The Negro in Literature and Art in the United States Part 1

The Negro in Literature and Art in the United States.

by Benjamin Brawley.

PREFACE

The present volume undertakes to treat somewhat more thoroughly than has ever before been attempted the achievement of the Negro in the United States along literary and artistic lines, judging this by absolute rather than by partial or limited standards. The work is the result of studies in which I first became interested nearly ten years ago. In 1910 a booklet, "The Negro in Literature and Art," appeared in Atlanta, privately printed. The little work contained only sixty pages. The reception accorded it, however, was even more cordial than I had hoped it might be, and the limited edition was soon exhausted. Its substance, in condensed form, was used in 1913 as the last chapter of "A Short History of the American Negro," brought out by the Macmillan Co. In the mean time, however, new books and magazine articles were constantly appearing, and my own judgment on more than one point had changed; so that the time has seemed ripe for a more intensive review of the whole field. To teachers who may be using the history as a text I hardly need to say that I should be pleased to have the present work supersede anything said in the last chapter of that volume.

The first chapter, and those on Mr. Braithwaite and Mrs. Fuller, originally appeared in the _Southern Workman_. That on the Stage was a contribution to the _Springfield Republican_; and the supplementary chapter is from the _Dial_. All are here reprinted with the kind consent of the owners of those periodicals. Much of the quoted matter is covered by copyright. Thanks are especially due to Mr. Braithwaite and Mr. J. W.

Johnson for permission to use some of their poems, and to Dodd, Mead & Co., the publishers of the works of Dunbar. The bibliography is quite new. It is hoped that it may prove of service.

BENJAMIN BRAWLEY.

North Cambridge, August, 1917.

THE NEGRO IN LITERATURE AND ART

I

THE NEGRO GENIUS

In his lecture on "The Poetic Principle," in leading down to his definition of poetry, Edgar Allan Poe has called attention to the three faculties, intellect, feeling, and will, and shown that poetry, that the whole realm of aesthetics in fact, is concerned primarily and solely with the second of these. _Does it satisfy a sense of beauty?_ This is his sole test of a poem or of any work of art, the aim being neither to appeal to the intellect by satisfying the reason or inculcating truth, nor to appeal to the will by satisfying the moral sense or inculcating duty.

The standard has often been criticised as narrow; yet it embodies a large and fundamental element of truth. If in connection with it we study the Negro we shall find that two things are observable. One is that any distinction so far won by a member of the race in America has been almost always in some one of the arts; and the other is that any influence so far exerted by the Negro on American civilization has been primarily in the field of aesthetics. To prove the point we may refer to a long line of beautiful singers, to the fervid oratory of Dougla.s.s, to the sensuous poetry of Dunbar, to the picturesque style of DuBois, to the mysticism of the paintings of Tanner, and to the elemental sculpture of Meta Warrick Fuller. Even Booker Washington, most practical of Americans, proves the point, the distinguishing qualities of his speeches being anecdote and brilliant concrete ill.u.s.tration.

Everyone must have observed a striking characteristic of the homes of Negroes of the peasant cla.s.s in the South. The instinct for beauty insists upon an outlet, and if one can find no better picture he will paste a circus poster or a flaring advertis.e.m.e.nt on the walls. Very few homes have not at least a geranium on the windowsill or a rosebush in the garden. If also we look at the matter conversely we shall find that those things which are most picturesque make to the Negro the readiest appeal. Red is his favorite color simply because it is the most p.r.o.nounced of all colors. Goethe's "Faust" can hardly be said to be a play primarily designed for the galleries. One never sees it fail, however, that in any Southern city this play will fill the gallery with the so-called lower cla.s.s of Negro people, who would never think of going to another play of its cla.s.s, but different; and the applause never leaves one in doubt as to the reasons for Goethe's popularity. It is the suggestiveness of the love scenes, the red costume of Mephistopheles, the electrical effects, and the rain of fire that give the thrill desired--all pure melodrama of course. "Faust" is a good show as well as a good play.

