Langston Hughes is as a literary and cultural translation of political resistance and campaign of the Black Consciousness leader like Martin Luther King, the rights of black citizenship and thus fulfill the ethos of the American dream, which is celebrated annually around February generally recover April.
bound Hughes' compelling sense of social and cultural purpose to his sense of the past, praising the present and the future of black America, his life and work asto learn more, inspire us to move forward and to inform and guide our steps as we move to create a great future.
Hughes is also important because he has spanned the genres seem too comfortable: poetry, drama, novels and criticism of leaving an indelible stamp on each. At 21, he had published in all four (4) areas. Because he considers himself more as an artist in words that would venture into every single area of literary creativity, because there were readersfor whom a story meant more than a poem or a song lyric meant more as a history and Hughes wanted to achieve individual and its nature.
But first and foremost, he considered himself a poet. He was a poet who could address the concerns of his people in poems that could be read without formal training or extensive literary background. Despite the Hughes wrote and directed dozens of short stories, about a dozen books for children, a history of the NationalAssociation for the Advancement of Coloured People (NAACP), two volumes of autobiography, opera librettos, song lyrics and so on. Hughes was driven by a pure confidence in his versatility and power of his craft.
Hughes' commitment to Africa was real and concrete in both words and deeds the fact of his Negro-ness (although light complexion) has in him the desire to those of the other side of the Color Line, that refuse challenge aroused.:
My age is a white oldMan
And my old mother is black
My old ma died in a fine big house
My crazy died in a hut
I wonder where I'm gonna die
Since I do not even black?
His search for his roots was given impetus in 1923 when Hughes met and is going to Marcus Garvey exhort blacks back to Africa to escape the wrath of the white man. Hughes became one of the poets that she felt the blows of the jungle tom-toms in the Negroes' impulse thought. Your verse took on a nostalgicMood, and some even imagine that the infusion of African rhythms, dance and music in their verses, as we could in the reading of the poem's meaning: "Danse Africaine"
The low beating of the tom toms,
The slow beating of the tom toms,
Low ... slowly
Slow ... low -
Stirred your blood.
Dance!
A night-veiled girl
Vortex gently into a
Circle of light.
Eddy quiet ... slowly
Born in Joplin, Missouri in 1902, grew up in HughesLawrence, Kansas and Lincoln, Illinois, before the High School in Cleveland, Ohio in the places he was part of a small community of blacks, whom he deeply connected but from early in his life. While descending from a distinguished family of his childhood was hampered by the separation of his parents not long after his birth. His father emigrated to Mexico, where he hoped for the success that had eluded him to win in America. The color of his skin, he had hoped wouldless a provision for its future in Mexico. There, he broke new ground. He won success in business and spent the rest of his life there as a wealthy lawyer and landowner.
In contrast, lived Hughes' mother of the transience of life together for black mothers often leave their son in the care of her mother in search of a job.
His maternal grandmother, Mary Langston, whose first husband had died at Harpers Ferry as a member of John Brown's band, and itssecond husband (Hughes's grandfather) had a militant been abolished. Hughes instilled a sense of devotion in the most. Hughes lived successively with friends of the family, then various relatives in Kansas.
Another important family figure was John Mercer Langston, a brother of Hughes' grandfather, one of the best-known black Americans of the nineteenth century.
Hughes later joined his mother, although they are now with his new stepfather in Cleveland, Ohio. At theSame time, Hughes struggled with a feeling of abandonment through neglect fostered by the parents. He remembered driven early on by his loneliness, "the wonderful world of books and in books." He was disillusioned with his father, materialistic values and contemptuous belief that blacks, Mexicans and Indians were lazy and ignorant.
At Central High School Hughes drew academically and in sports. He wrote poems and short stories for the school literary magazine published and the schoolYearbook. He returned to Mexico, where he taught English and wrote poems and short prose pieces for publication in the magazine The Crisis of the NAACP.
