Separated by centuries, races, national identities, and countless literary movements, the English poet and artist William Blake and Nigerian poet and playwright Wole Soyinka still find commonality in their writings. They have somewhat of a thematic overlap; both Blake and Soyinka address a question of race in their poems “The Little Black Boy” and “Telephone Conversation,” respectively. The former details the story of an African child who comes to the profound realization that only after death can different races of humans be equalized. The latter poem appropriately depicts a phone conversation between a white landlady and an African man recently moved to England. “The Little Black Boy” saw publication in 1789 while “Telephone Conversation” was initially published in 1960. The poems intertwine despite their historical separation and thus engage with history in a similar manner. “The Little Black Boy” and “Telephone Conversation,” while varying considerably in rhythm, rhyme, and syntax, do share their questioning tone, racial imagery, and dialogical speech acts which unite figures of innocence with those of experience. This polymerization creates an innocence/experience binary allowing the poems to generate meaning similarly. Each resists the thematic topos of their time in order to didactically reframe the issue of racial equality in a pre- and post-civil rights era.
Blake’s Songs of Innocence and Experience are first and foremost songs. They are also “Christian poems, and they are often consciously didactic” (Bottrall 180). William Blake engages with history in many of his poems, his effect usually subtle and religious. It is his use of epigrammatic moments that casts a broader net. What makes Blake unique is his identity as a...
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...allel each other is confront an epigrammatic moment in history, one in the 1780s and the other in the 1960s, and show that pre- and post-civil rights a system of power still exists. In each poem, history is given new life, new experience. Each directs didactic and experiential attitude toward history by subverting the stereotype of black inexperience.
Works Cited
Bentley Jr., G. E. The Stranger from Paradise: A Biography of William Blake. New Haven, CT:
Yale UP, 2001. Print.
Bottrall, Margaret. William Blake: Songs of Innocence and Experience. London: Macmillin,
1989. Print.
Jones, Eldred Durosimi. Wole Soyinka. New York: Twayne, 1973. Print.
Maduakor, Obi. Wole Soyinka: An Introduction to His Writings. New York: Garland, 1986.
Print.
Wilson, Kathleen. The Island Race: Englishness, Empire and Gender in the Eighteenth Century.
London: Routledge, 2003. Print.
In fact, it is clear to the reader that Huggins makes a concerted effort to bring light to both ethnicities’ perspectives. Huggins even argues that their culture is one and the same, “such a seamless web that it is impossible to calibrate the Negro within it or to ravel him from it” (Huggins, 309). Huggins argument is really brought to life through his use of historical evidence found in influential poetry from the time period. When analyzing why African Americans were having an identity crisis he looked to a common place that African American looked to. Africa was a common identifier among the black community for obvious reasons and was where Authors and Artists looked for inspiration. African American artists adopted the simple black silhouette and angular art found in original African pieces. Authors looked to Africa in their poetry. In The Negro Speaks of Rivers by Langston Hughes, the names of rivers in Africa such as the Euphrates, the Congo and the Nile were all used and then the scene switches to the Mississippi river found in America showing that blacks have “seen”, or experienced both. Huggins looks deeply into Countee Cullen’s Heritage discussing “what is Africa to me?” a common identifier that united black artistry in the Harlem Renaissance, “Africa? A book one thumbs listlessly, till slumber comes” (Countee). The black community craved to be a separate society from white Americans so they were forced to go back to the past to find their heritage, before America and white oppression. Huggins finds an amazing variety of evidence within literature of this time period, exposing the raw feelings and emotion behind this intellectual movement. The connections he makes within these pieces of poetry are accurate and strong, supporting his initial thesis
Sociologists often employ intersectionality theory to describe and explain facets of human interactions. This particular methodology operates on the notion that sociologically defining characteristics, such as that of race, gender, and class, are not independent of one another but function simultaneously to determine our individual social experiences. This is evident in poetry as well. The combination of one poet’s work that expresses issues on class with another poet’s work that voices issues on race, and so forth, can be analyzed through a literary lens, and collectively embody the sociological intersectionality theory.
According to African American writer, James Baldwin, language is a “vivid and crucial key to identity” and social acceptance. Black Boy, by Richard Wright, defends Baldwin’s belief. In a selected Black Boy passage, where Richard and his friends converse, the rhetorical techniques, pathos and warrants assist to convey Wright’s own attitude toward the importance of language as a key to identity and social acceptance.
... They focus more on the cultural aspects of identity that Hughes is very proud of, while poems “Democracy” and “Theme for English B” touch on some of the social concerns that created a struggle for dignity as a black person in the early/mid twentieth century. The “Democracy” is a slightly stern and direct request to take action and fight for civil rights. The “Theme for English B” is a compassionate and low-key personal anecdote that reiterates the unpracticed concept that “all men are created equal”. Despite the difference in tone and subject, all four poems relate to the central theme that dignity is something that white men may take for granted, but Langston Hughes, as a black man and a writer, sees and feels dignity as a fight and a struggle that he faces and that the black community as a whole faces every day.
