Chapter III: Part 3

_Hark, the downward road is crowded, crowded, crowded,
Yes the downward road is crowded with onbelievin' souls._

He call his mother to his bed,
An' these is the dyin' words he said,
Mother, mother, I long farewell,
Your wicked son is damned in hell.

He dance an' play hisself away,
An' still put off his dyin' day,
Until at las' ole death was sent,
An' it 'us too late fer him to repent.

They also sing of _mother_ and _sister_ being called to the bedside. The old plantation song of the same name had a similar chorus but the stanzas were quite different.

When I wus a sinner,
I loved my distance well,
But when I come to fin' myself,
I was hangin' over hell.

Ole Satan's might busy,
He follers me night an' day,
An' every where I 'pinted,
Dere's something in my way.

The Lord will come to judge the world and _wake up the dead_. It is the supreme ambition of the singer to be ready to meet his Lord when He comes. Just what form the Lord will take the negro does not say; perhaps it will be in a _cloud_ or _fire_ or He will come as in the days of Moses. "My Lord's comin' again" gives a general conception.

_O my Lord's comin' again,
O my Lord's comin' again,
(Talk about it:)
Yes my Lord's comin' again,
It may be las' time, I don't know._

Well he's comin' to judge the worl',
Well he's comin' to judge the worl',
(_Talk about it_:)
Yes my Lord's comin' to judge the worl',
It may be las' time, I don't know.

Well you had better put off lyin' shoes,
Well you better put off lyin' shoes,
(_Talk about it_:)
Better put off lyin' shoes,
For it may be las' time, I don't know.

And so he sings "Better put off _dancin'_ shoes", "better put off _gamblin'_ shoes". For the sinner's shoes will not be suitable to "walk on the cross". He sings: "God's goin' to wake up the Dead" and makes a beautiful melody out of the simple repetition.

_Goin' to wake up the dead,
Goin' to wake up the dead,
God goin' to wake up the dead,
Who's a sleepin' in the grave,
God is goin' to wake up the dead._
You had better min' my brother how you walk on the cross,
_God's goin' to wake up the dead_;
If yo' right foot slip, then yo' soul be los'
_God goin' wake up the dead_.

Then "you better min' my _sister_, my _brother_, my _mother_, my _preacher_" are sung. The old song contained words similar to the lines just given, with the chorus: "_De young lambs mus' fin' de way_":

My brudder better mind how you walk on de cross,
For yo' foot might slip an' yo' soul git lost,

Better mind dat sun, and see how she run,
An' mind don't let her catch ye wid yer works undone.

But the sinner sometimes gets confused, it would seem; sometimes he heeds the preacher's warnings, sometimes he scoffs at them. Often he does not hear them. More rarely he inquires into conditions. In the lines which follow the negroes make each a stanza, repeating three times. It perhaps represents the retort of the "_sinner man_."

Some goin' thru' Jordan, some tryin' to go 'round.
The Mef'dis' they say sprinklin', de Baptis say' baptize.
Now Lord the sinner man so hard to believe,
Now Lord sinner man want you to show him de way

But the sinner gets little reply to his inquiries. "Time is comin' when sinner mus' die" and there is none so pitiable as the lost sinner.

_Sinner, die, sinner die,
Sinner dies wid his head hung down,
Sinner die, sinner die,
Sinner die in de midnight dew._

_Sinner die, sinner die,
Sinner die, with achin' heart,
Sinner die, sinner die,
Sinner die with weary min'._

Stump'ty up an' stump'ty down,
Time is comin' when sinner mus' die,
_Hurry home, hurry home_;
Time is a comin' sinner mus' die.
Don't you let that sinner change yo' min',
Time is comin' sinner mus' die.
_Hurry home, hurry home_;
Time is comin' sinner mus' die.

The plantation song of some years ago, sometimes called "O sinner, you better get ready", had the same line refrain, "Time is a comin' dat sinner mus' die." The repetition of "sinner die", is a new addition. In the old song were lines similar to those quoted:

O sinner man you better pray,
For it look a like judgment every day.

I heard a lumb'ring in de sky,
Dat make a me tink my time was nigh.

I heard of my Jesus a many one say,
Could 'move poor sinner's sins away.

Yes, I'd rather pray myself away,
Dan to lie in hell an' burn a one day.

I think I heard my mother say--
'Twas a pretty thing to serve the Lord.

O when I git to heaven I'll be able fer to tell,
O how I shun dat dismal hell.

In addition to the line-refrain which was sung after each line of the song, an additional chorus followed at intervals; this chorus had "ready my Lord" where the new one has a short line, "Hurry home".

_Oh, sinner, you'd better get ready, ready my Lord,
Oh, sinner, you'd better get ready._

An interesting type of song is that in which an imaginary conversation is carried on between two parties. If the song is correctly rendered the leader or one part of the chorus sing the first part or take the words of one of the speakers, while the other chorus take up the other speaker's words. Both then join in the grand refrain, which in the following song is "Lord, I'm on my way".

Sinner, what you goin' to do
_When de devil git you?_
What you goin' do
_When de devil git you?_
What you goin' do
_When de devil git you?_
_Lord, I'm on my way._

I'm goin' run to the rocks.
_Well, they can't hide you._
Goin' run to the rocks--
_They can't hide you_;
Run to the rocks,
_Well, they can't hide you,
Lord, I'm on my way_.

_I'm goin'_ to run to the water;
_An' water goin' to cry "fire"_,
Goin' to run to the water,
_An' water cry "fire"_,
Run to the water,
_An' water cry "fire"_,
_Lord, I'm on my way._

And so the sinner will then "run to the mountain," and "De mountain fly open" or "De mountain cry mercy." The sinner must needs be hopeless at his death and there is neither mercy nor pity for him. It is the idea of the negro that at the great day "we won't be bothered with them any mo'". A sad picture he makes of the poor, and forsaken man who dies "with achin' heart", with "weary min'", and with his "head hung down". Consequently it is not surprising to find appeals of all sorts made to the sinner man; now he is told of his doom, now of possible salvation, now of the joys of being saved, now of immediate satisfaction. Sung like the above song is "Come, sinner, come".

