Chapter XX: The Georgia Minstrels

"All the minstrel art I know,
I the viol well can play;
I the pipe and syrinx blow;
Harp and geige my hand obey;
Psaltery, symphony, and rote
Help to charm the listening throng;
And Armonia lends its note
While I warble forth my song."

_The Lay of the Minstrel._

The origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are accounts, somewhat vague, however, which make them still more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar.

Their accomplishments, especially in music, secured for them the ready _entrée_ of the most refined society, particularly that of elegant ladies, of whom they were great favorites; while the most polished princes always extended them a warm welcome.

At one time in their history, the fate of letters was in the sole keeping of the troubadours. Had it not been for the frequent presentations and allusions made to literature in their songs, its chain, connecting past and present, would have been broken.

An elegant French writer, speaking of the ancient troubadours, observes, "They banished scholastic quarrels and ill-breeding, polished the manners, established rules of politeness, enlivened conversation, and purified gallantry. That urbanity that distinguishes us (the French) from other peoples is the fruit of their songs; and, if it is not from them that we derive our virtues, they at least taught us how to render them amiable."

I have thus briefly alluded to the early history and characteristics of the minstrel, because I consider such a course as just towards the present profession, and in order to show how sadly (in this country certainly) have its members deviated from the refined, the brilliant practices of their predecessors. Besides, in doing this, I am not without a hope that I may be contributing in some slight degree towards elevating a profession, the archetypes of which discoursed the finest music of their times, and whose courtliness of demeanor and varied acquirements were such as to render them the fit associates of persons of the highest culture. For, in this instance, why may not what has been be again?

It is unnecessary to dwell at length upon the fact so sadly apparent, that the American minstrel has had for his principal "stock in trade" the coarse, the often vulgar, jest and song; a disgusting (to the refined) buffoonery, attended with painfully displeasing contortions of the body; and, worst of all, the often malicious caricaturing of an unfortunate race.

It is, however, cause for gratulation, that American minstrelsy has of late been divested of much of its former coarseness; that its entertainments have become so much diversified and elevated in character--the musical portions of which at times so nearly approach the classical--as to render the same entirely different from the minstrel performances so common a few years ago. It is found that a public rapidly becoming enlightened, and freed from the influences of an unreasoning and cruel race-hatred, no longer enjoys with its former relish the "plantation act," so called, with all its extravagant and offensive accompaniments. Compelled to recognize this change of sentiment and taste, the best troupes now frequently give, instead of the "act" just mentioned, some other one, which, while comical enough, is yet free from features distasteful to people of refinement.

In view of all this, may we not ask, Is the minstrel guild going back to the standards of its ancient and more noble days? Let us hope that it is.

And to the attention of those who have regarded with aversion (often with good cause too) the modern race of "troubadours" I commend the cheering tendencies just noted, since these may be held as indicating the dawn of a brighter day for all concerned.

I next invite the reader to the perusal of a sketch of the famous "Georgia Minstrels," who not only in this country, but in some parts of Europe, have become justly celebrated as the finest troupe of minstrels extant. Being all _real_ colored men, and therefore not dependent upon "burnt cork,"--being, as some have put it, "the genuine article,"--they in this respect possess an advantage over their naturally fairer-skinned brethren in the profession. Still, as will be seen hereafter, this complexional advantage (?) is not by any means the most important cause of their unprecedented success.

But the reader is first requested to pardon what may be thought a digression: the writer considers it a necessary one.

He is aware, that, in presenting in this book the following account of the Georgia Minstrels,--an account which, on the whole, must be regarded as highly complimentary to the latter,--he may be incurring the displeasure of some very excellent people who belong to the same race as that of the members of the troupe mentioned. This he very much regrets; for although he considers these persons as perhaps unnecessarily sensitive, and certainly mistaken in some of the opinions which they hold regarding _this_ company of minstrels (whose performances, by the way, most of said persons have never witnessed), he yet entertains the fullest respect for the honorable _motives_ that inspire their disfavor.

