The negros displayed all the musical creativeness of that section.
Their wonderful prolificness in wild, rude songs, with strangely
melodious airs that burned themselves into the memory, was one of the
salient characteristics of that down-trodden race. Like the Russian
serfs, and the bondmen of all ages and lands, the songs they made and
sang all had an undertone of touching plaintiveness, born of ages of dumb
suffering. The themes were exceedingly simple, and the range of subjects
limited. The joys, and sorrows, hopes and despairs of love's
gratification or disappointment, of struggles for freedom, contests with
malign persons and influences, of rage, hatred, jealousy, revenge, such
as form the motifs for the majority of the poetry of free and strong
races, were wholly absent from their lyrics. Religion, hunger and toil
were their main inspiration. They sang of the pleasures of idling in the
genial sunshine; the delights of abundance of food; the eternal happiness
that awaited them in the heavenly future, where the slave-driver ceased
from troubling and the weary were at rest; where Time rolled around in
endless cycles of days spent in basking, harp in hand, and silken clad,
in golden streets, under the soft effulgence of cloudless skies, glowing
with warmth and kindness emanating from the Creator himself. Had their
masters condescended to borrow the music of the slaves, they would have
found none whose sentiments were suitable for the ode of a people
undergoing the pangs of what was hoped to be the birth of a new nation.

The three songs most popular at the South, and generally regarded as
distinctively Southern, were "The Bonnie Blue Flag," "Maryland, My
Maryland," and "Stonewall Jackson Crossing into Maryland." The first of
these was the greatest favorite by long odds. Women sang, men whistled,
and the so-called musicians played it wherever we went. While in the
field before capture, it was the commonest of experiences to have Rebel