Chapter IV: Part 4

Well, my mother's goin' to heaven,
She's goin' to outshine the sun, _O Lord_,
Well, my mother's goin' to heaven,
She's goin' to outshine the sun,
Yes, my mother's goin' to heaven to outshine the sun,
An' it's way beyon' the moon.

You got a home in the promise lan',
Goin' to outshine the sun, _O Lord_,
An' it's way beyon' the moon.

The crown that my Jesus give me,
Goin' to outshine the sun, _my Lord_,
An' it's way beyond the moon.

Goin' to put on my crown in glory,
An' outshine the sun, _O Lord_.
'Way beyon' de moon.

Other verses sing of putting on slippers, long white robe, in each case the singer is to "outshine the sun." The dazzling splendor of it all makes anticipation full of staying qualities; it makes the picture one of reality because of the vigor of an imaginative power. Who knows if the negroes often dream of the grandeurs of the sky?

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.

In addition to the above stanzas the Jubilee singers added others. They heard the bell and whistle and "she's playin' all her steam an' power." The rhyme and imagery of the old song struck a more responsive chord than the present song; this is due to the fact that the negro of to-day sings his railroad songs and enjoys them in his secular music. There he pictures the train with such vividness that the train may be easily heard and seen in his imagination. Other verses of the _Gospel Train_ as it was sung by the Jubilee singers are:

There's Moses and Noah and Abraham,
And all the prophets, too,
Our friends in Christ are all on board,
O what a heavenly crew.

We soon shall reach the station,
O how we then shall sing,
With all the heavenly army,
We'll make the welkin ring.

She's nearing now the station,
O sinner, don't be vain,
But come an' get your ticket,
And be ready for the train.

No signal for the other train,
To follow on the line,
O sinner, you're forever lost,
If once you're left behind.

While the song as reported by the Jubilee singers does not possess the mere characteristics of form and dialect, it nevertheless appeals to the negroes and it is sometimes sung. One of the fears of the negro is that others may go to heaven and he be left behind. This, as has been indicated, constitutes the sum total of misery. So he has a number of songs in which he expresses this feeling and prays that he may not be left behind in the race of life for the eternal goal. One of the most touching of these songs represents the negro as an orphan who is unwilling to stay alone in the world:

My muther an' my father both are daid, both are daid,
My muther an' my father both are dead,
My mother an' my father both are dead,
Good Lord, I cannot stay here by merself.

_I'm er pore little orphan chile in de worl', chile in de worl',
I'm er pore little orphan chile in the worl',
I'm a pore little orphan chile in de worl',
Good Lord, I cannot stay here by merself._

De train done whistled an' de cars done gone, cars done gone,
De train done whistled an' de cars ere gone,
De train done whistled an' de cars ere gone,
_Ezekiel_, I cannot stay here by merself.

My brothers an' my sisters are all gone, all gone,
My brothers an' my sister're all gone, all gone,
My brothers an' sisters all are gone,
_Mer Jesus_, I cannot stay here by merself.

Git me ticket fer de train, fer de train,
Git me ticket fer de train,
_I got_ mer ticket fer de train,
_Thank God_, I _ain't gwine_ stay here by merself.

Very much like the song just given the negroes used to sing: "Dar's room in dar, room in dar, room in de heaven, Lord, I can't stay behin'". So, too, "I can't or don't want to stay here no longer" are common and classic verses of negro song. Again they sang the "good news" because "De chariot's comin', I doan want her to leave a-me behind, Gwine get upon dat chariot, Carry me home". In a prayer the negro sang: "Jesus, don't leave me behind". In his songs to-day the negro says:

Dear brother, don't you leave,
Dear brother, don't you leave,
This ole world's a hell to me.

_This ole world's a hell to me,
This ole world's a hell to me._

Yes, I bleedzed to leave this world,
Yes, I bleedzed to leave this world,
Sister, I's bleedzed to leave this world,
For it's a hell to me.

While the old negroes used to sing "Oh brother, sisters, mourners, don't stay away, For my Lord says there's room enough", the modern negro sings "You can't stay away".

_Sister, you can't stay away,
Sister, you can't stay away,
Sister, you can't stay away, stay away._

My Lord is a callin' an' you can't stay away,
My Lord is a callin' an' you can't stay away,
Yes, my Lord is a callin' an' you can't stay away,
An' you can't stay away.

King Jesus is a ridin' an' you can't stay away,
_O preacher, you can't stay away_.

There have been a great many versions of the song "Ole Ship of Zion", none of which differ materially. The four or five versions most common in the slave and plantation song represented the Ship of Zion somewhat as follows: "She has landed many a thousand, She can land as many more, Do you think she will be able, For to take us all home? You can tell 'em I'm comin' home", "Dis de good ole ship of Zion, An' she's maken' fer de promise lan'. She hab angels fer de sailors. An' how you know dey's angels? Dat ship is out a sailin' she's a sailin' mighty steady. She'll neither reel nor totter, She's a sailin' 'way cold Jordan. King Jesus is de captain, captain". "De gospel ship is sailin', O Jesus is de captain, De angels are de sailors, O is yo' bundle ready? O have you got yo' ticket!" Another version has "her loaded down with angels"; Another "wid a-bright angels". Another asks what ship is that "you're enlisted upon"? and answers that it is the "Good ship of Zion", which "sails like she's heavy loaded", and "has King Jesus for the captain", and "the Holy Ghost is de pilot" The coast negroes had many songs that originated in ideas suggested by the boats. To-day the river negroes have songs of their own, but they do not go into the church songs. The Old Ship of Zion, however, is sung, but only as a remnant of the former song, less elaborate.

