Later in the evening she went to the piano and began to play very softly, as to herself, the opening bars of the 13th Nocturne. I felt that the psychic moment of my life had come, a moment which, if lost, could never be called back; and, in as careless a manner as I could assume, I sauntered over to the piano and stood almost bending over her. She continued playing, but, in a voice that was almost a whisper, she called me by my Christian name and said: “I love you, I love you, I love you.” I took her place at the piano and played the Nocturne in a manner that silenced the chatter of the company both in and out of the room, involuntarily closing it with the major triad.
We were married the following spring, and went to Europe for several months. It was a double joy for me to be in France again under such conditions.
First there came to us a little girl, with hair and eyes dark like mine, but who is growing to have ways like her mother. Two years later there came a boy, who has my temperament, but is fair like his mother, a little golden-headed god, with a face and head that would have delighted the heart of an old Italian master. And this boy, with his mother’s eyes and features, occupies an inner sanctuary of my heart; for it was for him that she gave all; and that is the second sacred sorrow of my life.
The few years of our married life were supremely happy, and perhaps she was even happier than I; for after our marriage, in spite of all the wealth of her love which she lavished upon me, there came a new dread to haunt me, a dread which I cannot explain and which was unfounded, but one that never left me. I was in constant fear that she would discover in me some shortcoming which she would unconsciously attribute to my blood rather than to a failing of human nature. But no cloud ever came to mar our life together; her loss to me is irreparable. My children need a mother’s care, but I shall never marry again. It is to my children that I have devoted my life. I no longer have the same fear for myself of my secret’s being found out, for since my wife’s death I have gradually dropped out of social life; but there is nothing I would not suffer to keep the “brand” from being placed upon them.
It is difficult for me to analyze my feelings concerning my present position in the world. Sometimes it seems to me that I have never really been a Negro, that I have been only a privileged spectator of their inner life; at other times I feel that I have been a coward, a deserter, and I am possessed by a strange longing for my mother’s people.
Several years ago I attended a great meeting in the interest of Hampton Institute at Carnegie Hall. The Hampton students sang the old songs and awoke memories that left me sad. Among the speakers were R. C. Ogden, ex-Ambassador Choate, and Mark Twain; but the greatest interest of the audience was centered in Booker T. Washington, and not because he so much surpassed the others in eloquence, but because of what he represented with so much earnestness and faith. And it is this that all of that small but gallant band of colored men who are publicly fighting the cause of their race have behind them. Even those who oppose them know that these men have the eternal principles of right on their side, and they will be victors even though they should go down in defeat. Beside them I feel small and selfish. I am an ordinarily successful white man who has made a little money. They are men who are making history and a race. I, too, might have taken part in a work so glorious.
My love for my children makes me glad that I am what I am and keeps me from desiring to be otherwise; and yet, when I sometimes open a little box in which I still keep my fast yellowing manuscripts, the only tangible remnants of a vanished dream, a dead ambition, a sacrificed talent, I cannot repress the thought that, after all, I have chosen the lesser part, that I have sold my birthright for a mess of pottage.
Colophon
The Autobiography of an Ex-Colored Man
was published in 1912 by
James Weldon Johnson.
This ebook was produced for
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David M. Gross,
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The cover page is adapted from
A Man Leaning on a Parapet,
a painting completed around 1881 by
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