Supported by his father, he was reportedly in New York in 1921 at Columbia University to visit, but it was really to see in Harlem. One of his greatest poems, "The Negro Speaks of Rivers" was just published in the crisis. His talent was discovered immediately although it lasted only a year at Columbia, where he did, but never feltcomfortable.
On campus, he was exposed to the fanaticism. He was the worst dorm assigned because of its color. Classes in English literature were all he could endure. Instead of attending classes, he would find boring, he shows frequently sponsored lectures and readings of the American Socialist Society. It was then that he first heard it was the laughter and pain, hunger and sorrow of the blues music introduced. It was the night life and culture drew him out of school. Thosesweetly sad blues songs for him captured the intense pain and longing that he looked around, and that he included in such poems as "The Weary Blues."
To maintain and support his mother as a poet, Hughes served in turn as a delivery boy for a florist, a vegetable farmer and a mess boy on a ship, the Hudson River. As part of a merchant steamer crew, he sailed to Africa. He then traveled the same route to Europe, where he jumped ship in Paris to spend only a few monthsWork in a night club kitchen and then sent to Italy.
By 1924 his poems that he had worked all the time on was the strong influence of blues and jazz. His poem "The Weary Blues," the best example of this influence helped launch his career when he won first prize in the poetry section of the 1925 Opportunity magazine literary contest and also won another literary prize in the crisis.
This landmark poem, to use the first of all poets, that the basic bluesForm is a part of the band of the same title, the entire collection reflects the frenzied atmosphere of Harlem nightlife. Most of his selections as "The Weary Blues" approximation of the phrasing and meter of blues music, a genre popular in the early 1920s by rural and urban blacks. In her and other pieces such as "Jazzonia Hughes raving hedonistic and evoked the glittering atmosphere of the famous night club in Harlem. Poetry of social commentary as "Mother to Son" show how the hardenedbe black, to the many hurdles that they face the struggle through in life.
Hughes' earliest influences as a mature poet, interestingly, came from a white poet. We have Walt Whitman, the man who opened his artistic violations of the old conventions of poetry, the boundaries of poetry in new forms like free verse. It is also very populist white German Émigré Carl Sandburg, who as Hughes' "guiding star" in which it was essential to free verseand a radically democratic modernist aesthetic
But black poet Paul Laurence Dunbar, a master of both dialect and standard verse, and Claude McKay, the black radical socialist immigrant from Jamaica, who also wrote poetry was reached for him as the embodiment of the cosmopolitan, yet confident and committed racist black poet Hughes hoped. He was also due to earlier black writers such as WEB Dubois and James Weldon Johnson, who admired his work andhelped him. WEB Dubois' Pan-Africanist collection of essays Souls of Black Folks noticeably influenced many black writers such as Hughes, Richard Wright and James Baldwin.
Such affirmative color images and moods as in "People": The night is beautiful, / So the faces of my people and in 'Dream Variations: Night coming tenderly / Black like me. liked his work a wide range of African-Americans, for the writing he inspired.
Hughes had always shown determinationexperiment as a poet and not slavishly follow the tyranny of narrow strophic forms and exact rhyme. He seemed like Watt Whitman and Carl Sandburg, dear to verse, the realities of the American language and not voted as a "poetic diction," and particularly with his ear to write to the varieties of black American speech caught.
"Weary Blues" brings together these various elements of the common language of ordinary people, jazz and blues music and the traditional forms of poetry at theAfrican American and American themes. In his adaptation of traditional poetic forms first jazz to blues then fundamentally sometimes with dialect, but in a way by previous authors Hughes was well served by his early experiments with a loose form of rhyme, the more often an inventively rhythmic free verse:
Ma MA Baby
Got two mo 'ways
Two mo 'ways to do de buck!
Even more radical experimentation with the blues form led to his nextCollection, fine clothing of the Jews. Perhaps his best single book of verse, including several ballads, clothing was in order and welcomed its worst.
Several reviewers in black newspapers and magazines were troubled by Hughes' fearless' tasteless' invocation of the elements of the lower class black culture, including its sometimes rough sex, never treated in serious poetry.