This ole ship is a reelin' an' a rockin',
This ole ship is a reelin' an' a rockin' rockin' rockin'
Makin' fer de promise lan'.

While the negro sings, he sees the ship reelin' an' rockin', and repeats these phrases enough and in a rhythmic manner, so that he imitates the imagined motion of the ship. The other stanzas of the song are practically the same as those of the earlier days.

_O my Lord, shall I be the one?
O my Lord, shall I be the one?
O my Lord, shall I be the one?
Makin' for the promise lan'?_

Yes, 'tis that good ole ship of Zion, of Zion,
Yes, 'tis that good ole ship of Zion, of Zion,
Yes, 'tis that good ole ship of Zion,
Makin' for the promise lan'.

O the ship is heavy loaded, loaded, loaded,
Makin' for the promise lan'.
It's loaded with many er thousand, thousand, thousand,
Makin' fer the promise lan'.

"This ole worl's a rollin'" is most likely a figure of the ship and modelled on the same song. However, it conveys a different idea, one of judgment and the end of the world. The negro sings:

Well the ole worl' is a rollin', rollin', rollin',
Yes, the ole worl' is rollin', rollin' away.

Well ain't you goin' to get ready?
Yes, ain't you goin' to get ready? for it's rollin' away.

Well get on board little children, children, children,
Well get on board, for this ole worl's rollin' away.

He sings for the _sinner_, _mourner_, and all his _friends_ and _relatives_ to get on board the world as she rolls away. It reminds one somewhat of the song once current among the negroes: "O de ole ferry boat stan' a-waitin' at de landin', Chilluns we'se all gwine home". The same feeling of motion and the end of the world as is indicated in the moving of the train, ship, and the world itself is also reflected in the opening of the graveyards and the rolling of the hearse wheel. The same rhythmic effect of motion and words give a strikingly appropriate attitude to the singer.

O the lightening flashin' an' the thunder rollin', rollin', rollin',
O the lightening flashin' an' thunder rollin', rollin', rollin',
O the light'ning flashin' an' thunder rollin',
Lawd, I know my time ain't long; Lawd, I know my time ain't long.

The hearse wheel rollin' an' graveyard openin', openin', openin',
The hearse wheel rollin' an' graveyard openin', openin', openin',
The hearse wheel rollin' an' the graveyard openin',
Lawd, I know my time ain't long, my time ain't long.

And very much like the above song is "Every Day". However, it is so similar to other songs that one concludes that it is only a putting together of what the singer already knew. The Bahama negroes have a song, "If hev'ry day was judgment day", that is almost exactly the same in meaning as this one. The song, however, is a powerful one and seems to be gaining in popularity.

Well the hearse wheel rollin',
_Every day, every day_,
Carryin' yo' brother to the graveyard,
Every day, every day--_move, Zion, move_.

Well ain't it a pity, pity?
Every day, every day,
Well ain't it a pity, ain't it a pity?
Every day, every day, _move, Zion, move_.

Well they're carryin' a sinner, sinner,
Every day, every day,
Yes, they're carryin' a sinner,
Every day, every day, _move, Zion, move_.

Move, Zion, move, for you got to go to judgment,
Every day, every day,
Move, Zion, move, for you got to go to judgment,
Every day, every day, _move, Zion, move_.

The getting of mail, and especially of letters, usually means much to the negroes; perhaps simply because they receive little mail. To have a letter from a distinguished person is superlative honor and the recipient usually makes the fact known generally. Just how the negro conceived of receiving letters from God, or why he imagined the angels and apostles as writing letters does not appear clear. One gets a letter, another reads it; one writes a letter and all know its contents. Such a reference is found in a number of songs, that serve as a warning or admonition.

Well my mother got a letter, O yes,
Well she could not read it, O yes,
What you reckon that letter said?
That she didn't have long to stay here.

_Won't you come, won't you come?
Won't you come an' get ready to die?
Won't you come, for my Lord is callin' you?_

How do you know that my Lord is callin', O yes?
If you look at this letter, O yes,
You see it come from the Hebrews, O yes,
Won't you come, for my Lord is callin' you.

Perhaps the idea of the letter came from the _epistles_ of the New Testament. John and Peter wrote letters; Mary and Martha read them. The letters of the Hebrews and Ephesians are spoken of. The idea "It just suits me" seems to have sprung up from satisfaction in reading the "word" or in hearing the sermon and praying in the usual way.

John wrote a letter and he wrote it in haste,
_An' it jus' suit me_:
John wrote a letter and he wrote it in haste,
_An' it jus' suit me_.

John wrote a letter and he wrote it in haste,
If yer want to go to heaven yer better make haste,
_An' it jus' suit me_.

