my Lord is callin’ you?How do you know that my Lord is callin’, O yes?If you look at this letter, O yes,You see it come from the Hebrews, O yes,Won’t you come, for my Lord is callin’ you.
Perhaps the idea of the letter came from theepistlesof the New Testament. John and Peter wrote letters; Mary and Martha read them. The letters of the Hebrews and Ephesians are spoken of. The idea “It just suits me” seems to have sprung up from satisfaction in reading the “word” or in hearing the sermon and praying in the usual way.
John wrote a letter and he wrote it in haste,An’ it jus’ suit me:John wrote a letter and he wrote it in haste,An’ it jus’ suit me.John wrote a letter and he wrote it in haste,If yer want to go to heaven yer better make haste,An’ it jus’ suit me.I’ll tell you a little thing that was in that letter,An’ it jus’ suit me.I’ll tell you a little thing that was in John’s letter,The Holy Ghost came to make us better,An’ it jus’ suit me.
In the same form and repetition are sung other stanzas, all of which “suit” the negroes pretty well.
If this isn’t the Holy Ghost I don’t know,I never felt such a love befo’,But it jus’ suit me.O my brother, you oughter been at de pool,To see me put on my gospel shoes,An’ it jus’ suit me.Ezekiel said he spied the train a comin’,We got on board an’ she never stopped runnin’,An’ it jus’ suit me.This kind er religion is better than gold,It’s better felt than ever told,An’ it jus’ suit me.I tell you a little thing you can’t do,You can’t serve God and the devil, too,But it jus’ suit me.When trouble is done an’ conflict have passed,I rise to reign in peace at last,An’ it jus’ suit me.
By this time the singers are happy enough and the preacher joins them in shouting, “Yes, brethren, it just suits me.” It is gratifying to the negroes that their sins have been “washed in the blood of the Lamb”, as indeed it ought to be. Perhaps they give it its undue prominence without thought; for they have no conception of the seriousness of their claims. The negro singers have exhibited a characteristic specimen of theirword combinations,concrete pictures, andtheological principlesin their song, “De blood done sign my name.”
O de blood, O de blood,O de blood done sign my name;O Jesus said so, Jesus said so,O de blood done sign my name.I believe it for God he tole me,That the blood done sign my name,I believe it for God he tole me,That the blood done sign my name,Yes, the blood done sign my name.How do you know so, God he said soThat the blood done sign my name.Well it’s written in de Kingdom,That the blood done sign my name.Well in de Lamb’s book it is written,That the blood done sign my name.Well the wheels a turnin’, wheels a turnin’,Blood done sign my name.I’m boun’ for glory, boun’ for glory,The blood done sign my name.On de mountain, on de mountain,The blood done sign my name.In the valley, in the valley,Blood done sign my name.
But the Christian does not have an easy time after his conversion. Satan is always at hand and ready to lead him away if there is a chance. The negro’s idea of satan and the devil has been noted. In his march songs the negro imagines that he is marching against his foe; this foe is sometimes satan himself. “The other world is not lak’ dis” is a typical marching song.
I er’s walkin’ ’long de oder day,De udder worl’ is not lak’ dis,I met ole satan on de way,De udder worl’ is not lak’ dis,He said, “Young man, you’re too young to pray”,De udder worl’ is not lak’ dis.Tell all dis worl’,Tell all dis worl’,Tell all dis worl’,De odder worl’ is not lak’ dis.As I went down in de valley to pray,De udder worl’ is not lak’ dis,I met a little looker on de way,De udder worl’ is not lak’ dis,He said: “Look out fer de Judgment day”,De udder worl’ is not lak’ dis.
Another marching song that is a rousing one is “Goin’ down to Jord’n”. It represents, like the one just given, the attributes of satan and his relation to the Christian. The scene as pictured, the army marching on down to Jordan, the imaginary foe, and the rhythm of the song make it a favorite.
