The themes were exceedingly simple, and the range of subjects limited.

The joys, and sorrows, hopes and despairs of love's gratification or disappointment, of struggles for freedom, contests with malign persons and influences, of rage, hatred, jealousy, revenge, such as form the motifs for the majority of the poetry of free and strong races, were wholly absent from their lyrics.

Religion, hunger and toil were their main inspiration.

They sang of the pleasures of idling in the genial sunshine; the delights of abundance of food; the eternal happiness that awaited them in the heavenly future, where the slave-driver ceased from troubling and the weary were at rest; where Time rolled around in endless cycles of days spent in basking, harp in hand, and silken clad, in golden streets, under the soft effulgence of cloudless skies, glowing with warmth and kindness emanating from the Creator himself.

Had their masters condescended to borrow the music of the slaves, they would have found none whose sentiments were suitable for the ode of a people undergoing the pangs of what was hoped to be the birth of a new nation.
The three songs most popular at the South, and generally regarded as distinctively Southern, were "The Bonnie Blue Flag," "Maryland, My Maryland," and "Stonewall Jackson Crossing into Maryland." The first of these was the greatest favorite by long odds.