I'll tell you a little thing that was in that letter,
_An' it jus' suit me_.
I'll tell you a little thing that was in John's letter,
The Holy Ghost came to make us better,
_An' it jus' suit me_.

In the same form and repetition are sung other stanzas, all of which "suit" the negroes pretty well.

If this isn't the Holy Ghost I don't know,
I never felt such a love befo',
_But it jus' suit me_.

O my brother, you oughter been at de pool,
To see me put on my gospel shoes,
_An' it jus' suit me_.

Ezekiel said he spied the train a comin',
We got on board an' she never stopped runnin',
_An' it jus' suit me_.

This kind er religion is better than gold,
It's better felt than ever told,
_An' it jus' suit me_.

I tell you a little thing you can't do,
You can't serve God and the devil, too,
_But it jus' suit me_.

When trouble is done an' conflict have passed,
I rise to reign in peace at last,
_An' it jus' suit me_.

By this time the singers are happy enough and the preacher joins them in shouting, "Yes, brethren, it just suits me." It is gratifying to the negroes that their sins have been "washed in the blood of the Lamb", as indeed it ought to be. Perhaps they give it its undue prominence without thought; for they have no conception of the seriousness of their claims. The negro singers have exhibited a characteristic specimen of their _word combinations_, _concrete pictures_, and _theological principles_ in their song, "De blood done sign my name."

_O de blood, O de blood,
O de blood done sign my name;
O Jesus said so, Jesus said so,
O de blood done sign my name._

I believe it for God he tole me,
_That the blood done sign my name_,
I believe it for God he tole me,
_That the blood done sign my name,
Yes, the blood done sign my name_.

How do you know so, God he said so
_That the blood done sign my name_.

Well it's written in de Kingdom,
_That the blood done sign my name_.

Well in de Lamb's book it is written,
_That the blood done sign my name_.

Well the wheels a turnin', wheels a turnin',
_Blood done sign my name_.

I'm boun' for glory, boun' for glory,
_The blood done sign my name_.

On de mountain, on de mountain,
_The blood done sign my name_.

In the valley, in the valley,
_Blood done sign my name_.

But the Christian does not have an easy time after his conversion. Satan is always at hand and ready to lead him away if there is a chance. The negro's idea of satan and the devil has been noted. In his march songs the negro imagines that he is marching against his foe; this foe is sometimes satan himself. "The other world is not lak' dis" is a typical marching song.

I er's walkin' 'long de oder day,
De udder worl' is not lak' dis,
I met ole satan on de way,
De udder worl' is not lak' dis,
He said, "Young man, you're too young to pray",
De udder worl' is not lak' dis.

_Tell all dis worl',
Tell all dis worl',
Tell all dis worl',
De odder worl' is not lak' dis._

As I went down in de valley to pray,
De udder worl' is not lak' dis,
I met a little looker on de way,
De udder worl' is not lak' dis,
He said: "Look out fer de Judgment day",
De udder worl' is not lak' dis.

Another marching song that is a rousing one is "Goin' down to Jord'n". It represents, like the one just given, the attributes of satan and his relation to the Christian. The scene as pictured, the army marching on down to Jordan, the imaginary foe, and the rhythm of the song make it a favorite.

Halleluyer to the Lam',
Goin' on down to Jordan,
Lord God's on that givin' han',
Goin' on down to Jordan.

_Goin' down to Jordan,
Goin' down to Jordan,
I got my breas'plate, sword an' shield,
Goin' down to Jordan,
Boldly mar chin' thru' the field,
Goin' on down to Jordan._

I plucked one block out'n satan's wall,
Goin' on down to Jordan,
I heard him stumble an' saw him fall,
Goin' on down to Jordan.

Ole satan's a liar an' a conjurer, too,
Goin' on down to Jordan,
If you don't mind he'll conjure you,
Goin' down to Jordan.

Ole satan mad an' I am glad,
He missed a soul he thought he had.

Ole satan thought he had me fast,
Broke his chain an' I'm free at last.

I've landed my feet on Jordan's sho',
Now I'm free forever mo',
_Goin' on down to Jordan_.

Something has been observed about the negro's attitude toward the crucifixion. The old songs asked: "Wus you dere when dey crucified my Lord? When dey put the crown of thorns on?" and other scenes. In some of the songs the negroes sang "_I wus_ dere when", etc., while still others only affirm the facts. The songs of the present generation of negroes are less vivid and less full of feeling for the suffering of the Master. Some of the verses are similar to those of the plantation songs.

He carried his cross, he carried his cross,
Up Zion hill, up Zion hill,
He carried his cross, he carried his cross,
Up Zion hill, up Zion hill,
He carried his cross up Zion hill, Zion hill, Zion hill.

They put on him the thorny crown (3),
Then they nail my Jesus down,
They nail him down, nail him down, nail him down,
They lif' the cross high in the air (3),
To show the worl' how they nail him there,
How they nail him there, nail him there, nail him there.

