Term
I've known rivers;
I've known rivers ancient as the world and older than the flow
of human blood in human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln went
down to New Orleans, and I've seen its muddy bosom turn
all golden in the sunset. I've known rivers:
Ancient , dusky rivers. My soul has grown deep like rivers. |
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Definition
| Langston Hughes, THE NEGRO SPEAKS OF RIVERS |
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Term
I worked for a woman,
She wasn't mean--
But she had a twelve-room
House to clean.
Had to get breakfast,
Dinner, and supper, too--
Then take care of her children
When I got through.
Wash, iron, and scrub,
Walk the dog around--
It was too much,
Nearly broke me down.
I said, Madam,
Can it be
You trying to make a
Pack-horse out of me?
She opened her mouth.
She cried, Oh, no!
You know, Alberta,
I love you so!
I said, Madam,
That may be true--
But I'll be dogged
If I love you!
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Definition
| Madam and Her Madam by Langston Hughes |
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Term
Because I am the white man's son--his own
Bearing his bastard birth-mark on my face,
I will dispute his title to my throne,
Forever fight him for my rightful place
There is a searing hate within my soul,
A hate that only kin can feel for kin,
A hate that makes me vigorous and whole,
And spurs me on increasingly to win.
Because I am my cruel father's child,
My love of justice stirs me up to hate,
A warring Ishmaelite, unreconciled,
When falls the hour I shall not hesitate
Into my father's heart to plunge the knife
To gain the utmost freedom that is life. |
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Definition
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Term
Way Down South in Dixie
(Break the heart of me)
They hung my black young lover
To a cross roads tree. Way Down South in Dixie
(Bruised body high in air)
I asked the white Lord Jesus
What was the use of prayer. Way Down South in Dixie
(Break the heart of me)
Love is a naked shadow
On a gnarled and naked tree. |
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Definition
| Langston Hughes, SONG FOR A DARK GIRL |
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Term
Well, son, I'll tell you:
Life for me ain't been no crystal stair.
It's had tacks in it,
And splinters
And boards torn up,
And places with no carpet on the floor--
Bare.
But all the time
I'se been a-climbin' on,
And reachin' landin's,
And turnin' corners,
And sometimes goin' in the dark
Where there ain't been no light.
So, boy, don't you turn back.
Don't you set down on the steps
'Cause you find it's kinder hard.
Don't you fall now--
For I'se still goin', honey,
I'se still climbin',
And life for me ain't been no crystal stair. |
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Definition
| Langston Hughes, Mother to Son |
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Term
I had some cards printed
The other day.
They cost me more
Than I wanted to pay. I told the man
I wasn't no mint,
But I hankered to see
My name in print. MADAM JOHNSON,
ALBERTA K.
He said, Your name looks good
Madam'd that way. Shall I use Old English
Or a Roman letter?
I said, Use American.
American's better. There's nothing foreign
To my pedigree:
Alberta K. Johnson--
American that's me. |
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Definition
| Langston Hughes, Mother's Calling Cards |
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Term
I, too sing America. I am the darker brother.
They send me to eat in the kitchen
When company comes.
But I laugh,
And eat well
And grow strong. To-morrow
I'll sit at the table
When company comes
Nobody'll dare
Say to me,
"Eat in the kitchen"
Then. Besides, they'll see how beautiful I am
And be ashamed,-- I, too, am America. |
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Definition
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Term
Southern gentle lady,
Do not swoon.
They've just hung a black man
In the dark of the moon.
They've hung a black man
To the roadside tree
In the dark of the moon
For the world to see
How Dixie protects
Its white womanhood.
Southern gentle lady,
Be good!
Be good!
1949 |
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Definition
Langston Hughes
Silhouette
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Term
You can talk about
Across the railroad tracks-
To me it's here
On this side of the tracks You can talk about
up in Harlem
To me it's here
In Harlem You can say
Jazz on the South Side
To me it's hell
On the South Side: Kitchenettes
With no heat
AndGarbage
In the halls. Who're you, outsider? Ask me who am I. |
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Definition
Langston Hughes, Visitors to the Black Belt (1949) |
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Term
| | | | | | | Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway . . .
He did a lazy sway . . .
To the tune o' those Weary Blues.
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming from a black man's soul.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan--
"Ain't got nobody in all this world,
Ain't got nobody but ma self.
