Some of the qualities of the negro's emotions as seen in his singing will be noted subsequently. Omitting for the present this feature of his songs, and qualifying the statement by interpreting his nature and environment, it may be affirmed that all that has been said of the spirituals is true. They are beautiful, childlike, simple and plaintive. They are the negro's own songs and are the peculiar expression of his own being; much may be said concerning them. Many of the spirituals are still popular among the negroes, and often take the place of the regular church hymns. The less intelligent negroes sing them, and they are sung freely by the more intelligent class. Ministers of all denominations take advantage of their peculiar power to sway the feelings of the negroes into accustomed channels. Many of the old spirituals that were common in slavery are still current and are sung with but little modification; others are greatly modified and enlarged or shortened. Traces of the slave songs may be found in the more modern spirituals that have sprung up since the war. The majority of the songs have several versions, differing according to localities, and affected by continual modification as they have been used for many years. Some have been so blended with other songs, and filled with new ideas, as to be scarcely recognizable, but clearly the product of the negro singers. Besides the old and the mixed songs, there are many that are entirely new, arising out of various circumstances and developing with successive renditions.