It's hard work, but he makes some headway. Some time passes. One day, word gets back to the Judge that John Jones is "livenin' things up at the darky school." While Judge Henderson storms off to shut down the school, his son, John Henderson, grows bored and leaves his home and finds John Jones's sister. She is young and beautiful, and John Henderson is bored. He demands a kiss; she runs. He pursues her. John Jones, walking home from the school, which Judge Henderson has just closed, comes upon John Henderson accosting his sister. John Jones picks up a branch and defends his sister, killing John Henderson. In the final paragraphs, a lynch mob on horseback approaches with the Judge in front, for whom John Jones is filled with pity. Knowing what is ahead, John Jones "softly hum[s] the 'Song of the Bride in German. (Du Bois 176). "The Sorrow Songs" Chapter XIV, "The Sorrow songs", is about Negro music. He refers to the short musical passages at the beginning of each of the other chapters. Du Bois mentions that the music was so powerful and meaningful that, regardless of the people's appearance and teaching, "their hearts were human and their singing stirred men with a mighty power." Du Bois concludes the chapter by bringing up inequality, race and discrimination. He says, "Your country? How came it yours?..we were here". Du Bois heralds the "melody of the slave songs," or the Negro spirituals, as the "articulate message of the slave to the world." They are the music, he contends, not of the joyous black slave, as a good many whites had misread them, but "of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways." For Du Bois, the sorrow songs represented a black folk culture—with its origins in slavery—unadulterated by the civilizing impulses of a northern black church, increasingly obsessed with respectability and with Western aesthetic criteria. Rather than vestiges of a backward time that should be purged from black repertoires and isolated from what Alain Locke called the "modernization of the negro" (coincident, for Locke, with urbanization), negro spirituals are—for Du Bois—where the souls of black folk past and present are found. Du Bois passionately advocated for the preservation of the spiritual, along with Antonín Dvořák and contemporary black aestheticians, including