Download An Analysis of 20th Century AfricanAmerican Poetry and more Study notes Poetry in PDF only on Docsity! The Poetry of a Movement: An Analysis of 20th Century AfricanAmerican Poetry How is the subject of AfricanAmerican civil rights portrayed in a selection of poems by Maya Angelou and Langston Hughes? English A: Category 1 May 2017 Word Count: 4,000 Abstract This essay explores how the subject of AfricanAmerican civil rights is portrayed in the poetry of Maya Angelou and Langston Hughes. The scope of this essay includes the various contexts for the two poets and their poems as well as the language usage within their writing to versify a complex subject rooted in the earliest history of AfricanAmerican integration into American society. The essay begins by considering the background information needed to understand the poets and their literature including contextual research about the Civil Rights Movement as well as biographical information about the poets and the poems chosen for this investigation. This is followed by an indepth analysis of the poetic language used to illustrate the AfricanAmerican struggle for civil rights with a consideration of how language usage supports its function against a backdrop of American political circumstances. The stylistic devices investigated include: the motifs of freedom and dreams, symbolism, poetic devices, tone, mood, and poetic structure. Thorough analysis of their use of stylistic and poetic devices indicated the common themes of the strength of solidarity and the difficulty of fulfilling the American dream. In deliberately selecting the poems for this investigation as well as analyzing the biographical and literary evidence, I discovered that these themes are kindred to the subject of AfricanAmerican civil rights and the iconic works of Angelou and Hughes. The evidence I gathered from these poems and their authors led me to conclude that while Hughes and Angelou employed similar literary devices to portray the subject of AfricanAmerican civil rights, they did so with divergent intentions and inevitably different contexts. To detect similar themes related to the same subject in poems written 60 years apart demonstrated to me the unwavering nature of literature and the subject of AfricanAmerican civil rights over the passage of time. (300 words) 1 Beginnings Throughout the civil rights era, the AfricanAmerican voice in literature slowly emerged, becoming an expressive channel with which to expand the educational opportunities for the AfricanAmerican population formerly known as slaves. Even before the Civil Rights Movement, AfricanAmericans were expressing themselves and their collective struggles. As early as the 19th century, a slave narrative began to surface, characterizing the discrimination they faced. This was strengthened by the era of segregation that followed the Civil War (Andrews). In the 20th century, several platforms for AfricanAmerican writers were created such as the Colored American Magazine and the National Association for the Advancement of Colored People, with the sponsorship of poetry readings, community theatres and literary magazines (Andrews). In the 1920s, the Harlem Renaissance catalyzed the advancement of the literature of what was called the New Negro Movement (Andrews). “New negroes” were characterized as having a new “selfconfidence” and “assertiveness” and were encouraged to question white supremacy and promote racial pride in their writing (Andrews). Hughes and Angelou One influential writer and poet that grew out of the Harlem Renaissance was James Mercer Langston Hughes. Born in 1902 to Carrie and James Hughes as an only child, Hughes grew up in Missouri and Kansas after his parents separated (Bloom). He later ended up in New York, guided by a keen desire to experience Harlem and his writing received recognition from famous Harlem Renaissance writers like Claude McKay and W.E.B DuBois (Bloom). Hughes’ developed passion for jazz and blues was reflected in his first publication, The Weary Blues . As described by poet Tim Seibles in A Profile of 20th Century American Poetry , Hughes believed that poetry was the solution to the weakening selfesteem in the black community and 4 emphasized the need for AfricanAmericans to stay true to their culture (Myers and Wojahn 166). In many ways, Seibles was right in identifying this as Hughes’ primary purpose. Hughes capitalized on the lenient conventions of poetry, combining AfricanAmerican culture and lyricism with words. His work bolstered a resilient AfricanAmerican narrative and questioned American values with reference to the prevalent issues of his time. Maya Angelou was a writer that grew out of the Civil Rights Movement in the 1970s. Born as Marguerite Johnson in Missouri in 1928, striking parallels are drawn between the family turmoil and nomadic nature of Hughes and Angelou’s upbringing. Her parents divorced when she was three and, along with her