The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole; that these public performances do much to belittle their race generally, arouse and keep alive in the breasts of other races a feeling of contempt for it; and that these effects are greatly enhanced when colored men themselves engage in such performances, as they thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may be true; but, whether they are or not, it is not within the province of this book to discuss. They are placed here in order that both sides may be heard. Against their severe and somewhat sweeping character I place the fine _musical_ achievements of the subjects of this sketch. Of these, assuredly, we can _all_ be proud; and therefore the recounting of these shall serve as a full justification of the course I have taken in presenting the sketch.

The author well remembers, that, when only a boy of fourteen years, he was so much opposed to seeing colored men appear as minstrels, that he indignantly refused to comply when requested to post and otherwise distribute play-bills for a company of colored minstrels who were to appear in the town in which he lived; for he considered it alike disgraceful for them to thus appear, and himself to give aid to such appearance. He fully retained this feeling of aversion up to a year or two ago, when, contemplating the preparation of this book (which, by the way, was for the sake of consistency, as a work on music, to trace the footsteps of the remarkable colored musician wherever they might lead), he had to force himself, so to say, into the hall, to witness the performances of the Georgia Minstrels. He resolved as he entered, however, that he would give his particular attention to the _musical_ part of the programme, and try to discover in that such evidences of talent and fine attainments as would justify him in sketching the troupe. He was not pleased, of course, with that portion of the performance (a part of which he was compelled to witness) devoted to burlesque. Nevertheless, he found in the vocal and instrumental part much that was in the highest degree gratifying; for during the evening he listened to some of the most pleasing music of the time, sung and played in a manner evincing on the part of the troupe not only fine natural talent, but much of high musical culture. And so he came away, thinking, on the whole, that there were, to say the least, two sides to the minstrel question; feeling that the Georgia Minstrels had presented so much that was really charming in a musical way as to almost compensate the sensitive auditor for what he was ready to confess he suffered while witnessing that part of the performance devoted to caricature.

Commencing about twelve years ago, composed of men some of whom had been slaves in Georgia, all possessed of much natural musical talent, without (except in one or two instances) scientific training, the Georgia Minstrels began their career under the leadership of Mr. George B. Hicks. Although from the first attracting by their performances no little attention, their fortune was for some time only a varying one; nor did they attain to a firm position before the public until after Mr. George B. Callender assumed the directorship. By studious application, most of the original "Georgias" became fairly versed in music. The places of those who left were from time to time filled by adding to the company educated musicians and performers of high merit; the skilful director "pressing into the service," so to speak, as he passed through the country, the best talent obtainable. At present, only two or three of the original members are with the company.

The troupe is now composed of twenty-one performers; and each possesses either rare vocal or instrumental (most of them both) natural talents and acquirements; and, when these qualities are combined, a performance of such delightful beauty and finish is presented, as to elicit from their audiences the most enthusiastic applause. From the instrumentalists of this company either a fine orchestra or brass band can at any time, as occasion requires, be formed; while they present solo, single and double quartet, and _ensemble_ singing, of most charming power and sweetness. At least four of their number have been in the past accomplished teachers of music; one has played in some of the best orchestras of England; one is a superior performer upon at least four instruments, while he is a fair player of twelve; several are excellent performers on two or three instruments; and three of the troupe arrange and write music.

The following-named persons are members of the troupe at this writing (May, 1877):--

GEORGE B. CALLENDER _Manager._
GEORGE A. SKILLINGS _Musical Director._
RICHARD G. LITTLE _Stage Manager._
WILLIAM W. MORRIS _Interlocutor._

F.E. LEWIS,
SAMUEL JONES,
WILLIAM ELMER LYLE,
WILLIAM KERSANDS,
JAS. EMIDY,
PETER DEVONEAR,
GEORGE COOPER,
ROBERT MACK,
DAVID SCUDDER,
JNO. T. DOUGLASS,
JAS. GRACE,
OCT. MOORE,
R. EMIDY,
ROBERT HIGHT,
CHARLES ANDERSON,
JAS. FERNAND,
AND MESSRS. THOMPSON AND GAINES.