Hughes expressed his determination to write about such people andExperiment with blues and jazz, wrote in his essay "The Negro Artist and the Racial Mountain." Published in the Nation in 1926
"We ... younger artists intend to express our individual dark-skinned self without fear or shame. If white people are pleased we are happy. If they are not, it does not matter. We know we are beautiful and ugly."
Hughes expressed his determination to write fearlessly, shamelessly and without remorse about low-class black life and the people in spite of oppositionit. He also exercised much freedom in experimenting with blues and jazz.
The tom-tom cries and the tom-tom laughs. If colored people are pleased we are happy. If they do not their displeasure not matter. We build our temples for tomorrow, strong as we know how and we stand on top of the mountain, free within ourselves.
With his advocacy of such ideas in defense of freedom of the black writers Hughes was a beacon to younger writers, who alsowanted removed their right to explore and exploit supposedly enforce aspects of the black population. He thus provided the movement with a manifesto sent by so argue the need for both race pride and artistic independence in this, his most memorable essay
In 1926, Hughes returned to the school historically black Lincoln University in Pennsylvania, where he began publishing poems, short stories and essays in the mainstream and black-oriented magazines
In 1927 together with ZoraNeal Hurston and other writers, he founded a literary magazine Fire is devoted to African-American culture and aimed at the destruction of older forms of black literature. The joint venture itself was short-lived. It was engulfed in the fire along with his editors.
year-old wealthy white patron came into his life - then a 70 is. Charlotte Osgood Mason, who started the line virtually every aspect of Hughes' life and art. Brought her passionate belief in parapsychology, intuition and popular culture wasin the monitoring of the writing of Hughes' novel pulled Lauqhter not without mentioning his childhood in Kansas, is sensitive to the life of a black child, Sandy show, growing up in a prestigious, mid-western class.mid African-American home.
Hughes' relationship with Mason came to an explosive end 1930th Hurt and rejection stunned by Mason, Hughes, used money from a price of up to several weeks to spend rest in Haiti. From the intense personal unhappiness and depression, in which theBreak had sunk him.
Back in the USA, Hughes made a sharp turn to the political left. His poems and essays have been published now controlled in New Masses, a journal of the Communist Party. Later that year he began touring.
The Renaissance, which was long past for Hughes replaced by a sense of the need for political struggle and for an art that reflects this radical approach. But his career, in contrast to other then just survived the end of the movement. He stopped the production ofhis art in accordance with his sense of himself as a thoroughly professional writer. He published his first collections, often bitter and even embittered The ways of the whites.
Hughes' main concern was now the theater. Mulatto, was published his drama of miscegenation and the south, the longest-running play by an African American on Broadway to Lorraine Hansberry's A Raisin in the Sun in the 1960s. His plays - comedies, and Rama of the local black American life, especially - have beenalso popular with black audiences. With innovations such as theater-in-the-round audience participation and call waiting, the work of Hughes later avant-garde playwrights like Amiri Baraka and Sonia Sanchez. In his play Hughes urban dialogue, folk music and thematic focus combines the dignity and strength of black Americans.
Hughes wrote other plays, including comedies such as Little Ham (1936) and a historical drama, Emperor of Haiti (1936) most of which were onlymoderate success. In 1937 he spent several months in Europe, including a long stay in besieged Madrid. In 1938 he returned to find their way home, the Harlem Suitcase Theater, which staged his agitprop drama Do not You Want to Be Free? employed several of his poems, vigorously blended black nationalism, the blues, and socialist exhortation. In the same year published a pamphlet of his radical socialist organization verse, "A New Song."
With the beginning of the Second World War, Hughes returned to thepolitical center. The Big Sea, appeared his first volume of his autobiography with his memorable portrait of the Renaissance and his African travels in an episodic, lightly comic writing style virtually no mention of his leftist sympathies.
