Part 7
A note on this song in the _Social Harp_ says that the compiler, John G. McCurry, Hartwell, Georgia, "when eight years old, learned the air of this tune from Mrs. Catherine Penn." That was therefore in the year 1829.
Text passages in the secular ballads which remind of those in the fasola song are seen in 'In Old Virginny', where we read:
I am a man of constant sorrow, I have seen troubles all my days. I'll bid farewell to old Virginia, The place where I was partly raised.
We see also in 'Awake, Awake', how the poor wayfaring stranger appears as "your true love" who "is going away."
No. 41 ZION'S SOLDIER, SWP 118
Heptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7).
[Music]
Christ is set on Zion's hill; He receiveth sinners still: Who will serve this blessed King? Come, enlist, and help me sing. This soldier sure will be Happy in eternity, This soldier sure will be Happy in eternity.
I by faith enlisted am in the service of the Lamb; Present pay I now receive, future happiness he'll give. This soldier _etc._
Zion's King my Captain is, conquest I shall never miss; Let the fiends of hell engage, fret and fume and roar in rage.
Let the world their forces join, with the fiends of hell combine; Greater is my King than they, through him I shall win the day.
Wicked men I scorn to fear, though they persecute me here; True, they may my body kill, but my King's on Zion's hill.
What a Captain I have got! Is not mine a happy lot? Hear, ye worldlings, hear my song, this the language of my tongue.
When this life's short space is o'er, I shall live to die no more; Therefore will I take the sword, fight for Jesus Christ, my Lord.
Come, ye worldlings, come enlist; 'tis the voice of Jesus Christ: Whosoever will may come; Jesus Christ refuseth none.
Jesus is my Captain's name, now, as yesterday, the same; In his name I notice give, all who come he will receive.
Be persuaded, take his pay, all your sins he'll wash away; Now in Jesus' name believe; future happiness he'll give. (_last chorus_) Yes! in heaven you sure will be praising God eternally. (_repeat_)
For a related chorus text see 'O Ye Young and Gay and Proud' in this collection. The tune, claimed by William Walker, is keyed in the natural minor (aeolian) of _a_. I suggest the signature of one sharp, bringing the tune into the dorian mode, as more natural.
No. 42 FEMALE CONVICT, SOH (1835) 160
Heptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)
[Music]
O sleep not my babe, for the morn of tomorrow Shall soothe me to slumber more tranquil than thine; The dark grave shall shield me from shame and from sorrow, Tho' the deed and the doom of the guilty are mine. Not long shall the arm of affection enfold thee; Not long shalt thou hang on thy mother's fond breast; And who with the eye of delight shall behold thee, And watch thee and guard thee when I am at rest?
And yet it doth grieve me to wake thee, my dearest, The pangs of thy desolate mother to see; Thou wilt weep when the clank of my cold chains thou hearest; And none but the guilty should weep over me. And yet I must wake thee, and whilst thou art weeping, To calm thee I'll stifle my tears for a while. Thou smil'st in thy dreams whilst thus placidly sleeping, And O how it wounds me to gaze on thy smile.
Alas, my sweet babe, with what pride I had press'd thee To the bosom that now throbs with terror and shame, If the pure tie of virtue's affection had bless'd thee, And hail'd thee the heir of thy father's high name. But now with remorse that avails not I mourn thee, Forsaken and friendless as soon thou wilt be, In a world, if they cannot betray, that will scorn thee, Avenging the guilt of thy mother on thee.
And when the dark thought of my fate shall awaken The deep blush of shame on thy innocent cheek, Then by all but the God of the orphan forsaken, A home and a father in vain thou wilt seek. I know that the base world will seek to deceive thee With falsehood like that which thy mother beguiled; Deserted and helpless, with whom can I leave thee? O God of the fatherless, pity my child!
The tune shows remarkable similarity to 'As I Was A-Walking' or 'Grenadier and the Lady', see JFSS viii., 194; also to 'Westron Wynde' from the early 16th century, see Jackson, _English Melodies from the 13th to the 18th Century_, p. 11. 'Female Convict' was widely sung in the early nineteenth century. The full title reads: "A Female Convict, After receiving pardon in the sight of God, thus addrest her infant. Set to music by R. Boyd."
