The Souls of Black Folk - W. E. B. Du Bois (free e reader txt) 📗

we catch a strange word of an unknown tongue, as the “Mighty Myo,” which figures as a river of death; more often slight words or mere doggerel are joined to music of singular sweetness. Purely secular songs are few in number, partly because many of them were turned into hymns by a change of words, partly because the frolics were seldom heard by the stranger, and the music less often caught. Of nearly all the songs, however, the music is distinctly sorrowful. The ten master songs I have mentioned tell in word and music of trouble and exile, of strife and hiding; they grope toward some unseen power and sigh for rest in the End.

The words that are left to us are not without interest, and, cleared of evident dross, they conceal much of real poetry and meaning beneath conventional theology and unmeaning rhapsody. Like all primitive folk, the slave stood near to Nature’s heart. Life was a “Rough and Rolling Sea.” like the brown Atlantic of the Sea Islands; the “Wilderness” was the home of God, and the “Lonesome Valley” led to the way of life. “Winter’ll Soon Be Over,” was the picture of life and death to a tropical imagination. The sudden wild thunderstorms of the South awed and impressed the Negroes⁠—at times the rumbling seemed to them “mournful,” at times imperious:

“My Lord calls me,
He calls me by the thunder,
The trumpet sounds it in my soul.”

The monotonous toil and exposure is painted in many words. One sees the ploughmen in the hot, moist furrow, singing:

“Dere’s no rain to wet you,
Dere’s no sun to burn you,
Oh, push along, believer,
I want to go home.”

The bowed and bent old man cries, with thrice-repeated wail:

“O Lord, keep me from sinking down,”

and he rebukes the devil of doubt who can whisper:

“Jesus is dead and God’s gone away.”

Yet the soul-hunger is there, the restlessness of the savage, the wail of the wanderer, and the plaint is put in one little phrase:

Over the inner thoughts of the slaves and their relations one with another the shadow of fear ever hung, so that we get but glimpses here and there, and also with them, eloquent omissions and silences. Mother and child are sung, but seldom father; fugitive and weary wanderer call for pity and affection, but there is little of wooing and wedding; the rocks and the mountains are well known, but home is unknown. Strange blending of love and helplessness sings through the refrain:

“Yonder’s my ole mudder,
Been waggin’ at de hill so long;
’Bout time she cross over,
Git home bime-by.”

Elsewhere comes the cry of the “Motherless” and the “Farewell, Farewell, My Only Child.”

Love-songs are scarce and fall into two categories⁠—the frivolous and light, and the sad. Of deep successful love there is ominous silence, and in one of the oldest of these songs there is a depth of history and meaning:

A black woman said of the song, “It can’t be sung without a full heart and a troubled sperrit.” The same voice sings here that sings in the German folksong:

“Jetz Geh i’ an’s brunele, trink’ aber net.”

Of death the Negro showed little fear, but talked of it familiarly and even fondly as simply a crossing of the waters, perhaps⁠—who knows?⁠—back to his ancient forests again. Later days transfigured his fatalism, and amid the dust and dirt the toiler sang:

“Dust, dust and ashes, fly over my grave,
But the Lord shall bear my spirit home.”

The things evidently borrowed from the surrounding world undergo characteristic change when they enter the mouth of the slave. Especially is this true of Bible phrases. “Weep, O captive daughter of Zion,” is quaintly turned into “Zion, Weep-a-Low,” and the wheels of Ezekiel are turned every way in the mystic dreaming of the slave, till he says:

“There’s a little wheel a-turnin’ in-a-my heart.”

As in olden time, the words of these hymns were improvised by some leading minstrel of the religious band. The circumstances of the gathering, however, the rhythm of the songs, and the limitations of allowable thought, confined the poetry for the most part to single or double lines, and they seldom were expanded to quatrains or longer tales, although there are some few examples of sustained efforts, chiefly paraphrases of the Bible. Three short series of verses have always attracted me⁠—the one that heads this chapter, of one line of which Thomas Wentworth Higginson has fittingly said, “Never, it seems to me, since man first lived and suffered was his infinite longing for peace uttered more plaintively.” The second and third are descriptions of the Last Judgment⁠—the one a late improvisation, with some traces of outside influence:

“Oh, the stars in the elements are falling,
And the moon drips away into blood,
And the ransomed of the Lord are returning unto God,
Blessed be the name of the Lord.”

And the other earlier and homelier picture from the low coast lands:

“Michael, haul the boat ashore,
Then you’ll hear the horn they blow,
Then you’ll hear the trumpet sound,
Trumpet sound the world around,
Trumpet sound for rich and poor,
Trumpet sound the Jubilee,
Trumpet sound for you and me.”

Through all the sorrow of the Sorrow Songs there breathes a hope⁠—a faith in the ultimate justice of things. The minor cadences of despair change often to triumph and calm confidence. Sometimes it is faith in life, sometimes a faith in death, sometimes assurance of boundless justice in some fair world beyond. But whichever it is, the meaning is always clear: that sometime, somewhere, men will judge men by their souls and not by their skins. Is such a hope justified? Do the Sorrow Songs sing true?

The silently growing assumption of this age is