The Souls of Black Folk, W. E. B. Du Bois [color ebook reader TXT] 📗

music of the swan. Hark! was it music, or the hurry and shouting of men? Yes, surely! Clear and high the faint sweet melody rose and fluttered like a living thing, so that the very earth trembled as with the tramp of horses and murmur of angry men.

He leaned back and smiled toward the sea, whence rose the strange melody, away from the dark shadows where lay the noise of horses galloping, galloping on. With an effort he roused himself, bent forward, and looked steadily down the pathway, softly humming the “Song of the Bride,”⁠—

“Freudig geführt, ziehet dahin.”

Amid the trees in the dim morning twilight he watched their shadows dancing and heard their horses thundering toward him, until at last they came sweeping like a storm, and he saw in front that haggard white-haired man, whose eyes flashed red with fury. Oh, how he pitied him⁠—pitied him⁠—and wondered if he had the coiling twisted rope. Then, as the storm burst round him, he rose slowly to his feet and turned his closed eyes toward the Sea.

And the world whistled in his ears.

XIV The Sorrow Songs

I walk through the churchyard
To lay this body down;
I know moon-rise, I know star-rise;
I walk in the moonlight, I walk in the starlight;
I’ll lie in the grave and stretch out my arms,
I’ll go to judgment in the evening of the day,
And my soul and thy soul shall meet that day,
When I lay this body down.

Negro Song

They that walked in darkness sang songs in the olden days⁠—Sorrow Songs⁠—for they were weary at heart. And so before each thought that I have written in this book I have set a phrase, a haunting echo of these weird old songs in which the soul of the black slave spoke to men. Ever since I was a child these songs have stirred me strangely. They came out of the South unknown to me, one by one, and yet at once I knew them as of me and of mine. Then in after years when I came to Nashville I saw the great temple builded of these songs towering over the pale city. To me Jubilee Hall seemed ever made of the songs themselves, and its bricks were red with the blood and dust of toil. Out of them rose for me morning, noon, and night, bursts of wonderful melody, full of the voices of my brothers and sisters, full of the voices of the past.

Little of beauty has America given the world save the rude grandeur God himself stamped on her bosom; the human spirit in this new world has expressed itself in vigor and ingenuity rather than in beauty. And so by fateful chance the Negro folksong⁠—the rhythmic cry of the slave⁠—stands today not simply as the sole American music, but as the most beautiful expression of human experience born this side the seas. It has been neglected, it has been, and is, half despised, and above all it has been persistently mistaken and misunderstood; but notwithstanding, it still remains as the singular spiritual heritage of the nation and the greatest gift of the Negro people.

Away back in the thirties the melody of these slave songs stirred the nation, but the songs were soon half forgotten. Some, like “Near the Lake Where Drooped the Willow,” passed into current airs and their source was forgotten; others were caricatured on the “minstrel” stage and their memory died away. Then in wartime came the singular Port Royal experiment after the capture of Hilton Head, and perhaps for the first time the North met the Southern slave face to face and heart to heart with no third witness. The Sea Islands of the Carolinas, where they met, were filled with a black folk of primitive type, touched and moulded less by the world about them than any others outside the Black Belt. Their appearance was uncouth, their language funny, but their hearts were human and their singing stirred men with a mighty power. Thomas Wentworth Higginson hastened to tell of these songs, and Miss McKim and others urged upon the world their rare beauty. But the world listened only half credulously until the Fisk Jubilee Singers sang the slave songs so deeply into the world’s heart that it can never wholly forget them again.

There was once a blacksmith’s son born at Cadiz, New York, who in the changes of time taught school in Ohio and helped defend Cincinnati from Kirby Smith. Then he fought at Chancellorsville and Gettysburg and finally served in the Freedmen’s Bureau at Nashville. Here he formed a Sunday-school class of black children in 1866, and sang with them and taught them to sing. And then they taught him to sing, and when once the glory of the Jubilee songs passed into the soul of George L. White, he knew his lifework was to let those Negroes sing to the world as they had sung to him. So in 1871 the pilgrimage of the Fisk Jubilee Singers began. North to Cincinnati they rode⁠—four half-clothed black boys and five girl-women⁠—led by a man with a cause and a purpose. They stopped at Wilberforce, the oldest of Negro schools, where a black bishop blessed them. Then they went, fighting cold and starvation, shut out of hotels, and cheerfully sneered at, ever northward; and ever the magic of their song kept thrilling hearts, until a burst of applause in the Congregational Council at Oberlin revealed them to the world. They came to New York and Henry Ward Beecher dared to welcome them, even though the metropolitan dailies sneered at his “Nigger Minstrels.” So their songs conquered till they sang across the land and across the sea, before Queen and Kaiser, in Scotland and Ireland, Holland and Switzerland. Seven years they sang, and brought back a hundred and fifty thousand dollars to found Fisk