No. 43 WEDLOCK (B), OSH 115
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
When Adam was created, he dwelt in Eden's shade, As Moses has related, before a bride was made. Ten thousand times ten thousand of creatures swarm'd around, Before a bride was formed or any mate was found.
He had no consolation, but seemed as one alone, Till, to his admiration, he found he'd lost a bone. This woman was not taken from Adam's head, we know; And she must not rule o'er him, 'tis evidently so.
This woman she was taken from near to Adam's heart, By which we are directed that they should never part. The book that's called the bible, be sure you don't neglect, For in every sense of duty, it will you both direct.
The woman is commanded to do her husband's will, In everything that's lawful, her duty to fulfill. Great was his exultation to see her by his side; Great was his elevation to have a loving bride.
This woman she was taken from under Adam's arm; And she must be protected from injury and harm. This woman was not taken from Adam's feet, we see; And she must not be abus-ed, the meaning seems to be.
The husband is commanded to love his loving bride, And live as does a Christian, and for his house provide. The woman is commanded her husband to obey, In everything that's lawful, until her dying day.
Avoiding all offenses, not sow the seed of strife, These are the solemn duties of every man and wife.
A variant of the third line of the first stanza, found in SOC 188, reads:
Ten thousand times ten thousand things wheel-ed all around.
The tune is especially announced in the _Sacred Harp_ as "original" and by Elder E. Dumas, a Primitive Baptist. And it is dated 1869. An older tune to the same text is given in this collection as 'Wedlock (A)'. See also 'Wedlock', Sharp, ii., 272. 'The Banks of Newfoundland', a capstan shanty, is essentially the same tune. See JFSS, v., 300.
No. 44 LEP'ROUS JEW, SWP 43
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Behold the lep'rous Jew, Oppress'd with pain and grief, Pouring his tears at Jesus' feet, For pity and relief, For pity and relief.
"O speak the word," he cries, "and heal me of my pain: Lord, thou art able, if thou wilt, to make a leper clean, To make a leper clean."
Compassion moves his heart, he speaks the gracious word; The leper feels his strength return, and all his sickness cured, And all his sickness cured.
To thee, dear Lord, I look, sick of a worse disease; Sin is my painful malady, and none can give me ease, And none can give me ease.
But thy almighty grace can heal my lep'rous soul; O bathe me in thy precious blood and that will make me whole, And that will make me whole.
A tune quite similar to the one above, though cast in two-four time, is 'Dependence', HH 250.
No. 45 SPRING PLACE or CHURCH OF MY YOUTH, GOS 44
Hexatonic, mode 2 b (I -- 3 IV V 6 7)
[Music]
I'm thinking today of the church of my youth, Where first I rejoic'd at the sound of the truth, Where oft I assembled with those that I love, And join'd them in praising our Father above.
Ah! well I remember, when youthful and gay, In mirthfulness sporting while time sped away, With my parents went to the house of the Lord, And wonder'd what made them rejoice in His word.
But when my dear Savior, so precious to me, My blind eyes did open, my sins all to see, With fearfulness, trembling, too great to express, I went to that house fill'd with woe and distress.
When Jesus, my blessed Redeemer and Friend, Reveal'd that He was the Beginning and End, I long'd for the season of worship once more, That I might join His saints, His dear name adore.
And when in that dear place of worship and praise, My voice with His saints I endeavor'd to raise, My heart fill'd with love and my hope bright and clear, I thought surely trouble could no more appear.
When deeply impress'd with a sense of His love, When this world could no more a resting place prove, I went with a feeling I could not control, And told what my Savior had done for my soul.
With loving caresses they welcomed me home, And bade me no longer in darkness to roam; The great joy of that hour I never can tell, When I with such friends was permitted to dwell.
Though now sunder'd far from that blessed abode, I feel, that I'm still with the children of God. Dear brethren, I love you in deed and in truth, Yet my heart oft goes to the church of my youth.
Ah! well I remember their kindness to me, In my memory now their kind deeds I can see; Wherever my lot is to publish the truth, I'll never forget the church of my youth.
The oldest occurrence of the text seems to be in the _Hesperian Harp_, 1848. This song is a parody (words and music) of 'In the Days of My Youth', _Beggars Opera_, No. 42; Act 3, Scene 1. The tune there was that sung earlier to 'A Shepherd Kept Sheep'.