I's gwine to quit ma frownin'
And put ma troubles on the shelf."
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more--
"I got the Weary Blues
And I can't be satisfied.
Got the Weary Blues
And can't be satisfied--
I ain't happy no mo'
And I wish that I had died."
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that's dead. |
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Definition
| The Weary Blues | by Langston Hughes |
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Term
We are the desperate
Who do not care,
The hungry
Who have nowhere
To eat,
No place to sleep,
The tearless
Who cannot
Weep. |
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Definition
Vagabonds by Langston Hughes |
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Term
This is a song for the genius child.
Sing it softly, for the song is wild.
Sing it softly as ever you can -
Lest the song get out of hand. Nobody loves a genius child. Can you love an eagle,
Tame or wild?
Can you love an eagle,
Wild or tame?
Can you love a monster
Of frightening name? Nobody loves a genius child. Kill him - and let his soul run wild. |
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Definition
| Langston Hughes, Genius Child |
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Term
There are words like Freedom
Sweet and wonderful to say.
On my heart-strings freedom sings
All day everyday.
There are words like Liberty
That almost make me cry.
If you had known what I knew
You would know why.
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Definition
Refugee in America
Langston Hughes
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Term
I doubt not God is good, well-meaning, kind,
And did He stoop to quibble could tell why
The little buried mole continues blind,
Why flesh that mirrors Him must someday die,
Make plain the reason tortured Tantalus
Is baited by the fickle fruit, declare
If merely brute caprice dooms Sisyphus
To struggle up a never-ending stair.
Inscrutable His ways are, and immune
To catechism by a mind too strewn
With petty cares to slightly understand
What awful brains compels His awful hand.
Yet do I marvel at this curious thing:
To make a poet black, and bid him sing!
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Definition
| Countee Cullen ('Yet Do I Marvel') |
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Term
Once riding in old Baltimore,
Heart-filled, head-filled with glee,
I saw a Baltimorean
Keep looking straight at me.
Now I was eight and very small,
And he was no whit bigger,
And so I smiled, but he poked out
His tongue, and called me, "Nigger."
I saw the whole of Baltimore
From May until December;
Of all the things that happened there
That's all that I remember. |
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Definition
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Term
| | What is Africa to me:
Copper sun or scarlet sea,
Jungle star or jungle track,
Strong bronzed men, or regal black
Women from whose loins I sprang
When the birds of Eden sang?
One three centuries removed
From the scenes his fathers loved,
Spicy grove, cinnamon tree,
What is Africa to me?
So I lie, who all day long
Want no sound except the song
Sung by wild barbaric birds
Goading massive jungle herds,
Juggernauts of flesh that pass
Trampling tall defiant grass
Where young forest lovers lie,
Plighting troth beneath the sky.
So I lie, who always hear,
Though I cram against my ear
Both my thumbs, and keep them there,
Great drums throbbing through the air.
So I lie, whose fount of pride,
Dear distress, and joy allied,
Is my somber flesh and skin,
With the dark blood dammed within
Like great pulsing tides of wine
That, I fear, must burst the fine
Channels of the chafing net
Where they surge and foam and fret.
Africa?A book one thumbs
Listlessly, till slumber comes.
Unremembered are her bats
Circling through the night, her cats
Crouching in the river reeds,
Stalking gentle flesh that feeds
By the river brink; no more
Does the bugle-throated roar
Cry that monarch claws have leapt
From the scabbards where they slept.
Silver snakes that once a year
Doff the lovely coats you wear,
Seek no covert in your fear
Lest a mortal eye should see;
What's your nakedness to me?
Here no leprous flowers rear
Fierce corollas in the air;
Here no bodies sleek and wet,
Dripping mingled rain and sweat,
Tread the savage measures of
Jungle boys and girls in love.
What is last year's snow to me,
Last year's anything?The tree
Budding yearly must forget
How its past arose or set
Bough and blossom, flower, fruit,
Even what shy bird with mute
Wonder at her travail there,
Meekly labored in its hair.
One three centuries removed
From the scenes his fathers loved,
Spicy grove, cinnamon tree,
What is Africa to me?
So I lie, who find no peace
Night or day, no slight release
From the unremittent beat
Made by cruel padded feet
Walking through my body's street.
Up and down they go, and back,
Treading out a jungle track.
