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for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up, came out--if not in the word, in the sound;--and as frequently in the one as in the other. They would sometimes sing the most pathetic senti- ment in the most rapturous tone, and the most rap- turous sentiment in the most pathetic tone. Into all of their songs they would manage to weave some- thing of the Great House Farm. Especially would they do this, when leaving home. They would then sing most exultingly the following words:-- "I am going away to the Great House Farm! O, yea! O, yea! O!" This they would sing, as a chorus, to words which to many would seem unmeaning jargon, but which, nevertheless, were full of meaning to themselves. I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the read- ing of whole volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I nei- ther saw nor heard as those without might see and hear. They told a tale of woe which was then al- together beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always de- pressed my spirit, and filled me with ineffable sad- ness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing char- |