We can best end this chapter with the word of a colored man: “But there is something deeper than the sensuousness of beauty that makes for the possibilities of the Negro in the realm of the arts, and that is the soul of the race. The wail of the old melodies and the plaintive quality that is ever present in the Negro voice are but the reflection of a background of tragedy. No race can rise to the greatest heights of art until it has yearned and suffered. The Russians are a case in point. Such has been their background in oppression and striving that their literature and art are today marked by an unmistakable note of power. The same future beckons to the American Negro. There is something very elemental about the heart of the race, something that finds its origin in the African forest, in the sighing of the night wind, and in the falling of the stars. There is something grim and stern about it all, too, something that speaks of the lash, of the child torn from its mother’s bosom, of the dead body riddled with bullets and swinging all night from a limb by the roadside.”[197] CHAPTER VIII NEGRO ART AND LITERATURE How the tragic story of the black slave has become a central theme of the story of America and has inspired literature and created art. The Negro is primarily an artist. The usual way of putting this is to speak disdainfully of his “sensuous” nature. This means that the only race which has held at bay the life destroying forces of the tropics, has gained therefrom in some slight compensation a sense of beauty, particularly for sound and color, which characterizes the race. The Negro blood which flowed in the veins of many of the mightiest of the Pharaohs accounts for much of Egyptian art, and indeed Egyptian civilization owes much in its origin to the development of the large strain of Negro blood which manifested itself in every grade of Egyptian society. Semitic civilization also had its Negroid influences, and these continually turn toward art as in the case of black Nosseyeb, one of the five great poets of Damascus under the Ommiades, and the black Arabian hero, Antar. It was therefore not to be wondered at that in modern days one of the greatest of modern literatures, the Russian, should have been founded by Pushkin, the grandson of a full blooded Negro, and that among the painters of Spain was the mulatto slave, Gomez. Back of all this development by way of contact, come the artistic sense of the indigenous Negro as shown in the stone figures of Sherbro, the bronzes of Benin, the marvelous hand work in iron and other metals which has characterized the Negro race so long that archaeologists today, with less and less hesitation, are ascribing the discovery of the welding of iron to the Negro race.