W.E.B. Dubois was one of the most prolific and pioneering leaders during the early Civil Rights era. Throughout his life, he produced numerous works as a commentary on the social construct that existed between whites and blacks, including the groundbreaking collection of essays The Souls of Black Folk published in 1903. These essays detailed the historical, political and sociological plight of African Americans in society after the Civil War. In addition, the essays introduced the concept of double consciousness which referred to the challenge blacks faced in reconciling an African heritage with an American identity, a theory that would disseminate into his later works. Accordingly, his poem “The Song of the Smoke” published in 1907 is an extension of his earlier work in double consciousness, but with an emphasis on the celebration of black heritage. Embedded in these affirmations of blackness; however, is a sense of longing for the unity and equality of all races. In the poem, “The Song of the Smoke”, DuBois reflects on the past, finding grief and courage in the legacy of his slave ancestry and toward the future, hoping a new strength and dignity is formed amongst all Americans.
William Blake is a literature genius. Most of his work speaks volume to the readers. Blake’s poem “The Mental Traveller” features a conflict between a male and female that all readers can relate to because of the lessons learned as you read. The poet William Blake isn’t just known for just writing. He was also a well-known painter and a printmaker. Blake is considered a seminal figure in the history of poetry. His poems are from the Romantic age (The end of the 18th Century). He was born in Soho, London, Great Britain. He was the third of seven children. Even though Blake was such an inspiration as a writer he only went to school just enough to read and write. According to Bloom’s critical views on William Blake; one of Blake’s inspirations was the Bible because he believed and belonged to the Moravian Church.
The theme of authority is possibly the most important theme and the most popular theme concerning William Blake’s poetry. Blake explores authority in a variety of different ways particularly through religion, education and God. Blake was profoundly concerned with the concept of social justice. He was also profoundly a religious man. His dissenting background led him to view the power structures and legalism that surrounded religious establishments with distrust. He saw these as unwarranted controls over the freedom of the individual and contrary to the nature of a God of liberty. Figures such as the school master in the ‘schoolboy’, the parents in the ‘chimney sweeper’ poems, the guardians of the poor in the ‘Holy Thursday’, Ona’s father in ‘A Little girl lost’ and the priestly representatives of organised religion in many of the poems, are for Blake the embodiment of evil restriction.
The theme throughout the two poems "A Black Man Talks of Reaping" and "From the Dark Tower" is the idea that African American live in an unjust
Blake, William. The. “The Lamb.” Poetry Foundation. Web.
Thesis: The poems “Negro”, “I Too”, and “Song for a Dark Girl” by Langston Hughes was written around an era of civil inequality. A time when segregation was a customary thing and every African American persevered through civil prejudice. Using his experience, he focuses his poems on racial and economic inequality. Based on his biographical information, he uses conflict to illustrate the setting by talking about hardships only a Negro would comprehend and pride only a Negro can experience, which helps maintain his racial inequality theme.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.
The founding fathers constructed the Constitution with the notion that “all men were created equal.” However, many minorities still struggle for the same rights and opportunities as others. “Mother to Son” and “The Negro Speaks of Rivers” are poems written by Langston Hughes that use symbolism to exemplify the struggles of African Americans as they attempt to persevere through adversity. Hughes utilizes the stairs in “Mother to Son” and the rivers in “The Negro Speaks of Rivers” as his main modes of symbolism.
...ites a short 33-line poem that simply shows the barriers between races in the time period when racism was still openly practiced through segregation and discrimination. The poem captures the African American tenant’s frustrations towards the landlord as well as the racism shown by the landlord. The poem is a great illustration of the time period, and it shows how relevant discrimination was in everyday life in the nineteen-forties. It is important for the author to use the selected literary devices to help better illustrate his point. Each literary device in the poem helps exemplify the author’s intent: to increase awareness of the racism in the society in the time period.
In 1789, English poet William Blake first produced his famous poetry collection Songs of Innocence which “combines two distinct yet intimately related sequences of poems” (“Author’s Work” 1222). Throughout the years, Blake added more poems to his prominent Songs of Innocence until 1794, when he renamed it Songs of Innocence and Experience. The additional poems, called Songs of Experience, often have a direct counterpart in Blake’s original Songs of Innocence, producing pairs such as “The Lamb” and “The Tyger.” In Songs of Innocence and Experience, Blake uses musical devices, structure, and symbolism to develop the theme that experience brings both an awareness of potential evil and a tendency that allows it to become dominant over childhood
Over the years, the notion of discrimination has evolved. In the modern world, it has become more implicit, however, in the early 18th-century discrimination in the form of slavery and racism was evident. Though most people accepted this act, there were some who opposed it. William Blake, a former poet rejected the idea of hierarchy and supported equality. Blake believed that black people were not inferior to white people and treating someone on the basis of his skin colour is ignorance. The essay will look at how Blake’s view is represented in the poem “The Little Black Boy” which is derived from the Songs of Innocence and Experience.