n this country, but in some parts
of Europe, have become justly celebrated as the finest troupe of
minstrels extant. Being all _real_ colored men, and therefore not
dependent upon "burnt cork,"--being, as some have put it, "the genuine
article,"--they in this respect possess an advantage over their
naturally fairer-skinned brethren in the profession. Still, as will be
seen hereafter, this complexional advantage (?) is not by any means
the most important cause of their unprecedented success.

But the reader is first requested to pardon what may be thought a
digression: the writer considers it a necessary one.

He is aware, that, in presenting in this book the following account of
the Georgia Minstrels,--an account which, on the whole, must be
regarded as highly complimentary to the latter,--he may be incurring
the displeasure of some very excellent people who belong to the same
race as that of the members of the troupe mentioned. This he very much
regrets; for although he considers these persons as perhaps
unnecessarily sensitive, and certainly mistaken in some of the
opinions which they hold regarding _this_ company of minstrels (whose
performances, by the way, most of said persons have never witnessed),
he yet entertains the fullest respect for the honorable _motives_ that
inspire their disfavor.

The main grounds of their opposition to minstrel performances in
general, and to those of the Georgia Minstrels in particular, may be
stated briefly, but fairly, as follows: That these performances
consist, for the most part, in a disgusting caricaturing ostensibly of
the speech and action of the more unfortunate members of the colored
race, but which are really made to reflect against the whole; that
these public performances do much to belittle their race generally,
arouse and keep alive in the breasts of other races a feeling of
contempt for it; and that these effects are greatly enhanced when
colored men themselves engage in such performances, as they thus give
"aid and comfort to the enemy." I shall not attempt to refute these
statements. They may be true; but, whether they are or not, it is not
within the province of this book to discuss. They are placed here in
order that both sides may be heard. Against their severe and somewhat
sweeping character I place the fine _musical_ achievements of the
subjects of this sketch. Of these, assuredly, we can _all_ be proud;
and therefore the recounting of these shall serve as a