So I lie, who never quite
Safely sleep from rain at night--
I can never rest at all
When the rain begins to fall;
Like a soul gone mad with pain
I must match its weird refrain;
Ever must I twist and squirm,
Writhing like a baited worm,
While its primal measures drip
Through my body, crying, "Strip!
Doff this new exuberance.
Come and dance the Lover's Dance!"
In an old remembered way
Rain works on me night and day.
Quaint, outlandish heathen gods
Black men fashion out of rods,
Clay, and brittle bits of stone,
In a likeness like their own,
My conversion came high-priced;
I belong to Jesus Christ,
Preacher of humility;
Heathen gods are naught to me.
Father, Son, and Holy Ghost,
So I make an idle boast;
Jesus of the twice-turned cheek,
Lamb of God, although I speak
With my mouth thus, in my heart
Do I play a double part.
Ever at Thy glowing altar
Must my heart grow sick and falter,
Wishing He I served were black,
Thinking then it would not lack
Precedent of pain to guide it,
Let who would or might deride it;
Surely then this flesh would know
Yours had borne a kindred woe.
Lord, I fashion dark gods, too,
Daring even to give You
Dark despairing features where,
Crowned with dark rebellious hair,
Patience wavers just so much as
Mortal grief compels, while touches
Quick and hot, of anger, rise
To smitten cheek and weary eyes.
Lord, forgive me if my need
Sometimes shapes a human creed.
All day long and all night through,
One thing only must I do:
Quench my pride and cool my blood,
Lest I perish in the flood.
Lest a hidden ember set
Timber that I thought was wet
Burning like the dryest flax,
Melting like the merest wax,
Lest the grave restore its dead.
Not yet has my heart or head
In the least way realized
They and I are civilized. |
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Definition
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Term
We shall not always plant while others reap
The golden increment of bursting fruit,
Not always countenance, abject and mute,
That lesser men should hold their brothers cheap;
Not everlastingly while others sleep
Shall we beguile their limbs with mellow flute,
Not always bend to some more subtle brute;
We were not made to eternally weep.
The night whose sable breast relieves the stark,
White stars is no less lovely being dark,
And there are buds that cannot bloom at all
In light, but crumple, piteous, and fall;
So in the dark we hide the heart that bleeds,
And wait, and tend our agonizing seeds. |
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Definition
| From the Dark Tower by Countee Cullen |
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Term
“White folks is white,” says uncle Jim; “A platitude,” I sneer; And then I tell him so is milk, And the froth upon his beer.
His heart walled up with bitterness, He smokes his pungent pipe, And nods at me as if to say, “Young fool, you’ll soon be ripe!”
I have a friend who eats his heart Always with grief of mine, Who drinks my joy as tipplers drain Deep goblets filled with wine.
I wonder why here at his side, Face-in-the-grass with him, My mind should stray the Grecian urn To muse on uncle Jim. |
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Definition
Uncle Jim by Countee Cullen |
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Term
A CARAFE, THAT IS A BLIND GLASS.
A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.
GLAZED GLITTER.
Nickel, what is nickel, it is originally rid of a cover.
The change in that is that red weakens an hour. The change has come. There is no search. But there is, there is that hope and that interpretation and sometime, surely any is unwelcome, sometime there is breath and there will be a sinecure and charming very charming is that clean and cleansing. Certainly glittering is handsome and convincing.
There is no gratitude in mercy and in medicine. There can be breakages in Japanese. That is no programme. That is no color chosen. It was chosen yesterday, that showed spitting and perhaps washing and polishing. It certainly showed no obligation and perhaps if borrowing is not natural there is some use in giving.
A SUBSTANCE IN A CUSHION.
The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable.
Callous is something that hardening leaves behind what will be soft if there is a genuine interest in there being present as many girls as men. Does this change. It shows that dirt is clean when there is a volume.
A cushion has that cover. Supposing you do not like to change, supposing it is very clean that there is no change in appearance, supposing that there is regularity and a costume is that any the worse than an oyster and an exchange. Come to season that is there any extreme use in feather and cotton. Is there not much more joy in a table and more chairs and very likely roundness and a place to put them.
A circle of fine card board and a chance to see a tassel.
What is the use of a violent kind of delightfulness if there is no pleasure in not getting tired of it. The question does not come before there is a quotation. In any kind of place there is a top to covering and it is a pleasure at any rate there is some venturing in refusing to believe nonsense. It shows what use there is in a whole piece if one uses it and it is extreme and very likely the little things could be dearer but in any case there is a bargain and if there is the best thing to do is to take it away and wear it and then be reckless be reckless and resolved on returning gratitude.
