Sermon Tone Analysis
Overall tone of the sermon
This automated analysis scores the text on the likely presence of emotional, language, and social tones. There are no right or wrong scores; this is just an indication of tones readers or listeners may pick up from the text.
A score of 0.5 or higher indicates the tone is likely present.
Emotion Tone
Anger
0.1UNLIKELY
Disgust
0.06UNLIKELY
Fear
0.09UNLIKELY
Joy
0.64LIKELY
Sadness
0.54LIKELY
Language Tone
Analytical
0.57LIKELY
Confident
0UNLIKELY
Tentative
0.49UNLIKELY
Social Tone
Openness
0.82LIKELY
Conscientiousness
0.7LIKELY
Extraversion
0.03UNLIKELY
Agreeableness
0.5LIKELY
Emotional Range
0.56LIKELY
Tone of specific sentences
Tones
Emotion
Language
Social Tendencies
Anger
< .5
.5 - .6
.6 - .7
.7 - .8
.8 - .9
> .9
Introduction
James Weldon Johnson is most well known as the man who penned the song which has come to be called The Black National Anthem, Lift Every Voice and Sing.
In 1925 he and his brother, J. Rosamond Johnson published a two volume hymnal titled, The Books of the American Negro Spirituals.
And in his introduction, James included and original poem titled, “O Black and Unknown Bards.”
It was a tribute to the unknown composers of the Negro Spirituals.
The first stanza of the poem says,
You sang not deeds of heroes or kings;
O black and unknown bards of long ago,
How came your lips to touch the sacred fire?
No chant of bloody war, no exulting paean
How, in your darkness, did you come to know
Of arms won triumphs; but your humble strings
You touched in chord with music empyrean.
The power and beauty of the minstrel’s lyre?
You sang far better than you knew; the songs
Who first from midst of his bonds lifted his eyes?
Who first from out of the still watch, lone and long,
That for your listners’ hungry heart sufficed
Still live – but more than this to you belongs:
Feeling the ancient faith of prophets rise
You sang a race from wood and stone to Christ.
Within his dark-kept soul, burst into song?
In the poem he asks the question “How?”
The question is not how could they sing any song.
It’s no surprise that music, rhythm and song were an integral part of the life of the Black experiene in America.
There was surely a connection between their rhythms and those found on the African continent.
And it’s no surprise that non-Christians can make good sounding, toe-tapping, rhythmic music.
In James Weldon Johnson’s poem above he asks the question “How?”
The question is not how could they sing any song.
It’s no surprise that music, rhythm and song were an integral part of the life of the slave in America.
There was surely a connection between their rhythms and those found on the African continent.
And it’s no surprise that non-Christians can make good sounding, toe-tapping, rhythmic music.
As Reggie Kidd notes, the phenomenon of song began outside of the covenantal line with Jubal, a son of Cain ().
The question is, “How could they sing the Spirituals?”
The music that Johnson is paying tribute to is redeemed music.
How is it possible that out of such darkness sprang such beauty?
For most African slaves in America there was no triumph in this world.
How then could there be any songs of victory?
In his tribute Johnson says that, “[the singer’s] spirit must have nightly floated free, though still about his hands he felt chains.”
How did they sing “better than they knew”?
One of those songs, that I believe arises out of Scripture passages like the one before us this morning is, “Walk Together Children, Don’t You Get Weary.”
The lyrics go like this:
Walk together children
Don’t you get weary
Walk together children
Don’t you get weary
Oh, talk together children
Don’t you get weary
There’s a great camp meeting in the Promised Land
Sing together children
Don’t you get weary
Sing together children
Don’t you get weary
Oh, shout together children
Don’t you get weary
There’s a great camp meeting in the Promised Land
Gonna mourn and never tire
Mourn and never tire
Mourn and never tire
There’s a great camp meeting in the Promised Land
This is a community song.
Although they did strive for freedom from bondage, the clarion call was that they were to walk together, sing together, shout together, and all the while not grow weary.
Even though they had to mourn, they encouraged each other to not grow weary in their mourning.
This is because they looked to the hereafter and understood that “there’s a great camp meeting in the Promised Land.”
The song is a collective call to hope in the midst of suffering, joy in the midst of sorry, and the strength to endure through the struggle.
And this is the same call we find the Lord giving his people in .
We’re going to talk about these three things this morning: The Complaint, The Confession, and the Comfort.
Although they did strive for freedom from bondage, the clarion call was that they were to walk together, sing together, shout together, and all the while not grow weary.
Even though they had to mourn, they encouraged each other to not grow weary in their mourning.
This is because they looked to the hereafter and understood that “there’s a great camp meeting in the Promised Land.”
The Complaint
is a popular chapter in the Bible.
The NT quotes v. 3 in reference to John the Baptist.
JOHN1
Verse 6 and 8 are quoted by the apostle Peter in
1PE1.
The apostle Paul references v. 13 in when he asks,
Indeed this chapter is a turning point in the prophet’s book.
The theme of God’s judgment is prevalent in the first 39 chapters.
And the turning point comes in v. 1 with the words,
Indeed this chapter is a turning point in the prophet’s book.
The theme of God’s judgment is prevalent in the first 39 chapters
This word of comfort is necessary because of the people’s situation.
Their rebellion and unbelief has resulted in judgement, and they issue a complaint to God.
Their complaint is that the Lord does not see them nor does he care about them.
We find out about their complaint through the Lord’s response in v. 27,
Why do you say Jacob, And why do you speak Israel,
And why do you speak Israel,
“My way is hidden from the Lord, And from my God, my justice is overlooked?”
And from my God, my justice is overlooked?”
This is a collective “my.”
It’s the people of Israel as whole.
Our way is hidden from the Lord.
The way is the course of life.
Our hard and difficult road is hidden from Him.
Not only that, but our justice is being passed over.
We are suffering and the Lord is paying no regard.
There is a sense of despair and sadness in the complaint.
We’re troubled on every side.
Our situation is dire.
< .5
.5 - .6
.6 - .7
.7 - .8
.8 - .9
> .9