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If the poet presents the blues through indirection in "Cabaret," in "Memphis Blues" he presents them through the matrix of the oral tradition which helped to shape their growth. The poem partly draws upon the traditional notion of "preaching the blues" found in both music and oral literature, but significantly it is not a parody of the sermon but a brilliant exploration of the song-sermon form in which the blues are historically and formally grounded. Its A-B-A form is a common song pattern and is shared by jazz and the sonata form. It is also the pattern which typical sermons take--text, development and application, repetition. In the poem the enveloping sections are historical parallels to the present:

Was another Memphis

Mongst de olden days,

Done been destroyed

in many ways....

Dis here Memphis

It may go ....

The persona cites the dangers:

Floods may drown it;

Tornado blow;

Mississippi wash it

Down to sea--

Like de other Memphis in


That is the warning of apocalypse, the sign of the Judgment. The poem is a blues sermon on the Last Judgment. The language evokes the hymns of Blind Willie Johnson, the Texas preacher who sang and played in blues style and tonality:

See the sign of the Judgment

Yes, yes I

See the sign of the Judgment

Oh, yes, my Lord,

Time is drawing nigh!

And the stage is set.

The long middle section of the poem consists of six stanzas, each posing the ultimate question in the life of a Christian--Where will you be on the day when God sends down Judgment? It is the Dies Irae--Day of Anger, Day of Judgment, and a central theme of Western literature and art. One recalls the medieval plays Everyman and The Castle of Perseverance, and the other moralities which address the theme in a form comprehensible to the common man in fourteenth-century England. One remembers, too, Marlowe's Dr. Faustus imploring the heavenly spheres to cease and bring time to a halt. And who can forget the peal of the Dies Irae as it strikes fear and repentance into the heart of Goethe's Gretchen?

Most of the old-time preachers were probably ignorant of Goethe and the Faust legend, but they knew the Bible fairly well, especially the Book of Revelations, and the most gifted of them knew enough history to draw lessons from it and to incorporate them into their sermons. Their knowledge was matched if not surpassed by superb rhetorical skills. The love of language was rooted in their culture. They sang as their parents had sung: "My Lord, what a mournin'/ When the stars begin to fall." They sang: "Run, sinner, run and find yourself a hiding place." They admonished their congregations to work on the "building" for the Lord. They warned the gambler, the dancer, the drunkard, the "cussin' man," and the whoremonger to work on the building too, for the day was coming when "God's gonna separate the wheat from the tares." They questioned the sinner in his headlong flight: "O whar you runnin', sinner?" They asked him: "Sinner, what you goin' to do/When de devil git you?" And there would be nowhere for the sinner to go, for "there's no hiding place down here." Brown builds the middle section of his poem on the pattern of these songs of the Last Judgment, a pattern which is also used in the sermon. That pattern is reinforced by a smaller rhetorical pattern of concentrated and compressed Black cultural experience, a mascon, and in choosing it the poet goes to the ambivalent heart of the Black man's Christian heritage. He is both Christian and Black. He is a child of God, yet not a man. There are contradictions, and conflicts, but one kind of resolution is found in the blues. However, the blues lie outside the church, are the devil's music. Still the blues came out of the church, as the singers themselves say. Thus there is no contradiction in the development of the poem. The first person to be addressed in the "Judgment Day pattern" is the Preacher Man--

Watcha gonna do when Memphis on fire,

Memphis on fire, Mistah Preachin' Man?

And the Preachin' Man replies:

Gonna pray to Jesus and nebber tire,

Gonna pray to Jesus, loud as I can,

Gonna pray to my Jesus, oh, my Lawd!

This is correct Christian behavior and the language and sentiments echo the Judgment Day spirituals cited above. Had the poet continued in this vein, the poem might have ended with a tonality and structure akin to the sermon-poems of James Weldon Johnson. But the poem is to be an experiment in blues tonality, as the title suggests, and we are not disappointed. Something remarkable and subtle begins to happen with the introduction of this answering refrain. For one thing, the poet has established perhaps the most characteristic pattern of Black oral/musical tradition, the call-and-response, and both parts of the pattern take delightful variations of rhythm, tone, and diction as the poem proceeds. Each variation in the "call" is like a chord change, which is developed by the "response."

