"Let us cheer the weary traveller" 

Today's post comes from a superior writer, who published these words in 1903. To hear the music of the notation, listen to the audio file at the end.


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

 

WTN EVula 187

Jubilee Hall at Fisk University,
whose construction was funded by 
a European tour of the Jubilee Singers

… 

The songs are indeed the siftings of centuries; the music is far more ancient than the words, and in it we can trace here and there signs of development. My grandfather’s grandmother was seized by an evil Dutch trader two centuries ago; and coming to the valleys of the Hudson and Housatonic, black, little, and lithe, she shivered and shrank in the harsh north winds, looked longingly at the hills, and often crooned a heathen melody to the child between her knees, thus: 

The child sang it to his children and they to their children’s children, and so two hundred years it has travelled down to us and we sing it to our children, knowing as little as our fathers what its words may mean, but knowing well the meaning of its music. 

This was primitive African music; it may be seen in larger form in the strange chant which heralds “The Coming of John’: 

“You may bury me in the East, 

You may bury me in the West, 

But I’ll hear the trumpet sound in that morning,” 

—the voice of exile. 

… 

In these songs, I have said, the slave spoke to the world. Such a message is naturally veiled and half articulate. Words and music have lost each other and new and cant phrases of a dimly understood theology have displaced the older sentiment. Once in a while we catch a strange word of an unknown tongue, as the “Mighty Myo,” which figures as a river of death; more often slight words or mere doggerel are joined to music of singular sweetness. Purely secular songs are few in number, partly because many of them were turned into hymns by a change of words, partly because the frolics were seldom heard by the stranger, and the music less often caught. Of nearly all the songs, however, the music is distinctly sorrowful. The ten master songs I have mentioned tell in word and music of trouble and exile, of strife and hiding; they grope toward some unseen power and sigh for rest in the End. 

Through all the sorrow of the Sorrow Songs there breathes a hope—a faith in the ultimate justice of things. The minor cadences of despair change often to triumph and calm confidence. Sometimes it is faith in life, sometimes a faith in death, sometimes assurance of boundless justice in some fair world beyond. But whichever it is, the meaning is always clear: that sometime, somewhere, men will judge men by their souls and not by their skins. Is such a hope justified? Do the Sorrow Songs sing true? 

Even so is the hope that sang in the songs of my fathers well sung. If somewhere in this whirl and chaos of things there dwells Eternal Good, pitiful yet masterful, then anon in His good time America shall rend the Veil and the prisoned shall go free. Free, free as the sunshine trickling down the morning into these high windows of mine, free as yonder fresh young voices welling up to me from the caverns of brick and mortar below—swelling with song, instinct with life, tremulous treble and darkening bass. My children, my little children, are singing to the sunshine, and thus they sing: 

And the traveller girds himself, and sets his face toward the Morning, and goes his way.

W. E. B. Du Bois
The Souls of Black Folk
(excerpts from chapter 14)

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