Chapter VI: Front Matter (6)

Who is this that comes from far
With his garments dipt in blood?
Strong, triumphant traveler,
Is he man or is he God?
"I that reign in righteousness,
Son of God and man I am,
Mighty to redeem your race,
Jesus is your Savior's name.

"Wide, ye heavenly gates, unfold,
Closed no more by death and sin;
Lo, the conquering Lord behold;
Let the King of glory in."
Hark, th'angelic host inquire,
"Who is He, th'almighty King?"
Hark again, the answering choir
Thus in strains of triumph sing:

"He whose powerful arm, alone,
On His foes destruction hurled;
He who hath the victory won;
He who saved you by His blood;
He who God's pure law fulfilled;
Jesus, the incarnate Word;
He whose truth with blood was sealed;
He is heaven's all-glorious Lord."

The melodic sentence at the beginning and at the end is a favorite. It may be found, for example, also in 'Greenwood Siding', Cox, p. 522. A variant of the tune is 'When I First Left Old Ireland', Petrie, No. 863. See 'I Will Arise' in this collection for further tune relationships.

No. 139
NEW ORLEANS, PB 255

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

Why do we mourn departing friends
Or shake at death's alarms?
'Tis but the voice that Jesus sends
To call them to his arms.
Are we not tending upward too,
As fast as time can move?
Nor would we wish the hours more slow,
To keep us from our love.

For variant forms of the tune see 'Marion' and 'I Will Arise' in this collection. Among its related secular tunes are 'Greenwood Siding' ('Cruel Mother'), Cox, p. 522; an unnamed tune in Petrie, No. 193; 'Oh Love it is a Killing Thing', Petrie, No. 469; and 'When First I left Old Ireland', Petrie, No. 863. A remarkable tune resemblance and one which opens to the imagination surprising vistas as to the possible age of the 'New Orleans' tune, is to be seen in the Whitsuntide church melody 'Iam Christus astra ascenderat' from the eleventh century:

[Music]

Iam Christus astra ascenderat regressus unde venerat.

The same melodic trend is seen also in the German tune set to 'Christ der du bist der helle Tag' from the year 1568. See _Hymns Ancient and Modern_, Nos. 178 and 604.

No. 140
HOLY SON OF GOD, REV 365

Hexatonic, mode 2 A (I II 3 IV V -- 7)

[Music]

I love the holy Son of God,
Who once this vale of sorrows trod,
And bore my sins, a heavy load,
Up Calv'ry's gloomy mountain.
High on the cross he shameful hung,
The sport of many an envious tongue,
While pains severe his nature wrung,
And streamed life's crimson fountain.

Oh, why did not his fury burn,
And floods of vengeance on them turn?
Amazing! See his bowels yearn
In soft compassion on them.
No fury kindles in his eyes;
They beam with love, and when he dies,
Father, forgive, the sufferer cries,
They know not--Oh, forgive them.

No. 141
WORTHY THE LAMB, SWP 92

Heptatonic aeolian, mode 2 A + b (I II 3 IV 6 7)

[Music]

Glory to God on high;
Let earth and skies reply,
Praise ye his name, praise ye his name;
His love and grace adore,
Who all our sorrows bore,
Sing aloud evermore,
Worthy the Lamb, worthy the Lamb.

Jesus, our Lord and God,
Bore sin's tremendous load,
Praise ye his name, praise ye his name;
Tell what his arm has done,
What spoils from death he won;
Sing his great name alone;
Worthy the Lamb.

While they around the throne
Cheerfully join as one,
Praising his name, praising his name,
Those who have felt his blood
Sealing their peace with God,
Sound his dear fame abroad,
Worthy the Lamb.

Three more stanzas of the text are in the _Southern and Western Pocket Harmonist_. The tune is attributed to Bradshaw.

No. 142
CAPTAIN KIDD, COH 73

Hexatonic, mode 4 b (I II 3 IV V -- 7)

[Music]

Through all the world below
God is seen all around,
Search hills and valleys through,
There he's found.
The growing of the corn,
The lily and the thorn,
The pleasant and forlorn,
All declare, God is there;
In meadows drest in green,
There he's seen.

See springing waters rise,
Fountains flow, rivers run;
The mist that veils the sky
Hides the sun;
Then down the rain doth pour,
The ocean it doth roar,
And beat upon the shore;
And all praise in their ways
The God who ne'er declines
His designs.

The sun with all his rays
Speaks of God as he flies;
The comet in her blaze,
God she cries.
The shining of the stars,
The moon when she appears,
His awful name declares;
See them fly through the sky,
And join the solemn sound
All round.

Not India's hills of gold,
Where the wonders are told,
Nor zephyrs strong and bold
Can unfold
The mountain Calvary,
Where Christ our Lord did die.
Hark, hear the Savior cry,
Mountains quake, heavens shake,
Christ, call'd to heaven's host,
Left their coast.

The tune is ascribed to Nicholson. The oldest American recording known to me is in the four-shape-note manuscript song collection made by Catherine Alderice in or near Emmittsburg, Md., 1800-1830, p. 37. Miss Gilchrist calls attention to the secular 'Captain Kidd' ballad, of which the above is a parody, as it appeared, twenty-five verses long, in _Our Familiar Songs and Who Made Them_, published in America, 1889. She describes it as "a sort of dying speech and testament probably dating from about 1701 in which year Kidd and nine of his associates were hanged in Execution Dock.... There were many other eighteenth century songs, built on this peculiar stanzaic plan, celebrating other notorious characters, 'Admiral Benbow,' 'Jack (or Sam) Hall.'" Other American spiritual songs in this collection having the same stanzaic form are 'Wondrous Love' and 'Remember Sinful Youth'.

No. 143
JERUSALEM, SOH (1835) 60

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 VII).

[Music]

Jerusalem, my happy home,
O how I long for thee!
When will my sorrows have an end,
Thy joys when shall I see!
But O, the happy, happy place,
The place where Jesus reigns;
The place where Christians all shall meet,
Never to part again.