brother, she was sent to live with their paternal grandmother in Arkansas (Kort). The community she grew up in endured the worst of poverty and racial oppression and at the age of seven she was raped by her mother’s boyfriend, forcing her into silence (Kort). In 1940, she found her voice in San Francisco where Johnson took Maya Angelou as her stage name as a singer and actor (Kort). In the 1960s, Angelou served as the leader for the northern sector of the Southern Christian Leadership Conference and collaborated with leaders like Martin Luther King Jr. and Malcolm X (Kort). She published her first autobiography, I Know Why the Caged Bird Sings in 1970 and several poetry collections in the following years (Kort). Selected Poetry of Hughes and Angelou Two powerful poems written by Langston Hughes – “The Negro Mother” and “Let America Be America Again” – illustrate the subject of AfricanAmerican civil rights. “The Negro Mother” is a lyrical poem, published in 1931 in Hughes’ The Negro Mother and Other Dramatic Recitations (Hughes 10). It is written from the first person perspective of a mother as she 5 describes her symbolic legacy over generations. It epitomizes the arising confident narrative that sprung from this time period (Myers and Wojahn 159) and exemplifies Hughes’ “presentation of the matriarchal archetype” seen in several of his poems (Miller). By giving voice to a mother as a muted yet relatable figure, he highlights the unity of AfricanAmericans over generations. “Let America Be America Again” was written by Hughes in 1935 (Hughes 10). The poem explores the political perspective of discrimination faced by AfricanAmericans and questions the American dream. Angelou also explores the subject of AfricanAmerican civil rights in her poems: “Caged Bird” and “Million Man March Poem. ” “Caged Bird” was published in 1983 as part of Angelou’s collection Shaker, Why Don’t You Sing? (Kort). It is inspired by Paul Laurence Dunbar’s poem, “Sympathy,” and the intertextuality between the poems demonstrates the potency of the metaphorical representation of the caged bird (Wilson 34). “Million Man March Poem” was written for a political demonstration that took place in 1995 to, “promote AfricanAmerican unity and family values” (“Million Man March”). Angelou performed this poem among the estimated 400,000 to 1.1 million people who attended the march (“Million Man March”). These poems are suitable illustrations of AfricanAmerican civil rights and pursue the subject from a plethora of viewpoints, providing ample enlightenment of the general perspectives at the time. Analysis Angelou and Hughes’ poems portray the subject of the AfricanAmerican civil rights using the motif of freedom. In “Caged Bird,” Angelou utilizes a contrast between a free bird and a caged bird to highlight the theme of the difficulty of attaining true freedom in American society. While the free bird is able to fly autonomously, the caged bird’s “wings are clipped” and his “feet are tied / so he opens his throat to sing” (1214). In “Million Man March Poem,” Angelou uses 6 rebellion for the bird. This parallels the context of the piece as nonviolent protests, like those led by Martin Luther King Jr., were used when other forms of rebellion were restricted by AfricanAmerican circumstances, promoting a peaceful approach to seeking equality. Song is also a symbol in Hughes’ poem, “The Negro Mother.” In the second stanza he writes, “Three hundred years in the deepest South: / But God put a song and a prayer in my mouth” (1516). Here, song symbolizes hope and faith as the mother characterizes herself as a vehicle of the divine intentions of God. In “Let America Be America Again,” Hughes also uses song as a symbol of hope in saying: For all the dreams we’ve dreamed And all the songs we’ve sung And all the hopes we’ve held And all the flags we’ve hung (5659). In “The Negro Mother,” Hughes uses a seed as a symbol of hope and new beginnings as it is twice presented as the seed of imminent “freedom”. Hughes also uses a torch as a symbol of hope to move from darkness to light, paralleling a transition from hopeless to promising circumstances. Both poets’ use of these symbols highlights hope in the face of adversity. This optimistic message is one that reflects their own perspectives on AfricanAmerican civil rights. Angelou “knew personally the oppression, fear, and deprivation many AfricanAmericans were forced to live with on a daily basis” (Thursby). However, Hughes’ writing grew out of the New Negro Movement which encouraged racial pride (Andrews) and while much of his work was published “at the height of the Great Depression,” (Tunç) he finds optimism in his hope for the future and desire to project that to the AfricanAmerican community. These optimistic symbols not only demonstrate the theme that solidarity is needed to overcome oppression, but lift the spirits of their audience to remain strong despite a history of pain and suffering. 