In his book of verse Shakespeare in Harlem (1942), he again sang the blues. On the other hand, this collection, and another, his Jim Crow's Last Stand (1943), strongly attacked racial segregation.
In poetry, he animated hisInterest in some of his old themes and forms, as in Shakespeare in Harlem (1942). South and west, and poetry to the people. He read his poems in churches and schools. He sailed from New York to the Soviet Union. He was invited by a gang of young African-Americans to take on a film about American race relations.
The film-making venture, but unsuccessfully, to write instrumental to improve its short history. For while in Moscow, he was struck by theSimilarities between DH Lawrence's character in a cover story from his collection, the beautiful woman and woman Osgood Mason. Overwhelmed by the power of Lawrence's stories, Hughes began writing short stories about him. After his return to the United States. by 1933 he had sold three stories and had started compiling his first collection.
Perhaps his finest literary achievement during the war was writing a weekly column in the Chicago Defender 1942 to 1952. The highlight was an unconventionalHarlem character called Jesse B. Semple, or simple, and its replacement with a staid narrator in a neighborhood bar where Simple commented on a variety of issues, but mainly about race and racism. Simple Hughes was the most celebrated and beloved fictional creation. and one of the freshest, most intriguing and enduring characters in American fiction Negro Jesse B. Simple, a Harlem everyone whose comic manner barely conceals some of the serious issues raised in terms of Hughes's SimpleExploits in the quintessential "wise fool" whose experience and record uneducated insights into the frustrations of black America .. His honest and unaffected eye sees through the superficiality, hypocrisy and mendacity of the white and black Americans alike. From his chair at Paddy's Bar, in an attractive brand of English, both clever and hilarious Simple comments on many things, but mainly because of the race and women.
His bebop shaped mounting a poem Dream Deferred (1991) projects aChanging Harlem, fertile but declined with humanity. In it, the dramatic deterioration in the state of Harlem in the 1950s is compared to the Harlem of the '20s. The exuberance of the night-club life and the vitality of the cultural renaissance has now gone. An urban ghetto plagued by poverty and crime has taken place. A change in the rhythm parallels the change in tone. The smooth patterns and gentle melancholy of the blues are replaced by the abrupt, fragmented structure of the post-war jazz and bebop.Hughes was attentive to what happens in the Afro-American world and what was coming. Therefore, this book of poems so new and relatively new Be-Bop jazz rhythms, dissonance, they stressed so reflected against the new strains, the strain of black communities in the cities of the north.
Hughes' life much of his life in basements and attics brought much realism and humanity to his writing, especially his stories. He thus remained in the vicinity of its hugePublic, as he kept moving visually through the cellars of the world where his life is thickest and where people are struggling together to make their way. At the same time, writing in the attic, he got up in the long run, radiate it to a humane, embellishment on, but still true light on what he saw.
Hughes' short stories reflect his whole purpose as a writer. For his art was in the interpretation of "the beauty of its own people" that he felt they were taught not to focus eithersee or not to proud to take on all of his stories, his humanity, his faithful and performances of both racial and national truth - his successful mediation between the beauties and terrors of life all around him shine. Certain issues, technical merit or social insights loom.
"Slave on the block" for example shows a simple but vivid history of the lack of respect and even human communication between blacks and whites patronizing and cosmetic.
HughesAlso took time for children and produced the successful Popo Fifina (1932) to write a story in Haiti, with Arna Bontemps set. He eventually published a dozen children's books, on topics such as jazz, Africa and the West Indies. Proud of his versatility, he also wrote a commissioned history of the NAACP and the text of a much praised pictorial history of black America, The Sweet Flypaper of Life (1955), where he explicated photographs of Harlem by Roy DeCarava, is believed to masterly wasReviewers, and confirmed Hughes reputation for an unparalleled mastery of the nuances of black urban culture.
Hughes suffered constant harassment of his relations to the left. In vain he protested never a Communist, had severed all links with. In 1953 he became a public humiliation at the hands of Senator Joseph McCarthy, when he was forced, in Washington, DC and subjected to what appear officially on his policies. Hughes denied that he ever been a Communist, butadmitted that some of his radical verse was ill-advised.
