Martin Luther King Jr. Day Anthology - - (comprehension books .TXT) 📗

wherever folks is, an’ I sets up my banner, an’ then I sings, an’ then folks always comes up round me, an’ then I preaches to ‘em. I tells ‘em about Jesus, an’ I tells ‘em about the sins of this people. A great many always comes to hear me; an’ they’re right good to me, too, an’ say they want to hear me agin.”

 

We all thought it likely; and as the company left her, they shook hands with her, and thanked her for her very original sermon; and one of the ministers was overheard to say to another, “There’s more of the gospel in that story than in most sermons.”

 

Sojourner stayed several days with us, a welcome guest. Her conversation was so strong, simple, shrewd, and with such a droll flavoring of humor, that the Professor was wont to say of an evening, “Come, I am dull, can’t you get Sojourner up here to talk a little?” She would come up into the parlor, and sit among pictures and ornaments, in her simple stuff gown, with her heavy travelling-shoes, the central object of attention both to parents and children, always ready to talk or to sing, and putting into the common flow of conversation the keen edge of some shrewd remark.

 

“Sojourner, what do you think of Women’s Rights?”

 

“Well, honey, I’s ben to der meetins, an’ harked a good deal. Dey wanted me for to speak. So I got up. Says I,—‘Sisters, I a’n’t clear what you’d be after. Ef women want any rights more ‘n dey’s got, why don’t dey jes’ TAKE ‘EM, an’ not be talkin’ about it?’

Some on ‘em came round me, an’ asked why I didn’t wear Bloomers.

An’ I told ‘em I had Bloomers enough when I was in bondage. You see,” she said, “dey used to weave what dey called nigger-cloth, an’ each one of us got jes’ sech a strip, an’ had to wear it width-wise. Them that was short got along pretty well, but as for me”—She gave an indescribably droll glance at her long limbs and then at us, and added,—“Tell YOU, I had enough of Bloomers in them days.”

 

Sojourner then proceeded to give her views of the relative capacity of the sexes, in her own way.

 

“S’pose a man’s mind holds a quart, an’ a woman’s don’t hold but a pint; ef her pint is FULL, it’s as good as his quart.”

 

Sojourner was fond of singing an extraordinary lyric, commencing,—

 

“I’m on my way to Canada,

That cold, but happy land; The dire effects of Slavery

I can no longer stand.

O righteous Father,

Do look down on me,

And help me on to Canada,

Where colored folks are free!”

 

The lyric ran on to state, that, when the fugitive crosses the Canada line,

 

“The Queen comes down unto the shore, With arms extended wide,

To welcome the poor fugitive

Safe onto Freedom’s side.”

 

In the truth thus set forth she seemed to have the most simple faith.

 

But her chief delight was to talk of “glory,” and to sing hymns whose burden was,—

 

“O glory, glory, glory,

Won’t you come along with me?”

 

and when left to herself, she would often hum these with great delight, nodding her head.

 

On one occasion, I remember her sitting at a window singing and fervently keeping time with her head, the little black Puck of a grandson meanwhile amusing himself with ornamenting her red-and-yellow turban with green dandelion-curls, which shook and trembled with her emotions, causing him perfect convulsions of delight.

 

“Sojourner,” said the Professor to her, one day, when he heard her singing, “you seem to be very sure about heaven.”

 

“Well, I be,” she answered, triumphantly.

 

“What makes you so sure there is any heaven?”

 

“Well, ‘cause I got such a hankerin’ arter it in here,” she said,—

giving a thump on her breast with her usual energy.

 

There was at the time an invalid in the house, and Sojourner, on learning it, felt a mission to go and comfort her. It was curious to see the tall, gaunt, dusky figure stalk up to the bed with such an air of conscious authority, and take on herself the office of consoler with such a mixture of authority and tenderness. She talked as from above,—and at the same time, if a pillow needed changing or any office to be rendered, she did it with a strength and handiness that inspired trust. One felt as if the dark, strange woman were quite able to take up the invalid in her bosom, and bear her as a lamb, both physically and spiritually. There was both power and sweetness in that great warm soul and that vigorous frame.

 

At length, Sojourner, true to her name, departed. She had her mission elsewhere. Where now she is I know not; but she left deep memories behind her.

 

To these recollections of my own I will add one more anecdote, related by Wendell Phillips.

 

Speaking of the power of Rachel to move and bear down a whole audience by a few simple words, he said he never knew but one other human being that had that power, and that other was Sojourner Truth. He related a scene of which he was witness. It was at a crowded public meeting in Faneuil Hall, where Frederick Douglas was one of the chief speakers. Douglas had been describing the wrongs of the black race, and as he proceeded, he grew more and more excited, and finally ended by saying that they had no hope of justice from the whites, no possible hope except in their own right arms. It must come to blood; they must fight for themselves, and redeem themselves, or it would never be done.