No. 46 REDEMPTION (B), OSH 501
Hexatonic, mode 2 A (I II 3 IV V -- 7)
[Music]
Come, friends and relations, let's join hearts and hands; The voice of the turtle is heard in the land. Let's all walk together and follow the sound, And march to the place where redemption is found.
The place it is hidden, the place it is seal'd, The place it is hidden till it is reveal'd; The place is in Jesus, to Jesus we'll go, And there find redemption from sorrow and wo.
That place it is hidden by reason of sin; Alas! you can't see the sad state you are in! You're blind and polluted, in prison and pain; O how can such rebels redemption obtain!
But if you are wounded and bruised by the fall, Then up and be doing! For you he doth call; And if you are tempted to doubt and despair, Then come home to Jesus, redemption is there.
And you, my dear brethren, that love my dear Lord, Have witness for pardon, thro' faith in his blood; Let patience attend you wherever you go, Your Savior has purchased redemption for you.
The tune of 'Redemption (C)' is a variant of the above, as is also that of 'Redemption (A)'. See the last named song for mention of its tune relationship to the 'Grenadier and the Lady'.
No. 47 WEEPING MARY (B), SWP 102
Hexatonic, mode 2 A (I II 3 IV V -- 7)
[Music]
When weeping Mary came to seek Her loving Lord and Savior, 'Twas early in the morning she In tears to gain his favor. With guards and soldiers placed around The tomb that held the body Of him whom she thought under ground, By wicked hands all bloody.
But how her aching heart was torn, To find the tomb was empty, In solemn silence did she mourn, As onward she did venture. 'Twas angels in bright raiment shone, Anticipate [imagine?] her sorrow, And said, why doth this creature mourn, And why this gloomy horror.
Whom seek'st thou, Mary, they did say, And why this solemn mourning? Because they've took my Lord away, I thought to see this morning. He, standing by her, though unknown, She thought it was the gardener; In flowing tears she made her moan, Not knowing 'twas her partner.
I'll grieve, and my poor Mary said, 'Till I know where they laid him; And quickly turning round her head, Began for to upbraid him. Whom seek'st thou, Mary? said the Son; She then perceived her Savior, And quickly to his feet she run, Not fearing harm or danger.
And now, like Mary, let us go And kiss the feet of Jesus, That we may hear his word also, Which he delights to give us. From God we have the word of life, Through Christ the Mediator; Like him we hope to die and rise, And dwell with the Creator.
A version of both tune and words is found in Ingalls' _Christian Harmony_ of 1805, p. 73. Its seventh and eighth stanzas, reminding of the above text, are:
When weeping Mary came to seek Her Lord with a perfume, The napkin and the sheet she found Together in the tomb.
The angels said, he is not here; He's risen from the dead; And streams of grace to sinners flow, As free as did his blood.
The tune shows unmistakable family resemblance to a number of secular folk-melodies. See for example the score of 'Daemon Lover' tunes, Sharp, i., pp. 244-258; 'Lady Maisry', Sharp, i., 97; 'Locks and Bolts', Sharp, ii., 17; 'Betty Anne', Sharp, ii., 37; 'Swing a Lady', Sharp, ii., 379.
No. 48 REDEMPTION (A), WH 101
Heptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)
[Music]
Come, friends and relations, let's join heart and hand, The voice of the turtle is heard in our land. Let's all join together and follow the sound, And march to the place where redemption is found.
The tune was perhaps the inspiration of R. Boyd in making the melody for 'Female Convict', which is in this collection. (Or did the influence flow in the opposite direction?) The 'Grenadier and the Lady', as sung in England, is practically the same tune. See JFSS, viii., 194. Full text and a variant melody are given under 'Redemption (B)'. An ancestor of all these tunes seems to be 'Westron Wynde' of the early part of the sixteenth century. See Jackson, _English Melodies from the 13th to the 18th Century_, p. 11.
No. 49 PRODIGAL, SKH 35
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Afflictions, tho' they seem severe, Are oft in mercy sent; They stopt the prodigal's career And caused him to repent, Altho' he no relenting felt Till he had spent his store; His stubborn heart began to melt When famine pinch'd him sore.
What have I gain'd by sin, he said, but hunger, shame and fear; My father's house abounds with bread, while I am starving here. I'll go and tell him all I've done, fall down before his face; Unworthy to be called his son, I'll seek a servant's place.
