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Rh One must note in this connection the rise and spread of a Negro press—magazines and weeklies which are voicing to the world with increasing power the thought of American Negroes. The influence of this new force in America is being recognized and the circulation of these papers aggregate more than a million copies.

On the stage the Negro has naturally had a most difficult chance to be recognized. He has been portrayed by white dramatists and actors, and for a time it seemed but natural for a character like Othello to be drawn, or for Southerne’s Oroonoko to be presented in 1696 in England with a black Angola prince as its hero. Beginning, however, with the latter part of the 18th century the stage began to make fun of the Negro and the drunken character Mungo was introduced at Drury Lane.

In the United States this tradition was continued by the “Negro Minstrels” which began with Thomas D. Rice’s imitation of a Negro cripple, Jim Crow. Rice began his work in Louisville in 1828 and had great success. Minstrel companies imitating Negro songs and dances and blackening their faces gained a great vogue until long after the Civil War. Negroes themselves began to appear as principals in minstrel companies after a time and indeed as early as 1820 there was an