Further stanzas of the text are given under 'Long-Sought Home' in this collection. The song is attributed to Benjamin White. This is Benjamin Franklin White, brother-in-law of, and co-worker with, William Walker (compiler of the _Southern Harmony_) and author subsequently of the _Sacred Harp_. See _White Spirituals_, 84.

No. 144
ROBY, OL 273

Heptatonic dorian, mode 2 A + B with altered 3rd (I II 3 [III] IV V VI 7)

[Music]

Tempest tossed, troubled spirit,
Dost thou groan beneath thy load,
Fearing thou shalt not inherit
In the kingdom of thy God?
View thy Savior on the mountain
In temptation's painful hour;
Tho' of grace himself the fountain,
And the Lord of boundless pow'r.

Do thy blooming prospects languish?
Sayest thou still, "I'm not his child?"
View thy Savior's dreadful anguish,
Famished in the gloomy wild.
Not a step in all thy journey,
Thro' this gloomy vale of tears,
But thy Lord hath trod before thee;
He thy way to glory clears.

The _Olive Leaf_ compiler informs us that this song which was a favorite with the late Rev. Wesley P. Arnold, of Georgia, was "learned of some dear Baptist friends in Iridell Co., N. C., in 1839, and called 'Roby', their name."

No. 145
REMEMBER SINFUL YOUTH or SOLEMN THOUGHT, SOH 29

Pentatonic, mode 2 (I -- 3 IV V -- 7)

[Music]

Remember, sinful youth, you must die, you must die,
Remember, sinful youth, you must die;
Remember, sinful youth, who hate the way of truth
And in your pleasures boast, you must die, you must die;
And in your pleasures boast, you must die.

Uncertain are your days here below, here below,
Uncertain are your days here below,
Uncertain are your days, for God hath many ways
To bring you to your graves here below, here below,
To bring you to your graves here below.

The God that built the sky, great I AM, great I AM,
The God that built the sky, great I AM,
The God that built the sky, hath said, (and cannot lie),
Impenitents shall die, and be damn'd, and be damn'd,
Impenitents shall die, and be damn'd.

And, O my friends, don't you, I entreat, I entreat,
And, O my friends, don't you, I entreat,
And, O my friends, don't you your carnal mirth pursue,
Your guilty souls undo, I entreat, I entreat,
Your guilty souls undo, I entreat.

Unto the Saviour flee, 'scape for life! 'scape for life!
Unto the Saviour flee, 'scape for life!
Unto the Saviour flee, lest death eternal be
Your final destiny, 'scape for life! 'scape for life!
Your final destiny, 'scape for life!

The mood of the poem indicates a considerable age for it. That the song as a whole was decidedly among the stock of orally transmitted ones is indicated by the many claimants to its authorship. Such claimants in the southern books are F. Price, William Caldwell, James Carrell and Ananias Davisson. Found also, UH 56, KNH 108, HH 225, SKH 66, CHH 361. The stanzaic form is that of 'Captain Kidd' in this collection. In his _Christian Harmony_, William Walker adds the note that "I learned it [the tune] from my dear mother (who now sings in heaven) when I was only three years old,--the first tune I ever learned." That was in 1812. That the song was even older, however, is shown by its appearance in Ingalls' _Christian Harmony_ of 1805, p. 39.

No. 146
WEEPING SAVIOR, OSH 33

Hexatonic, mode 2 A (I II 3 IV V -- 7)

[Music]

Did Christ o'er sinners weep?
And shall our cheeks be dry?
Let floods of penitential grief
Burst forth from every eye.

The Son of God in tears,
Angels with wonder see;
Be thou astonished, O my soul;
He shed those tears for thee.

He wept that we might weep;
Each sin demands a tear;
In heav'n alone no sin is found,
And there's no weeping there.

The text is attributed to Benjamin Beddome, and the tune to Joseph Barnby, and to E. J. King. The first, sixth, and seventh measures had only quarter notes in the _Sacred Harp_. The slurred eighth notes are inserted from a variant of the tune found in the _Olive Leaf_. They represent probably an effort on the part of the editor of that song book to present the tune as really sung.

No. 147
DETROIT, SOH 40

Hexatonic, mode 2, b (I -- 3 IV V 6 7)

[Music]

Do I not love thee, O my Lord?
Behold my heart and see;
And turn each cursed idol out,
That dares to rival thee.

Hast thou a lamb in all thy flock
I would disdain to feed?
Hast thou a foe before whose face
I fear thy cause to plead?

Would not my ardent spirit vie
With angels 'round thy throne,
To execute thy sacred will,
And make thy glory known?

Thou know'st I love thee, dearest Lord,
But Oh! I long to soar
Far from the sphere of mortal joys,
That I may love thee more.

Philip Doddridge is credited with the words. The tune is attributed to 'Bradshaw' in the _Southern Harmony_. Found also, UH 33, KNH 23, OSH 39, HH 158, SOC 175, HOC 22, WP 24, SKH 85, GOS 282. The melody is similar to a number of those given by Sharp (i., 150ff.) with 'The Wife of Usher's Well'.

No. 148
I SHALL BE SATISFIED, REV 62

Hexatonic, mode 4 b minorized (I II 3 IV V -- 7 [VII])

[Music]

If I in thy likeness, O Lord, may awake,
And shine a pure image of thee;
Then I shall be satisfied when I can break
These fetters of flesh and be free.
I know this stain'd tablet must first be wash'd white,
To let thy bright features be drawn,
I know I must suffer the darkness of night,
To welcome the coming of dawn.

Then I shall be satisfied when I can cast
The shadows of nature all by,
When this cold dreary world from my vision is past,
And let this soul open her eye.
I gladly shall feel the blest morn drawing near,
When time's dreary fancy shall fade,
If then in thy likeness I may but appear,
I rise with thy beauty arrayed.

One more stanza of text in the _Revivalist_. The song is used "as sung by Rev. G. C. Wells." It is reminiscent of the 'Henry Martin' tune; see Gould and Sharp, _English Folk-Songs for Schools_, p. 22.

No. 149
EDGEFIELD, OSH 82

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

How tedious and tasteless the hours
When Jesus no longer I see!
Sweet prospects, sweet birds, and sweet flowers
Have all lost their sweetness to me,
Have all lost their sweetness to me.