In some of our communities Negroes are frequently known to "get happy"

in church. Now a sermon on the rule of faith or the plan of salvation is never known to awaken such ecstasy. This rather accompanies a vivid portrayal of the beauties of heaven, with the walls of jasper, the angels with palms in their hands, and (_summum bonum!_) the feast of milk and honey. And just here is the dilemma so often faced by the occupants of pulpits in Negro churches. Do the people want scholarly training? Very often the cultured preacher will be inclined to answer in the negative. Do they want rant and shouting? Such a standard fails at once to satisfy the ever-increasing intelligence of the audience itself.

The trouble is that the educated minister too often leaves out of account the basic psychology of his audience. That preacher who will ultimately be the most successful with a Negro congregation will be the one who to scholarship and culture can best join brilliant imagination and fervid rhetorical expression. When all of these qualities are brought together in their finest proportion the effect is irresistible.

Gathering up the threads of our discussion so far, we find that there is constant striving on the part of the Negro for beautiful or striking effect, that those things which are most picturesque make the readiest appeal to his nature, and that in the sphere of religion he receives with most appreciation those discourses which are most imaginative in quality. In short, so far as the last point is concerned, it is not too much to a.s.sert that the Negro is thrilled not so much by the moral as by the artistic and pictorial elements in religion.

But there is something deeper than the sensuousness of beauty that makes for the possibilities of the Negro in the realm of the arts, and that is the soul of the race. The wail of the old melodies and the plaintive quality that is ever present in the Negro voice are but the reflection of a background of tragedy. No race can rise to the greatest heights of art until it has yearned and suffered. The Russians are a case in point.

Such has been their background in oppression and striving that their literature and art are to-day marked by an unmistakable note of power.

The same future beckons to the American Negro. There is something very elemental about the heart of the race, something that finds its origin in the African forest, in the sighing of the night-wind, and in the falling of the stars. There is something grim and stern about it all, too, something that speaks of the lash, of the child torn from its mother's bosom, of the dead body riddled with bullets and swinging all night from a limb by the roadside.

So far we have elaborated a theory. Let us not be misunderstood. We do not mean to say that the Negro can not rise to great distinction in any sphere other than the arts. He has already made a noteworthy beginning in pure scholarship and invention; especially have some of the younger men done brilliant work in science. We do mean to say, however, that every race has its peculiar genius, and that, so far as we can at present judge, the Negro, with all his manual labor, is destined to reach his greatest heights in the field of the artistic. But the impulse needs to be watched. Romanticism very soon becomes unhealthy. The Negro has great gifts of voice and ear and soul; but so far much of his talent has not soared above the stage of vaudeville. This is due most largely of course to economic instability. It is the call of patriotism, however, that America should realize that the Negro has peculiar gifts which need all possible cultivation and which will some day add to the glory of the country. Already his music is recognized as the most distinctive that the United States has yet produced. The possibilities of the race in literature and oratory, in sculpture and painting, are illimitable.

Along some such lines as those just indicated it will be the aim of the following pages to study the achievement of the Negro in the United States of America. First we shall consider in order five representative writers who have been most constantly guided by standards of literary excellence. We shall then pa.s.s on to others whose literary work has been noteworthy, and to those who have risen above the crowd in oratory, painting, sculpture, or music. We shall constantly have to remember that those here remarked are only a few of the many who have longed and striven for artistic excellence. Some have pressed on to the goal of their ambition; but no one can give the number of those who, under hard conditions, have yearned and died in silence.

II

PHILLIS WHEATLEY

On one of the slave ships that came to the harbor of Boston in the year 1761 was a little Negro girl of very delicate figure. The vessel on which she arrived came from Senegal. With her dirty face and unkempt hair she must indeed have been a pitiable object in the eyes of would-be purchasers. The hardships of the voyage, however, had given an unusual brightness to the eye of the child, and at least one woman had discernment enough to appreciate her real worth. Mrs. Susannah Wheatley, wife of John Wheatley, a tailor, desired to possess a girl whom she might train to be a special servant for her declining years, as the slaves already in her home were advanced in age and growing feeble.