Light blue and the same red with purple makes a change. It shows that there is no mistake. Any pink shows that and very likely it is reasonable. Very likely there should not be a finer fancy present. Some increase means a calamity and this is the best preparation for three and more being together. A little calm is so ordinary and in any case there is sweetness and some of that.
A seal and matches and a swan and ivy and a suit.
A closet, a closet does not connect under the bed. The band if it is white and black, the band has a green string. A sight a whole sight and a little groan grinding makes a trimming such a sweet singing trimming and a red thing not a round thing but a white thing, a red thing and a white thing.
The disgrace is not in carelessness nor even in sewing it comes out out of the way.
What is the sash like. The sash is not like anything mustard it is not like a same thing that has stripes, it is not even more hurt than that, it has a little top.
A BOX.
Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle. So then the order is that a white way of being round is something suggesting a pin and is it disappointing, it is not, it is so rudimentary to be analysed and see a fine substance strangely, it is so earnest to have a green point not to red but to point again.
A PIECE OF COFFEE.
More of double.
A place in no new table.
A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and not coal color, never more coal color than altogether.
The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture.
The time to show a message is when too late and later there is no hanging in a blight.
A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there was no reason for a distress and more likely for a number, supposing that there was no astonishment, is it not necessary to mingle astonishment.
The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything. May not be strange to.
DIRT AND NOT COPPER.
Dirt and not copper makes a color darker. It makes the shape so heavy and makes no melody harder.
It makes mercy and relaxation and even a strength to spread a table fuller. There are more places not empty. They see cover.
NOTHING ELEGANT.
A charm a single charm is doubtful. If the red is rose and there is a gate surrounding it, if inside is let in and there places change then certainly something is upright. It is earnest.
MILDRED'S UMBRELLA.
A cause and no curve, a cause and loud enough, a cause and extra a loud clash and an extra wagon, a sign of extra, a sac a small sac and an established color and cunning, a slender grey and no ribbon, this means a loss a great loss a restitution.
A METHOD OF A CLOAK.
A single climb to a line, a straight exchange to a cane, a desperate adventure and courage and a clock, all this which is a system, which has feeling, which has resignation and success, all makes an attractive black silver.
A RED STAMP.
If lilies are lily white if they exhaust noise and distance and even dust, if they dusty will dirt a surface that has no extreme grace, if they do this and it is not necessary it is not at all necessary if they do this they need a catalogue.
A BOX.
A large box is handily made of what is necessary to replace any substance. Suppose an example is necessary, the plainer it is made the more reason there is for some outward recognition that there is a result.
A box is made sometimes and them to see to see to it neatly and to have the holes stopped up makes it necessary to use paper.
A custom which is necessary when a box is used and taken is that a large part of the time there are three which have different connections. The one is on the table. The two are on the table. The three are on the table. The one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary.
Lax, to have corners, to be lighter than some weight, to indicate a wedding journey, to last brown and not curious, to be wealthy, cigarettes are established by length and by doubling.
Left open, to be left pounded, to be left closed, to be circulating in summer and winter, and sick color that is grey that is not dusty and red shows, to be sure cigarettes do measure an empty length sooner than a choice in color.
Winged, to be winged means that white is yellow and pieces pieces that are brown are dust color if dust is washed off, then it is choice that is to say it is fitting cigarettes sooner than paper.
An increase why is an increase idle, why is silver cloister, why is the spark brighter, if it is brighter is there any result, hardly more than ever.
A PLATE.
An occasion for a plate, an occasional resource is in buying and how soon does washing enable a selection of the same thing neater. If the party is small a clever song is in order.
Plates and a dinner set of colored china. Pack together a string and enough with it to protect the centre, cause a considerable haste and gather more as it is cooling, collect more trembling and not any even trembling, cause a whole thing to be a church.
A sad size a size that is not sad is blue as every bit of blue is precocious. A kind of green a game in green and nothing flat nothing quite flat and more round, nothing a particular color strangely, nothing breaking the losing of no little piece.
A splendid address a really splendid address is not shown by giving a flower freely, it is not shown by a mark or by wetting.