Hughes career hardly suffered. Within a short time McCarthy himself was discredited. Hughes said at last in I Wonder as I (1956) Walking, his much-admired second volume of autobiography. about his years in the Soviet Union. He was wealthy, although he always hard to work for his degree of prosperity. In the 1950s he turned to the musical stage for success, as he sought to repeat his successthe 1940s, when Kurt Weill and Elmer Rice voted for him because of the writers for their Street Scene (1947) had. This production was hailed as a breakthrough in the development of American opera, for Hughes, the seemingly endless cycle of poverty into which he was suspended, came to an end. He bought a house in Harlem.
By the end of his life Hughes was almost universally regarded as the most representative writer in the history of African-American literature and recognized as the mostOriginal all black American poet. He was so widely recognized for the "Poet Laureate of the Negro!
According to Arnold Rampersad, an authority on Hughes:
Many of his works celebrate the beauty and dignity and humanity of black Americans. Unlike other authors Hughes basked in the glow of the apparent high regard its primary audience, African-Americans. His poetry, with his original jazz and blues influences, and his powerful democratic commitment is almost certainof the most influential African origin of every person in this century written. Some of his poems, "Mother to Son" are virtual anthems of black American life and endeavor. His plays alone ... could secure him a place in the literary history of African Americans. His character is formed simply of the most memorable single figure in black journalism. "The Negro Artist and the Racial Mountain 'is timeless," it seems as an explanation of the constant dilemma of young black artists, caught between thecontending forces of the black and white culture "
Freed from the examples of free verse Carl Sandburg's Hughes' poetry is always oriented to complete directness and simplicity. In this context, the idea that he almost never revised his work seem like a romantic poet who believe and demonstrate that poetry is a "spontaneous overflow of emotions."
Like Walt Whitman, Hughes to believe great poetic ancestor in America's poetry ..., and Hughes in the poetry of emotion, in the powerIdeas and feelings that went beyond questions of technical skills. Hughes was never a writer who carefully carved rhyme and verse, and therefore the emotional heart of what he had to say lost record.
His poems with the distinctive diction and cadences of Negro idioms in simple verse-patterns and strict rhyme schemes of blues songs made it possible for him, the ambience of the area and capture the rhythms of jazz infused derived.
He wrote in two mainModes / Directions:
(I) lyrics about life with black rhythms and choruses of jazz and
Blues.
(Ii), poems of racial protest
Exploring the boundaries between black and white America. thus contributing to raising awareness and pride of the black race and the Harlem Renaissance's legacy for decades its most militant. While never rejecting militant cooperation with the white community, the poems of protest against white racism are bolddirecting it.
In "The Negro Speaks of Rivers" and the simple direct free verse makes it clear that Africa is dark rivers run parallel with the soul of the poet, as he draws spiritual power and individual identity of the collective experience of his ancestors. The poem is to Rampersad, "recalled that the syncopated beat brought the captive Africans," the first expression found here in the "clapping hands stamped, drum rhythms, which cause humanHeart (4-5), is as old as the world ".
But what is better known for Hughes, his treatment of the possibilities of the African-American experiences and identities. Like Walt Whitman, he created a persona that speaks for more than themselves. His voice in "I," for example, takes the description of an entire race in its central consciousness, as he laments:
I, too, sing America
I am the darker brother.
I too am America.
The "darker brother" celebrating Americacertain of a better future if he can be bridged is no longer apart of "society". The poem is typical of Hughes belief in the racial consciousness of African-Americans, an awareness that their integrity and beauty is reflected, while demanding respect and acceptance of others as especially when "Nobody" / I dare say, to eat in the kitchen.
This stubborn resistance and optimism in dealing with disaster is what Hughes' life on.thus allows him to survive, and centeredTo achieve despite the obstacles before him. reaffirmed as Rampersad.