9 Hughes and Angelou use the structure of their poems to portray the subject of AfricanAmerican civil rights. Angelou structures “Caged Bird” and “Million Man March Poem” in similar form and progression. They both have clear rhyme schemes but variable line length and syllable count. The six stanzas of “Caged Bird” alternate between the caged bird and free bird descriptions and the third stanza is repeated in the last one. She starts with three septets, then two quatrains, and an octet. “Million Man March Poem” is longer with seven stanzas and the first stanza repeated three times. In the second half of the poem, the stanzas get longer until the last three lines, composed of a rhyming couplet and a stand alone line. Hughes, however, writes “The Negro Mother” with less uniform organization to versify the way a mother would address her children. While Hughes does employ an AABB rhyme scheme and all lines have similar lengths, the poem is less religiously divided and speaks to Hughes’ confidence and experience as a poet. “Let America Be America Again,” the longest of the four poems, is noticeably more structured. It has 13 main stanzas, with several standalone line interjections and similar line length. The construction of the four poems are closely related to their function. “Let America Be America Again” addresses the more political aspects of AfricanAmerican civil rights so the metrical structure and cadence delivers this message as a speaker might deliver their speech to an audience. Literary critic Jacqueline Thursby wrote about “Million Man March Poem”: “The poem has a strong cadence, and in 1995, when Angelou read it to the crowd...the massive gathering was quiet and listened to her respectfully.” “Million Man March Poem” and “Let America Be America Again” were written for political purposes and their functions are perhaps best understood when spoken aloud. One does not need to see the poems on paper to appreciate their cadence or construction and for this reason, they are accessible to the wide audience Thursby describes. 10 Hughes and Angelou utilize several poetic devices to convey the subject of AfricanAmerican civil rights. In “Caged Bird,” personification creates bold visuals that aid in her characterization of the birds like, “The free bird leaps / on the back of the wind” (12). Then describing the caged bird: “his shadow shouts on a nightmare scream” (27). The personification of the tranquil wind contrasts the dark personification of a shadow. This juxtaposition emphasizes the sheer disparity between the lifestyles of the two birds and as Thursby observes, it “contrasts the beauty of freedom and the tragedy of confinement.” In “Million Man March Poem,” Angelou uses anaphora in the seventh stanza where “Clap hands” is repeated seven times and “Let us come together” is repeated twice. The unity in clapping hands and first person “us” stresses solidarity in overcoming oppression. Hughes also uses anaphora to emphasize his message. He writes, “Let America be America again. / Let it be the dream it used to be. / Let it be the pioneer on the plain” (13). He later characterizes the different kinds of people contributing to American history by repeating “I am” in lines 1922 and 3134 in “Let America Be America Again” and 7,9, and 11 in “The Negro Mother.” This repetition establishes homogeneity among a group of different characters in history who have all endured hardship, emphasizing that the question of civil rights transcends solely the AfricanAmerican population. Hughes also incorporates many similes. In “The Negro Mother” he contrasts the imagery of the speaker’s face saying, “Look at my face – dark as the night / Yet shining like sun with love’s true light” (56). Later he writes, “God put a dream like steel in my soul” (17). These similes convey strong, absolute comparisons that characterize the Negro Mother as bold and confident, part of the narrative that Hughes wanted to develop for AfricanAmericans. In “Let America Be America Again” he writes, “From those who live like leeches on the people’s lives / We must take back our land again” (7273). This simile also presents a vivid comparison, suggesting that oppressors draw vitality from the lives of the people similar to the verminous connotation of 11 for still,” presenting a contrasting optimism (3133). In “Million Man March Poem,” Angelou’s tone starts off as melancholic and nostalgic and shifts in the seventh stanza where Angelou uses diction like, “love”, “revise”, “together”, “cleanse”, “joy”, “courtesy”, “gentleness”, and “care,” to create a more compassionate and spirited tone. While the tone in “The Negro Mother” is different, the structure of the tone shifts are very similar. In the first stanza, the mother narrates with a miserable, despairing tone which becomes more aspiring when she describes her hope for the future she has instilled in her children. The tone becomes more determined as she issues a call