It was sung by a vast
congregation to a gentle, swinging air, with nothing of the martial
about it, and was accompanied by a swaying of the body to the time of
the music. Occasionally there would be the "curtesys" peculiar to the
South Carolina slave of the low country, which consists in a stooping
of the body by bending the knees only, the head remaining erect, a
movement which takes the place of the bow among equals. The older
ladies, with heads adorned with the ever-present Madras kerchief,
often tied in the most becoming and tasteful manner, and faces aglow
with an enthusiasm that bespoke a life within sustained by visions of
spiritual things, would often be seen to shake hands and add a word of
greeting and hope which would impart a charm and meaning to the
singing far above what the humble words of the song without these
accessories could convey. As the rich chorus of matchless voices
poured out in perfect time and tune, "Rise, shine, and give God the
glory," the thoughts of earthly freedom, of freedom from sin, and
finally of freedom from the toils, cares and sorrows of earth to be
baptized into the joys of heaven, all seemed to blend into the many
colored but harmonious strain. The singing of the simple hearted
trustful, emancipated slave! Shall we ever hear the like again on
earth? Alas, that the high hopes and glowing prophecies of that
auspicious hour have been so deferred that the hearts of millions have
been made sick!
Of the songs that came out of slavery with these long suffering
people, Colonel Higginson, who perhaps got nearer to them in sentiment
than any other literary man not really, of them, says: "Almost all
their songs were thoroughly religious in their tone, however quaint
their expression, and were in a minor key both as to words and music.
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