The tune is attributed, in the _Sacred Harp_, to J. T. White, a Georgian, and is dated 1844. It is a variant of 'When the Cock Crows it is Day', Petrie, No. 478. The fuller text, attributed to John Newton, is given under the song 'Green Fields' in this collection.

One Hundred and one Revival Spiritual Songs

No. 150
JESUS IS MY FRIEND (A), OSH 345

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Come life, come death, come then what will,
Jesus is my friend.
His foot-steps I will follow still,
Jesus is my friend.
Jesus is my friend,
O hallelujah!
Jesus is my friend.

In the _Sacred Harp_ of 1859 this song, tune and words, is attributed to the Georgian, J. P. Rees. I have heard my negro servant, Annie Ware, singing it, or fragments of it including the final phrase, "Jesus is my friend," in Nashville, Tennessee, 1932. It is found also GOS 652.

No. 151
LOST CITY or TO GLORY I WILL GO, OSH 320

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

O when shall I see Jesus
And reign with him above,
And from the flowing fountain
Drink everlasting love,
And to glory I will go,
And to glory I will go, will go, will go,
And to glory I will go.

The words are by John Leland. The old tune seems to have been wedded to the above text by E. L. King, about 1844, according to the _Original Sacred Harp_. John G. McCurry applied the same tune to a text beginning:

I'd rather live a beggar
While here on earth I stay

and ending with the refrain

And to begging I will go.

See 'Beggar' in this collection where there are references to the seventeenth century prototype of the above song. Further stanzas of the above spiritual text are given under 'Faithful Soldier'.

No. 152
GOLDEN HARP or TO PLAY ON THE GOLDEN HARP, OSH 274

Pentatonic, mode 2 (I -- 3 IV V -- 7)

[Music]

Farewell, vain world, I'm going home,
To play on the golden harp;
My Savior smiles and bids me come,
To play on the golden harp.
_Chorus_
I want to be where Jesus is,
To play on the golden harp.
To play on the golden harp,
To play on the golden harp;
I want to be where Jesus is,
To play on the golden harp.

Sweet angels beckon me away
To sing God's praise in endless day.

I'm glad that I am born to die,
From grief and woe my soul shall fly.

Bright angels shall convey me home,
Away to New Jerusalem.

I'll praise my Master while I've breath,
I hope to praise him after death.

I hope to praise him when I die,
And shout salvation as I fly.

I soon shall pass this vale of death,
And in his arms I'll lose my breath.

And then my happy soul shall tell
My Jesus hath done all things well.

Recorded in 1869 for the edition of the _Sacred Harp_ which appeared in that year. The tune stems from some variants of 'Come all ye Faithful Christians', cf. JFSS, ii., 115ff.

No. 153
I CAN'T STAY AWAY, CSH 95

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

Farewell, vain world, I'm going home,
I can't stay away,
My Savior smiles and bids me come,
I can't stay away.
I can not stay much longer here,
I can't stay away,
For the gospel ship is passing by,
I can't stay away.

Further stanzas of the text are given under 'Golden Harp'. Compare, for melodic similarities 'Little Musgrave and Lady Barnard', Sharp, i., 161, 162, 164, 168, and 170.

No. 154
MY HOME IS OVER JORDAN, REV 390

Pentachordal, cannot be classified (I II 3 IV V -- --)

[Music]

My home is over Jordan,
My home is over Jordan,
My home is over Jordan,
Where pleasures never die.

Where the wicked cease from troubling, _etc._
And the weary are at rest.

Farewell to sin and sorrow, _etc._
I bid you all adieu.

And you, my friends, prove faithful, _etc._
And on your way pursue.

This spiritual tune has been widely used as a chorus to other songs. An example is 'Wings of the Morning' in this collection.

No. 155
O I'M SO HAPPY

Pentatonic, mode 1 (I II -- IV V VI --)

[Music]

O I am so happy in Jesus,
His blood has redeem'd me from sin;
I shout and I sing in my gladness,
To know he is dwelling within.

O I am so happy in Jesus,
His blood has redeem'd me from sin,
So happy that he is my Savior,
So happy he's dwelling within.

Recorded by the author, September 21, 1932, in Nashville, Tennessee, from the singing of Samuel E. Asbury who learned it from hearing it sung at camp meetings in western North Carolina in the 1880's. The tune is quite evidently an orally transmitted version of that of 'Faithful Soldier', in this collection, which first appeared in the _Southern Harmony_ (1835) and was claimed by William Walker, the compiler of that collection. See also 'Hallelujah' in this collection, a type tune to which the above melody is organically related, for further data as to kindred tunes.

No. 156
CUBA or GO PREACHERS or POOR MOURNER'S FOUND A HOME, OSH 401

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Go, preachers, and tell it to the world;
Go, preachers, and tell it to the world;
Go, preachers, and tell it to the world:
Poor mourner's found a home at last.

Through free grace and a dying Lamb;
Through free grace and a dying Lamb;
Through free grace and a dying Lamb,
Poor mourner's found a home at last.

This typical spiritual was taken into the 1859 edition of the _Sacred Harp_. Other stanzas were added by simply substituting in the place of "preachers," the words "fathers," "mothers," etc. A negro version of tune and words is in _Slave Songs_, No. 24.

No. 157
SINNERS TURN, OL 266

Heptatonic, essentially aeolian, mode 2 A + b (I II 3 [III] IV V 6 [VI] 7)

[Music]

Sinners, turn, why will ye die?
God, your maker asks you why.
God who did your being give,
Made you with himself to live.
_Chorus_
Oh! turn, sinners, turn!
May the Lord help you turn,
Oh! turn, sinners, turn,
Why will you die?

He the fatal cause demands,
Asks the work of his own hands,
Why, ye thankless creatures, why
Will you cross his love and die?
_Chorus_

Sinners, turn, why will ye die?
God, your Savior, asks you why!
God, who did your souls retrieve,
Died himself that ye might live.
_Chorus_

This tune is closely related to 'Animation' and, like it, to the worldly tune 'Ropesman' in Thomas, p. 164. The melody of the above chorus seems to have been derived from 'Willy Taylor', Petrie, No. 745. Compare for similarities 'Run Nigger Run', SS 89.