Toughness was a key feature of Hughes' life. For his life was hard. He knew poverty and humiliation in the hands of people with far more power and money, and when he had little respect for writers, especially poets. With all his poverty and hurt, Hughes was on a steady keel. He was a gentleman, a soft man in many respects, the sympathetic and loving, but was hard to the core.
HughesPoetry reveals his good appetite for the whole of humanity, his insistence on justice for all, and his belief in the transcendent possibilities of joy and hope, that to make room as he seeks in "I, too," for everyone at America's table.
This deep love for all humanity is reflected in one of his poems: "My People" a few lines of which were described earlier:
The night is beautiful,
so the faces of my people,
The stars are beautiful,
so that the eyes of my people
Niceeven the sun
Beautiful also are the souls of my people
, Generosity and sense of humor, his tenderness: Arnold Rampersad the final word on Hughes anchored humanity is based on three essential characteristics.
Hughes was also soft. He was a man, the other man was Lovse and loved. It was very difficult for anyone who knew him would say a hard thing to find him. People who could remember little of him that was not pleasant knew of him. Apparently he radiated joy andHumanity and that was how he was conceived after his death.
He loved the company of people. He needed to have people around him. Maybe he needed on the essential loneliness in his soul from early in his life and from which he instilled his literary art counter.
Hughes was a man of great generosity. He was generous to the young and the poor, the needy, he was generous, even to his rivals. He was generous to a fault, so for those who are not always worthyFriendliness. But he was willing to risk ingratitude to young artists in particular and to help young people in general.
Hughes was a man of laughter, though his smile was almost always in the presence of tears or the threat of the sharp rise of tears. The title of his first novel Not Without Laughter and a collection of stories, laugh to keep from crying. points out. This was essentially how he believed that life must be faced - with the knowledge of its inevitable loneliness andPain, but with the knowledge and therapy of laughter with which we maintain that the man in the face of circumstances. We must reach out to people, and one should not only suffering a surprising tolerance of life, but also skipped round the happy part of life.
His sense of humor is credited back Mphahlele by a writer from Africa, like Hughes who was also confronted with the fight against racial discrimination and disadvantage, Ezekiel.
Here is a man with aboundless zest for life ... He has to make an irrepressible sense of humor, and it is the encounter with the essence of human goodness face. Despite his literary success, he has earned the respect of the younger Negro writers who never find him not willing to help them. And yet he is not condescending. Unlike most blacks become famous or wealthy and move to high-quality residential areas, he has continued in Harlem, the Negro ghetto in the sense of living in a househe bought with money earned as a lyricist for the Broadway musical Street Scene.
In the explanation and presentation of the Negro condition in America as his vocation, said Hughes captured their joy, and the veiled weariness of their lives, the monotony of their jobs and the veiled weariness of their songs. He achieved this in poems remarkable not only because of its directness and simplicity, but for their economy, clarity and wit. Whether he wrote poems of racial protest as"Harlem" and "Ballad of the Landlord or poems of racial affirmation such as" Mother to Son "and" The Negro Speaks of Rivers "Hughes was language and forms related to not only express the pain of urban life, but also his wonderful vitality.
Further reading:
Gates, Henry Louis and Nellie McKay, Y. (Gen. Ed) The Norton
Anthology of African American Literature, NW Norton & Co, New York & London 1997
Hughes, Langston: "The Negro Artist and the Racial Mountain"1926th Rpt
Nathan Huggins ed. Voices from the Harlem Renaissance, Oxford
University Press, New York, 1976
Mphahlele, Ezekiel, "Langston Hughes," Introduction to the African in
Literature (ed), Ulli Beier, Longman, London 1967
Rampersad, Arnold, The Life of Langston Hughes Vol 1 & 11 Oxford
University Press, N. York, 1986
Trotman, James (Ed.), Langston Hughes: The Man, his art and his
Legacy from Garland Publishing Inc.N.
York & London 1995
Black literature criticism
The Oxford Companion to African American Literature. Oxford University Press, .1997
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