In Negro folk songs the music and expression are everything. The words, often striking and suggestive, to be sure, represent broken fragments of ideas, thrown up from the depths of the Negroes' consciousness and swept along upon a torrent of wild, weird and often beautiful melody. One reason the verses of the Negro folk songs are so broken and fragmentary is that the Negroes were not yet in secure possession of the English language. Another explanation is the conditions under which they were produced. The very structure of these verses indicate their origin in the communal excitement of a religious assembly. A happy phrase, a striking bit of imagery, flung out by some individual was taken up and repeated by the whole congregation. Naturally the most expressive phrases, the lines that most adequately voiced the deep unconscious desires of the whole people, were remembered longest and repeated most frequently. New lines and variations were introduced from time to time. There was, therefore, a process of natural selection by which the best, the most representative verses, those which most adequately expressed the profounder and more permanent moods and sentiments of the Negro were preserved and became part of the permanent tradition of the race.
Negro melodies still spring up on the plantations of the South as they did in the days of slavery. The Negro is, like the Italian, an improviser, but the songs he produces today have not, so far as my knowledge goes, the quality of those he sang in slavery. The schools have introduced reading, and this, with the reflection which writing enforces, is destroying the folk songs of the Negro, as it has those of other races.
Not only are the Negro folk songs more primitive—in the sense I have indicated—than the folk songs of other peoples with which we are familiar but the themes are different. The themes of the Scotch ballads are love and battles, the adventures and tragedies of a wild, free life. The Negro songs, those that he has remembered best, are religious and other worldly. "It is a singular fact," says Krehbiel, "that very few secular songs—those which are referred to as 'reel tunes,' 'fiddle songs,' 'corn songs' and 'devil songs,' for which slaves generally expressed a deep abhorrence, though many of them no doubt were used to stimulate them while in the fields—have been preserved while 'shout songs' and other 'speritchils' have been kept alive by the hundred."[11]
If it is the plantation melodies that, by a process of natural selection, have been preserved in the traditions of the Negro people, it is probably because in these songs they found a free and natural expression of their unfulfilled desires. In the imagery of these songs, in the visions which they conjure up, in the themes which they again and again renew, we may discern the reflection of dawning racial consciousness, a common racial ideal.
The content of the Negro folk songs has been made the subject of a careful investigation by Howard Odum in his Study of the Social and Mental Traits of the Negro. He says: "The Negro's fancies of 'Heaven's bright home' are scarcely exceeded by our fairy tales. There are silver and golden slippers, crowns of stars, jewels and belts of gold. There are robes of spotless white and wings all bejeweled with heavenly gems. Beyond the Jordan the Negro will outshine the sun, moon and stars. He will slip and slide the golden street and eat the fruit of the trees of paradise.... With rest and ease, with a golden band about him and with palms of victory in his hands and beautiful robes, the Negro will indeed be a happy being.... To find a happy home, to see all the loved ones and especially the Biblical characters, to see Jesus and the angels, to walk and talk with them, to wear robes and slippers as they do, and to rest forever, constitute the chief images of the Negro's heaven. He is tired of the world which has been a hell to him. Now on his knees, now shouting, now sorrowful and glad, the Negro comes from 'hanging over hell' to die and sit by the Father's side."[12]
In the imagery which the Negro chooses to clothe his hopes and dreams, we have, as in the musical idiom in which he expresses them, reflections of the imagination and the temperament of Africa and the African. On the other hand, in the themes of this rude rhapsodical poetry—the House of Bondage, Moses, the Promised Land, Heaven, the apocalyptic visions of Freedom—but freedom confined miraculously and to another world—these are the reflections of the Negro's experience in slavery.
The Negro's songs of slavery have been referred to by Du Bois in his Soul of Black-Folk as sorrow songs, and other writers have made the assertion that all the songs of the slaves were in a plaintive minor key. As a matter of fact, investigation has shown that actually less than twelve per cent of Negro songs are in a minor.[13] There are no other folk songs, with the exception of those of Finland, of which so large a percentage are in the major mood. And this is interesting as indicating the racial temperament of the Negro. It tends to justify the general impression that the Negro is temperamentally sunny, cheerful, optimistic. It is true that the slave songs express longing, that they refer to "hard trials and great tribulations," but the dominant mood is one of jubilation, "Going to sing, going to shout, going to play all over God's heaven."
Other worldliness is not peculiar to the religion of the slave. It is a trait which the slave encountered in the religion of his master. But in the Negro's conception of religion it received a peculiar emphasis. In fact, these ecstatic visions of the next world, which the Negro slave songs portrayed with a directness and simplicity that is at once quaint and pathetic, are the most significant features of the Negro's songs of slavery.
It is interesting to note in this connection that nowhere in these songs do we discover the slightest references to Africa. They reflect no memories of a far off happier land. Before the Negro gained his emancipation Africa had, so far as he was concerned, almost ceased to exist. Furthermore, the whole tone and emphasis of these songs and of all other religious expressions of the American Negro are in marked contrast with the tone and emphasis of African religious ideas. The African knew of the existence of another world, but he was not interested in it. The world, as the African understood it, was full of malignant spirits, diseases and forces with which he was in constant mortal struggle. His religious practices were intended to gain for him immunity in this world, rather than assurance of the next. But the Negro in America was in a different situation. He was not living in his own world. He was a slave and that, aside from the physical inconvenience, implied a vast deal of inhibition. He was, moreover, a constant spectator of life in which he could not participate; excited to actions and enterprises that were forbidden to him because he was a slave. The restlessness which this situation provoked found expression, not in insurrection and rebellion—although, of course, there were Negro insurrections—but in his religion and in his dreams of another and freer world. I assume, therefore, that the reason the Negro so readily and eagerly took over from the white man his heaven and apocalyptic visions was because these materials met the demands of his peculiar racial temperament and furnished relief to the emotional strains that were provoked in him by the conditions of slavery.