And to the attention of those who have regarded with aversion (often with good cause too) the modern race of "troubadours" I commend the cheering tendencies just noted, since these may be held as indicating the dawn of a brighter day for all concerned. I next invite the reader to the perusal of a sketch of the famous "Georgia Minstrels," who not only in this country, but in some parts of Europe, have become justly celebrated as the finest troupe of minstrels extant. Being all _real_ colored men, and therefore not dependent upon "burnt cork,"--being, as some have put it, "the genuine article,"--they in this respect possess an advantage over their naturally fairer-skinned brethren in the profession. Still, as will be seen hereafter, this complexional advantage (?) is not by any means the most important cause of their unprecedented success. But the reader is first requested to pardon what may be thought a digression: the writer considers it a necessary one. He is aware, that, in presenting in this book the following account of the Georgia Minstrels,--an account which, on the whole, must be regarded as highly complimentary to the latter,--he may be incurring the displeasure of some very excellent people who belong to the same race as that of the members of the troupe mentioned. This he very much regrets; for although he considers these persons as perhaps unnecessarily sensitive, and certainly mistaken in some of the opinions which they hold regarding _this_ company of minstrels (whose performances, by the way, most of said persons have never witnessed), he yet entertains the fullest respect for the honorable _motives_ that inspire their disfavor. The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole; that these public performances do much to belittle their race generally, arouse and keep alive in the breasts of other races a feeling of contempt for it; and that these effects are greatly enhanced when colored men themselves engage in such performances, as they thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may be true; but, whether they are or not, it is not within the province of this book to discuss. They are placed here in order that both sides may be heard. Against their severe and somewhat sweeping character I place the fine _musical_ achievements of the subjects of this sketch. Of these, assuredly, we can _all_ be proud; and therefore the recounting of these shall serve as a full justification of the course I have taken in presenting the sketch.