Halleluyer to the Lam’,Goin’ on down to Jordan,Lord God’s on that givin’ han’,Goin’ on down to Jordan.Goin’ down to Jordan,Goin’ down to Jordan,I got my breas’plate, sword an’ shield,Goin’ down to Jordan,Boldly mar chin’ thru’ the field,Goin’ on down to Jordan.I plucked one block out’n satan’s wall,Goin’ on down to Jordan,I heard him stumble an’ saw him fall,Goin’ on down to Jordan.Ole satan’s a liar an’ a conjurer, too,Goin’ on down to Jordan,If you don’t mind he’ll conjure you,Goin’ down to Jordan.Ole satan mad an’ I am glad,He missed a soul he thought he had.Ole satan thought he had me fast,Broke his chain an’ I’m free at last.I’ve landed my feet on Jordan’s sho’,Now I’m free forever mo’,Goin’ on down to Jordan.
Something has been observed about the negro’s attitude toward the crucifixion. The old songs asked: “Wus you dere when dey crucified my Lord? When dey put the crown of thorns on?” and other scenes. In some of the songs the negroes sang “I wusdere when”, etc., while still others only affirm the facts. The songs of the present generation of negroes are less vivid and less full of feeling for the suffering of the Master. Some of the verses are similar to those of the plantation songs.
He carried his cross, he carried his cross,Up Zion hill, up Zion hill,He carried his cross, he carried his cross,Up Zion hill, up Zion hill,He carried his cross up Zion hill, Zion hill, Zion hill.They put on him the thorny crown (3),Then they nail my Jesus down,They nail him down, nail him down, nail him down,They lif’ the cross high in the air (3),To show the worl’ how they nail him there,How they nail him there, nail him there, nail him there.
A peculiar corruption of this song represents the prodigal son as being in the place of Christ; now it is the prodigal, now it is the Lord. It indicates the manner of the development of many of these songs, and shows something of the insignificance of the words on the minds of the singers. He sings with his holy laugh:
Yes, the prodigal son come home, ha, ha,Yes, the prodigal son come home, ha, ha,The prodigal son come home by hisself.An’ they nail him to the cross, ha, ha,An’ they nail him to the cross, ha, ha,An’ they nail him to the cross on that day.An’ the blood come runnin’ down, ha, ha,The blood come runnin’ down, ha, ha,An’ the blood come runnin’ down, on that day.An’ they kill the fat’nin’ calf, ha, ha,An’ they kill the fat’nin’ calf, ha, ha,They kill the fat’nin’ calf on that day.An’ they carried my Lord away, ha, ha,An’ they carried my Lord away, ha, ha,They carried my Lord away, by hisself.
Paul and Silas, Peter and John are models for proper contemplation. One of the old songs represented Peter and Paul as bound in jail. “Togedda dey sung, togedda dey prayed, De Lawd he heard how dey sung an’ prayed. Den humble yo’selves, de bell done rung.” “Paul an’ Silas bound in jail, The Christians pray both night and day,” represented another song, one version of which has survived and is current to-day. Most of the song consists in repetitions.
Paul and Silas bound in jail,Paul and Silas bound in jail,Paul and Silas bound in jail,Paul and Silas bound in jail.Paul did pray one mournful prayer (4).Don’t you wish you could pray like Paul?(4)He prayed an’ the good Lord set him free (4).
Another version prays for theangelsto come down andunlockthe door of the jail. It has a striking parallel among the secular songs and might have been composed with the idea of the negro in jail as being rescued.
Come down angel with the key,Come down angel with the key,My Lord, angel, come down with the key.Unlock the door for me-e-e,Unlock the door for me-e-e,My Lord, unlock the door for me.Paul and Silas is in jail,Paul and Silas is in jail,My Lord, Paul and Silas is in jail.Unlock the jail-house door,Unlock the jail-house door-oor,My Lord, unlock the jail house door.
Among those of the Bible who have been the special subject of song, Noah has a prominent place. References to him have been made already. He is always the hero of the flood. In most of the songs wherein a special character has an important part, it is in the chorus or refrain. So in “Fohty days an’ nights”, a general mixture of songs and ideas, Noah and the flood make the chorus.
