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 his brother, sister, preacher and 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.