Won't you come, won't you come?
_Come, sinner, come_;
Great day of wrath is comin',
_Come, sinner, come_.

Look over yonder what I see;
_Come, sinner, come_;
Two tall angels comin' after me,
_Come, sinner, come_.

In the same manner he sings, "Won't you come an' see yo' Lord?" and "Ole Satan like a snake in de grass, Always in some sister's path," "Ole Satan weahs mighty loose ole shoe, Ef you don't min' gwine slip it on you". "Up on hill side King Jesus spoke, Out of his mouth come fier an' smoke", "Down in de valley, down on my knees, Ask de Lord to save me if He please", and others. The plantation song asked,

O whar you runnin', sinner?
_I do love de Lord_;
De Judgment day is comin',
_I do love de Lord_;

You'll see de worl' on fire,
_I do love de Lord_;
You'll see de element a meltin',
_I do love de Lord_.

Besides these stanzas there were sung the various other warnings such as have been given in the idea of Judgment and Resurrection already noted. In the old slave song the sinner asks:

My Lord, My Lord, what shall I do?
_An' heaven bell ring an' praise God._

What shall I do for hiding place?
I run to de sea but de sea run dry.
I run to de gate but de gate shut fast.
No hiding place for sinner dere.
For I am gone an' sent to hell.

Instead of the regular refrain which is sung by the chorus of voices in response to a line by the leader, the negroes often respond with "um-m'" in a general mingling of chant, humming, and "amens". For the most part they do this with closed lips; the volume is surprisingly strong, however, and makes a stirring effect. The meaning of the expression is something like "Yes?" or "Of course, we know it is true" or "Sure, you talkin' brother". The singer says: "I look for Jesus all my days", and the chorus answers, "_um-u'_" and he then continues,

An' when I found him this is what he said,
_um-u'_
Yo' sin forgiven an' you soul set free,
_um-u'_

_I pray all night, an' I pray all day, um-u' um-u',
Then my Lord taken my sins away, um-u', um-u'._

Nex' day, nex' day while walkin' along, um-u', um-u',
I heard a voice an' saw no one, um-u', um-u',
It said, sinner man, you better come home, um-u', um-u'.

One day I was walkin' long dat lonesome road, um-u', um-u',
King Jesus spoke unto me an' lifted off dat load, um-u'.

Again, "Brother, you'd Better be a Prayin'", while mostly repetition makes a long song when sung to its limit. "_Sister_", "_Sinner_", "_Backslider_", "_Mourner_", "_Children_", each serves to make a complete stanza of eight lines:

Brother you'd better be a prayin',
Brother, you'd better be a prayin',
My brother, you'd better be a prayin',
An' I'll be carried above,
An' I'll be carried above,
An' I'll be carried above,
I'll see king Jesus in his reign,
An' I'll be carried above.

The chorus song, "Wheel in middle of Wheel" is most likely a variation of the old song "Wheel in a wheel" which was "run by _love_, by _faith_," and was sometimes conceived as a chariot wheel upon which "gwine take a ride, On de chariot wheel", for "de chariot's comin', O my Lord". Sometimes the wheel was conceived as being a "Little wheel a-turnin' in my heart", in which case it signified some sort of feeling. The phrase means nothing more than a chorus in the present-day song.

O sinner man, how can it be?
_Wheel in de middle of wheel_,
If you don't serve God, you can't serve me,
_Wheel in de middle of wheel_.

_In the wheel, in the wheel,
Wheel in de middle of wheel,
In the wheel, in the wheel,
Wheel in the middle of wheel._

Well don't you know it's prayin' time?
_Wheel in middle of wheel_;
Lay down yo' way an' go to God,
_Wheel in middle of wheel_.

Well don't you know it's mournin' time?
_Wheel in middle of wheel_;
He'll hear yo' prayers an' sanctify,
_Wheel in middle of wheel_.

Jesus and God are represented as "Listenin' all the day long", and the sinner is directed to pray. The plantation songs called to him: "Where you goin' sinner? O come back, don't go dat way." And one of the singers affirmed that "about the break o' day" his sins were forgiven and "his soul set free." The song "Jesus is a listenin'" seems at some time to have been considerably corrupted. The negroes have sung it: "_I've_ been a listenin' all day long, and all night long, to hear some sinner pray." However, the correct version now seems to be:

Jesus is a listenin' all the day long,
He keep listenin' all the day long,
He keep listenin' all the day long,
For to hear some sinner pray.

If I was a sinner I would please him,
I would pray an' pray a day,
An' when I got to heaven,
So he could say he heard me pray.

But in "Bear yo' Burden, sinner", another version is given of the same idea. This song is a popular one, while the figures used give a definite conviction.

The Lord is a listenin' all the day long,
_Bear yo' burden sinner_,
If you will only pray, he will bear you on,
_Bear yo' burden in the heat o' the day_.

_Bear yo' burden, sinner,
Bear yo' burden, sinner,
Bear yo' burden in the heat o' the day._

I'm goin' home fer to see my Lord,
_Bear yo' burden, sinner_,
An' don't you wish you could go 'long,
_Bear yo' burden, let in the heat_.

The way to bear yo' burden is to get down on yo' knees,
_Bear yo' burden, sinner, let in the heat_,
Ask God to forgive you if you please,
_Bear yo' burden in the heat of the day_.

