And encouraged by the happy putting in to this new song an old verse, the singer proceeds to put in as many as he wishes; then in his desire for rhythm and his habit of repetition, together with the cries of “amen” or “Lord” the chorus often becomes: “My Lord, blessed be the name of the Lord.” The outcome of such a chorus may be seen in the song already cited: “Lor’ bless the Name.”
In the effort to make new songs or to appropriate songs themselves, the negroes are thus constantly introducing various songs into their worship. The most common method, that of having the song printed on a single sheet for distribution, has already been mentioned. And as was there suggested, these songs are often verses taken at random from song books or poems, and put into song form. In most cases such songs are varied in such a way that the song may both meet the demand for a song of its kind and at the same time appear original. Some, indeed, are purely original productions, some of which have been cited. Just between the “spirituals” and the standard hymns are these innovation songs. They show well the circumstances which they represent. The effort is often made by members of the younger generation of negroes to substitute the new songs, together with the standard hymns for the old spirituals. They represent a step forward; young educated negroes do not like to be heard singing the simple spirituals. They claim that they are songs of the past, and, as such only, are they beautiful. The following song, given in the exact form in which it was distributed, will serve to illustrate.
BLESSED HOPE.
By Rev. W. E. Bailey.
Blessed hope that in Jesus is given,
All our sorrow to cheer and sustain,
That soon in the mansions of heaven
We shall meet with our loved ones again.
Blessed hope, blessed hope,
We shall meet with our loved ones again,
Blessed hope, blessed hope,
We shall meet with our loved ones again.
Blessed hope in the word God has spoken,
All our peace by that word we obtain,
And as sure as God’s word was never broken,
We shall meet with our loved ones again.
Blessed hope how it shines in our sorrows,
Like the star over Bethlehem’s plain,
We will see our Lord ere the morrow,
We shall meet with our loved ones again.
Blessed hope the bright star of the morning,
That shall herald his coming to reign,
He will come and reward all the faithful,
We shall meet with our loved ones again.
(Sung by Rev. J. T. Johnson.)
Such a song is neither sung to an old melody nor a new tune; it is not a spiritual; it is scarcely native nor yet borrowed. It represents the general result that comes from a free intermingling of all. To such a song there may be any number of tunes; likewise there are a great many such songs introduced and may be sung alike to simple tunes. A tune is as easily selected and rendered as are the words; words are as easily improvised, or written with some care, as the melodies are natural. But they appeal less strongly to the negroes as a rule for the simple reason that “they don’t put a feelin’ in you like the old songs.”
Thus the negro’s religion is dependent upon feeling; song facilitates and intensifies the feelings, and song is the essential joy of much of the negro’s life. Whenever and wherever occasion demands religious manifestation, the song is the prerequisite. Not only at the church, but at lodge celebrations, funerals and memorial services, the song begins the process of “putting a feelin’” in the congregation. Again, the stress of the negro’s religion is placed upon the supernatural and the life that lies beyond his present sphere. A religious attitude is scarcely conceived by the negro without the fundamental conception of the next world. Thus is life contrasted with heaven and hell; the sinner and the righteous are but temporary; so will the souls of all one day sing with Jehovah the songs that the angels love; and there will be feeling there, too. It is thus that the central themes of the negro’s religious songs reveal both his religious nature and his mental attitude, together with the emotional characteristics that predominate. And it is easily seen that the negro’s imagery and imagination are scarcely surpassed. His religious fervor depends upon the reality of such imagery; the folk-song reflects this imagery as nothing else does. Again, the negro’s sense of sin is ever present in a feeling of guilt in the struggle between himself and the real or the imaginary; consequently he insures himself against a final sense of guilt by strong declarations of his righteousness as opposed to the sinner’s state. His sense of sin thus becomes less practical; it is rather an imaginative expression of a religious feeling. As the clearest exponent of the negro’s real self, the folk song reveals the heart of his psychic nature; it is indeed a witness to the fact that “’Ligion’s so sweet”. Does he not sing well and truthfully?
I jus’ got home f’um Jordan,
I jus’ got home f’um Jordan,
I jus’ got home f’um Jordan,
’Ligion’s so-o-o sweet.
My work is done an’ I mus’ go,
My work is done an’ I mus’ go,
My work is done an’ I mus’ go,
’Ligion’s so-o-o sweet.
Footnotes:
[1] This paper presents in substance the contents of Chapters I and II of a study on “Negro Folk-Song and Character,” with other chapters as follows: Chapter III, The Negro’s Social and Secular Songs; Chapter IV, Types of Social Songs among the Negroes; Chapter V, Work Songs and Phrases; Chapter VI, The Negro’s Mental Imagery; Chapter VII, Negro Character as Revealed in Folk-Songs and Poetry.
[2] See Atlantic Monthly, Vol. XIX, pp. 685 seq., Scribners, Vol. XX, pp. 425 seq., Lippincott’s, Vol. II, 617 seq.
[3] For verses not found in the present-day negro spirituals, see Slave Songs in the United States, W. F. Allen, New York, 1867, The Jubilee Singers, New York, 1873, Plantation and Cabin Songs, New York, 1892.