The father saw him coming back, he looked, he ran, he smiled; He throws his arms around the neck of his rebellious child. Father, I've sinned, but O forgive; enough, the father said. Rejoice, my house, my son's alive for whom I mourn'd as dead.
Now let the fatted calf be slain, go spread the news around; My son was dead, but lives again, was lost but now is found. 'Tis thus the Lord his love reveals, to call poor sinners home. More than a father's love he feels and welcomes all that come.
Davisson, the compiler of the SKH, claimed this tune. It functioned as the melodic material out of which the "fuguing" tune 'Alabama', in the _Sacred Harp_, was built.
No. 50 HAPPY SOULS (A), OL 145
Hexatonic, mode 4 A (I II -- IV V VI 7)
[Music]
O happy souls, how fast you go, And leave me far behind! Don't stay for me, for now I see, The Lord is good and kind. Go on, go on, my soul says go; And I'll come after you; Tho' I'm behind, I feel inclin'd To sing hosanna too.
God give you strength your race to run And keep your footsteps right; Though fast you go and I so slow, You are not out of sight. When you get to that world above, And all God's glory see, On that bright shore, your journey o'er, Then look you out for me.
I'm coming on fast as I can. Nor toil nor danger fear; God give me strength!--may I at length Be one among you there. Then all together we shall meet-- Together we will sing; Together we will praise our God And everlasting King.
The tune is one of the comparatively few correct dorian recordings--not minorized--in the fasola song books. The compiler of the _Olive Leaf_ gives the following note below the song: "I learned this air of Rev. Samuel Anthony, of Georgia, more than thirty years ago, Wm. Hauser, M. D., March, 1878." See Introduction, p. 14, as to the 'Babe of Bethlehem' tune family to which 'Happy Souls' belongs. An Irish variant is 'The Peevish Child', Petrie, No. 591.
No. 51 BABE OF BETHLEHEM, SOH 78
Hexatonic, mode 4 a (I II -- IV V 6 7)
[Music]
Ye nations all, on you I call, Come hear this declaration, And don't refuse this glorious news, Of Jesus and salvation. To royal Jews came first the news Of Christ the great Messiah, As was foretold by prophets old, Isaiah, Jeremiah.
To Abraham the promise came, And to his seed forever, A light to shine in Isaac's line, By scripture we discover; Hail, promised morn, the Savior's born, The glorious Mediator-- God's blessed word made flesh and blood, Assumed the human nature.
His parents poor in earthly store, To entertain the stranger They found no bed to lay his head, But in the ox's manger; No royal things, as used by kings, Were seen by those that found him, But in the hay the stranger lay, With swaddling bands around him.
On the same night a glorious light To shepherds there appeared, Bright angels came in shining flame, They saw and greatly feared; The angels said, "Be not afraid, Although we much alarm you, We do appear good news to bear, As now we will inform you.
"The city's name is Bethlehem, In which God hath appointed, This glorious morn a Savior's born, For him God hath anointed; By this you'll know, if you will go To see this little stranger, His lovely charms in Mary's arms, Both lying in a manger."
When this was said, straightway was made A glorious sound from heaven, Each flaming, tongue an anthem sung, "To men a Savior's given, In Jesus' name, the glorious theme, We elevate our voices, At Jesus' birth be peace on earth, Meanwhile all heaven rejoices."
Then with delight they took their flight, And wing'd their way to glory, The shepherds gazed and were amazed, To hear the pleasing story; To Bethlehem they quickly came, The glorious news to carry, And in the stall they found them all, Joseph, the Babe, and Mary.
The shepherds then return'd again, To their own habitation, With joy of heart they did depart, Now they have found salvation. Glory, they cry, to God on high, Who sent his son to save us, This glorious morn the Savior's born, His name it is Christ Jesus.
The tune, evidently dorian, is of a type that was widely used and varied by folk singers. I mentioned this type in the Introduction, page 14, and called it the 'Babe of Bethlehem' family of tunes because the above seems to have been one of its best members. Other members, in either the dorian or the aeolian mode, are 'Happy Souls (A)', 'Marion', 'Atonement', and 'Enquirer' in this collection; related spiritual tunes not included here are 'Help me to Sing', OSH 376; 'Staunton', SKH 26; 'Melody', PB 313; 'Brownson', OL 259; 'Howland', REV 73; and 'Sweet Prospect', OSH 65.