This last stanza is an improvisation made by a young negro of some twenty-five years, although he claimed that it belonged to the song that was regularly sung, maintaining that they only forgot to sing it in the church on that special occasion. "True Religion" gives one view of the requisites of him who will be saved. The song is based in form on a current secular song, and belongs to the class of colloquies.

Well you must have that true religion,
You must have true religion an' yo' soul converted,
You must have that true religion.
_Or you can't cross there._

Where are you goin', sinner,
Where are you goin', I say?
I goin' down to de river of Jorden,
_An' you can't cross dere_.

He continues, "Where are you goin' _gambler, backslider, drunkard, liar, hypocrite?_" and answers each with, "An' you can't cross there," while the entire chorus, "You must have that true religion," is often repeated after each. The sinner is asked still other questions, one of which is given in the song "Waitin'".

Why does you tarry, sinner,
Why does you wait so long?
For my Lord is a waitin',
Why don't you come to His call?

_He is waitin', Lord,
He is waitin', Lord,
He is a-waitin' fer the good Lord,
To come, My Lord._

But when my Lord get here,
You want have time to pray at all,
For he is goin' to judge you,
An' hell you be bound.

The negro preacher often rebukes his flock for talking about each other in uncomplimentary terms. Sometimes the "sisters" who do not like the preacher retort variously, "I heard you talkin 'bout So and So, you know I did" or "We gwine talk 'bout you," or "Yes, you knows it." Slander and gossip are fast runners and the average negro assumes that somebody is talking about him or something which he has done. Out of this has grown the song "Talk about me" and others.

_Yes, I know you goin' talk 'bout me,
Yes, I know you goin' talk 'bout me,_

_For you talk 'bout my father when he's on his knees a prayin',
An' I know you goin' talk 'bout me._

So likewise he sings "I know you're goin talk about me" because "you talk about my mother when she's on her bed a-dyin'"; he actually sings _father_, _brother_, _mother_, _sister_, _mourner_, _preacher_, to both "on his knees a prayin'", and "on bed a dyin'." A very popular stanza which is regularly sung in a number of songs goes: "You may talk about me just as you please, I'm goin' to talk about you when I git on my knees."

The old slave and plantation song asked: "Who'll jine de Union?" saying, "Say, ef you belong to de union ban', den here's my heart an' here's my hand." There have been societies known as "The Union" or "Union Band" both in the church and outside. The name "Union" itself is a favorite one among the negro societies and organizations. It was thought in the old days that a union band would march to heaven and that these only would be enabled to reach the destination. It is almost certain that a number of references in their songs referred to the Union army in and after the war. However, the exact origin of the song as it is now sung has not been found, but appears to be a general corruption of several old songs.

_Get in the Union, Jesus is a listenin',
Get in the Union, Jesus die.
Well, won't you get in the Union?
Jesus is a listenin', Jesus die._

Where was Ezekiel when the church fell down?
Down in de valley wid his head hung down.

Hypocrite, hypocrite, God do despise,
Tongue so keen till he will tell lies.

Upon the mountain Jehober spoke,
Out of his mouth come fier an' smoke.

With this chorus are sung also as already given, "Satan, the snake in the grass", "Ole satan weah mighty loose ole shoe", etc. The "Hallelujah" so common among the old songs is less frequently heard now: it will be found to some degree in the shouting songs and songs of heaven.

Not the least among the warnings to the sinner were to be reckoned the times when "Gable" should blow his horn. "Gable" has been proverbial among the negroes; Gabriel and the trumpet are, however, significant in the same way among the whites in vulgar reference. Many ideas of "Gable's" trumpet have appeared in the negro songs. Sometimes it is "blow louder, Gable." "How loud mus' I blow?" Reference has already been made to these lines. The song "Blow, Gable, blow" has changed considerably from the old plantation songs of the same name.

Blow Gable, at the judgment,
Blow Gable, at the judgment bar.
For my God is a talkin' at the judgment,
For my God is a talkin' at the judgment bar.

Now won't you blow Gable at the judgment?
For my God is a preachin' at the judgment bar.

Now won't you blow Gable at the judgment bar?
Well, I'm goin' to meet my preacher at the judgment bar.

In the same manner, making a four-line stanza of each one, are sung, "Goin' to meet brother, mother, sister, etc.", and also "My God is a walkin', tryin', etc.," at the judgment bar. So, too, it is "_prayin'_ time, _mournin'_ time, _singin'_ time, _shoutin'_ time, _tryin'_ time, etc., at the judgment bar." This song may be given as the last one of the class peculiar to warnings and admonitions to sinners. It closes with still other verses that give vivid pictures of the judgment bar.

Well, sinners, keep a prayin' at the judgment bar.
Well, it's too late to pray at the judgment bar.
Why didn't you take heed at the judgment?
Some come crippled at judgment.
Oh, I look fer my mother, brother, sister, at de judgment.

Both the sinner and the seeker has a "hard time" during some time in his experience. The duties of everyday life, too, often seem hard. Now on his knees, now shouting, now sorrowful and now glad, the negro comes from "hanging over hell" to die and "set by de Fadder's side." The average negro appears to pity himself, and his song intensifies the feeling. The songs that follow may be classed as those that give the state of uncertainty and doubt, together with pity mingled now and then with the note of triumph. In "Oh, what a hard time", _sisters_, _brothers_, _children_, _preachers_, _seekers_--all have the same difficulties.

_Oh, what a hard time, Oh, what a hard time,
Oh, what a hard time--All God's children have a hard time._
Oh, what a hard time, oh, what a hard time,
Oh, what a hard time, my Lord had a hard time, too.

