his voice was a call to the great final battle with slavery.
In the spring of 1861 the Boston Light Infantry was sent to Fort Warren in Boston harbor to drill. A quartette was formed among the soldiers to sing patriotic songs and for them was contrived the verses,
"John Brown's body lies a-mouldering in the grave,
His soul is marching on," etc.
This was set to the music of an old camp-meeting tune—possibly of Negro origin—called, "Say, Brother, Will You Meet Us?" The regiment learned it and first sang it publicly when it came up from Fort Warren and marched past the scene where Crispus Attucks fell. Gilmore's Band learned and played it and thus "the song of John Brown was started on its eternal way!"
Was John Brown simply an episode, or was he an eternal truth? And if a truth, how speaks that truth to-day? John Brown loved his neighbor as himself. He could not endure therefore to see his neighbor, poor, unfortunate or oppressed. This natural sympathy was strengthened by a saturation in Hebrew religion which stressed the personal responsibility of every human soul to a just God. To this religion of equality and sympathy with misfortune, was added the strong influence of the social doctrines of the French Revolution with its emphasis on freedom and power in po-