No. 158
DEATH AIN'T YOU GOT NO SHAME

Pentachordal, cannot be classified (I II III IV V -- --)

[Music]

Death, ain't you got no shame, shame?
Death, ain't you got no shame, shame?
Death, ain't you got no shame, shame?
Death, ain't you got no shame?

Recorded by the compiler of this collection from the singing of Francis Arthur Robinson, Nashville, Tennessee, as he had heard it in the backwoods of Wayne County, Tennessee, in 1926. Mr. Robinson called it a "barefoot white" song. The tied notes are sung in a skid or scoop. Subsequent stanzas:

Left his pappy to moan, moan, _etc._
Left his widder alone, lone, _etc._
Left his mammy to weep, weep, _etc._

and many more. In _The Carolina Low-Country_, page 249, a version of the song is given as sung by a negro congregation in Beaufort, South Carolina.

This song is one of the most primitive in the present collection. It is valuable, however, in that it exemplifies well a lyric level which suited both whites and blacks of a certain cultural status.

No. 159
COME TO JESUS, REV 142

Hexatonic, 6th missing, cannot be classified but obviously ionian (I II III IV V -- VII)

[Music]

Come to Jesus, come to Jesus,
Come to Jesus just now,
Just now come to Jesus,
Come to Jesus just now.

Subsequent verses are built up on: He will save you; O, believe him; He is able; He is willing; He'll receive you; Call upon him; He will hear you; Look unto him; He'll forgive you; He will cleanse you; He will clothe you; Jesus loves you; Don't reject him; and, Only trust him. A negro version of tune and text is in _Slave Songs_, No. 85.

Was 'Come to Jesus' a tune importation from Germany? Erk and Böhme (_Deutscher Liederhort_, vol. iii., p. 735) bring several variants of what is called an "altes Fastenlied." I reproduce one of them:

[Music]

Es sangen drei Engel einen süszen Gesang,
sie sangen, dasz es Gott in dem Himmel erklang.

The first part of the German tune is almost identical with the corresponding part of the one, heard widely among American students, with such texts as 'O My Darling Clementine' and 'Found a Horseshoe Just Now'--evident parodies on the 'Come to Jesus' tune and words. The second part of the German melody is strikingly like that of the above mentioned negro version in _Slave Songs_.

No. 160
GLAD NEWS or WE'LL LAND ON SHORE, SOC 18

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Come, Thou fount of every blessing,
Tune my heart to sing Thy grace;
Streams of mercy never ceasing,
Call for songs of loudest praise.

And we'll land on shore,
Yes, we'll land on shore,
And we'll land on shore
And be safe for evermore.

A variant of the above text and tune is 'when we pass over Jordan', Mason's _Harp of the South_, p. 295.

No. 161
CHRISTIAN PROSPECT or THERE'S A BETTER DAY, SOH 323

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

We have our trials here below,
O glory hallelujah!
We have our trials here below,
O glory hallelujah!
There's a better day a-coming,
Hallelujah!
There's a better day a-coming,
Hallelujah!

A few more beating winds and rains,
O glory hallelujah!
A few more beating winds and rains,
O glory hallelujah!
And the winter will be over,
Hallelujah!
And the winter will be over,
Hallelujah!

A few more rising and setting suns
And we'll all cross over Jordan.

I feel no ways like getting tired,
I am making for the harbor.

I hope to get there by and by,
My home is over Jordan.

There are four more stanzas. The song is found also in KNH 52. Both Walker, compiler of the _Southern Harmony_, and Davisson, compiler of the _Kentucky Harmony_, laid claim to its authorship.

They were doubtlessly both recorders of this same piece of unwritten music. That was in the 1830's. See the first phrase of 'Glorishears' (Sharp, _Morris Dances_ Set 5, No. 6) for melodic similarities. The above song, both tune and words, inspired the composition of 'Christian's Hope' in this collection. A negro remake of tune and words is in Dett, p. 36.

No. 162
CHRISTIAN'S HOPE or WHERE ALL IS PEACE AND LOVE, OSH 506

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

We have our troubles here below,
We're trav'ling through this world of woe,
To that bright world where loved ones go,
Where all is peace and love.

Where all is peace and love,
To that bright world where loved ones go,
Where all is peace and love.

We're fettered and chained up in clay,
While in this body here we stay;
By faith we know a world above,
Where all is peace and love.

I feel no way like getting tired,
I'm trusting in his holy word,
To guide my weary feet above,
Where all is peace and love.

The _Sacred Harp_, edition of 1911, has the following note: "H. A. Parris, who composed the words and music to the 'Christian's Hope', resides at this time, 1911, at Helicon, Alabama. He is a great lover of the old _Sacred Harp_ tunes." Mr. Parris composed the song by assembling, happily withal, wandering distichs and melodic phrases from songs of much older times. His chief source, both tonally and textually, was 'Christian Prospect' in this collection. I have been told that this spiritual grips the _Sacred Harp_ singers' emotions so deeply that they can hardly get to the third verse before many burst into tears.

No. 163
DULCIMER or BELOVED, PB 309

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

O thou in whose presence my soul takes delight,
On whom in afflictions I call,
My comfort by day and my song in the night,
My hope, my salvation, my all.

The poem is by Joseph Swain of England (1762-1796). The tune is attributed to Freeman Lewis whom Tillett calls merely "an American musician." His dates are 1780-1859. Found also GCM 65, _Baptist Hymnal_ (1902), No. 389. _Methodist Hymnal_ (1905), No. 530; GOS 102, SOH 15. Miss Gilchrist (_op. cit._) compares this tune with 'Fair Rosie Ann' in Greig's _Last Leaves of Traditional Ballads_, p. 771. The chorus of 'The Sinking of the Titanic' a phonograph-recorded song of wide popularity in America during the 1920's, is practically the same melodic trend as that of 'Dulcimer'. Its text is:

It was bad when that great ship went down,
It was bad when that great ship went down,
There was husbands and wives,
Little child'en lost their lives,
It was bad when that great ship went down.