A peculiar corruption of this song represents the prodigal son as being in the place of Christ; now it is the prodigal, now it is the Lord. It indicates the manner of the development of many of these songs, and shows something of the insignificance of the words on the minds of the singers. He sings with his holy laugh:

Yes, the prodigal son come home, ha, ha,
Yes, the prodigal son come home, ha, ha,
The prodigal son come home by hisself.

An' they nail him to the cross, ha, ha,
An' they nail him to the cross, ha, ha,
An' they nail him to the cross on that day.

An' the blood come runnin' down, ha, ha,
The blood come runnin' down, ha, ha,
An' the blood come runnin' down, on that day.

An' they kill the fat'nin' calf, ha, ha,
An' they kill the fat'nin' calf, ha, ha,
They kill the fat'nin' calf on that day.

An' they carried my Lord away, ha, ha,
An' they carried my Lord away, ha, ha,
They carried my Lord away, by hisself.

Paul and Silas, Peter and John are models for proper contemplation. One of the old songs represented Peter and Paul as bound in jail. "Togedda dey sung, togedda dey prayed, De Lawd he heard how dey sung an' prayed. Den humble yo'selves, de bell done rung." "Paul an' Silas bound in jail, The Christians pray both night and day," represented another song, one version of which has survived and is current to-day. Most of the song consists in repetitions.

Paul and Silas bound in jail,
Paul and Silas bound in jail,
Paul and Silas bound in jail,
Paul and Silas bound in jail.

Paul did pray one mournful prayer (4).

Don't you wish you could pray like Paul?(4)

He prayed an' the good Lord set him free (4).

Another version prays for the _angels_ to come down and _unlock_ the door of the jail. It has a striking parallel among the secular songs and might have been composed with the idea of the negro in jail as being rescued.

Come down angel with the key,
Come down angel with the key,
My Lord, angel, come down with the key.

Unlock the door for me-e-e,
Unlock the door for me-e-e,
My Lord, unlock the door for me.

Paul and Silas is in jail,
Paul and Silas is in jail,
My Lord, Paul and Silas is in jail.

Unlock the jail-house door,
Unlock the jail-house door-oor,
My Lord, unlock the jail house door.

Among those of the Bible who have been the special subject of song, Noah has a prominent place. References to him have been made already. He is always the hero of the flood. In most of the songs wherein a special character has an important part, it is in the chorus or refrain. So in "Fohty days an' nights", a general mixture of songs and ideas, Noah and the flood make the chorus.

Dey calls bro' Noah a foolish man,
_Fohty days an' nights_,
He built de ark upon de lan',
_Fohty days an' nights_.

_En, ho, ho, didn't it rain?
O yes, you know it did.
Ho, ho, didn't it rain?
O yes, you know it did._

Ole Satan wears a iron shoe,
Hit's fohty days an' nights,
Ef you don't mind gwine slip it on you,
Fohty days an' nights.

Some go to meetin' to put on pretense,
_Fohty days an' nights_,
Until de day ob grace is spent,
_Fohty days an' nights_.

Some go to meetin' to sing an' shout,
_Fohty days an' nights_,
Fo' six months dey'll be turned out,
_Fohty days an' nights_.

I tell you brother an' I tell you twice,
_It's fohty days an' nights_,
My soul done anchored in Jesus Christ,
_Fohty days an' nights_.

If you git dar befo' I do,
_Forty days an' nights_,
Look out fer me I'se comin' too,
_Fohty days an' nights_.

You baptize Peter an' you baptize Paul,
_It's fohty days an' nights_,
But de Lord-God-er-mighty gwine baptize all,
_It's fohty days an' nights_.

Another version in one of the old songs says: "Some go to church to laugh and talk, but dey knows nuthin' 'bout de Christian's walk". "De Ole Ark a-moverin'" was the title of a plantation song which gave the story of Noah and the flood. Noah and his sons "went to work upon dry lan'", and everything went according to the original "plan".

Jes' wait a little while, I'm gwine tell you 'bout de ole ark,
De Lord told Noah for to build him an ole ark,
Den Noah and his sons went to work upon dry lan',
Dey built dat ark jes' accordin' to comman',
Noah an' his sons went to work upon de timber,
De proud begin to laugh the silly to point de finger,
When de ark was finished jes' accordin' to plan,
Massa Noah took his family both animal an' man,
When de rain begin to fall and de ark begin to rise,
De wicked hung round wid der groans and der cries,
Fohty days and fohty nights de rain it kep' a fallin',
De wicked clumb de trees an' for help dey kep' callin',
Dat awful rain she stopped at las', de waters dey subsided,
An' dat ole ark wid all aboard on Ararat rided.

This is the picture which the plantation and slave negro has made for his satisfaction. The present-day song that apparently originated in the above song is less elaborate, having only portions of the old song, and not being much in demand. It, too, is called "Didn't it rain?"