Dey calls bro’ Noah a foolish man,Fohty days an’ nights,He built de ark upon de lan’,Fohty days an’ nights.En, ho, ho, didn’t it rain?O yes, you know it did.Ho, ho, didn’t it rain?O yes, you know it did.Ole Satan wears a iron shoe,Hit’s fohty days an’ nights,Ef you don’t mind gwine slip it on you,Fohty days an’ nights.Some go to meetin’ to put on pretense,Fohty days an’ nights,Until de day ob grace is spent,Fohty days an’ nights.Some go to meetin’ to sing an’ shout,Fohty days an’ nights,Fo’ six months dey’ll be turned out,Fohty days an’ nights.I tell you brother an’ I tell you twice,It’s fohty days an’ nights,My soul done anchored in Jesus Christ,Fohty days an’ nights.If you git dar befo’ I do,Forty days an’ nights,Look out fer me I’se comin’ too,Fohty days an’ nights.You baptize Peter an’ you baptize Paul,It’s fohty days an’ nights,But de Lord-God-er-mighty gwine baptize all,It’s fohty days an’ nights.
Another version in one of the old songs says: “Some go to church to laugh and talk, but dey knows nuthin’ ’bout de Christian’s walk”. “De Ole Ark a-moverin’” was the title of a plantation song which gave the story of Noah and the flood. Noah and his sons “went to work upon dry lan’”, and everything went according to the original “plan”.
Jes’ wait a little while, I’m gwine tell you ’bout de ole ark,De Lord told Noah for to build him an ole ark,Den Noah and his sons went to work upon dry lan’,Dey built dat ark jes’ accordin’ to comman’,Noah an’ his sons went to work upon de timber,De proud begin to laugh the silly to point de finger,When de ark was finished jes’ accordin’ to plan,Massa Noah took his family both animal an’ man,When de rain begin to fall and de ark begin to rise,De wicked hung round wid der groans and der cries,Fohty days and fohty nights de rain it kep’ a fallin’,De wicked clumb de trees an’ for help dey kep’ callin’,Dat awful rain she stopped at las’, de waters dey subsided,An’ dat ole ark wid all aboard on Ararat rided.
This is the picture which the plantation and slave negro has made for his satisfaction. The present-day song that apparently originated in the above song is less elaborate, having only portions of the old song, and not being much in demand. It, too, is called “Didn’t it rain?”
God told Noah ’bout de rainbow sign—Lawd, didn’t it rain?No more water but fier nex’ time—O didn’t it rain? Halleluyer.O didn’t it rain, O didn’t it rain?Halleluyer, didn’t it rain?Some fohty days an’ nights.Well it rain fohty days an’ nights widout stoppin’,Lawd, didn’t it rain?The sinner got mad ’cause the rain kept a droppin’,O didn’t it rain? Halleluyer.
Among the most interesting of all the negro spirituals are those which have been composed in recent years. These are significant in their bearing upon the temperament and religion of the present-day negro. These songs are efforts at poetry, while at the same time they unite biblical story with song. How they are often begun and for what purposes they are composed was mentioned in the previous discussion concerning the origin of negro songs. Further analysis of the form may be made in the study of the negro’s mental imagery. The following song, which gets its name from the chorus, is entitled “My Trouble is Hard”, and was composed by “Sister Bowers”. It was printed on a single sheet for distribution; each person who contributed to the collection was entitled to a copy, or a copy could be had for a nickel. She sung her new song to the crowds wherever she went, and then was given apro-rataof the collections. With the chorus repeated after each stanza, as the negroes always do, it becomes a song of unusual length:
I know a man that was here before Christ,His name was Adam and Eve was his wife,I’ll tell you how this man lived a rugged life,Just by taking this woman’s advice.My trouble is hard, O yes,My trouble is hard, O yes,My trouble is hard, O yes,Yes indeed, my trouble is hard.Whilst you are sitting on your seat,Let me tell you something that is sweet,When all God’s people in glory meet,They will slip and slide the golden street.Stop young man, I’ve something to say;You know you’re sinful and why don’t you pray?You’re sinning against a sin-venged God,Who has power to slay us all.O Lord, aint it a pity—ain’t it a shame—To see how my Lord and Saviour was slain?I hate to call the murderer’s name,I know they are dead but left the stain.Read the Scriptures and be content,You are bound to know what Jesus meant,John was here before his advent;Stood in the wilderness and cried “Repent”.Christ called his apostles two by two,He particularly told them what to do,Preach my gospel as I command you,And I’ll be with you all the way through.Just me tell you what David done,Old man Jesse’s youngest son:He slayed Goliath that mighty one,Ole Saul pursued him but he had to run.Ole Saul pursued poor David’s life—It’s a mighty good thing he had a wife,They went to his house and did surroundAnd she took a rope and let him down.God called Jonah in a powerful way,He told old Jonah just what to say;Tell them people if they don’t pray,I’ll destroy the city of Nineveh.Just let me tell you how this world is fixed,Satan has got it so full of tricks,You can go from place to place,Everybody’s runnin’ down the colored race.
