Swing Low, Sweet Chariot: Poetic Esteem vs. Humility of the Soul

James Weldon Johnson’s poem “O Black and Unknown Bards” is not only a popular poem of its time, but a commentary and criticism of typical “turn-of-the-century” poems and poets. “O Black and Unknown Bards” is written in iambic pentameter and structured A/B rhyme scheme. This form was popular with romantic and modernist poets; this was the form that the general public enjoyed to read because it showed intelligence and poetic knowledge. However traditional the form may be, Johnson’s poem contains cultural criticism and stands as an artifact of the differentiation between races and motives of writers and composers of the time. Johnson, an African American and civil rights activist, wrote poetry and essays that gave a voice to the African American people for the public to read. What is interesting about his poems is that he used this structured form to please the white public while demonstrating his position as a black writer. In this particular poem, he channels the spiritualist motive of lyric. Spiritualist songs were written by American slaves as a means to liberate their souls to God in the midst of their lack of freedom. The poem alludes to spiritualist slave songs such as “Go Down Moses” and “Swing Low, Sweet Chariot” and cherishes them as something great and beautiful that no poet of the late 19th century can hold a flame to. What does this say about Johnson’s opinion of the writer culture he lived in? He is criticizing white poets  that have esteemed poetic positions of power that derive from an educated and established culture. He is claiming that the slaves, with no education or poetic knowledge further than the knowledge of their own soul and passion, know poetry and song as it should be. In his poem, Johnson took the stance that humility of words and simplicity of motives could inspire an audience more than noble tales of valiant battles or lordly men on horses could. This is a noble position for Johnson to take due to his position as an African American writer. The intended audience of the poem is the black spiritualist, but due to Johnson’s revered poetic status, this poem was read by persons of all sociological positions, making Johnson not only a popular poet, but also a landmark for black civil rights. What is interesting though is that Johnson believed that the black people did not hold their spiritualist songs to such esteem that he did. “As yet, the Negroes themselves do not fully appreciate these old slave songs.” He tried through this poem and many of his others to give regards to the beauty and power of humility in song. Thus, “O Black and Unknown Bards” could stand as a jab at white poets, a praise for the spiritualist, and a blend of the multiple cultures in which Johnson lived in. He is not only thanking and appreciating the humble and beautiful works of the spiritualists, but maintaining a critical voice that speaks to the esteemed poetic community in which Johnson lived. However, it is apparent that even today, spiritualist songs are still popular and sung due to their simple and powerful messages.

Here’s an example of a spiritualist song “Swing Low, Sweet Chariot” sung by the amazing Etta James!