So in another division will be given the song "My Trouble is Hard", the idea of which seems to be derived from the old plantation songs, though the new song is entirely different from the old ones. The plantation negroes used to sing "Nobody knows the trouble I've seen", in which they were "sometimes up, sometimes down, sometimes almost to de groun'." Others sung it "Nobody knows the trouble I see, or I've had", and asked: "Brother, sister, preacher, will you pray for me?" In the same pathetic tone the "Sinner man" gives another phase of the feeling.

My mother' n yo' mother both daid an' gone,
My mother' n yo' mother both daid an' gone,
My mother' n yo' mother both daid an' gone,
Po' sinner man he so hard to believe.

My folks an' yo' folks both daid an' gone,
Po' sinner man he so hard to believe.

My brother 'n yo' brother both daid an' gone,
Po' sinner man he so hard to believe.

In the same way "my sister", etc., completes the song, with favorite lines, "Down in de valley", "Upon mountain Jehober spoke", etc., being inserted as often as they desire. "Hanging over hell" gives more intensity to the feeling of the sinner. He says:

_When I wus hangin' over hell, over hell,
When I wus hangin' over hell, over hell,
Well, I had no one to pity poor me, poor me._

Well, my mother sick an' my father daid, father daid,
Well, my mother sick an' my father daid, father daid,
Well, I ain't got no one to pity poor me, poor me.

Well, I ain't got no one to pray for me, to pray for me.

I ain't got no one to feel for me, feel for me.

Likewise he has no one to "_cry_" for him, to "_mourn_" or to "_care_" for him. It will be noticed that the negroes insert the word "well" frequently. There is no regularity or rule for its use; it apparently gives the song a more plastic turn and makes it seem more conversational. In some of their songs they insert in the same way, "says", and "er", "a", "an", at will. The _struggle_ is well represented by the song "Keep inchin' along", which was also common in the old plantation melodies; the chorus is the same, while the words are entirely different from the older song.

_Keep er-inchin' erlong, keep er-inchin erlong,
Jesus'll come bye'm bye,
Keep er-inchin', keep er-inchin erlong,
Jesus'll come bye'm bye._

De road is rocky here below,
_But Jesus'll come bye'm bye_,
But Jesus leads me as I go,
_Jesus'll come bye'm bye_.

Sometimes I hangs my head an' cries,
_But Jesus'll come bye'm bye_.
An' He gwi' wipe mer weepin' eyes,
_But Jesus'll come bye'm bye_.

Uh, run 'long mourner an' git yo' crown,
By yo' Father's side set down.

I'm glad that I'm bo'n ter die,
Frum trouble here my soul gwi' fly.

In the same hopeful strain the negro sings "Boun' ter cross Jord'n in dat Mornin'," which has a large number of stanzas, none of which have any similarity of meaning to the general theme.

Yonder come er sister all dressed in black,
She look lak er hipercrit jes' got back,
_I'm boun' ter cross Jord'n in dat mornin'_.

_Cross me over,
Great Jehover,
My Lord, I'm boun' ter cross Jord'n in dat mornin'._

See dat Christian on his knees,
He's gwin' ter cross dem jasper seas,
_I'm boun' ter cross Jord'n in dat mornin'_.

Swing low chariots in er line,
Carry me ter glory in due time,
_I'm boun' ter cross Jord'n in dat mornin'_.

Ain't but the one thing grieve my min'
Sister goin' to heaven an' leave me behin',
_I'm boun' ter cross Jord'n in dat mornin'_.

It is a favorite theme of the negroes to sing much of their "Lord" and "God". Much has been noted of the names and attributes which Deity holds in the negro's songs. As his friend the negro believes that God is always true; consequently he sings his loyalty to Him. The old plantation song "Tell Jesus" had as its chorus: "Tell Jesus done done all I can, Tell Jesus done done all I can, Tell Jesus done done all I can, I can't do no more". Very much like it is the song "For my Lord" that is much in demand among the present-day negroes.

_I goin' to do all I can fer my Lord,
I goin' to do all I can fer my Lord,
I goin' to do all I can fer my Lord,
I goin' to do all I can fer my Lord,
I do all I can till I can't do no more,
I goin' do all I can fer my Lord._

In the same way he sings "I goin' _weep_ all I can till I can't weep no more", "I goin' _pray_ all I can till I can't pray no more", and "_sing_" and "_mourn_" and "_work_" for his Lord. The phrases "till I can't do no mo'", and the others are characteristic of the negro's prayers. He usually closes his church prayers, "Now Lord, when we's done prayin' an' can't pray no mo'; when we's done meetin' an' can't meet no mo'", etc. The closing scene, the final act of life, seems to appeal to the negro with wonderful dramatic power. It is in the _end_ that he himself will be great; it is then that God and Jesus and the angels will be made manifest, and it is there in the new home that his condition will be one of ease and rest, at the same time that it is one of prominence. He sings "Gwi' lay down my life fer my Lord".

De Lord giv' me mer trumpet an' tole me ter blow,
He giv' me mer cummission an' tole me ter go.

_Fer my Lord, fer my Lord,
Fer my Lord, gwi' lay down my life fer my Lord._

You can hinder me here but you can't hinder me dere,
For de Lord in Heaven gwi' hear my prayer.

De enemy's great but my Cap'n is strong,
U'm fightin' fer de city an' de time ain't long.

When I git dar I'll be able fer to tell,
How I whipped ole Satan at de door ob hell.

Mer head got wet wid de midnight dew,
Dat mornin' star was shinin' too.

So again the negro magnifies his Lord in "a weary Lan'" and makes both a striking picture and a pleasing song. His Lord is not only "a _walkin'_ in a weary lan'", but he is also a "_doctor_", a "_preacher_" and a "_shelter_". Thus he pictures him "_walkin'_" "_talkin'_" "_preachin'_", and "_healin'_" in the weary land.