Related worldly songs are 'The Peevish Child', Petrie, No. 591; a song without title, Petrie, No. 193; 'When First I Left Old Ireland', Petrie, No. 863; 'Lowlands of Holland', Sharp, i., 200; 'Virginian Lover', Sharp, ii., 149; and 'The Little Red Lark of the Mountain', Petrie, No. 383. John Powell has set 'Babe of Bethlehem' in a beautiful dorian-mixolydian form for mixed chorus. It is published by J. Fischer and Brother, New York.
Ninety-eight Folk-Hymns
No. 52 WASHINGTON, OSH 147
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Dismiss us with thy blessing, Lord, Help us to feed upon thy word. All that has been amiss forgive, And let thy truth within us live. All that has been amiss forgive, And let thy truth within us live.
Tho' we are guilty, thou art good, Wash all our works in Jesus' blood; Give every fetter'd soul release And bid us all depart in peace. Give every fetter'd soul release And bid us all depart in peace.
The text is credited to Joseph Hart, tune to Munday, in the _Original Sacred Harp_. Melodic relationship is to be seen between this and 'Ye Mariners of England'. See Dolph, _Sound Off_, p. 228.
No. 53 STEPHENS, PB 338
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
From whence doth this union arise, That hatred is conquer'd by love? It fastens our souls in such ties That nature and time can't remove. It cannot in Eden be found Nor yet in a paradise lost; It grows on Immanuel's ground, And Jesus' dear blood it did cost.
My friends are so precious to me, Our hearts all united in love; Where Jesus is gone we shall be, In yonder blest mansions above. O! why then so loath for to part, Since we shall ere long meet again, Engraved on Immanuel's heart, At distance we cannot remain.
And when we shall see that bright day, And join with the angels above, Leaving these vile bodies of clay, United with Jesus in love. With Jesus we ever shall reign, And all his bright glories shall see, Singing hallelujah, Amen, Amen, even so let it be.
This is probably a homespun text. Its tune is called a "popular old melody." I find it almost identical with a 'Kilrush Air' in Petrie, No. 167, and with a close variant of the latter, Petrie, No. 283. Other related tunes are 'Tweed Side', SMM, p. 9; 'Inkle and Yarico', _The English Repository_, p. 226; 'O I'm So Happy', 'Faithful Soldier', and 'Sawyer's Exit' in this collection.
No. 54 SEPARATION, UHH 27
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Our cheerful voices let us raise And sing a parting song; Although I'm with you now, My friends, I can't be with you long. For I must go and leave you all; It fills my heart with pain. Although we part perhaps in tears, I hope we'll meet again.
Found also SOH 30. The tune is like that of the English morris dance 'I'll Go and Enlist for a Sailor', Sharp, _Morris Dances_, Set No. VIII., 6; 'Gilderoy', SMM, No. 5; and 'Come all ye Faithful Christians', JFSS, ii., 115-120.
No. 55 VESPER, _Baptist Hymnal_, No. 65
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
The day is past and gone, the evening shades appear; O may we all remember well, the night of death is near.
We lay our garments by, upon our beds to rest; So death will soon disrobe us all of what we here possess.
Lord, keep us safe this night, secure from all our fears; May angels guard us while we sleep, till morning light appears.
Miss Gilchrist compares this tune with 'Sprig of Thyme'. See JFSS, viii., 70. Lowell Mason calls it an "Old American Tune" in using it in his _Harp of the South_, p. 123.
No. 56 MISSIONARY'S FAREWELL, OL 333
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Yes, my native land, I love thee; All thy scenes I love them well; Friends, connections, happy country, Can I bid you all farewell! Can I leave you, can I leave you, Far in heathen lands to dwell? Can I leave you, can I leave you, Far in heathen lands to dwell?
Home, thy joys are passing lovely, Joys no stranger heart can tell; Happy home! indeed I love thee; Can I, can I say, "Farewell!" Can I leave you, _etc._
Scenes of sacred peace and pleasure, Holy days and Sabbath bell-- Richest, brightest, sweetest treasure-- Can I say a last farewell? Can I leave you, _etc._
The words are ascribed to "Rev. Samuel F. Smith, Baptist, Boston, Mass." The tune was "learned [by William Hauser, compiler, of the _Olive Leaf_] in Burke Co., Ga., 1841."