 

Sojourner was sitting, tall and dark, on the very front seat, facing the platform; and in the hush of deep feeling, after Douglas sat down, she spoke out in her deep, peculiar voice, heard all over the house,—

 

“Frederick, IS GOD DEAD?”

 

The effect was perfectly electrical, and thrilled through the whole house, changing as by a flash the whole feeling of the audience. Not another word she said or needed to say; it was enough.

 

It is with a sad feeling that one contemplates noble minds and bodies, nobly and grandly formed human beings, that have come to us cramped, scarred, maimed, out of the prison-house of bondage.

One longs to know what such beings might have become, if suffered to unfold and expand under the kindly developing influences of education.

 

It is the theory of some writers, that to the African is reserved, in the later and palmier days of the earth, the full and harmonious development of the religious element in man. The African seems to seize on the tropical fervor and luxuriance of Scripture imagery as something native; he appears to feel himself to be of the same blood with those old burning, simple souls, the patriarchs, prophets, and seers, whose impassioned words seem only grafted as foreign plants on the cooler stock of the Occidental mind.

 

I cannot but think that Sojourner with the same culture might have spoken words as eloquent and undying as those of the African Saint Augustine or Tertullian. How grand and queenly a woman she might have been, with her wonderful physical vigor, her great heaving sea of emotion, her power of spiritual conception, her quick penetration, and her boundless energy! We might conceive an African type of woman so largely made and moulded, so much fuller in all the elements of life, physical and spiritual, that the dark hue of the skin should seem only to add an appropriate charm,—as Milton says of his Penseroso, whom he imagines “Black, but such as in esteem Prince Memnon’s sister might beseem, Or that starred Ethiop queen that strove To set her beauty’s praise above The sea-nymph’s.”

 

But though Sojourner Truth has passed away from among us as a wave of the sea, her memory still lives in one of the loftiest and most original works of modern art, the Libyan Sibyl, by Mr. Story, which attracted so much attention in the late World’s Exhibition.

Some years ago, when visiting Rome, I related Sojourner’s history to Mr. Story at a breakfast at his house. Already had his mind begun to turn to Egypt in search of a type of art which should represent a larger and more vigorous development of nature than the cold elegance of Greek lines. His glorious Cleopatra was then in process of evolution, and his mind was working out the problem of her broadly developed nature, of all that slumbering weight and fulness of passion with which this statue seems charged, as a heavy thunder-cloud is charged with electricity.

 

The history of Sojourner Truth worked in his mind and led him into the deeper recesses of the African nature,—those unexplored depths of being and feeling, mighty and dark as the gigantic depths of tropical forests, mysterious as the hidden rivers and mines of that burning continent whose life-history is yet to be.

A few days after, he told me that he had conceived the idea of a statue which he should call the Libyan Sibyl. Two years subsequently, I revisited Rome, and found the gorgeous Cleopatra finished, a thing to marvel at, as the creation of a new style of beauty, a new manner of art. Mr. Story requested me to come and repeat to him the history of Sojourner Truth, saying that the conception had never left him. I did so; and a day or two after, he showed me the clay model of the Libyan Sibyl. I have never seen the marble statue; but am told by those who have, that it was by far the most impressive work of art at the Exhibition.

 

A notice of the two statues from the London “Athenaeum” must supply a description which I cannot give.

 

“The Cleopatra and the Sibyl are seated, partly draped, with the characteristic Egyptian gown, that gathers about the torso and falls freely around the limbs; the first is covered to the bosom, the second bare to the hips. Queenly Cleopatra rests back against her chair in meditative ease, leaning her cheek against one hand, whose elbow the rail of the seat sustains; the other is outstretched upon her knee, nipping its forefinger upon the thumb thoughtfully, as though some firm, wilful purpose filled her brain, as it seems to set those luxurious features to a smile as if the whole woman ‘would.’ Upon her head is the coif, bearing in front the mystic uraeus, or twining basilisk of sovereignty, while from its sides depend the wide Egyptian lappels, or wings, that fall upon her shoulders. The Sibilla Libica has crossed her knees,—an action universally held amongst the ancients as indicative of reticence or secrecy, and of power to bind. A secret-keeping looking dame she is, in the full-bloom proportions of ripe womanhood, wherein choosing to place his figure the sculptor has deftly gone between the disputed point whether these women were blooming and wise in youth, or deeply furrowed with age and burdened with the knowledge of centuries, as Virgil, Livy, and Gellius say. Good artistic example might be quoted on both sides.

Her forward elbow is propped upon one knee; and to keep her secrets close, for this Libyan woman is the closest of all the Sibyls, she rests her shut mouth upon one closed palm, as if holding the African mystery deep in the brooding brain that looks out through mournful, warning eyes, seen under the wide shade of the strange horned (ammonite) crest, that bears the mystery of the Tetragrammaton upon its upturned front. Over her full bosom, mother of myriads as she was,