God told Noah 'bout de rainbow sign--
_Lawd, didn't it rain?_
No more water but fier nex' time--
_O didn't it rain? Halleluyer._

_O didn't it rain, O didn't it rain?
Halleluyer, didn't it rain?
Some fohty days an' nights._

Well it rain fohty days an' nights widout stoppin',
_Lawd, didn't it rain?_
The sinner got mad 'cause the rain kept a droppin',
_O didn't it rain? Halleluyer._

Among the most interesting of all the negro spirituals are those which have been composed in recent years. These are significant in their bearing upon the temperament and religion of the present-day negro. These songs are efforts at poetry, while at the same time they unite biblical story with song. How they are often begun and for what purposes they are composed was mentioned in the previous discussion concerning the origin of negro songs. Further analysis of the form may be made in the study of the negro's mental imagery. The following song, which gets its name from the chorus, is entitled "My Trouble is Hard", and was composed by "Sister Bowers". It was printed on a single sheet for distribution; each person who contributed to the collection was entitled to a copy, or a copy could be had for a nickel. She sung her new song to the crowds wherever she went, and then was given a _pro-rata_ of the collections. With the chorus repeated after each stanza, as the negroes always do, it becomes a song of unusual length:

I know a man that was here before Christ,
His name was Adam and Eve was his wife,
I'll tell you how this man lived a rugged life,
Just by taking this woman's advice.

_My trouble is hard, O yes,
My trouble is hard, O yes,
My trouble is hard, O yes,
Yes indeed, my trouble is hard._

Whilst you are sitting on your seat,
Let me tell you something that is sweet,
When all God's people in glory meet,
They will slip and slide the golden street.

Stop young man, I've something to say;
You know you're sinful and why don't you pray?
You're sinning against a sin-venged God,
Who has power to slay us all.

O Lord, aint it a pity--ain't it a shame--
To see how my Lord and Saviour was slain?
I hate to call the murderer's name,
I know they are dead but left the stain.

Read the Scriptures and be content,
You are bound to know what Jesus meant,
John was here before his advent;
Stood in the wilderness and cried "Repent".

Christ called his apostles two by two,
He particularly told them what to do,
Preach my gospel as I command you,
And I'll be with you all the way through.

Just me tell you what David done,
Old man Jesse's youngest son:
He slayed Goliath that mighty one,
Ole Saul pursued him but he had to run.

Ole Saul pursued poor David's life--
It's a mighty good thing he had a wife,
They went to his house and did surround
And she took a rope and let him down.

God called Jonah in a powerful way,
He told old Jonah just what to say;
Tell them people if they don't pray,
I'll destroy the city of Nineveh.

Just let me tell you how this world is fixed,
Satan has got it so full of tricks,
You can go from place to place,
Everybody's runnin' down the colored race.

Almost equally interesting is "That's another Witness for my Lord." It will be noticed in these songs that references and phrases taken from the old songs are often used, but in different combinations. They thus lose their former worth. It will be interesting, too, to compare the negro's religious conceptions of the Bible and God as expressed in these songs with those expressed in the older productions: Has he advanced in his theology?

Read in Genesis, you understand,
Methuselah was the oldest man,
Lived nine hundred and sixty-nine,
Died and went to heaven in due time.

_Methuselah is a witness for my Lord,
Methuselah is a witness for my Lord._

You read about Sampson from his birth,
Strongest man that lived on the earth,
'Way back yonder in ancient times,
He slayed three thousand of the Philistines.

Sampson he went wanderin' about,
For his strength hadn't been found out,
His wife dropped down upon her knees,
Said: "Sampson, tell me where your strength lies, please."

Delila' talked so good and fair;
He told her his strength lie in his hair;
"Shave my head just as clean as your hands,
And my strength'll be like a nachual man's."

_Wasn't that a witness for my Lord?
Wasn't that a witness for my Lord?_

Isaiah mounted on de wheel o'time,
Spoke to God-er-mighty way down the line:
Said, "O Lord, to me reveal,
How can this vile race be healed?"

God said: "Tell the sons of men,
Unto them'll be born a king,
Them that believe upon his Way,
They shall rest in the latter day."

_Isaiah was a witness for my Lord,
Isaiah was a witness for my Lord._

There was a man amongst the Pharisees,
Named Nicodemus and he didn't believe,
He went to the Master in the night,
And told him to take him out er human sight.

"You are the Christ, I'm sure it's true,
For none do de miracles dat you do,
But how can a man, now old in sin,
Turn back still and be born again?"

Christ said, "Man, if you want to be wise,
You'd better repent and be baptized;
Believe on me, the Son of Man,
Then you will be born'd again."

_Wasn't that a witness for my Lord?
Wasn't that a witness for my Lord?_

"After 'While" gives a slightly different form of verse, but with somewhat the same characteristics in other respects as those just given. There is little regularity in the metrical arrangement, but it makes a good song.

The worl' is full of forms and changes,
It's just now so confuse,
You will find some danger
In everything you use:
But this is consolation to every blood washed child,
God's goin' to change our station after while.

_Afterwhile, afterwhile,
God's goin' to change our station, afterwhile._

The devil tries to throw down
Everything that's good,

He'd fix a way to confine
The righteous if he could,
Thanks be to God almighty, he cannot be beguiled,
Ole satan will be done fightin' afterwhile.

Some men and women who help the world along,
By constantly complaining of everything that's done,
They want to be called Christians and all their badness hide,
God's goin' to open the secret afterwhile.

Preachers in their sermons stand up and tell the truth,
They'll go about and murmur with slander and abuse;
They want the whole arrangement to suit their selfish style,
God's goin' to rain down fire afterwhile.