Attracted by the gentle demeanor of the child in question, she bought her, took her home, and gave her the name of Phillis. When the young slave became known to the world it was customary for her to use also the name of the family to which she belonged. She always spelled her Christian name P-h-i-l-l-i-s.

[Ill.u.s.tration: PHILLIS WHEATLEY]

Phillis Wheatley was born very probably in 1753. The poem on Whitefield published in 1770 said on the t.i.tle-page that she was seventeen years old. When she came to Boston she was shedding her front teeth. Her memory of her childhood in Africa was always vague. She knew only that her mother _poured out water before the rising sun_. This was probably a rite of heathen worship.

Mrs. Wheatley was a woman of unusual refinement. Her home was well known to the people of fashion and culture in Boston, and King Street in which she lived was then as noted for its residences as it is now, under the name of State Street, famous for its commercial and banking houses. When Phillis entered the Wheatley home the family consisted of four persons, Mr. and Mrs. Wheatley, their son Nathaniel, and their daughter Mary.

Nathaniel and Mary were twins, born May 4, 1743. Mrs. Wheatley was also the mother of three other children, Sarah, John, and Susannah; but all of these died in early youth. Mary Wheatley, accordingly, was the only daughter of the family that Phillis knew to any extent, and she was eighteen years old when her mother brought the child to the house, that is, just a little more than ten years older than Phillis.

In her new home the girl showed signs of remarkable talent. Her childish desire for expression found an outlet in the figures which she drew with charcoal or chalk on the walls of the house. Mrs. Wheatley and her daughter became so interested in the ease with which she a.s.similated knowledge that they began to teach her. Within sixteen months from the time of her arrival in Boston Phillis was able to read fluently the most difficult parts of the Bible. From the first her mistress strove to cultivate in every possible way her naturally pious disposition, and diligently gave her instruction in the Scriptures and in morals. In course of time, thanks especially to the teaching of Mary Wheatley, the learning of the young student came to consist of a little astronomy, some ancient and modern geography, a little ancient history, a fair knowledge of the Bible, and a thoroughly appreciative acquaintance with the most important Latin cla.s.sics, especially the works of Virgil and Ovid. She was proud of the fact that Terence was at least of African birth. She became proficient in grammar, developing a conception of style from practice rather than from theory. Pope's translation of Homer was her favorite English cla.s.sic. If in the light of twentieth century opportunity and methods these attainments seem in no wise remarkable, one must remember the disadvantages under which not only Phillis Wheatley, but all the women of her time, labored; and recall that in any case her attainments would have marked her as one of the most highly educated young women in Boston.

While Phillis was trying to make the most of her time with her studies, she was also seeking to develop herself in other ways. She had not been studying long before she began to feel that she too would like to make verses. Alexander Pope was still an important force in English literature, and the young student became his ready pupil. She was about fourteen years old when she seriously began to cultivate her poetic talent; and one of the very earliest, and from every standpoint one of the most interesting of her efforts is the pathetic little juvenile poem, "On Being Brought from Africa to America:"

'Twas mercy brought me from my pagan land, Taught my benighted soul to understand That there's a G.o.d--that there's a Saviour too: Once I redemption neither sought nor knew.

Some view our sable race with scornful eye-- "Their colour is a diabolic dye."

Remember, Christians, Negroes black as Cain May be refined, and join th' angelic train.

Meanwhile, the life of Phillis was altogether different from that of the other slaves of the household. No hard labor was required of her, though she did the lighter work, such as dusting a room or polishing a table.

Gradually she came to be regarded as a daughter and companion rather than as a slave. As she wrote poetry, more and more she proved to have a talent for writing occasional verse. Whenever any unusual event, such as a death, occurred in any family of the circle of Mrs. Wheatley's acquaintance, she would write lines on the same. She thus came to be regarded as "a kind of poet-laureate in the domestic circles of Boston." She was frequently invited to the homes of people to whom Mrs.

Wheatley had introduced her, and was regarded with peculiar interest and esteem, on account both of her singular position and her lovable nature.

In her own room at home Phillis was specially permitted to have heat and a light, because her const.i.tution was delicate, and in order that she might write down her thoughts as they came to her, rather than trust them to her fickle memory.