Cut cut in white, cut in white so lately. Cut more than any other and show it. Show it in the stem and in starting and in evening coming complication.
A lamp is not the only sign of glass. The lamp and the cake are not the only sign of stone. The lamp and the cake and the cover are not the only necessity altogether.
A plan a hearty plan, a compressed disease and no coffee, not even a card or a change to incline each way, a plan that has that excess and that break is the one that shows filling.
A SELTZER BOTTLE.
Any neglect of many particles to a cracking, any neglect of this makes around it what is lead in color and certainly discolor in silver. The use of this is manifold. Supposing a certain time selected is assured, suppose it is even necessary, suppose no other extract is permitted and no more handling is needed, suppose the rest of the message is mixed with a very long slender needle and even if it could be any black border, supposing all this altogether made a dress and suppose it was actual, suppose the mean way to state it was occasional, if you suppose this in August and even more melodiously, if you suppose this even in the necessary incident of there certainly being no middle in summer and winter, suppose this and an elegant settlement a very elegant settlement is more than of consequence, it is not final and sufficient and substituted. This which was so kindly a present was constant.
A LONG DRESS.
What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.
What is the wind, what is it.
Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it.
A RED HAT.
A dark grey, a very dark grey, a quite dark grey is monstrous ordinarily, it is so monstrous because there is no red in it. If red is in everything it is not necessary. Is that not an argument for any use of it and even so is there any place that is better, is there any place that has so much stretched out.
A BLUE COAT.
A blue coat is guided guided away, guided and guided away, that is the particular color that is used for that length and not any width not even more than a shadow.
A PIANO.
If the speed is open, if the color is careless, if the selection of a strong scent is not awkward, if the button holder is held by all the waving color and there is no color, not any color. If there is no dirt in a pin and there can be none scarcely, if there is not then the place is the same as up standing.
This is no dark custom and it even is not acted in any such a way that a restraint is not spread. That is spread, it shuts and it lifts and awkwardly not awkwardly the centre is in standing.
A CHAIR.
A widow in a wise veil and more garments shows that shadows are even. It addresses no more, it shadows the stage and learning. A regular arrangement, the severest and the most preserved is that which has the arrangement not more than always authorised.
A suitable establishment, well housed, practical, patient and staring, a suitable bedding, very suitable and not more particularly than complaining, anything suitable is so necessary.
A fact is that when the direction is just like that, no more, longer, sudden and at the same time not any sofa, the main action is that without a blaming there is no custody.
Practice measurement, practice the sign that means that really means a necessary betrayal, in showing that there is wearing.
Hope, what is a spectacle, a spectacle is the resemblance between the circular side place and nothing else, nothing else.
To choose it is ended, it is actual and more than that it has it certainly has the same treat, and a seat all that is practiced and more easily much more easily ordinarily.
Pick a barn, a whole barn, and bend more slender accents than have ever been necessary, shine in the darkness necessarily.
Actually not aching, actually not aching, a stubborn bloom is so artificial and even more than that, it is a spectacle, it is a binding accident, it is animosity and accentuation.
If the chance to dirty diminishing is necessary, if it is why is there no complexion, why is there no rubbing, why is there no special protection.
A FRIGHTFUL RELEASE.
A bag which was left and not only taken but turned away was not found. The place was shown to be very like the last time. A piece was not exchanged, not a bit of it, a piece was left over. The rest was mismanaged.
A PURSE.
A purse was not green, it was not straw color, it was hardly seen and it had a use a long use and the chain, the chain was never missing, it was not misplaced, it showed that it was open, that is all that it showed.
A MOUNTED UMBRELLA.
What was the use of not leaving it there where it would hang what was the use if there was no chance of ever seeing it come there and show that it was handsome and right in the way it showed it. The lesson is to learn that it does show it, that it shows it and that nothing, that there is nothing, that there is no more to do about it and just so much more is there plenty of reason for making an exchange.
A CLOTH.
Enough cloth is plenty and more, more is almost enough for that and besides if there is no more spreading is there plenty of room for it. Any occasion shows the best way.
MORE.
An elegant use of foliage and grace and a little piece of white cloth and oil.
Wondering so winningly in several kinds of oceans is the reason that makes red so regular and enthusiastic. The reason that there is more snips are the same shining very colored rid of no round color.
A NEW CUP AND SAUCER.
Enthusiastically hurting a clouded yellow bud and saucer, enthusiastically so is the bite in the ribbon.
