File:Abraham Lincoln and the battles of the Civil War (1886) (14760693374).jpg

Identifier: abrahamlincolnba01newy (find matches)
Title: Abraham Lincoln and the battles of the Civil War
Year: 1886 (1880s)
Authors:
Subjects: Lincoln, Abraham, 1809-1865 Generals Generals
Publisher: (New York, N.Y.) : (The Century Co.)
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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as his moraleducaticjn gave him some hint of its enormity,and it became a forbidden fruit monopolizedbv those of reprobate will, it grew everywheremore and more gross. No wonder the policestopped it in Congo Square. Only the musicdeserved to survive, and docs survive — coinsnatched out of the mire. The one just given,Gottschalk tirst drew from obli\ion. I havenever heard another to know it as a bamboula;but Mr. Charles P. Ware, in Slave Songs ofthe United States, has printed one got fromLouisiana, whose characteristics resemble thebamboula reclaimed by Gottschalk in so manypoints that here is the best place for it: *As much as to say, in English, Look at thatdarky, — we have to lose the saucy doublemeaning between //ii/h-t (mule) and midatre(mulatto)— Look at that darky there, I\Ir. Banjo, Doesnt he put on airs!Hat cocked on one side, Mr. Banjo,Walking-stick in hand, Mr. Banjo,Boots that go crank, crank, Mr. Banjo,—Look at that darky there, Mr. Banjo, Doestit he put on airs !
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It is odd that such fantastical comicality ofwords should have been mated to such fierceand frantic dancing, but so it was. The reek-ing faces of the dancers, moreover, alwayssolemnly grave. So we must picture it nowif we still fancy ourselves spectators on CongoPlains. The bamboula still roars and rattles,twangs, contorts, and tumbles in terribleearnest, while we stand and talk. So, on andon. Will they dance nothing else ? Ah ! —the music changes. The rhythm stretches outheathenish and ragged. The quick contagionis caught by a few in the crowd, who take it THE LOVE SONG. up with spirited smitings of the bare sole ujjonthe ground, and of open hands upon thethighs. From a spot near the musicians a sin-gle male voice, heavy and sonorous, rises inimprovisation,— the Mandingoes brought thatart from Africa,— and in a moment manyothers have joined in refrain, male voices inrolling, bellowing resonance, female respondingin high, piercing unison. Partners are steppinginto the ring. How

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