As showing the estimation in which the vocalism of their quartet is held by persons of culture, I may state, that a year or two ago, while the company remained over Sunday in a Western city in which they had performed during the previous week, this quartet was invited to sing (as its choir) in one of the most fashionable churches there. The invitation was accepted; and it may be remarked, that although these fine singers did full justice to the proprieties of the occasion, and thus justified the bestowment of a marked honor upon them,--it may be remarked, I say, that they thus enjoyed a distinction rarely if ever before conferred upon members of a minstrel troupe.

While in Boston in 1876, the company were invited to a "camp-fire" of Grand Army Post 115, composed for the most part of ex-officers of high rank, and all gentlemen of education and good social position. On this occasion, their own classical quartet and that of the "Georgias" united in presenting some of the most exquisite music, while other pleasing incidents of the evening rendered it one long to be remembered. In the same city, at another time, they were entertained at the residence of one of the most accomplished of its musicians. I mention these pleasant occurrences simply to show the character and extent of the popularity which this excellent troupe everywhere wins: for to please a miscellaneous throng in public halls and theatres, and, after the curtain falls at the close of the performance, to be almost forgotten by the same, is the experience of most all minstrel companies; but to be sought after when off the stage by people of the best character, and invited to contribute with their fine musical attainments and social qualities to the enjoyments of select private circles, is a distinction, in the constant winning of which the Georgia Minstrels stand almost if not entirely alone.

And now, as proofs of the great popularity of this company on the stage, I shall present a few from among the many press notices, regarding their performances, in my possession. These, while fully in harmony with what I have said respecting the merits of these famous performers, add some points of interesting description.

Says "The New-York Sun,"--

"Every song was encored some two or three times."

"The New-York Herald,"--

"The new melodies find in them the fittest interpretations."

"The Memphis Appeal,"--

"We might write a column of praise, and even then there
would be something unsaid of their merit. They are good in
every thing they attempt."

"The Indianapolis Journal,"--

"We doubt if a more successful entertainment of this kind
has ever been given in this city. We no longer wonder that
Boston sent forty thousand to hear them at the Hub."

"The Petersburg (Va.) Index,"--

"We do not hesitate to pronounce Callender's Minstrels the
superiors in this line to any we have ever seen. They far
outreach the usual small range of excellence, and leave
their rivals far behind."

"The Philadelphia Inquirer,"--

"So great was the rush to see them, that the sale of tickets
at the box-office had to be stopped half an hour before the
performance. They are unquestionably excellent."

"The Philadelphia Record,"--

"It is estimated that at least one thousand people were
turned away from the box-office last night, unable to obtain
tickets or entrance, so great was the rush."

"The Cincinnati Commercial" says,--

"They have drawn better houses in Cincinnati than any white
troupe."

"The Brooklyn Eagle" says,--

"From first to last, all are absorbed in admiration."

"The Cincinnati Inquirer" says,--

"It is an unusually fine company, and superior to any that
visit here."

"The Baltimore News" says,--

"There is no approach to vulgarity. Their audiences are the
most fashionable. No minstrel company can compare with
Callender's."

"The Brooklyn Union" says,--

"They are superlatively excellent."

"The Memphis Appeal" says,--

"They are masters of minstrelsy."

"The Baltimore American" says,--

"All other companies are tame in comparison with these."

William Lloyd Garrison writes,--

"It is gratifying to see that no imputation is brought
against them of presenting any thing offensive to the eye or
ear."

Mr. P.T. Barnum says,--

"They are extraordinary, and the best I ever saw. They fully
deserve their large patronage."