A song curiously similar to the 'Titanic' song is in _The Carolina Low-Country_, page 296, as sung by the negroes on the Santee River in South Carolina. The tune is changed but little. The words are:

It was sad w'en duh grabe sinkin' down,
It was sad w'en duh grabe sinkin' down,
Ain' dat uh awful time,
People keep awake all night,
It was sad w'en duh grabe sinkin' down.

The tune of 'Dulcimer' is of the 'Lord Lovel' type mentioned in the Introduction, p. 14. Other songs in this collection belonging to this type are 'Yongst', 'Dunlap's Creek', 'Liverpool', 'Ester', 'Lonesome Grove', and 'Land of Rest'. Other spiritual folk-tunes of the same type are 'Eden', GOS 558; 'Thy Way O God', PB 29; 'Charlestown', GOS 255; 'Lord of Glory', PB 374; 'New Hope', PB 373; 'Golden Hill', HH 211; 'Webster', OSH 31; 'Hollis', GOS 73; 'Edneyville', HH 193; 'Blissful Hope', REV 140; and 'Tedious Hours', SOC 69. Further secular tunes of the type are 'Lord Lovel', Sharp, i., 148; 'The Two Brothers', Davis, 563; 'The Mermaid', Sharp, i., 293; 'Every Night When the Sun Goes In', Sharp, ii., 269; 'Three Little Babes', Davis, 576; 'Come All You Fair and Tender Ladies', Sharp, ii., 135; 'Barbara Allen', Sharp, i., 195; 'Gypsy Laddie', Sharp, i., 237; 'Horn Fair', JFSS, ii., 204; and 'The Cuckoo', Sharp, ii., 177.

No. 164
WEEPING MARY (A), SOC 98

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

Are there anybody here like Mary a-weeping?
Call to my Jesus and he'll draw nigh.
Are there anybody here like Peter a-sinking?
Call to my Jesus and he'll draw nigh.

Glory, glory, glory, glory,
Glory be to my God on high.

Attributed in the _Sacred Harp_ to "John G. McCurry & Power" and dated 1852. For a variant of this tune used among the negroes see _White Spirituals_, 256. Miss Gilchrist states that the text of this song is No. 51 in the first _English Primitive Methodist Hymn Book_, about 1823.

No. 165
GREAT DAY or WHERE WILL YOU STAND, OSH 386

Pentachordal, cannot be classified (I II 3 IV V -- --)

[Music]

I've a long time heard that there will be a judgment
That there will be a judgment in that day.
O there will be a judgment in that day,
O sinner, where will you stand in that day?

I've a long time heard that the moon will be bleeding,
That the moon will be bleeding in that day.

I've a long time heard that the stars will be falling, _etc._

I've a long time heard that the earth will be burning, _etc._

This song bears the date 1859 and the composer's name, John P. Rees. But beside the title we read: "As sung by Judge Falkerner of Ala." We may therefore conclude that Rees recorded on that date this older tune from the singing of the Alabama magistrate. Melodic similarities are seen in 'Trooper and the Maid', Sharp, i., 305. A recent negro version from Beaufort, S. C., is in _The Carolina Low-Country_, p. 250.

No. 166
SHOUT ON, PRAY ON or ANTIOCH, OSH 277

Hexatonic, mode 2 b (I -- 3 IV V 6 7)

[Music]

I know that my Redeemer lives, Glory hallelujah.
What comfort this sweet sentence gives, Glory hallelujah,
Shout on, pray on, we're gaining ground, Glory hallelujah,
The dead's alive and the lost is found, Glory hallelujah.

There are three more stanzas of this hymn, the core of which is attributed to Daniel Medley "about 1784." The tune first appeared in the _Social Harp_, 1855, where it is attributed to F. C. Wood, a Georgian. A tune and text variant is 'We'll Go On', REV 252. A negro version of this spiritual may be seen in Dett, 195. See also _White Spirituals_, 259. 'Antioch' looks like a make-over from 'Columbus' in this collection. The tune is cleverly fitted also to a worldly ballad 'Edward', found in eastern Tennessee; see Sharp, i., 47. It is found also fitted to the worldly ballad 'Cruel Mother' in North Carolina; see Sharp, i., 58. 'Little Musgrave and Lady Barnard', Sharp, i., 162, shows definite influence of 'Antioch'. See also for melodic similarities 'Trooper and the Maid', Sharp, i., 305; and 'Bridle and Saddle', Sharp, i., 305; and 'Bridle and Saddle', Sharp, ii., 329.

No. 167
WE'LL SHOUT AND GIVE HIM GLORY or REVIVAL SONG, OL 254

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Oh, how I love my Savior!
Oh, how I love my Savior!
Oh, how I love my Savior,
because he first lov'd me.
_Chorus_
We'll shout and give him glory,
We'll shout and give him glory,
We'll shout and give him glory,
For glory is his own.

I feel the work reviving, _etc._
Reviving in my soul.
_Chorus_

I'm on my way to Zion, _etc._
The New Jerusalem.
_Chorus_

O Christians, will you meet me? _etc._
On Canaan's happy shore?
_Chorus_

By the grace of God, I'll meet you, _etc._
On Canaan's happy shore.
_Chorus_

O brothers, will you meet me? _etc._

O sisters, will you meet me? _etc._

O mourners, will you meet me? _etc._

O sinners, will you meet me? _etc._

The _Olive Leaf_ editor calls it a "refrain song."

No. 168
SWEET MORNING, OSH 421

Hexatonic, mode 2 A (I II 3 IV V -- 7)

[Music]

The happy day will soon appear,
And we'll all shout together in that morning;
When Gabriel's trumpet you shall hear,
And we'll all shout together in that morning.
Sweet morning, sweet morning,
And we'll all shout together in that morning.

Behold the righteous marching home,
And we'll all _etc._
And all the angels bid them come,
And we'll all _etc._

Found also in GOS 254. How the post-Civil War negroes sang this song to pieces and then patched it together with fragments of 'Exhilaration', another song in this collection, is made clear by reference to _Slave Songs_, p. 74, No. 97. The tune of 'Trooper and the Maid', Sharp, i., 305, is the same as that of 'Sweet Morning'.