My Lord's a walkin' in the weary lan',
In a weary lan', in a weary lan',
Yes, my Lord walkin' in weary lan',
He's a shelter in a mighty storm.

Likewise he is a healer in a _mighty storm_ or in _the time of storm_. It is but natural that the negro should call upon the Lord to remember him. The old plantation song "Do Lord remember me" was apparently based upon the idea of being remembered at Christmas times; indeed the negroes always ask to be remembered at such a time by the "whitefolks". They were always remembered and often their homes were made happy. The song asked: "O do Lord remember me, O do Lord remember me, O do remember me until de year roll round, Do Lord remember me." The song now current is most likely not the same song but an entirely different one.

_Do my Lord remember me,
Do my Lord remember me,
Do my Lord remember me,
Do Lord remember me._

Upon de housetop an' can't come down,
_Do Lord remember me_.
Upon de house an' can't come down.
_Do Lord remember me_.

When I am hungry do feed me Lord,
_Do Lord remember me_.
When I am thirsty do give me drink,
_Do Lord remember me_.

The negroes sometimes call the following song the "riddle song", asking "who is the Rock", while the answer comes back, like the Psalmist, "King Jesus is the Rock".

Lead me to the Rock, lead me to the Rock,
Lead me to the Rock that is higher an' higher.
O, Lead me to the Rock,
Yes, lead me to the Rock that is higher an' higher.

King Jesus is the Rock, yes, King Jesus is the Rock,
King Jesus is the Rock that is higher an' higher,
O King Jesus is the Rock,
Yes, King Jesus is the Rock that is higher an' higher.

Standing on the Rock, yes standing on the Rock,
Standing on the Rock that is higher an' higher.
O, standing on the Rock,
Yes, standing on the Rock that is higher an' higher.

As Jesus is the Rock so the negroes have sung "Dere's no one lak' Jesus". The chorus-line was common in the old songs; the verses of the song of to-day are different.

I think I heard a rumblin' in de sky,
_Dar's no one lac Jesus_.
It mus' be mer Lord passin' by,
_Dar's no one lac Jesus_.

_Stan' still, walk study, keep de faith,
Dar's no one lak' Jesus._

Sister Mary went up on de mount'n top,
_Dar's no one lak' Jesus_.
She sung a li'l song an' she never did stop,
_Dar's no one lak' Jesus_.

She argued wid de Fadder an' chatter'd wid de Son,
_Dar's no one lak' Jesus_.
She talk'd erbout the ole worl' she cum frum,
_Dar's no one lak' Jesus_.

The song "Gi' me Jesus" was said to have been the product of "over-free spirit and super-religiousness" just after the war. The negro claims that the white man took him at his word when he sang, "Gi' me Jesus, You may have all this worl", and has left him nothing in this world but Jesus. At least this is one view of the song, which is represented as a bargain which the white man wants the negro to keep. The song is a typical and well known one, said to have been first sung by a blind negro preacher.

In de mornin' when I rise,
In de mornin' when I rise,
In de mornin' when I rise,
Giv' me Jesus.

_Giv' me Jesus,
Giv' me Jesus,
You may hab' all dis worl',
Giv' me Jesus._

Ef it's midnight when I rise,
Ef it's midnight when I rise,
Ef it's midnight when I rise,
_Giv' me Jesus_.

Jes' fore day when I cried,
_Giv' me Jesus_.

When I wade death's cold stream,
_Giv' me Jesus_.

The negro says that if you love Jesus, it seems to him that you "can't keep it", and that you are duty bound to let the world know it. The custom is a common one of asking "members" at the class meeting and revival services whether or not they "love the Lord". It is the duty of the class leader to see to the religious welfare of the members. The song "Love the Lord" represents this phase of worship.

Well, did you say that you love Jesus?
Did you say that you love the Lord?

_Yes, I say that I love Jesus.
Yes, I say I love the Lord._

All I wants to know is, "Does you love Jesus?"
All I wants to know is, "Does you love the Lord?"

_Yes, I say that I love Jesus,
Yes, I say I love the Lord._

If you love Jesus, you can't keep it,
All I want to know is, "Does you love the Lord?"

_Yes, my mother, I love Jesus,
Yes, my mother, I love the Lord._

The chorus then varies from "Yes, I _say_" to "Yes, my _mother_", "Yes, my _sister_", "Yes, my _brother_".

In striking contrast to his earthly life, the negro sings of his heavenly home. It will be seen in the study of his social songs that home plays a small part in their subject matter. It is true that the negro has little love of home or devotion to loved ones. Perhaps for this very reason he expects to have a better home in the beyond. He wants that which is ideal and impractical; he wants that which will come without effort. If in slavery days he had no home, it was natural that he should look to Heaven for his home. This conception, intensified by the negro's emotional nature and self-pity, is still prominent. Not only is his home to be a happy one, but it is to be exclusive; only the fortunate, of whom he is the chiefest, may go there. This class of songs--of Heaven and home--is perhaps as large as any. The negro sings:

I got a home where liars can't go,
_Don't you see?_
Jus' between the heaven an' earth,
Where my Saviour bled an' died,
I got a home where liars can't go,
_Don't you see?_

I got a home where sinners can't go,
_Don't you see?_
Jus' between the earth an' sky,
Where my Saviour bleed an' die,
_Don't you see?_

When the earth begin to shake,
_Don't you see?_
You better get a ticket or you'll be late,
_Don't you see?_

In the same way the singers repeat, using the words "_drunkards_," "_hypocrits_", and other sinners. Sometimes instead of saying "I got a home where the drunkards can't come", the sinner will say "where the drunkards can't _find me_". Another version of the same song is found in different localities:

I got a home in the Rock,
_Don't you see?_
Just between the heaven an' earth,
Well, yes, I got a home in the Rock,
_Don't you see?_

