Assuming the correctness of Geo. MacDonald’s definition of a song, as a composition in which the emotional largely overbalances the intellectual element, their songs, with their fullness of sentiment, seem to realize the ideal.
A proper classification of these products of slavery should distinguish between those songs which groan with the agonies of a hard and cruel thralldom, and those which palpitate with the joy of a present salvation, and the hope of a glorious home of freedom beyond the grave.
Among the selections belonging to the first of these divisions, the minor key naturally predominates. Indeed, this is the pitch upon which the majority of human hearts, the world over, are tuned. A more exquisite minor melody than “Nobody Knows the Trouble I See,” can hardly be conceived. So, too, for pure pathos nothing can excel “You May Bury Me in the East.” But for bold and thrilling grandeur, scarcely anything in all the musical conceptions of the ages can be considered superior to “Go Down, Moses, way down in Egypt Land.” As the slaves used to roar it out, it must have seemed like the very voice of Jehovah himself.
In these songs it is easy to trace the effects of a galling yoke crushing the poor body to the dust, while the soul rises triumphant over circumstances in the conviction of its true nobility and in the hope, though long deferred, of realizing, even on earth, its full liberty. The sweetest utterances of the sacred poets of all the centuries have been those “songs in the night” that came forth from the bitterest experiences of human woe.
It is related of a certain German nobleman that he had a number of wires stretched from turret to turret of his castle which acted like a great Æolian harp, bringing forth richest music, but _only_ when the tempests played upon its quivering strings. So may it be said of the slaves in their forlorn condition, that they sang most sweetly when the storms of adversity beat upon them most fiercely.
Happily the days of slave music are past. The system which brought it into existence is abolished; but the world owes a great debt of gratitude to those who have made a study of these songs and put them in print for the benefit of future generations.