In a general mixture of old song and new song, of old traits and new traits, the negro sings a beautiful song which he has called: "Whar' shall I be?" The usual imagery is seen.

Moses lived til he got old,
_Whar' shall I be?_
Buried in de mountain, so I'm told,
_Whar' shall I be?_

_Whar' shall I be when de fust trumpet sounds?
Whar' shall I be when it sounds so loud?
When it sound so loud that it wake up the dead,
Whar' shall I be when it sounds?_

Well God showed Noar de rainbow sign,
Whar' shall I be?
No more water but fire nex' time,
Whar' shall I be?

Mathew, Mark, Luke and John,
Whar' shall I be?
Tole me whar' my Saviour gone;
Whar' shall I be?

John declar'd he saw a man,
Whar' shall I be?
Wid seben lamps in his right han',
Whar' shall I be?

The exact meaning of the following song could not be ascertained. It is apparently derived from some idea of the scriptural invocation and blessing upon the disciples. It is said to have a special message to the preacher, and is sometimes represented as being the words of God; at other times the encouragement of a friend and the reply.

Go and I will go with you;
Open your mouth and I'll speak for you;
If I go and tell them what you say they won't believe me.

Shout and I shout with you;
Throw out your arms and I catch you;
If they see you going with me, they won't believe on you.

So it's go and I go with you;
Open your mouth and I speak for you,
Shout and I shout with you,
Throw out your arms and I catch you,
If I go and tell them what you say they won't believe me.

Another song of the modern type seems to appeal to the negroes very strongly. Again he is seeing a vivid picture of the Christ in the long years ago. But just where he gets the exact ideas by which to make the combinations is a little doubtful. Perhaps he gets the central thought from the miracle of Cana.

If my mother ask you for me, tell her I gone to Gallerlee,
I ought to a been there four thousand years ago,
To drink of the wine.

_Drinkin' of the wine, drinkin' of the wine,
Drinkin' of the wine, Drinkin' of the wine,
Christ was there four thousand years ago,
Drinkin' of the wine._

You may mourn, sinner, mourn, the Lord help you to mourn,
Christ was there four thousand years ago,
Drinkin' of the wine.

So, too, you may _moan_, _weep_, _cry_, _pray_, _brother_, _sister_, _father_, _mother_, _backslider_, and any others that the singer happens to think of, and the chorus, "Drinkin' of the wine," is the favorite refrain. Again in "The Blind Man" the picture is one of confusing the scriptural scenes with those of the present, and of placing himself in the stead of the central character of the story.

Well the blind man stood by the grave and cried,
Well the blind man stood by the wave and cried,
Yes, the blind man stood by the wave and cried.

He cried, "O Lord, don't you hear po' me?"
Hark, the blind man stood by the wave and cried,
He cried, "O Lord, don't you hear po' me?"

Brother don't you hear the blind cries, blind cries?
Brother don't you hear the blind cries, blind cries?
O brother, don't you hear the blind cries?

Jesus he give de blind man sight, blind man sight,
Jesus he give de blind man sight, blind man sight,
Yes, Jesus he give de blind man sight.

He also sings "_sister_, don't you hear," etc., _brother_, _father_, _preacher_. A peculiar modification of "Walking in the Light" is the song of the same name among the negroes, which seems to have its origin in the scriptural injunction, "Ye are the light of the world."

Let yo' light shine all over the world,
Walkin' in the light, beautiful light.

Mos' wonderful light, shine by night,
Let yo' light shine all over the world.

I am the light, most pitiful light,
Let yo' light shine all over the world.

Follow the light, mos' beautiful light,
Let yo' light shine all over the world.

Sinner, what you gwine do when the lamp stops burnin',
Let yo' light shine all over the world?

The negro prays to be remembered at Calvary; so, too, he asks to remember Calvary and the Lord. A single fragment of the old song remains:

O Lord remember me, remember Calvary,
For without any doubt and you remember the Lord,
I pray thee, Lord, remember me,
O Lord, remember me, remember Calvary.

The "Pilgrim's song" that has been considered so beautiful is still a favorite; the words of the stanzas differ little. It may be called a standard hymn of the negroes. There is a story that Bishop Allen, the founder of the A. M. E. church, composed the song on his dying bed. He was very well educated and a man of considerable ability and feeling. While the sadly hopeful words of the song are of a higher type than the average spiritual, and while its metrical form is far above the usual, the song still combines many of the ideas and phrases of the favorite spirituals of the slaves. One of these songs, "I hope my mother will be there, In that beautiful world on high", embodies the same sentiment and in similar words. Another, "Give 'way Jordan, I want to go across to see my Lord. I heard sweet music, I wish dat music would come here", represents the other part of the song. The Pilgrim's song as it is found is:

I am a poor way-faring stranger,
While journeying through this world of woe,
But there is no sickness, toil, nor danger,
In that bright world to which I go.

_I'm going there to see my classmates,
They said they'd meet me when I come,
I'm just a going over Jordan,
I'm just going over home._

I know dark clouds'll gather round me,
I know my road is rough and steep,
Yet there bright fields are lying just before me,
Where God's redeemed and vigils keep.

