500 AP English Language Questions to know by test day
CHAPTER 10. 20th Century
Passage 10b: W. E. B. DuBois, The Souls of Black Folk
It was out in the country, far from home, far from my foster home, on a dark Sunday night. The road wandered from our rambling log-house up the stony bed of a creek, past wheat and corn, until we could hear dimly across the fields a rhythmic cadence of song,—soft, thrilling, powerful, that swelled and died sorrowfully in our ears. I was a country schoolteacher then, fresh from the East, and had never seen a Southern Negro revival. To be sure, we in Berkshire were not perhaps as stiff and formal as they in Suffolk of olden time; yet we were very quiet and subdued, and I know not what would have happened those clear Sabbath mornings had some one punctuated the sermon with a wild scream, or interrupted the long prayer with a loud Amen! And so most striking to me, as I approached the village and the little plain church perched aloft, was the air of intense excitement that possessed that mass of black folk. A sort of suppressed terror hung in the air and seemed to seize us,—a pythian madness, a demoniac possession, that lent terrible reality to song and word. The black and massive form of the preacher swayed and quivered as the words crowded to his lips and flew at us in singular eloquence. The people moaned and fluttered, and then the gaunt-cheeked brown woman beside me suddenly leaped straight into the air and shrieked like a lost soul, while round about came wail and groan and outcry, and a scene of human passion such as I had never conceived before.
Those who have not thus witnessed the frenzy of a Negro revival in the untouched backwoods of the South can but dimly realize the religious feeling of the slave; as described, such scenes appear grotesque and funny, but as seen they are awful. Three things characterized this religion of the slave,—the Preacher, the Music, and the Frenzy. The Preacher is the most unique personality developed by the Negro on American soil. A leader, a politician, an orator, a “boss,” an intriguer, an idealist,—all these he is, and ever, too, the centre of a group of men, now twenty, now a thousand in number. The combination of a certain adroitness with deep-seated earnestness, of tact with consummate ability, gave him his preeminence, and helps him maintain it. The type, of course, varies according to time and place, from the West Indies in the sixteenth century to New England in the nineteenth, and from the Mississippi bottoms to cities like New Orleans or New York.
The Music of Negro religion is that plaintive rhythmic melody, with its touching minor cadences, which, despite caricature and defilement, still remains the most original and beautiful expression of human life and longing yet born on American soil. Sprung from the African forests, where its counterpart can still be heard, it was adapted, changed, and intensified by the tragic soul-life of the slave, until, under the stress of law and whip, it became the one true expression of a people’s sorrow, despair, and hope.
Finally the Frenzy of “Shouting,” when the Spirit of the Lord passed by, and, seizing the devotee, made him mad with supernatural joy, was the last essential of Negro religion and the one more devoutly believed in than all the rest. It varied in expression from the silent rapt countenance or the low murmur and moan to the mad abandon of physical fervor,—the stamping, shrieking, and shouting, the rushing to and fro and wild waving of arms, the weeping and laughing, the vision and the trance. All this is nothing new in the world, but old as religion, as Delphi and Endor. And so firm a hold did it have on the Negro, that many generations firmly believed that without this visible manifestation of the God there could be no true communion with the Invisible.