of hopeful strife. The last master song is the song of songs—"Steal away,"—sprung from "The Faith of the Fathers."
There are many others of the Negro folk-songs as striking and characteristic as these, as, for instance, the three strains in the third, eighth, and ninth chapters; and others I am sure could easily make a selection on more scientific principles. There are, too, songs that seem to me a step removed from the more primitive types: there is the maze-like medley, "Bright sparkles," one phrase of which heads "The Black Belt"; the Easter carol, "Dust, dust and ashes"; the dirge, "My mother's took her flight and gone home"; and that burst of melody hovering over "The Passing of the First-Born"—"I hope my mother will be there in that beautiful world on high."
These represent a third step in the development of the slave song, of which "You may bury me in the East" is the first, and songs like "March on" (chapter six) and "Steal away" are the second. The first is African music, the second Afro-American, while the third is a blending of Negro music with the music heard in the foster land. The result is still distinctively Negro and the method of blending original, but the elements are both Negro and Caucasian. One might go further and find a fourth step in this development, where the songs of white America have been distinctively influenced by the slave songs or have incorporated whole phrases of Negro melody, as "Swanee River" and "Old Black Joe." Side by side, too, with the growth has gone the debasements