_I'm going there to see my mother,
She said she'd meet me when I come,
I'm just going over Jordan,
I'm just a going over home._

I'll soon be free, free every trial,
My body will sleep in the old churchyard.
I'll quit the cross of self-denial,
And enter in my great reward.

_I'm going there to see my mother,
She said she'd meet me when I come,
I'm just a going over Jordan,
I'm just going over home._

The only differences in the versions of the old song and its present form is the substitution of "But" for "yet", "and" for "their", and "free" for "from", "drop" for "quit" in the various lines. Very much in the same class of song is "Steal Away". The present version is much the same in general as the old, of which there were several, differing only in minor details. There is in some of the church song books a version of the song; however, the most common verses now sung are:

O the green trees a-bowin',
An' po' sinner stan' tremblin',
Well the trumpet soun' in my soul,
An' I ain't got long to stay here.

_O steal away, steal away,
O steal away to my Jesus,
Steal away, steal away,
For I ain't got long to stay here._

My Lord is a callin',
Po' sinner he can't answer,
Well, the trumpet sound in my soul,
An' I ain't got long to stay here.

One of the most beautiful and at the same time simple and pathetic songs of the negroes is "Heal me, Jesus". Here the negro is at his typical best in prayer: without pretension, without reserve, claiming nothing, he simply pleads for his desire.

O Lord, I'm sick an' I want to be healed,
O Lord, I'm sick an' I want to be healed,
O Lord, I'm sick an' I want to be healed,
O Lord, I'm sick an' I want to be healed.

_Heal me Jesus, heal me Jesus,
Along the heavenly way,
Heal me Jesus, heal me Jesus,
Along the heavenly way._

O Lord, I'm blind an' I want to see,
O Lord, I'm blin' an' I wan' ter see,
O Lord, I'm blin' an' I wan' 'er see,
Heal me Jesus along the heavenly way.

O Lord, I'm crippl'd an' I wan' 'er walk,
O Lord, I'm crippl'd an' I wan' 'er wa-a-a-l-k,
O Lord, I'm cri-p-p-l-e-d an' I want 'er walk,
Heal me Jesus along the heavenly way.

O Lord, I'm deaf an' I want to hear, etc.

The negroes are great believers in dress and uniform. Color, too, appeals to them as significant and the more strikingly distinct the color, the stronger impression it makes upon their imaginations. Chief among all others is the white which the angels wear; gold and purple, too, are concerned with the heavens. Among men red and black are strongest. This idea of color dressing has become interwoven in many of their songs. The rhyme helps to give the picture its vividness. The following song, with its variants, is still sung with considerable zest.

Who is that yonder all dressed in red?
_I heard the angels singing_;
It look like the children Moses led,
_I heard the angels singin'_.

_Down on my knees,
Down on my knees,
I heard the angels singing._

Well who that yonder all dressed in black?
I heard the angels singing;
It look like it's de mourner jus' got back,
I heard the angels singing.

Yes' who's that yonder all dressed in blue?
It look like the children just come through.

Instead of "mourners jus' got back" the negroes sing "a sister, a sinner, a hypocrite, etc., jus' got back". Once the negroes sang: "Who's that yonder all dressed in black? Must be children of the Israelites", which is the common version for the answer to "Who's all them come dressed in white?" The songs almost invariably have a different chorus for the different versions and combinations. In one of the old songs, the above verses were sung to the chorus

Oh, what you say, John?
Oh, what you say, John?
Oh, what you say, John?
_De ressurection drawin' nigh._

with this last line as a refrain after each line of the song, just as above in "I heard the angels singing". In another of the old songs the chorus was:

Go, Mary, an' ring de bell,
Come, John, and call de roll,
I thank God.

The negro visualizes with a good deal of satisfaction. He imagines that he can see the things about which he sings. So they have imagined seeing the people dressed in white, black, red and blue; so he imagined that he could see "two tall angels comin' after me", or "big tall", "long tall", "band of angels" or whatever form the song has taken. So the negroes have told wonderful stories about the whale and the gourd vine; about the "cutter worm" as well as Jonah. The old song, modified and adapted with characteristic phraseology and expression still appeals to the negro. The "Big fish" and "Sherk" represents the terror of the sea to the negro. One old darkey explained this fact by saying that it was because the negroes were terrified as they were brought over from Africa, and that they saw the whales and "fishes" in "de sea" and that "de race hain't nebber got ober it yet". Another ascribes the fear and imagination much to the biblical story of the whale and Jonah. Perhaps neither determines to any marked degree this feeling. However, the song "Big fish swallow Jonah", which has made such a hit in its paraphrases and in the glee clubs, and variously, is still current in this form:

Lord, the big fish, big fish, big fish, swallow ole Jonah whole,
The big fish, the big fish, the big fish swallow ole Jonah;
The big fish, big fish, big fish, swallow ole Jonah whole.

_Ole Jonah cried, "Lord save my soul",
Ole Jonah, ole Jonah, ole Jonah cried "save my-save-m-y-y",
Ole Jonah cried "Lord save my soul"._

In the same manner are sung other lines:

Lord, the gourd vine, gourd vine, gourd vine growed over Jonah.
Well, the cutter worm, cutter worm, cutter worm cut that vine down.