Said Dexter Smith, the eminent song-writer,--

"Boston has unconditionally yielded to the Georgia
Minstrels. If you wish to see the brains, beauty, and
fashion of the musical metropolis, a peep into Beethoven
Hall will give you an insight of it. Never has a minstrel
troupe created such enthusiasm in any American city as the
Georgia Minstrels have done in Boston."

And the Boston "Folio," that excellent journal of music,--

"The Georgia Minstrels, who are nightly appearing before
crowded houses at Beethoven Hall, deserve more than a
passing notice, on account of their excellence, and the
utter absence of aught that could offend the most
fastidious. 'The Traveller' expresses our sentiments so
exactly, that we cannot indorse them better than by
quoting:--

"'There is a freshness and a completeness about the whole
performance which entitle it to the fullest praise. As for
the whole evening's enjoyment, it may be characterized as
novel from the fact that it is native and not imitative,
commendable because it is wholly refined, and most pleasant
because it is always artistic. The comedians are very
numerous, and all unite in giving a perfection to the
rendering of the whole bill.'"

"The Boston Herald" said,--

"Beethoven Hall was well filled last evening by admirers of
Ethiopian delineations, assembled to see and hear the
original Georgia Minstrels, who have returned from a very
successful tour in Europe, and are now located at the
above-named hall for a short season. The company is a
novelty from the fact that all the members are colored, and
their performances possess a genuineness which no burnt-cork
artists can fully imitate. Their music, both vocal and
instrumental, is excellent. Each performer seems to be not
only a natural, but a cultured artist; and all have the
faculty of being exceedingly mirthful, without overstepping
the bounds of refinement. In fact, each performer seems
perfect in his _rôle_; and all appear to be masters of
minstrelsy."

Again the same paper said,--

"The Georgia Minstrels have burst upon us like an avalanche.
All the reserved seats were sold last evening before the
performance commenced; and the house was filled by a
fashionable audience,--one rarely seen at a minstrel
entertainment. The troupe have made a decided hit, and their
performances last night were received with great enthusiasm.
Their songs and choruses are excellent; their puns, jokes,
and stories, fresh and laughable; and their special acts
new, and of a superior order. The performances of the troupe
have happily filled a void which existed in the amusement
field.

"This troupe of native artists has won the very highest
praise from every one wherever it has appeared. In England
and America over three thousand performances have been
given. The troupe has appeared before the Queen of England,
and bears the highest testimonials of the press from across
the water."

"The Boston Advertiser" said,--

"They (the Georgia Minstrels) are at the head of the
minstrel business in this country."

The "Chicago Post,"--

"The company merits all the praise which has been bestowed
upon them."

I need only further mention, in conclusion, that several members of this troupe possess musical and histrionic abilities of an order so high as to fit them to grace stages of a more elevated character than the one upon which they now perform. Indeed, one formerly attached to it is now a valuable member of the "Hyers Opera Company." On the minstrel boards his talents as a singer and actor were developed. It is to be hoped (and here I crave the pardon of Mr. Callender, their gentlemanly director, who is requested to try to appreciate the good _motive_, at least, that prompts a suggestion which seems to aim at the disintegration of his famous company) that others of the "Georgias" will follow his example. Their motto should constantly be, "Excelsior!"

I have been informed that in the city of Boston, at a certain time, not many years ago, the then directors of the three principal theatre orchestras were persons who had previously been members of minstrel troupes. It is also known that several of the finest operatic singers in this country learned their first lessons at this same school,--the minstrel stage. In their new, higher, and of course far more desirable positions, these persons have achieved artistic results which reflect upon them the highest credit, and which show also that the minstrel profession has some beneficial, elevating uses, notwithstanding all that may be truly said against it.

PART SECOND.

OTHER REMARKABLE MUSICIANS,

AND

THE MUSIC-LOVING SPIRIT OF VARIOUS LOCALITIES.