No. 169
GOOD OLD WAY (A), OSH 213

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Lift up your heads, Immanuel's friends,
O halle, hallelujah;
And taste the pleasure Jesus sends,
O halle, hallelujah.

Let nothing cause you to delay,
O halle, hallelujah;
But hasten on the good old way,
O halle, hallelujah.

The words of the above song appeared in the _Dover Selection_ in the early years of the nineteenth century and in the _Zion Songster_, a spiritual-song collection which appeared in 1832. The first appearance of the tune seems to have been in the _Southern Harmony_ of 1835. A related tune in this collection is 'All the Way 'Long'. Further stanzas of the text are given under 'Good Old Way (B)'.

No. 170
ALL THE WAY 'LONG, REV 172

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Oh, good old way, how sweet thou art,
All the way 'long it is Jesus.
May none of us from thee depart,
All the way 'long it is Jesus.
Jesus, Jesus,
Why, all the way 'long it is Jesus.

But may our actions always say,
We're marching in the good old way.

This note above the rest shall swell,
That Jesus doeth all things well.

Related songs in this collection are 'Good Old Way (A)', 'Good Old Way (B)', and ''Tis a Wonder'.

No. 171
'TIS A WONDER, SOC 44

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

O 'tis a glorious mystery,
'Tis a wonder, a wonder, a wonder;
That I should ever saved be
'Tis a wonder, a wonder, a wonder.

No heart can think or fully tell,
'Tis a wonder, a wonder;
My God has sav'd my soul from hell,
'Tis a wonder, a wonder, a wonder.

Two further stanzas of the text taken from _Good Old Songs_, No. 511, are:

Great mystery that God should place,
'Tis a wonder _etc._
His love on any of Adam's race,
'Tis a wonder _etc._
That I should also share a part,
'Tis a wonder _etc._
And find a mansion in his heart,
'Tis a wonder _etc._

Great mystery, I can't tell why
That Christ for sinful worms should die;
Should leave the boundless realms of bliss,
And die for sinners on the cross.

The song is accredited in the _Social Harp_ to Henry F. Chandler and dated 1854. A North Carolina variant, recorded in 1916, is in Sharp, ii., 294. A variant in the present collection is 'Look Out', which see for references to related secular tunes. The earliest American recording of this melody known to me is that in Jeremiah Ingalls' _Christian Harmony_ of 1805, p. 15. It begins:

When converts first begin to sing, wonder, wonder, wonder,
Their happy souls are on the wing, wonder, wonder, wonder.
Their theme is all redeeming love, glory hallelujah,
Fain would they be with Christ above, sing glory hallelujah.

No. 172
BOWERS or HAPPY SOULS (B), SOC 82

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

My soul's full of glory,
Inspiring my tongue,
Could I meet with angels,
I'd sing them a song;
I'd sing of my Jesus
And tell of his charms,
And beg them to bear me
To his loving arms.

To his loving arms,
To his loving arms;
And beg them to bear me
To his loving arms.

John G. McCurry places his name as composer at the top of the page where this song is found in the _Social Harp_ and dates it 1852. A note at the bottom says: "This tune was arranged as sung by William Bowers, Eagle Grove, Georgia." Eagle Grove is a few miles south of Hartwell. The tune is a clear borrowing from 'Wearing of the Green'. See also 'Our Goodman', Sharp, i., 269, for melodic similarities. Further stanzas of the text are given under 'Glorious Prospect'. In _The Musical Quarterly_, vol. xxii., No. 2, I have called attention to melodic similarities between the above tune (with its variants 'Oh For my Soul's Happy', 'We'll Wait Till Jesus Comes', and 'O When Shall I see Jesus' in this collection) and Stephen Foster's 'Annie My own Love' and 'Hard Times Come Again No More'.

No. 173
HEAVEN'S MY HOME, OSH 119

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Come, all my dear brethren and help me to sing,
I'm going to Jesus, he's heaven's great King;
He died to atone for the sins of the world,
His banner is flying his sails are unfurled.

Heaven's my home, heaven's my home;
I'm going to Jesus for heaven's my home.

While here in the valley of conflict I stay,
Oh, give me submission and strength as my day;
In all my afflictions to thee I would come,
Rejoicing in hope of my glorious home.

I long, dearest Lord, in thy beauties to shine,
No more as an exile in sorrow to pine;
And in thy dear image arise from the tomb,
With glorified millions to praise thee at home.

The song is ascribed in the _Original Sacred Harp_ to Dr. R. H. Davis and J. S. Terry. This is a re-make of an older tune in four-four time called 'Old Troy' in this collection, and 'Old Troy' in turn is almost identical with, and probably made out of 'Wearing of the Green'.

No. 174
OLD TROY or IN JESUS' BLOOD, SOC 75

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

The news of his mercy is spreading abroad,
And sinners come crying and weeping to God.
Their mourning and praying is heard very loud,
And many find favor in Jesus'es blood.

In Jesus'es blood,
In Jesus'es blood,
And many find favor in Jesus'es blood.

For tune relationships see 'Heaven's My Home' and 'Happy Souls (B)' in this collection. John G. McCurry claims the tune in the _Social Harp_. It is taken bodily from 'Wearing of the Green'. A very similar negro spiritual tune is in Dett, p. 42.

No. 175
THERE WILL BE MOURNING or JUDGMENT SCENES, OL 337

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

Judgment day is rolling on,
Judgment day is rolling on,
Judgment day is rolling on
As fast as time can move.
Oh, there will be mourning,
Mourning, mourning, mourning,
Oh, there will be mourning
At the judgment seat of Christ.

Wives and husbands there shall part, _etc._
Shall part to meet no more.
_Chorus_

Brothers and sisters there shall part, _etc._
Pastors and people there shall part, _etc._
Parents and children there shall part, _etc._

This old air and its words portray, as the _Olive Leaf_ author declares, "the gloomy side" of the Last Day. But, he adds consolingly, "Now sing the joyous side, with every verse," thus:

The judgment day is rolling on, _etc._
And we shall all be there.
Oh, there will be shouting
Shouting, shouting, shouting,
Oh, there will be shouting
At the judgment seat of Christ.