In addition to Jonah--and the last two stanzas are not common in the old songs--"Peter on the sea", "Gabriel, blow your trump", "Daniel in the lion's den", are sung. Those who have heard the latest form of this song rendered would scarcely imagine that it was a very appropriate church song.

It has been stated that the negro makes a song his own by the simple act of singing it. If he is free and unrestrained at the same time that he is thoroughly wrought up, he adds enough to his song or changes its version sufficiently to make it almost unique. In the common tunes sung by both white and black people, the negro's rhythm and graceful passing from one line to another, together with the insertions of shouts and "amens" renders them distinct. A number of the favorite "old time" religious songs are thus rendered by the negroes. They are the old "stand-by" hymns. The nature of some of them was indicated in the first chapter. The following songs will serve to illustrate the common practice of singing among the "spiritualists".

In "The old-time Religion" there are as many versions as the singer can make combinations. It is "Gi' me dat ole-time religion", or it is "'Tis that ole time religion", or it is "Was that ole-time, etc.," or "Will be the old time religion". In the same way it may be "good enough", "It's good enough". It is, was, will be good enough for "mother, my mother, my ole mother, father, brother, sister," and all the list of biblical names, chiefest among whom are Paul and Silas, Peter and John. So again, it is "good when _dying_, _living_, _mourning_, _sinking_, _praying_, _talking_". It is good "when in _trubble_, when de _worl's on fier_, when the _lightening flashes_, when the _thunder rolls_, when the _heavens are melting_, when the _stars are falling_, when the _moon is bleeding_, when the _grave yards are opening_", and all other times that are conceived as being a part and factor in destiny. Likewise the chorus or the lines may be sung with additional "Yes", "sure", "well", "Uh", and various other expressions that are the product of the moment.

One who has heard the song "Bye and bye we'll go and see them", rendered in an effective way must recognize its power and beauty. It is pre-eminently a song for the emotions, and suggests scenes of the past and of the future; it brings back memories that have been forgotten and forms emotions and conceptions that have not before existed. To the negro it is all this--in so far as he is able to grasp the better emotions--but it is mostly a medium through which he can sing his rhythmic feeling off. And with the additional interpretations and additions both in words and in expression, it is scarcely surpassed by any of his spirituals. The simplest form is exactly the same as that of the regular song: "Bye and bye, we'll go and see them", From this the negroes vary to "Bye and bye I'm a goin' to see _him_, _them_, _her_". To this chorus they nearly always add in alternate lines "Well it's", "Well", "An'" and such expressions, thus:

Bye an' bye I'm goin' to see them,
Bye an' bye I'm goin' to see them,
Well, it's bye an' bye I'm goin' to see them,
On de oder shore.

These expressions inserted or omitted at pleasure, serve to give an additional rhythm to the song that seems otherwise to be lacking. The verses of the song, like many others, are practically unlimited. Each is repeated three or six times as the singers prefer, with the refrain "On the other shore" added at the end of each stanza. The negroes sing not only of a _brother_, _sister_, _father_, _mother_, _auntie_, _preacher_ and _friends_, but they also sing of _Paul_ and _Silas_ and _Daniel_ and _Moses_; they are at liberty to use any name that comes to mind. And they manifest as much feeling and emotion about meeting _Moses_ or _Noah_ or _Abraham_ as they do about a dear old mother. Not only will they meet these loved ones but there will be scenes "over yonder."

I'm got a brother over yonder-on the other shore.
I'm goin' to meet my brother over yonder.
Tryin' time will soon be over, on the other shore.
Well, it's mournin' time will soon be over, on the other shore.
Cryin' time will soon be over.
Prayin' time will soon be over, etc.
Shoutin' time will soon be over, etc.

If necessary they then turn to the sinner and sing: "_Sinnin' time_, _gamblin'_ time, etc., will soon be over." The old plantation song, instead of saying, "Brother Daniel over yonder," had it, "Wonder where is good ole Daniel? Bye an' bye we'll go an' meet him, 'Way over in de promise lan'. Wonder where's dem Hebrew children? Wonder where's doubtin' Thomas? Wonder where is sinkin' Peter?" This form is apparently not sung to-day.

In the same way the negroes have modified the comparatively new songs that have been successful among the evangelists the country over. One would scarcely recognize even the tunes at first hearing, while the verses are usually entirely different. The chorus, as a rule, remains the same, save for the variations already mentioned. One or two songs may be taken as illustrations. "When the Roll is Called up yonder" appealed to the negroes for many reasons. Most of the churches sing it, and sing it "rousing" well. Their chorus is beautiful and the parts, though carried informally, make a splendid effect. But the negro does not sing the prescribed stanzas. After singing the chorus, with such additions as he feels disposed to make, and after two or three, perhaps one, of the written verses, he sings his own song:

When the roll is called up yonder, I'll be there.
By the grace of God up yonder, I'll be there.
Yes, my home is way up yonder, an' I'll be there.
I got a mother way up yonder, I'll be there.
I got a sister way up yonder, I'll be there.