Life is a barren field Frozen with snow. To fling my arms wide In some place of the sun, To whirl and to dance Till the white day is done. Then rest at cool evening Beneath a tall tree While night comes on gently, Dark like me— To fling my arms wide In the face of the sun, Dance! Till the quick day is done.
He was educated at Columbia University and Lincoln University. Schuyler, editor of the African-American newspaper The Pittsburgh Courier, questioned in his essay the need for a separate African-American artistic and literary tradition. And I doubted then that, with his desire to run away spiritually from his race, this boy would ever be a great poet.
But this is the mountain standing in the way of any true Negro art in America—this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible.
But let us look at the immediate background of this young poet.
His family is of what I suppose one would call the Negro middle class: The father goes to work every morning. He is a chief steward at a large white club. The mother sometimes does fancy sewing or supervises parties for the rich families of the town.
The children go to a mixed school.
In the home they read white papers and magazines. It holds for the children beauty, morality, and money. One sees immediately how difficult it would be for an artist born in such a home to interest himself in interpreting the beauty of his own people.
He is never taught to see that beauty.
He is taught rather not to see it, or if he does, to be ashamed of it when it is not according to Caucasian patterns.
Instead there will perhaps be more aping of things white than in a less cultured or less wealthy home. The father is perhaps a doctor, lawyer, landowner, or politician. The mother may be a social worker, or a teacher, or she may do nothing and have a maid. Father is often dark but he has usually married the lightest woman he could find.
The family attend a fashionable church where few really colored faces are to be found. And they themselves draw a color line. In the North they go to white theaters and white movies.
A very high mountain indeed for the would-be racial artist to climb in order to discover himself and his people. But then there are the low-down folks, the so-called common element, and they are the majority—may the Lord be praised!
The people who have their nip of gin on Saturday nights and are not too important to themselves or the community, or too well fed, or too learned to watch the lazy world go round. They live on Seventh Street in Washington or State Street in Chicago and they do not particularly care whether they are like white folks or anybody else.
Their joy runs, bang! Their religion soars to a shout. Work maybe a little today, rest a little tomorrow. These common people are not afraid of spirituals, as for a long time their more intellectual brethren were, and jazz is their child.
They furnish a wealth of colorful, distinctive material for any artist because they still hold their own individuality in the face of American standardizations. And perhaps these common people will give to the world its truly great Negro artist, the one who is not afraid to be himself.Years of study under white teachers, a lifetime of white books, pictures, and papers, and white manners, morals, and Puritan standards made her dislike the spirituals.
The Negro artist works against an undertow of sharp criticism and misunderstanding from his own group and unintentional bribes from the whites. "Oh, be respectable, write about nice people, show. To these the Negro artist can give his racial individuality, his heritage of rhythm and warmth, and his incongruous humor that so often, as in the Blues, becomes ironic laughter mixed with tears. But let us look again at the mountain. The Negro Artist And The Racial Mountain English Literature Essay Langston Hughes essay “ The Negro Artist and the Racial Mountain ” In , Langston Hughes wrote an essay The Negro Artist and the Racial Mountain.
And now she turns up her nose at jazz and all its manifestations—likewise almost everything else distinctly racial. According to "The Negro Artist and the Racial Mountain. The Negro Artist and the Racial Mountain study guide contains a biography of Langston Hughes, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
About The Negro Artist and the Racial Mountain. The negro artist and the racial mountain citation.
Dodano timberdesignmag.com Essay. timberdesignmag.com este in english modernism in english literature pdf myfinancelab chapter 2 quiz of mice Unisa contact details florida dar essay contest dreams thesis topics senior project ideas medical peer. In “The Negro Artist and the Racial Mountain,” Langston Hughes’s famous essay of , Hughes describes his disappointment with a statement made by “one of the most promising of the young Negro poets.” Although we know Countee Cullen, one of the most promising young black poets of the.
His famous work “The Negro Artist and the Racial Mountain”was written and published in in the nation Magazine. It is a short essay, which became a proclamation and symbol of the Harlem Renaissance. The main idea of the essay is that black writers have just as much right to become famous as the white ones.
To these the Negro artist can give his racial individuality, his heritage of rhythm and warmth, and his incongruous humor that so often, as in the Blues, becomes ironic laughter mixed with tears.
But let us look again at the mountain.