Wives and husbands then shall meet, _etc._
Shall meet to part no more.
_Chorus_

and so on also for the "parents and children," and the rest. 'Parting Hymn', in this collection, uses a similar chorus but has a different verse and tune. A negro version is in _Slave Songs_, p. 52.

No. 176
WEEPING PILGRIM or YOU MAY TELL THEM FATHER or I'M A POOR MOURNING
PILGRIM, OSH 417

Pentatonic, mode 1 (I II -- IV V VI --)

[Music]

You may tell them, father, when you see them,
I'm a poor mourning pilgrim, I'm bound for Canaan's land.
I weep and I mourn, and I move slowly on,
I'm a poor mourning pilgrim, I'm bound for Canaan's land.

The text is probably a parody of 'Rebel Soldier' or 'Poor Stranger', Sharp, ii., 212ff. Especially the refrain verses of the two songs show textual and tonal resemblances. The secular refrain runs:

I am a rebel soldier and far from my home.

The cowboys, too, made use of the 'Rebel Soldier' or 'Mourning Pilgrim' in the song 'Poor Lonesome Cowboy', Sandburg, p. 273, which reads:

I'm a poor lonesome cowboy, and a long way from home.

The spiritual song appeared first in the 1859 edition of the _Sacred Harp_.

No. 177
EXHILARATION or THEN MY TROUBLES WILL BE OVER or I NEVER SHALL FORGET
THE DAY, OSH 170

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

O may I worthy prove to see
The saints in full prosperity,
Then my troubles will be over.
To see the bride, the glitt'ring bride,
Close seated by my Savior's side,
Then my troubles will be over.
I never shall forget the day
When Jesus wash'd my sins away,
And then my troubles will be over;
Will be over, will be over and rejoicing,
And then my troubles will be over.

I'll praise him while he gives me breath,
I hope to praise him after death.
Then my troubles will be over.
I hope to praise him when I die,
And shout salvation as I fly,
Then my troubles will be over.
_Chorus_

I soon shall pass the vale of death,
And in his arms resign my breath.
O then my happy soul shall tell,
My Jesus has done all things well.
_Chorus_

Then shall I see my blessed God,
And praise him in his bright abode.
My theme to all eternity
Shall glory, glory, glory be.
_Chorus._

I have no information as to the tune excepting that it appeared in the earliest edition of the _Sacred Harp_, that is, in 1844. The tune and the words of its chorus have served the negroes in the construction of 'Almost Over', SS, No. 97.

No. 178
RESURRECTED or MY FATHER'S GONE or AWAY OVER YONDER or TO WEAR A
STARRY CROWN, OSH 524

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

My father's gone to view that land,
My father's gone to view that land,
My father's gone to view that land
To wear a starry crown,
Away over yonder, away over yonder,
Away over yonder to wear a starry crown.

Seaborn M. Denson, widely known fasola country singing-school teacher and musical editor of the 1911 edition of the _Original Sacred Harp_, and author of this song, told me he had heard this song sung in camp meetings around Civil War times in northern Alabama. He recorded it from memory and published it first in the _Union Harp_ in 1909. The tune is a member of the 'Roll Jordan' group. See Introduction, page 14, and the song by that name in this collection. Further stanzas read "My mother's gone", "My sister's gone" etc.

The wide spread of this song in the American oral tradition and especially at the time when Mr. Denson heard it in northern Alabama, is indicated by the variant and musically somewhat inferior recording in the _Revivalist_, Albany, New York, 1868. It is there called 'Away over Jordan'. It runs:

My brother's going to wear that crown _etc._
To wear that starry crown.
Away over Jordan, with my blessed Jesus,
Away over Jordan, to wear that starry crown.

My father's gone to wear that crown _etc._
My mother's gone _etc._
John Wesley's gone _etc._
You must live right _etc._

No. 179
WINGS OF THE MORNING or WESTERN MELODY, BHTBK, p. 213

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

O thou almighty Father,
Come help me now to praise thy glory
(_These words lacking in my recording_)
Oh, had I the wings of the morning,
I'd fly away to Canaan's shore;
Bright angels should convey me home
To the new Jerusalem.

The tune trend of the chorus is found also in 'Rocky Mountain Top', Sharp, ii., 110; and it is the whole tune of 'My Home is Over Jordan' in this collection.

No. 180
WE'LL MARCH AROUND JERUSALEM, REV 358

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

O brethren, will you meet me
On that delightful shore?
O brethren, will you meet me
Where parting is no more?

And we'll march around Jerusalem,
We'll march around Jerusalem,
We'll march around Jerusalem
When we arrive at home.

Subsequent stanzas use instead of brethren, sister, leader, preacher, young convert, and backslider, with the conclusion:

Yes, bless the Lord, I'll meet you, _etc._

The above tune, with some alterations, is found as a negro spiritual in Dett, p. 78.

No. 181
RAGAN or I BELONG TO THIS BAND (B), OSH 176

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Fare-well, vain world, I'm going home,
I belong to this band, hallelujah,
My Savior smiles and bids me come,
I belong to this band, hallelujah.
Hallelujah, hallelujah,
I belong to this band, hallelujah.

The above melodic trend will be recognized as that of 'Roll Jordan' and Stephen Foster's 'Susanna'. Compare 'Roll Jordan' in this collection. The chorus--both tune and words--appears also in 'I Belong to This Band (A)'. Further stanzas of the text are given under 'Golden Harp'.

No. 182
DOWN BY THE RIVERSIDE or WE'LL END THIS WAR, REV 68

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

Hark! listen to the trumpeters,
I mean to go!
They call for valiant volunteers,
I mean to go!
Oh! we'll end this war.
Down by the river,
We'll end this war down by the riverside.

See Gideon marching out to fight,
I mean to go!
He had no weapon but a light,
I mean to go!
_Chorus_

He took his pitcher and a lamp,
And stormed with ease the Midian camp.

I've listed during all this war,
Content to have a soldier's fare.

The war is all my soul's delight,
I love the thickest of the fight.