to action by addressing, “All you dark children in the world out there” (33). The tone in “Let America Be America Again” is comparatively unique and complex to Angelou’s poems. Hughes includes several interjections in the beginning that are featured parenthetically or in italics, separating them as the narrator’s independent, inward thoughts. The tone in these interjections is very sarcastic and contrasts the patriotic tone of the poem’s body, similar to Angelou’s fluctuating tone scheme. After the third stanza, the skeptical, bitter tone of these interjections seem to become part of the narrative itself, as if the speaker gains the confidence to voice his opinions openly. In the fifth stanza, Hughes deviates from his previous ABAB rhyming pattern and uses exclamation marks to create this bitter yet proclamatory tone: Tangled in that ancient endless chain Of profit, power, gain, of grab the land! Of grab the gold! Of grab the ways of satisfying need! Of work the men! Of take the pay! Of owning everything for one’s own greed! (2630) This tone is maintained until a very determined 10th stanza, concluding with his desire to see America’s potential restored. The tone shifts used by both poets show their attempt to approach the subject of AfricanAmerican civil rights from several perspectives and articulate the narrative associated with each stance. 14 Conclusion Hughes and Angelou published their poems in varying contexts, the earliest and latest of the four being 64 years apart. However, the parallels in their portrayal of the subject of the AfricanAmerican struggle for civil rights demonstrate both the endurance of the topic, and the literature of the two writers. While maintaining a distinctive style, both writers successfully employ the motifs of freedom and dreams, symbolism and various poetic devices. Their poems, written with several tone and mood shifts and a structure suited to their function, passionately describe different themes related to AfricanAmerican civil rights. The conventions of poetry like rhyme and rhythm allow Hughes and Angelou to impact the reader in a way that any other medium could hardly achieve. Hughes and Angelou’s works display similitude in the devices used and themes uncovered, but are scarcely the same. Hughes wrote his poems during a period of development for the AfricanAmerican narrative and his belief in the promotion of AfricanAmerican selfesteem is reflected in the optimism of “The Negro Mother” and “Let America Be America Again.” Angelou’s “Caged Bird” foreshadows a gloomy future for the oppressed whereas her “Million Man March Poem” suggests that there is strength in unity. Context aside, each poem points to a continuous struggle for freedom and equality that is yet to be achieved. Their anthemic works mark the historical significance of the use of literature to illustrate the subject and remind us of the timeless nature of this continual struggle for civil rights. 15 Bibliography Works Cited Andrews, William L. "African American Literature." Britannica School. Encyclopædia Britannica, Inc., 2016. Web. 11 Mar. 2016. <http://school.eb.com/levels/high/article/343805#232368.toc>. Angelou, Maya. "Caged Bird." Poetry for Young People: Maya Angelou . Ed. Edwin Graves Wilson. New York: Sterling, 2007. 34. Print. Bloom, Harold, ed. "Hughes, Langston." Langston Hughes , Bloom's Major Poets. Philadelphia: Chelsea House Publishing, 1998. Bloom's Literature . Facts On File, Inc. Web. 11 Mar. 2016. <http://www.fofweb.com/activelink2.asp?ItemID=WE54&WID=104985&SID=5&iPin= BMPLH02&SingleRecord=True>. Hughes, Langston. "Let America Be America Again." The Collected Poems of Langston Hughes . Ed. Arnold Rampersad and David E. Roessel. New York: Knopf, 1994. 18991. Print. Hughes, Langston. "The Negro Mother." The Collected Poems of Langston Hughes . Ed. Arnold Rampersad and David E. Roessel. New York: Knopf, 1994. 15556. Print. Kort, Carol. "Angelou, Maya." A to Z of American Women Writers , Revised Edition. New York: Facts On File, Inc., 2007. (Updated 2014.) Bloom's Literature . Facts On File, Inc. Web. 11 Mar. 2016 <http://www.fofweb.com/activelink2.asp?ItemID=WE54&WID=104985&SID=5&iPin= ffazwmwr0005&SingleRecord=True>. Maya Angelou. "Million Man March Poem." Million Man March. National Mall, Washington D.C. 10 June 2016. Poemhunter.com . Web. 10 June 2016. 