Chambers's Journal of Popular Literature, Science, and Art, No. 733, January 12, 1878
Various
Various
Chambers's Journal of Popular Literature, Science, and Art, No. 733, January 12, 1878
THE JUBILEE SINGERS
One of the most interesting and vivid of our recollections is that of witnessing some scenes in negro slavery in the United States, now upwards of twenty years ago – very nearly the close of the iniquity; but of that nobody was aware. There was a novelty in seeing fairly dressed men and women brought out for sale by public auction, and in observing how the persons who came to buy carefully examined the men's hands and the flexibility of their fingers, looked into their mouths to make sure of their teeth, and having effected a removal of the coats and shirts, scanned the bare backs to discover whether they had suffered by the lash. Just as in buying horses in a market, it was quite a business affair; and what was a little surprising, the unfortunate objects of this degrading exhibition took all in good part. But what else could they do? In the grasp of power, they knew that resistance was worse than useless. Close by were cow-hide whips handled by heartless ruffians voraciously chewing tobacco, as if to keep up the proper inspiration of brutality. Across the way was seen an ugly brick building inscribed with the word Jail, in tall black letters on a white ground, to which establishment, in case of remonstrance, the poor wretches would have been instantly marched for punishment. Doom hopeless!
The equanimity, and indeed the good-humour, with which these blacks seemed to endure their fate, indicated, we thought, good points of character. Nowhere in travelling about did we observe anything positively disagreeable, to remind us that the labourers in the fields or the loiterers at doorways were slaves. Often, we heard singing and jollity, as if light-heartedness was on the whole predominant. Obviously, slave-owners were not all Legrees. On the contrary, in many instances they shewed a kind indulgence to their �servants,’ as they called them, and were pleased to see them singing, laughing, and making merry in the intervals of rest from labour. Perhaps this is not saying much, for the singing of slaves may be compared to the notes of a bird in captivity, to be admired, but pitied. Anyway, there was a disposition to seek solacement in the outpouring of song. If not intellectually brilliant, the negro is naturally vivacious. Even when he grows old, he is still something of a boy, with an inherent love of frolic. He is clever in picking up tunes, and one of the complaints which we heard against him in a free state was that if not looked after by his master, he would continually go out to entertainments and dance all night. A curious result of the taste for music has been the creation of what are known as negro melodies; partly suggested by old English airs, and by the psalm and hymn tunes that had been heard at church or in the devotional exercises of missionaries. With a blended simplicity and oddity, the negro airs which have gained currency are wonderfully harmonious and touching. The time is well marked, shewing correctness of ear, and accordingly the pieces, however eccentric in language, are well adapted for singing in harmony by a number of voices. From the performances of the �Christy Minstrels,’ as they are usually designated – white men with blackened faces imitative of negroes – people will have a pretty good idea of the melodies we speak of; but we should say that the real thing is to be obtained only from a band of genuine negroes, who for some years have been travelling about, and who style themselves the Jubilee Singers. Of these we want to say something.
As is well known, the abolition of slavery in the United States was no deliberate act of national justice and humanity, but took place in consequence of a proclamation issued by President Lincoln in the exigency of the civil war in 1862. Without preparation for freedom, over four millions of slaves were thrown on their own resources. They c