Judas was a deceitful man,
_Don't you see?_
Well he betrayed the innercent Lam',
Well he lost a home in the Rock,
_Don't you see?_

Well the sun refuse to shine,
_Don't you see?_
The sun refuse to shine,
An' the sun refuse to shine,
_Don't you see?_

God don't talk like a natural man,
_Don't you see?_
God don't talk like a natural man,
He talk so sinners can understan',
_Don't you see?_

Well I don't want to stumble,
_Don't you see?_
Well I don't want to fall,
I read that writin' on de wall,
_Don't you see?_

The "Home in the Rock" and the "Rock of ages" mean little to the negroes; they are suitable terms and appeal to their sense of sound. Like other peoples, the negroes have inserted them into their religion as forceful symbols. Interesting comparisons may be made in a later chapter. The chorus of "Heaven" hummed in a monotone, with lips sometimes closed, makes a beautiful song, and one that appeals much to both old and young negroes.

You got a robe, I got a robe,
All God's children got a robe,
Goin' try on my robe an' if it fits me,
Goin' to wear it all round God's heaven.

_Heaben--heaben, ev'ybody goin' to heaben
An' I'm goin' dere, too._

Gamblers dere an' gamblers here,
I'm so glad dat God declare,
Dere ain't no gamblers in heaven.

This version and wording is rather that of the children, who are very fond of singing it. They continue "Heaven so high you can't go over it", "Heaven so low you can't go under it", "Heaven so deep you can't go through it", and "Heaven so wide you can't go round it". The most common form of the song is a variation of the above. _Sinners_, _gamblers_, _dancers_, _liars_, _drunkards_ are _everywhere_, but not in Heaven.

Well there are sinners here and sinners there,
An' there are sinners everywhere,
But I thank God that God declare,
That there ain't no sinners in heaven.

_Heaven, Heaven,
Everybody talkin' 'bout heaven an' goin' there,
Heaven, Heaven,
Goin' to shine all 'round God's heaven._

Well there are drunkards here an' drunkards there,
An' there are drunkards everywhere,
But I'm so glad that God declare,
There ain't no drunkards in heaven.

_Heaven, Heaven,
Preachers all preachin' 'bout heaven an' goin' there,
Heaven, Heaven,
Goin' to shine all 'round God's heaven._

As has been indicated, many of the negro songs consist of single lines repeated in couplets or by fours in order to give length to the singing. The most simple sentences that could be devised may serve as a good song. The negro happens to think of an ordinary truth; he then sings it to his tune and chorus.

I'm goin' to be a Christian if I keep a prayin' on,
I goin' to be a Christian if I keep a prayin' on,
I goin' to be a Christian, I'm goin' to be a Christian,
I goin' to be a Christian if I keep a prayin' on.

An' when I git religion, I goin' to keep a prayin' on.

I goin' to see my Jesus if I keep a prayin' on.

I goin' to see my mother if I keep a prayin' on.

In the same way he is "going to see" his _father_, _brother_, _master_, _preacher_, singing each line four times, altering them as he desires and putting in any chorus that appeals to his fancy. The next song shows a typical variation of a line, and the negro sometimes sings the second version with more determination than the first.

Lord, I want to go to heaven fer to stan' my trials,
Lord, I want to go to heaven fer to stan' my trials,
Yes, I want to go to heaven fer to stan' my trials,
_Great Judgment day_.

Well, _I'm goin'_ to heaven fer to stan' my trials,
An' _I'm goin'_ to heaven fer to stan' my trials,
Yes, _I'm goin'_ to heaven fer to stan' my trials,
_Great Judgment day_.

The darkeys used to sing, "Hail, hail, hail, I'm gwine jine saints above, I'm on my journey home". So, too, in many of their songs the "promise Lan'" was held out as the goal of future happiness. So it is to-day. "On my journey home" and "Goin' to Heaven" represent the common conception.

Sister when you pray you mus' pray to de Lord,
For I hab some hopes ob glory,
_I feel like, I feel like I'm on my journey home,
I feel like, I feel like, I'm on my journey home_.

_I'll away, I'll away to de promise lan',
My Father calls me, I mus' go,
To meet Him in de promise lan'._

I have a father in the promise lan',
Go meet him in de promise lan',
_I feel like, I feel like I'm on my journey home,
I feel like, I feel like I'm on my journey home_.

So, too, the singer has a _mother_, a _sister_, an _auntie_ and others in the "promise lan'". Likewise he says instead of "sister when you pray," etc., _brother_, _member_, _mourner_, _sinner_, _preacher_, and the others. As a rule morning signified to the negroes the time for going to heaven and for the resurrection. The morning star shining as a witness to his conversion, and the midnight dew typified the early morning time of his religion. "In the morning" is sung as of old.

I have been tempted, _O yes_,
An' I have been tried, _O yes_,
I have been to the river an' been baptize,
An' I want to go to heaven in the morning.

_Won't you ride on Jesus?
Ride on Jesus, ride on crowning King,
For I want to go to heaven in the morning._

If you see my mother, _O yes_,
Please tell her for me, _O yes_,
That the angels in heaven done change my name,
An' I want to go to heaven in the morning.

So if you see "_brother John, sister Nancy_," and others makes the song complete. The song once so popular, "Yes, I'll be dere, When gen'ral roll call" is still heard occasionally. Many of these songs have been corrupted and changed, consolidated and revised into new songs. Such a song is "Study war no mo'", which combines the old camp meeting, "down by the river side", and a new element of _peace_, the origin of which is not known.

Well there's goin' to be a big camp meetin',
Well there's goin' to be a big camp meetin',
Well there's goin' to be a big camp meetin',
Down by the river side.

_Well, I ain't goin' to study war no mo',
Well, I ain't goin' to study war no mo',
Well, I ain't goin' to study war no mo'._

Well such a shoutin' an' prayin'
Down by the riverside.