Although tonally and thematically the first response recalls the spirituals, the rhythm is jazzy as in gospel music. In addition, a closer examination will reveal that the call-and-response pattern is enhanced by the familiar mascon qualities of the call and the anaphora of the response. The pattern also contains an artfully concealed extension of the blues form in which the two lines of the call constitute, in effect, the first two lines of a blues stanza, while the response is a rhetorical elaboration of the third line. However, instead of the quick turn or the punch line of the blues stanza, the response stretches out into a kind of jazz melody.

Although each "change" is distinctive, we remain in the same key, as it were, as the calls are made in sequence to the Preachin' Man, the Lovin' Man, the Music Man, the Workin' Man, the Drinkin' Man, and the Gamblin' Man. Each responds in his own way, in his own rhythm and accent, but all end up with the refrain "oh, my Lawd!" first spoken by the Preachin' Man. This expression not only links the personae together, it allows for ironic variation of tone from the religious somberness of the opening section. In effect, the "Lawd" of the spirituals is subtly transformed by the "Lawd" of the blues.

The call also is a kind of blues riff which is not only found in blues songs but in other areas of the oral tradition. Thus Big Bill Broonzy sings a song called "Honey O Babe" in which these lines appear:

Whatcha gonna do when the pond goes dry, honey, honey?

Whatcha gonna do when the pond goes dry, babe, babe?

Whatcha gonna do when the pond goes dry?

And the response is:

Sit up on the bank and watch the poor things die, Honey, O babe o' mine.

Novelist John O. Killens recalls a chant which children of his generation sang in Americus, Georgia. The first line is the call; the second, the response:

Watcha gonna do when the world's on fire?

Run like hell and holler, "Fire!"

And Blind Lemon Jefferson sang, when John Killens was a little boy:

Watcha gonna do when they send your man to war?

Watcha gonna do--they send your man to war?

It is important, then, to realize that the call is a fundamental feature of blues style, and this particular call is one of the most deeply engrained in the oral tradition. This realization helps us to understand the structure of "Memphis Blues" and the reason that the title is justified. Each individual call, we may note further, is a kind of compressed blues experience, for the blues are a poetry of challenge and confrontation, and this fact is reflected in the poem's thematic concerns and its structure--its stanzas, its imagery, its rhythm, its diction, its overall shape.

In Memphis, Furry Lewis sings:

Whatcha gonna do, your troubles get like mine?

Whatcha gonna do, your troubles get like mine?

The wordless response comes ringing in from the guitar, but one ever-present possibility occurs in the response of another song:

Get a handful of sugar and a mouthful of turpentine.

Again, diagrams help one to appreciate the poet's skill in the construction of "Memphis Blues." Each of the six stanzas of the middle section possess the following structure. First is the call, which is a kind of "riff" that may be diagramed as follows:

Next is the response, which may be diagrammed thus:


As Figure No. 3 dramatically demonstrates, the call is rather rigid, with a kind of singsong rhythm, characteristic of certain ritual language and of children's song. That quality is heightened by the repetition of the challenge. Variation is achieved and the poem is activated by changing the specific challenge in each call and, of course, by addressing a different persona. So we may list these elements in order: (1) "Memphis on fire," Preachin' Man; (2) "tall flames"--a variation--Lovin'Man; (3) "Memphis falls down," Music Man; (4) "de hurricane," Workin' Man; (5) "Memphis near gone," Drinkin' Man; and (6) "de flood roll fas'," Gamblin' Man. We may note that the poet achieves coherence in the call by specific mention of Memphis in calls 1, 3, and 5, and by citing the destructive forces of nature in 2, 4, and 6.