Almost equally interesting is “That’s another Witness for my Lord.” It will be noticed in these songs that references and phrases taken from the old songs are often used, but in different combinations. They thus lose their former worth. It will be interesting, too, to compare the negro’s religious conceptions of the Bible and God as expressed in these songs with those expressed in the older productions: Has he advanced in his theology?
Read in Genesis, you understand,Methuselah was the oldest man,Lived nine hundred and sixty-nine,Died and went to heaven in due time.Methuselah is a witness for my Lord,Methuselah is a witness for my Lord.You read about Sampson from his birth,Strongest man that lived on the earth,’Way back yonder in ancient times,He slayed three thousand of the Philistines.Sampson he went wanderin’ about,For his strength hadn’t been found out,His wife dropped down upon her knees,Said: “Sampson, tell me where your strength lies, please.”Delila’ talked so good and fair;He told her his strength lie in his hair;“Shave my head just as clean as your hands,And my strength’ll be like a nachual man’s.”Wasn’t that a witness for my Lord?Wasn’t that a witness for my Lord?Isaiah mounted on de wheel o’time,Spoke to God-er-mighty way down the line:Said, “O Lord, to me reveal,How can this vile race be healed?”God said: “Tell the sons of men,Unto them’ll be born a king,Them that believe upon his Way,They shall rest in the latter day.”Isaiah was a witness for my Lord,Isaiah was a witness for my Lord.There was a man amongst the Pharisees,Named Nicodemus and he didn’t believe,He went to the Master in the night,And told him to take him out er human sight.“You are the Christ, I’m sure it’s true,For none do de miracles dat you do,But how can a man, now old in sin,Turn back still and be born again?”Christ said, “Man, if you want to be wise,You’d better repent and be baptized;Believe on me, the Son of Man,Then you will be born’d again.”Wasn’t that a witness for my Lord?Wasn’t that a witness for my Lord?
“After ’While” gives a slightly different form of verse, but with somewhat the same characteristics in other respects as those just given. There is little regularity in the metrical arrangement, but it makes a good song.
The worl’ is full of forms and changes,It’s just now so confuse,You will find some dangerIn everything you use:But this is consolation to every blood washed child,God’s goin’ to change our station after while.Afterwhile, afterwhile,God’s goin’ to change our station, afterwhile.The devil tries to throw downEverything that’s good,He’d fix a way to confineThe righteous if he could,Thanks be to God almighty, he cannot be beguiled,Ole satan will be done fightin’ afterwhile.Some men and women who help the world along,By constantly complaining of everything that’s done,They want to be called Christians and all their badness hide,God’s goin’ to open the secret afterwhile.Preachers in their sermons stand up and tell the truth,They’ll go about and murmur with slander and abuse;They want the whole arrangement to suit their selfish style,God’s goin’ to rain down fire afterwhile.
In a general mixture of old song and new song, of old traits and new traits, the negro sings a beautiful song which he has called: “Whar’ shall I be?” The usual imagery is seen.
Moses lived til he got old,Whar’ shall I be?Buried in de mountain, so I’m told,Whar’ shall I be?Whar’ shall I be when de fust trumpet sounds?Whar’ shall I be when it sounds so loud?When it sound so loud that it wake up the dead,Whar’ shall I be when it sounds?Well God showed Noar de rainbow sign,Whar’ shall I be?No more water but fire nex’ time,Whar’ shall I be?Mathew, Mark, Luke and John,Whar’ shall I be?Tole me whar’ my Saviour gone;Whar’ shall I be?John declar’d he saw a man,Whar’ shall I be?Wid seben lamps in his right han’,Whar’ shall I be?