The hottest fight is just begun,
And who will stand and never run?

We want no cowards in our band,
We call for valiant-hearted men.

Fight on, ye conq'ring souls, fight on,
Until the conquest you have won.

I have some friends before me gone,
And I'm resolved to travel on.

Farewell, vain world, I'm going home,
My Savior smiles and bids me come.

I'll tell you what I mean to do,
I mean to go to glory too.

The song bears the name of "Rev. J. K. Tinkham" as its purveyor to the _Revivalist_. A version of the spiritual song, as sung at about the same time (in the 1870's) by the negroes, is in Marsh, No. 85, under the title 'Down by the River'. Another by the same title is in Dett, p. 55; and still another in Dett, p. 74.

No. 183
I'M GOING HOME or I DON'T CARE TO STAY HERE LONG, OSH 282

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Farewell, vain world, I'm going home,
My Savior smiles and bids me come,
And I don't care to stay here long.
Sweet angels beckon me away
To sing God's praise in endless day,
And I don't care to stay here long.
Right up yonder, Christians,
Away up yonder;
O yes, my Lord,
For I don't care to stay here long.

Further stanzas of the text are given under 'Golden Harp'. This tune was recorded for the 1850 edition of the _Sacred Harp_, evidently by the Georgian, Leonard P. Breedlove.

No. 184
ROLL JORDAN, OSH 501

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

He comes, he comes, the Judge severe,
Roll, Jordan, roll;
The seventh trumpet speaks him near,
Roll, Jordan, roll.

I want to go to heav'n, I do,
Hallelujah Lord;
We'll praise the Lord in heav'n above,
Roll, Jordan, roll.

His lightnings flash, his thunders roll,
Roll, Jordan, roll;
How welcome to the faithful soul,
Roll, Jordan, roll.

Charles Wesley wrote the text. According to Lightwood, p. 132, it is a parody on a popular secular song which celebrated Admiral Vernon's return to England after taking Portobello in 1739. Its first stanza is:

He comes! He comes! The hero comes!
Sound your trumpets, beat your drums!
From port to port let cannons roar
His welcome to the British shore.

It is found also in SOC, published in 1855. In the Introduction p. 14, I have mentioned the 'Roll Jordan' type of melody; it was named after the above tune. Other melodies of the type in this collection are 'Florence', 'I Belong to this Band (B)', 'Tennessee', 'Jordan', and 'Resurrected'. It is this tune type which influenced Stephen Foster in the making of his 'Susanna Don't You Cry' and 'De Camptown Races'. See in this connection my article in _The Musical Quarterly_, vol. xxii., No. 2. For samples of negro borrowings of 'Roll Jordan' see _White Spirituals_, 264; Dett, p. 76; and _Slave Songs_, Nos. 1 and 10.

No. 185
WE'LL ALL PRAISE GOD, REV 381

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

Come and taste along with me
Consolation running free
From my Father's wealthy throne,
Sweeter than the honey comb.
I'll praise God, and you'll praise God,
We'll all praise God together;
I'll praise the Lord for the work that he has done,
And we'll bless his name forever.

Why should Christians feast alone?
Two are better far than one;
The more that comes with free good will
Makes the banquet sweeter still.

Now I go to heaven's door,
Asking for a little more;
Jesus gives a double share,
Calling me his chosen heir.

Goodness, running like a stream
Through the new Jerusalem;
By its constant breaking forth
Sweetens earth and heaven both.

Two more stanzas are in the _Revivalist_. The relationship between this tune and that of Stephen Foster's 'Long-Ago Day' was noted by me in _The Musical Quarterly_, vol. xxii., No. 2.

No. 186
HEAVENLY HOME, SWP 150

Pentatonic, mode 1 (I II -- IV V VI --)

[Music]

O who will join and help me sing,
I never will turn back while heaven's in my view.

The praise of Zion's conqu'ring King,
I never will turn back while heaven's in my view.

Heaven is my home, my journey I'll pursue,
I never will turn back while heaven's in my view.

By faith my journey I'll pursue, I never _etc._
And bid all earthly things adieu, I never _etc._

I want my friends to go with me,
I'm bound fair Canaan's land to see.

I want to take them by the hand
And march unto the promised land.

My Jesus dwells on Zion's hill,
And faithful to his promise still.

Then whosoever will, may come,
For Jesus Christ refuseth none.

O what a Captain I have got!
O is not mine a happy lot!

He surely is the sinner's friend,
And one that loves unto the end.

I'm travelling through the wilderness
And seeking for a heavenly rest.

That rest in Jesus Christ is found,
And I will sing it all around.

For fight I must, while here below;
The word of God has taught me so.

Has taught me I shall conqueror be,
In death and through eternity.

My Jesus bids me still press on,
And reaches out to me a crown.

He says to me, be not afraid,
For I can save beyond the grave.

O while I'm singing of his name,
My soul begins to feel the flame.

When he to me his presence gives,
I know that my Redeemer lives.

No. 187
WHEN WE ALL GET TO HEAVEN or RELIGION IS A FORTUNE, OSH 319

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

O when shall I see Jesus And reign with Him above,
Shout glory, halle, hallelujah;
And from the flowing fountain Drink everlasting love?
Shout glory, halle, hallelujah.
When we all get to heaven we will shout aloud and sing,
Shout glory halle, hallelujah.
Religion is a fortune
And heaven is a home,
Shout glory, halle, hallelujah.

When shall I be delivered from this vain world of sin,
And with my blessed Jesus drink endless pleasures in?

The text core is generally ascribed to John Leland (1754-1844). See _White Spirituals_, 217ff. Further stanzas are given under 'Faithful Soldier'.

No. 188
BATES or TO HEAR THE TRUMPET SOUND, REV 158

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

Oh, brother, in that day
We'll take wings and fly away,
And we'll hear the trumpet sound in the morning.
Oh glory! how I want to go
To hear the trumpet sound in the morning.

Oh, sister, in that day, _etc._
Oh, preachers, in that day, _etc._
Oh, leaders, in that day, _etc._
Oh, converts, in that day, _etc._

You may bury me in the east,
You may bury me in the west, _etc._