Well I goin' to meet my sister,
Down by the riverside.

Well the brothers got to shoutin',
Down by the riverside.

Said the old singers: "Some o' dese mornin's, hope I'll see my mother, hope I'll jine de ban', hope I'll walk bout Zion, Talk wid de angels, Talk my trouble over" while they looked "away to hebben". Now the negro sings:

Gwine to weep, gwine to mourn,
Gwine to git up early in de morn,
Fo' my soul's goin' to heaven jes' sho's you born,
Brother Gabriel goin' to blow his horn.

Goin' to sing, goin' to pray,
Goin' to pack all my things away,
Fo' my soul's goin' to heaven jes' sho's you born,
Brother Gabriel gwine ter blow his horn.

"Pray come an' go wid me" sings the Christian, for "I'm on my journey home to the New Jerusalem". If refused he says, "Now don't let me beg you to follow me, for I'm on my journey home", and finally he sings, "Well, brother come an' go wid me." If the sinner needs other exhortation he may listen to the mixed song "Dry bones goin' to rise ergain", in which there is first warning, then hope of glory.

Some go ter meetin' to sing an' shout,
_Dry bones goin' ter rise again_;
Fore six month deys all turned out,
_Dry bones goin' ter rise again_.
_O little chillun, O little childun,
O lit'le childun, dry bones goin' rise ergin._

Talk erbout me but taint my fault,
Dry bones goin ter rise ergin;
But me an' Godermighty goin' walk an' talk,
Dry bones goin' ter rise ergin.

Ef you want ter go to heaven when you die,
Dry bones goin' rise ergin;
Jes' stop yo' tongue from tellin' lies,
Dry bones goin' ter rise ergin.

In the old plantation song Ezekiel was represented down in a valley "full of bones as dry as dust" and

He gib de bone a mighty shake,
Fin' de ole sinners too dry to quake,

Death for the Christian is _shouting_: death for the sinner is _doom_. "When I git to heaven, goin' shout on my knees" gives an accurate picture of what the negro conceives to be happiness. But he not only expects to shout while on earth and when he gets home, but even when he dies. For says he,

My mother dies a shoutin', an' I goin' die shoutin', too,
Yes, my mother died a shoutin' an' I goin' die shoutin', too.

My mother died a shoutin', my mother died a shoutin',
Yes, my mother died a shoutin' an' I goin' die shoutin', too.

Still his mother is not the only one who has died shouting; he sings in the same way of _father_, _preacher_, _brother_, _sister_ and others; the slave song included "_Missus_" and "_Marster_" or "_Massa_". But shouting must not be all. The negro and his brothers, sisters, mother are all to die "_mournin'_", and "_prayin'_". In "Join de Heaven wid de Angels" the rich voice of one or two leaders and the swelling chorus produce an effect scarcely surpassed.

O join on, join my Lord,
_Join de heaven wid de angels_;
O join on, join my Lord,
_Join de heaven wid de angels_.

What kin' er shoes is dem you wear?
_Join de heaven wid de angels_;
Dat you kin' walk upon de air,
_Join de heaven wid de angels_.

Oh, God don't talk like a nat'al man,
Join de heaven wid de angels;
He talk to de sinner, he understan',
Join de heaven wid de angels.

I'm Baptis' bred an' I'm Baptis' bo'n,
Join de heaven wid de angels;
An' when I die dey's a Baptis' gone,
Join de heaven wid de angels.

Jes' so de tree fall jes' so it lie,
Join de heaven wid de angels;
Jes so de sinner lib' jes' so he die,
Join de heaven wid de angels.

The song has been found in several forms among which one has it that _John_ is to be in de heavens with the angels. In fact the probable origin of "join on" seems to have been "John saw de heaven wid de angels". In one of the old songs the singer answers,

Dem shoes I wears is gospel shoes,
_View de lan', view de lan'_;
An' you can wear dem if you choose,
View de lan', view de lan'.

There are other references, too, besides the above, to the denominations of the negro churchmen. It has already been seen that the negro likes "bes'" the "shoutin' Mefodes'". So he says "There's fire in de eas' an' fire in de wes; An' fire among de Methodes'". He is loyal and proclaims: "Methodist, Methodist is my name, Methodist till I die, I'll be baptize in the Methodist name, An' I'll lib' on the Methodist side". In the same way he is _Baptist_ and _Presbyterian_; the _Baptist_ is the favorite church of the negro, however, and there are more Baptists than all other denominations combined.

The "Angel Band", while a very simple song in which the chorus constitutes the greater part, is one of the most beautiful that the negroes sing. The tune is a variation of a well-known hymn used by the whites. The power of the song seems to lie in the tender interest which centres about the vivid portrayal of the little angels in the heavenly band. The chorus is repeated after each stanza, while each stanza itself is the repetition of a single line. From one to ten; from ten to twenty and so on to one hundred is ordinarily sung, thus making a lengthy song. The children love to sing the chorus; two forms are ordinarily found, varying the monotony enough to please the negro.

_Dere's one little, two little, three little angels,
Dere's four little, five little, six little angels.
Dere's seven little, eight little, nine little angels,
Dere's ten little angels in de band.
Dere's leben, dere's twelve, dere's thir'een little angels,
Dere's fourteen, dere's fifteen, dere's sixteen little angels.
Dere's seventeen, dere's eighteen, dere's nineteen little angels,
Dere's twenty little angels in de band._

The "little" in the chorus is preferred to the "dere's" as a rule, apparently serving to describe the angels. The stanzas of the song are equally as unlimited and as simple as the chorus. "Sunday morning" is the common factor to all of the verses; sometimes it is omitted.

