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acter of slavery. I can never get rid of that concep-
tion. Those songs still follow me, to deepen my
hatred of slavery, and quicken my sympathies for
my brethren in bonds. If any one wishes to be im-
pressed with the soul-killing effects of slavery, let
him go to Colonel Lloyd's plantation, and, on allow-
ance-day, place himself in the deep pine woods, and
there let him, in silence, analyze the sounds that
shall pass through the chambers of his soul,--and if
he is not thus impressed, it will only be because
"there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came
to the north, to find persons who could speak of
the singing, among slaves, as evidence of their con-
tentment and happiness. It is impossible to conceive
of a greater mistake. Slaves sing most when they are
most unhappy. The songs of the slave represent the
sorrows of his heart; and he is relieved by them, only
as an aching heart is relieved by its tears. At least,
such is my experience. I have often sung to drown
my sorrow, but seldom to express my happiness.
Crying for joy, and singing for joy, were alike un-
common to me while in the jaws of slavery. The
singing of a man cast away upon a desolate island
might be as appropriately considered as evidence of
contentment and happiness, as the singing of a
slave; the songs of the one and of the other are
prompted by the same emotion.


Colonel Lloyd kept a large and finely cultivated
garden, which afforded almost constant employment
for four men, besides the chief gardener, (Mr.
M'Durmond.) This garden was probably the great-
est attraction of the place. During the summer
months, people came from far and near--from
Baltimore, Easton, and Annapolis--to see it. It
abounded in fruits of almost every description, from
the hardy apple of the north to the delicate orange
of the south. This garden was not the least source
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