Such for some years was the course of the life of Phillis Wheatley. The year 1770 saw the earliest publication of one of her poems. On the first printed page of this edition one might read the following announcement: "A Poem, By Phillis, a Negro Girl, in Boston, On the Death of the Reverend George Whitefield." In the middle of the page is a quaint representation of the dead man in his coffin, on the top of which one might with difficulty decipher, "G. W. Ob. 30 Sept. 1770, Aet. 56." The poem is addressed to the Countess of Huntingdon, whom Whitefield had served as chaplain, and to the orphan children of Georgia whom he had befriended. It takes up in the original less than four pages of large print. It was revised for the 1773 edition of the poems.

In 1771 the first real sorrow of Phillis Wheatley came to her. On January 31st Mary Wheatley left the old home to become the wife of Rev.

John Lathrop, pastor of the Second Church in Boston. This year is important for another event. On August 18th "Phillis, the servant of Mr.

Wheatley," became a communicant of the Old South Meeting House in Boston. We are informed that "her membership in Old South was an exception to the rule that slaves were not baptized into the church." At that time the church was without a regular minister, though it had lately received the excellent teaching of the Rev. Dr. Joseph Sewell.

This was a troublous time in the history of Boston. Already the storm of the Revolution was gathering. The period was one of vexation on the part of the slaves and their masters as well as on that of the colonies and England. The argument on the side of the slaves was that, as the colonies were still English territory, they were technically free, Lord Mansfield having handed down the decision in 1772 that as soon as a slave touched the soil of England he became free. Certainly Phillis must have been a girl of unusual tact to be able under such conditions to hold so securely the esteem and affection of her many friends.

About this time, as we learn from her correspondence, her health began to fail. Almost all of her letters that are preserved were written to Obour Tanner, a friend living in Newport, R. I. Just when the two young women became acquainted is not known. Obour Tanner survived until the fourth decade of the next century. It was to her, then, still a young woman, that on July 19, 1772, Phillis wrote from Boston as follows:

MY DEAR FRIEND,--I received your kind epistle a few days ago; much disappointed to hear that you had not received my answer to your first letter. I have been in a very poor state of health all the past winter and spring, and now reside in the country for the benefit of its more wholesome air. I came to town this morning to spend the Sabbath with my master and mistress. Let me be interested in your prayers that G.o.d will bless to me the means used for my recovery, if agreeable to his holy will.

By the spring of 1773 the condition of the health of Phillis was such as to give her friends much concern. The family physician advised that she try the air of the sea. As Nathaniel Wheatley was just then going to England, it was decided that she should accompany him. The two sailed in May. The poem, "A Farewell to America," is dated May 7, 1773. It was addressed to "S. W.," that is, Mrs. Wheatley. Before she left America, Phillis was formally manumitted.

The poem on Whitefield served well as an introduction to the Countess of Huntingdon. Through the influence of this n.o.blewoman Phillis met other ladies, and for the summer the child of the wilderness was the pet of the society people of England. Now it was that a peculiar gift of Phillis Wheatley shone to advantage. To the recommendations of a strange history, ability to write verses, and the influence of kind friends, she added the accomplishment of brilliant conversation. Presents were showered upon her. One that has been preserved is a copy of the magnificent 1770 Glasgow folio edition of "Paradise Lost," given to her by Brook Watson, Lord Mayor of London. This book is now in the library of Harvard University. At the top of one of the first pages, in the handwriting of Phillis Wheatley, are these words: "Mr. Brook Watson to Phillis Wheatley, London, July, 1773." At the bottom of the same page, in the handwriting of another, are these words: "This book was given by Brook Watson formerly Lord Mayor of London to Phillis Wheatley & after her death was sold in payment of her husband's debts. It is now presented to the Library of Harvard University at Cambridge, by Dudley L. Pickman of Salem. March, 1824."

Phillis had not arrived in England at the most fashionable season, however. The ladies of the circle of the Countess of Huntingdon desired that she remain long enough to be presented at the court of George III.

An accident--the illness of Mrs. Wheatley--prevented the introduction.