The exact meaning of the following song could not be ascertained. It is apparently derived from some idea of the scriptural invocation and blessing upon the disciples. It is said to have a special message to the preacher, and is sometimes represented as being the words of God; at other times the encouragement of a friend and the reply.
Go and I will go with you;Open your mouth and I’ll speak for you;If I go and tell them what you say they won’t believe me.Shout and I shout with you;Throw out your arms and I catch you;If they see you going with me, they won’t believe on you.So it’s go and I go with you;Open your mouth and I speak for you,Shout and I shout with you,Throw out your arms and I catch you,If I go and tell them what you say they won’t believe me.
Another song of the modern type seems to appeal to the negroes very strongly. Again he is seeing a vivid picture of the Christ in the long years ago. But just where he gets the exact ideas by which to make the combinations is a little doubtful. Perhaps he gets the central thought from the miracle of Cana.
If my mother ask you for me, tell her I gone to Gallerlee,I ought to a been there four thousand years ago,To drink of the wine.Drinkin’ of the wine, drinkin’ of the wine,Drinkin’ of the wine, Drinkin’ of the wine,Christ was there four thousand years ago,Drinkin’ of the wine.You may mourn, sinner, mourn, the Lord help you to mourn,Christ was there four thousand years ago,Drinkin’ of the wine.
So, too, you maymoan,weep,cry,pray,brother,sister,father,mother,backslider, and any others that the singer happens to think of, and the chorus, “Drinkin’ of the wine,” is the favorite refrain. Again in “The Blind Man” the picture is one of confusing the scriptural scenes with those of the present, and of placing himself in the stead of the central character of the story.
Well the blind man stood by the grave and cried,Well the blind man stood by the wave and cried,Yes, the blind man stood by the wave and cried.He cried, “O Lord, don’t you hear po’ me?”Hark, the blind man stood by the wave and cried,He cried, “O Lord, don’t you hear po’ me?”Brother don’t you hear the blind cries, blind cries?Brother don’t you hear the blind cries, blind cries?O brother, don’t you hear the blind cries?Jesus he give de blind man sight, blind man sight,Jesus he give de blind man sight, blind man sight,Yes, Jesus he give de blind man sight.
He also sings “sister, don’t you hear,” etc.,brother,father,preacher. A peculiar modification of “Walking in the Light” is the song of the same name among the negroes, which seems to have its origin in the scriptural injunction, “Ye are the light of the world.”
Let yo’ light shine all over the world,Walkin’ in the light, beautiful light.Mos’ wonderful light, shine by night,Let yo’ light shine all over the world.I am the light, most pitiful light,Let yo’ light shine all over the world.Follow the light, mos’ beautiful light,Let yo’ light shine all over the world.Sinner, what you gwine do when the lamp stops burnin’,Let yo’ light shine all over the world?
The negro prays to be remembered at Calvary; so, too, he asks to remember Calvary and the Lord. A single fragment of the old song remains:
O Lord remember me, remember Calvary,For without any doubt and you remember the Lord,I pray thee, Lord, remember me,O Lord, remember me, remember Calvary.
The “Pilgrim’s song” that has been considered so beautiful is still a favorite; the words of the stanzas differ little. It may be called a standard hymn of the negroes. There is a story that Bishop Allen, the founder of the A. M. E. church, composed the song on his dying bed. He was very well educated and a man of considerable ability and feeling. While the sadly hopeful words of the song are of a higher type than the average spiritual, and while its metrical form is far above the usual, the song still combines many of the ideas and phrases of the favorite spirituals of the slaves. One of these songs,“I hope my mother will be there, In that beautiful world on high”, embodies the same sentiment and in similar words. Another, “Give ’way Jordan, I want to go across to see my Lord. I heard sweet music, I wish dat music would come here”, represents the other part of the song. The Pilgrim’s song as it is found is: