17 pages • 34-minute read
Go Down, Moses
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Further Reading & Resources
Related Poems
“Oh Freedom” by Anonymous (late 1850s)
A companion lyric to “Go Down, Moses,” this powerful spiritual from the same era expresses a keening for liberation from the literal chains of enslavement. If “Go Down, Moses” lifts enslaved people toward hope, “Oh Freedom” reminds listeners of the deep pain of enslavement and offers as consolation the enduring stoic spirit of those enslaved.
“The Negro Speaks of Rivers” by Langston Huges (1921)
One of the leading figures in the Harlem Renaissance of the 1920s, Hughes here reflects on how generations after the Emancipation Proclamation, Black people still yearn for authentic freedom, genuine equality, and compassionate treatment in white America. He celebrates the ancient dignity of the African soul, whose essence cannot be diminished by bigotry.
“Still I Rise” by Maya Angelou (1978)
In a contemporary repurposing of the spiritual, Angelou uses the call and response technique to offer her own aspirational vision of the endurance and dignity of Black people despite bigotry and racism.
Further Literary Resources
“Honoring Black History Month: ‘Go Down, Moses’” by Yale Strom (2020)
In comprehensive look at the dozens of variations of “Go Down, Moses,” Strom focuses on the importance the lyric developed for Black people long after emancipation. The article looks at the poem’s themes of the reality of oppression played against the promise of liberation; it also considers the spiritual as a defining expression of Black culture even today.
“The Social Implications of the Negro Spiritual” by John Lovell, Jr. (1939)
Still considered an indispensable examination of the relationship between spirituals, enslaved people, and the impact of Christianity, the article examines how the Christianity imposed on enslaved people ultimately gave them a way to express discontent, anger, and hope. The article explores how spirituals like “Go Down, Moses” impacted American culture far beyond traditional sacred songs associated with church worship.
“Songs of Sorrow, Hope, and Praise: Toward a Historical Analysis of Negro Spirituals” by Hope V. Dornfield (2023)
This master’s thesis in music studies from Liberty University is a comprehensive look at the emotional energy of spirituals. Dornfield argues that spirituals were intended to be accessible and uncomplicated expressions of emotion, unlike the more intellectual poetry of European tradition. In her template, “Go Down, Moses” expresses hope and inspires.
Listen to the Poem
Paul Robeson sings “God Down, Moses” by Anonymous
The spiritual has been recorded many times; YouTube features dozens of interpretations, such as the swing-time version by iconic jazz trumpeter Louis Armstrong (1901-1971). It is generally agreed that the interpretation most representative of the original is the 1928 recording by actor Paul Robeson (1898-1976). His rich baritone captures the lyric’s complicated interplay of long vowels and sibilant consonants.
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