George Williams - History of the Negro Race in America from 1619 to 1880 (Vol. 1&2)

Cicero urged virtue as necessary to effective oratory. The great majority of Negroes in Africa are both orators and logicians. A people who have such noble qualities as this race seems to possess has, as a logical necessity, the poetic element in a large degree.

In speaking of Negro poetry, we shall do so under three different heads; viz., the Epic , Idyllic , Religious , or miscellaneous.

The epic poetry of Africa, so far as known, is certainly worthy of careful study. The child must babble before it can talk, and all barbarians have a sense of the sublime in speech. Mr. Taine, in his "History of English Literature," speaking of early Saxon poetry, says—

"One poem nearly whole, and two or three fragments, are all that remain of this lay-poetry of England. The rest of the pagan current, German and barbarian, was arrested or overwhelmed, first by the influx of the Christian religion, then by the conquest of the Norman-French. But what remains more than suffices to show the strange and powerful poetic genius of the race, and to exhibit beforehand the flower in the bud.

"If there has ever been anywhere a deep and serious poetic sentiment, it is here. They do not speak: they sing, or rather they shout. Each little verse is an acclamation, which breaks forth like a growl; their strong breasts heave with a groan of anger or enthusiasm, and a vehement or indistinct phrase or expression rises suddenly, almost in spite of them, to their lips. There is no art, no natural talent, for describing, singly and in order, the different parts of an object or an event. The fifty rays of light which every phenomenon emits in succession to a regular and well-directed intellect, come to them at once in a glowing and confused mass, disabling them by their force and convergence. Listen to their genuine war-chants, unchecked and violent, as became their terrible voices! To this day, at this distance of time, separated as they are by manners, speech, ten centuries, we seem to hear them still." 96

This glowing description of the poetry of the primitive and hardy Saxon gives the reader an excellent idea of the vigorous, earnest, and gorgeous effusions of the African. Panda was king of the Kaffirs. He was considered quite a great warrior. It took a great many isi-bongas to describe his virtues. His chief isi-bongas was "O-Elephant." This was chosen to describe his strength and greatness. Mr. Wood gives an account of the song in honor of Panda:—

"1. Thou brother of the Tchaks, considerate forder ,

2. A swallow which fled in the sky ;

3. A swallow with a whiskered breast;

4. Whose cattle was ever in so huddled a crowd,

5. They stumble for room when they ran.

6. Thou false adorer of the valor of another,

7. That valor thou tookest at the battle of Makonko.

8. Of the stock of N'dabazita, ramrod of brass ,

9. Survivor alone of all other rods ;

10. Others they broke and left this in the soot,

11. Thinking to burn at some rainy cold day.

12. Thigh of the bullock of Inkakavini ,

13. Always delicious if only 'tis roasted,

14. It will always be tasteless if boiled.

15. The woman from Mankeba is delighted;

16. She has seen the leopards of Jama,

17. Fighting together between the Makonko.

18. He passed between the Jutuma and Ihliza,

19. The Celestial who thundered between the Makonko.

20. I praisethee, O King! son of Jokwane, the son of Undaba,

21. The merciless opponent of every conspiracy.

22. Thou art an elephant , an elephant , an elephant .

23. All glory to thee, thou monarch who art black ."

"The first isi-bonga , in line 1, alludes to the ingenuity with which Panda succeeded in crossing the river so as to escape out of the district where Dingan exercised authority. In the second line, 'swallow which fled in the sky' is another allusion to the secrecy with which he managed his flight, which left no more track than the passage of a swallow through the air. Lines 4 and 5 allude to the wealth, i.e., the abundance of cattle, possessed by Panda. Line 6 asserts that Panda was too humble minded, and thought more of the power of Dingan than it deserved; while line 7 offers as proof of this assertion, that, when they came to fight, Panda conquered Dingan. Lines 8 to 11 all relate to the custom of seasoning sticks by hanging them over the fireplaces in Kaffir huts. Line 14 alludes to the fact that meat is very seldom roasted by the Kaffirs, but is almost invariably boiled, or rather stewed, in closed vessels. In line 15 the 'woman from Mankebe' is Panda's favorite wife. In line 19 'The Celestial' alludes to the name of the great Zulu tribe over which Panda reigned; the word 'Zulu' meaning celestial, and having much the same import as the same word when employed by the Chinese to denote their origin. Line 21 refers to the attempts of Panda's rivals to dethrone him, and the ingenious manner in which he contrived to defeat their plans by forming judicious alliances."

There is a daring insolence, morbid vanity, and huge description in this song of Panda, that make one feel like admitting that the sable bard did his work of flattery quite cleverly. It should not be forgotten by the reader, that, in the translation of these songs, much is lost of their original beauty and perspicuity. The following song was composed to celebrate the war triumphs of Dinga, and is, withal, exciting, and possessed of good movement. It is, in some instances, much like the one quoted above:—

"Thou needy offspring of Umpikazi,

Eyer of the cattle of men;

Bird of Maube, fleet as a bullet,

Sleek, erect, of beautiful parts;

Thy cattle like the comb of the bees;

O head too large, too huddled to move;

Devourer of Moselekatze, son of Machobana;

Devourer of 'Swazi, son of Sobuza;

Breaker of the gates of Machobana;

Devourer of Gundave of Machobana;

A monster in size, of mighty power;

Devourer of Ungwati of ancient race;

Devourer of the kingly Uomape;

Like heaven above, raining and shining."

The poet has seen fit to refer to the early life of his hero, to call attention to his boundless riches, and, finally, to celebrate his war achievements. It is highly descriptive, and in the Kaffir language is quite beautiful.

Tchaka sings a song himself, the ambitious sentiments of which would have been worthy of Alexander the Great or Napoleon Bonaparte. He had carried victory on his spear throughout all Kaffir-land. Everywhere the tribes had bowed their submissive necks to his yoke; everywhere he was hailed as king. But out of employment he was not happy. He sighed for more tribes to conquer, and thus delivered himself:—

"Thou hast finished, finished the nations!

Where will you go out to battle now?

Hey! where will you go out to battle now?

Thou hast conquered kings!

Where are you going to battle now?

Thou hast finished, finished the nations!

Where are you going to battle now?

Hurrah, hurrah, hurrah!

Where are you going to battle now?"

There is really something modern in this deep lament of the noble savage!

The following war song of the Wollof, though it lacks the sonorous and metrical elements of real poetry, contains true military aggressiveness, mixed with the theology of the fatalist.

A WAR SONG.

"I go in front. I fear not death. I am not afraid. If I die, I will take my blood to bathe my head.

"The man who fears nothing marches always in front, and is never hit by the murderous ball. The coward hides himself behind a bush, and is killed.

"Go to the battle. It is not lead that kills. It is Fate which strikes us, and which makes us die."