16 Appendices Appendix A Let America Be America Again By Langston Hughes Let America be America again. Let it be the dream it used to be. Let it be the pioneer on the plain Seeking a home where he himself is free. (America never was America to me.) Let America be the dream the dreamers dreamed Let it be that great strong land of love Where never kings connive nor tyrants scheme That any man be crushed by one above. (It never was America to me.) O, let my land be a land where Liberty Is crowned with no false patriotic wreath, But opportunity is real, and life is free, Equality is in the air we breathe. (There's never been equality for me, Nor freedom in this "homeland of the free.") Say, who are you that mumbles in the dark? And who are you that draws your veil across the stars? I am the poor white, fooled and pushed apart, I am the Negro bearing slavery's scars. I am the red man driven from the land, I am the immigrant clutching the hope I seek And finding only the same old stupid plan Of dog eat dog, of mighty crush the weak. I am the young man, full of strength and hope, Tangled in that ancient endless chain Of profit, power, gain, of grab the land! Of grab the gold! Of grab the ways of satisfying need! Of work the men! Of take the pay! Of owning everything for one's own greed! I am the farmer, bondsman to the soil. I am the worker sold to the machine. I am the Negro, servant to you all. I am the people, humble, hungry, mean Hungry yet today despite the dream. Beaten yet todayO, Pioneers! I am the man who never got ahead, The poorest worker bartered through the years. Yet I'm the one who dreamt our basic dream In the Old World while still a serf of kings, Who dreamt a dream so strong, so brave, so true, That even yet its mighty daring sings In every brick and stone, in every furrow turned That's made America the land it has become. O, I'm the man who sailed those early seas In search of what I meant to be my home For I'm the one who left dark Ireland's shore, And Poland's plain, and England's grassy lea, And torn from Black Africa's strand I came To build a "homeland of the free." The free? 19 Who said the free? Not me? Surely not me? The millions on relief today? The millions shot down when we strike? The millions who have nothing for our pay? For all the dreams we've dreamed And all the songs we've sung And all the hopes we've held And all the flags we've hung, The millions who have nothing for our pay Except the dream that's almost dead today. O, let America be America again The land that never has been yet And yet must bethe land where every man is free. The land that's minethe poor man's, Indian's, Negro's, ME Who made America, Whose sweat and blood, whose faith and pain, Whose hand at the foundry, whose plow in the rain, Must bring back our mighty dream again. Sure, call me any ugly name you choose The steel of freedom does not stain. From those who live like leeches on the people's lives, We must take back our land again, America! O, yes, I say it plain, America never was America to me, And yet I swear this oath America will be! Out of the rack and ruin of our gangster death, The rape and rot of graft, and stealth, and lies, We, the people, must redeem The land, the mines, the plants, the rivers. The mountains and the endless plain All, all the stretch of these great green states And make America again! (Hughes 18991) 20 Appendix B The Negro Mother By Langston Hughes Children, I come back today To tell you a story of the long dark way That I had to climb, that I had to know In order that the race might live and grow. Look at my face – dark as the night – Yet shining like sun with love’s true light. I am the dark girl who crossed the red sea Carrying in my body the seed of the free. I am the woman who worked in the field Bringing the cotton and the corn to yield. I am the one who labored as a slave, Beaten and mistreated for the work that I gave – Children sold away from me, I’m husband sold, too. No safety, no love, no respect was I due. Three hundred years in the deepest South: But God put a song and a prayer in my mouth. God put a dream like steel in my soul. Now, through my children, I’m reaching my goal. Now, through my children, young and free, I realized the blessing deed to me. I couldn’t read then. I couldn’t write. I had nothing back there in the night. Sometimes, the valley was filled with tears, But I kept trudging on through the lonely years. Sometimes, the road was hot with the sun, But I had to keep on till my work was done: I had to keep on! No stopping for me – I was the seed of the coming Free. I nourished the dream that nothing could smother Deep in my breast – the Negro mother. I had only hope then, but now through you, Dark ones of today, my dreams must come true: All you dark children in the world out there, Remember my sweat, my pain, my despair. Remember my years, heavy with sorrow – And make of those years a torch for tomorrow. Make of my pass a road to the light Out of the darkness, the ignorance, the night. Lift high my banner out of the dust. Stand like free men supporting my trust. Believe in the right, let none push you back. Remember the whip and the slaver’s track. Remember how the strong in struggle and strife Still bar you the way, and deny you life – But march ever forward, breaking down bars. Look ever upward at the sun and the stars. Oh, my dark children, may my dreams and my prayers Impel you forever up the great stairs – For I will be with you till no white brother Dares keep down the children of the Negro Mother. (Hughes 15556) 21