It is the response, however, in which we best see the skillful work in the poem. The anaphora builds up a driving, jazzy pattern which the second part of the line develops into a series of brilliant explorations of the melodic variety of Afro-American speech. In the first, the preacher's voice reaches a tender intensity when he prays to "my Jesus," with the initial fillip of "oh, my Lawd!" In the second, the Lovin' Man in a sensual stammer of alliteration is "gonna love my brownskin better'n before," and the emphasis is not on his being a "do right man," but on the miracle of "my brown baby," which parallels the language of the preacher. One of the most felicitous of the responses is the third, in which the poet sets up a rocking rhythm that suggests the piano's bass line, then suddenly shifts into a lovely scattering of treble notes. Here is the entire stanza:

Watcha gonna do when Memphis fall down,

    Memphis falls down, Mistah Music Man?

Gonna plunk on dat box as long as it soun',

    Gonna plunk dat box fo' to beat de ban',

        Gonna tickle dem ivories, oh, my Lawd!

When questioned about the hurricane, the Workin' Man in the fourth stanza makes a heroic personal response which is crucial to an appreciation of the tone and significance of the entire poem. He will not give up, and he will not be content with praying. He'll put the buildings back again, to stand, and he takes pride in his energy, his will, and above all in his style: "Gonna push a wicked wheelbarrow, oh, my Lawd!" Even the Drinkin' Man will go down in style with his "pint bottle of Mountain Corn," and the stopper in his hand. Finally, we come to the Gamblin’ Man:

Watcha gonna do when de flood roll fas',

    Flood roll fas', Mistah Gamblin'Man?

Gonna pick up my dice fo' one las' pass--

    Gonna fade my way to de lucky lan',

        Gonna throw my las' seven--oh, my Lawd!

At this point we realize that the language of the poem in these six blues vignettes reflects Black life's emphasis upon style. That emphasis is at times overlooked and frequently misunderstood although it has attracted considerable attention from the media as well as the scholarly community. In effect, the style or the styling is an assertion of meaningfulness, not of frivolity or illusion, although there are, of course, assertions which may be so classified. An examination of the last response, then, is in order. The Gamblin' Man is not going to panic and fall down on his knees and beg God for mercy. That would be the coward's way. It would also be very "unhip." Death is final, but he meets it with a gambler's nerve, which is a kind of courage. He's not going to the Promised Land, but to the "lucky lan'," which he has created out of his own life, his own experience and values. He does not live in illusion and he takes responsibility for his life. The same thing applies to the Drinkin' Man, probably the most unsavory character of the group. Even he is going out in style: "Gonna get a mean jag on, oh, my Lawd!" These are not poor, benighted, superstitious foundlings in the hands of Fate, as Jean Wagner, for example, interprets Sterling Brown's characters, but ordinary blues people heroic in their own way. As for the Drinkin' Man, we understand him better when we recall Bill Broonzy's words: "I'm gonna keep on a drinkin'/Till good liquor carry me down." Note that it's good liquor and "Mountain Corn," made by experts for virtuoso drinkers. And lurking behind the response are the immortal lines: "I got the world in a jug, the stopper's in my hand." So sang Bessie Smith.

These last stanzas of the group prepare us for the return to the somber theme of mutability in the final section of the poem:

Memphis go

By Flood or Flame;

Nigger won't worry

All de same--

Memphis go

Memphis come back

Ain' no skin

Off de nigger's back.

All dese cities

Ashes, rust....

De win' sing sperrichals

Through deir dus'.

What warrants attention here is the loaded ambiguity of the last two lines, which one can read as an equation of the spirituals with the moaning of the wind, or as an existential projection of human value upon "objective," impersonal nature. And the songs are spirituals, not the blues, nor yet the songs of Tin Pan Alley, and the people have made them out of the substance of their lives, bleak though they might have been. An affirmation is made out of their courage, their strength, and their resilience, but equally out of their faith in themselves and their style. So when one reexamines the poem with the haunting lyricism of its enveloping sections and the artful mastery and development of folk resources in the middle, one wonders why it has not received its critical due. And one has to conclude that some of the fault, at least, can be attributed to a patronizing attitude toward the folk themselves, whom the poem celebrates.


From "The Heavy Blues of Sterling Brown: A Study of Craft and Tradition." Black American Literature Forum (1980).