Jesus rose on Sunday mornin',
Jesus rose on Sunday mornin',
Jesus rose on Sunday mornin',
On Sunday mornin' so soon.

He rose an' flew away on Sunday mornin'.

My mother died on Sunday mornin'.

Oh wasn't that sad on Sunday mornin'?

Dere's goin' to be a big camp meetin' on Sunday mornin'.

Dere's goin' to be a mournin' on Sunday mornin'.

Mourners got to shoutin' on Sunday mornin'.

I'm goin' away to leave you on Sunday mornin'.

Well, my sister's goin' to heaven on Sunday mornin'.

While this form of the song may be continued indefinitely, other verses may also be inserted. Instead of the "On Sunday mornin'" is often substituted "Fer to see my Lord".

Well, my sister's goin' to heaven fer to see my Lord,
To see my Lord, to see my Lord;
Well, my sister's goin' to heaven fer to see my Lord,
What's de onbelievin' soul?

And so he continues with _preacher_, _brother_, _mother_, _auntie_ and any others that he wishes to enumerate. As a shouting song or as a "collection" song, it is not surpassed.

The negro's fancies of the "Heaven's bright home" are not exceeded by the world's fairy tales. There are silver and golden slippers; there are crowns of stars and jewels and belts of gold. There are robes of spotless white and wings all bejewelled with heavenly gems. Beyond the jasper seas he will outshine the sun; the golden streets and the fruit of the tree of life are far superior to any golden apples or silver pears of a Mother Goose. In fact the negro's fairy stories centre on heaven; the children's definitions of heaven consisted entirely of pictures of splendor and glory. To this place the negro imagines he will go and who knows but that he may fly there?

Some o' dese mornin's bright an' fair,
_Way in de middle of de air_;
Gwi' hitch on my wings an' try de air,
_Way in de middle of de air_.

_Come over, den, John saw de holy number,
Way in de middle of de air;
John saw de holy number,
Way in de middle of de air;_

If yer wanter dream dem heavenly dreams,
Way in de middle of de air;
Lay yo' head on Jord'n's stream,
Way in de middle of de air.

I got a book goin' read it thru',
Way in de middle of de air,
I got my Jesus well as you,
Way in de middle of de air.

With a golden "band all round his waist, An' de palms ob victory in a-his hands", the negro sings in reality: "Pray come an' go wid me", for so vivid is his picture that he has been known to start up a post or pillar in the church, saying, "Good bye brothers, I'm gone". His songs make much of flying; different from that just quoted he repeats:

_One mornin' soon,
One mornin' soon, my Lord,
One mornin' soon,
I goin' try the air,
I goin' try the air,
Pray come an' go wid me._

Well I got on my travellin' shoes,
Well I got on my travellin' shoes,
Well I got on my travellin' shoes,
Pray come an' go wid me.

He sings, too, "I goin' to put on my long white robe", "We'll try on de slippah shoe an' wear de golden belt". Again he sings of his doings in the _morning_, _noontime_, and _midnight_.

In the morning--um-u',
In the morning--um-u',
In the morning--um-u',
I goin' put on my golden shoes.

In the midnight--um-u',
In the midnight--um-u',
In the midnight--um-u',
I goin' put on my long white robe.

Talk about it--um-u',
Talk about it--um-u',
Talk about it--um-u',
I goin' wear that starry crown.

The angels and Jesus wear the starry crown and long white robes; there will be no separating line between us and God in the new world. "Oh how I long to go dere, too", sang the old negroes. Now he pictures again the appearance of Jesus.

Jesus, he wore the starry crown,
Jesus he wore the starry crown,
Jesus he wore the starry crown, starry crown.

How does you know he wore the crown?
How does you know he wore the crown?
How does you know he wore the crown? wore the crown?

For the Bible it tell me so,
For the Bible it tell me so,
For the Bible it tell me so, tell me so.

Then, too, Jesus "he wore the long white robe, for the Bible it tell me so." More than the _world_ or _riches_ or _dress_ the singer claims he values the treasures of heaven. In this assertion he is doubtless sincere, both because he is thinking only of his religious state while he sings, and because he has little opportunity for obtaining these earthly riches. Says he:

I don't care fur riches,
Neither dress so fine,
Jes' giv' me my long white robe,
An' I want my starry crown.

_For my Lord done bin here,
Done bless my soul an' gone away._

Po' man goin' to heaven,
Rich man goin' to hell,
For po' man got his starry crown,
Rich man got his wealth.

This "ole worl' bin a hell to me" indicates the contrast between the everyday life of the world and that which the negro will enjoy after death. In his eagerness and impatience to rest in the "promise lan'," the negro does not always think kindly of the world and he does not care even though "Death is in dis lan'."

Ever since my Lord has set me free,
_Death is in dis lan'_,
This ole worl' bin a hell to me,
_Death is in dis lan'_.

_I'm so glad death is in dis lan',
I'm so glad death is in dis lan'._

O run 'long mourner 'n git yo' crown,
_Death is in dis lan'_,
By yo' father's side set down,
_Death is in dis lan'_.

Some er dese mornin's bright and fair,
_Death is in dis lan'_,
Gwin'r hitch on my wings an' try de air,
_Death is in dis lan'_.

If the negro expects to go to heaven and there mingle with God, the angels and his loved ones, he also expects to sing in all the glory and splendor imaginable. The negroes used to sing of "jinin' de association, climbin' Jacob's ladder, climbin' higher an' higher, sittin' down at de welcome table, feastin' off'n milk an' honey, tell God how you served me, jine de big baptizin", after which "den my little soul gwine shine." So they sang of a mother, father, brother in heaven who "outshines de sun", and ended by declaring that when they got to heaven "we will outshine de sun." In very much the same way the negroes sing to-day in one of their favorites, "Goin' to Outshine de Sun."