OBJECTS.
Within, within the cut and slender joint alone, with sudden equals and no more than three, two in the centre make two one side.
If the elbow is long and it is filled so then the best example is all together.
The kind of show is made by squeezing.
EYE GLASSES.
A color in shaving, a saloon is well placed in the centre of an alley.
A CUTLET.
A blind agitation is manly and uttermost.
CARELESS WATER.
No cup is broken in more places and mended, that is to say a plate is broken and mending does do that it shows that culture is Japanese. It shows the whole element of angels and orders. It does more to choosing and it does more to that ministering counting. It does, it does change in more water.
Supposing a single piece is a hair supposing more of them are orderly, does that show that strength, does that show that joint, does that show that balloon famously. Does it.
A PAPER.
A courteous occasion makes a paper show no such occasion and this makes readiness and eyesight and likeness and a stool.
A DRAWING.
The meaning of this is entirely and best to say the mark, best to say it best to show sudden places, best to make bitter, best to make the length tall and nothing broader, anything between the half.
WATER RAINING.
Water astonishing and difficult altogether makes a meadow and a stroke.
COLD CLIMATE.
A season in yellow sold extra strings makes lying places.
MALACHITE.
The sudden spoon is the same in no size. The sudden spoon is the wound in the decision.
AN UMBRELLA.
Coloring high means that the strange reason is in front not more in front behind. Not more in front in peace of the dot.
A PETTICOAT.
A light white, a disgrace, an ink spot, a rosy charm.
A WAIST.
A star glide, a single frantic sullenness, a single financial grass greediness.
Object that is in wood. Hold the pine, hold the dark, hold in the rush, make the bottom.
A piece of crystal. A change, in a change that is remarkable there is no reason to say that there was a time.
A woolen object gilded. A country climb is the best disgrace, a couple of practices any of them in order is so left.
A TIME TO EAT.
A pleasant simple habitual and tyrannical and authorised and educated and resumed and articulate separation. This is not tardy.
A LITTLE BIT OF A TUMBLER.
A shining indication of yellow consists in there having been more of the same color than could have been expected when all four were bought. This was the hope which made the six and seven have no use for any more places and this necessarily spread into nothing. Spread into nothing.
A FIRE.
What was the use of a whole time to send and not send if there was to be the kind of thing that made that come in. A letter was nicely sent.
A HANDKERCHIEF.
A winning of all the blessings, a sample not a sample because there is no worry.
RED ROSES.
A cool red rose and a pink cut pink, a collapse and a sold hole, a little less hot.
IN BETWEEN.
In between a place and candy is a narrow foot-path that shows more mounting than anything, so much really that a calling meaning a bolster measured a whole thing with that. A virgin a whole virgin is judged made and so between curves and outlines and real seasons and more out glasses and a perfectly unprecedented arrangement between old ladies and mild colds there is no satin wood shining.
COLORED HATS.
Colored hats are necessary to show that curls are worn by an addition of blank spaces, this makes the difference between single lines and broad stomachs, the least thing is lightening, the least thing means a little flower and a big delay a big delay that makes more nurses than little women really little women. So clean is a light that nearly all of it shows pearls and little ways. A large hat is tall and me and all custard whole.
A FEATHER.
A feather is trimmed, it is trimmed by the light and the bug and the post, it is trimmed by little leaning and by all sorts of mounted reserves and loud volumes. It is surely cohesive.
A BROWN.
A brown which is not liquid not more so is relaxed and yet there is a change, a news is pressing.
A LITTLE CALLED PAULINE.
A little called anything shows shudders.
Come and say what prints all day. A whole few watermelon. There is no pope.
No cut in pennies and little dressing and choose wide soles and little spats really little spices.
A little lace makes boils. This is not true.
Gracious of gracious and a stamp a blue green white bow a blue green lean, lean on the top.
If it is absurd then it is leadish and nearly set in where there is a tight head.
A peaceful life to arise her, noon and moon and moon. A letter a cold sleeve a blanket a shaving house and nearly the best and regular window.
Nearer in fairy sea, nearer and farther, show white has lime in sight, show a stitch of ten. Count, count more so that thicker and thicker is leaning.
I hope she has her cow. Bidding a wedding, widening received treading, little leading mention nothing.
Cough out cough out in the leather and really feather it is not for.
Please could, please could, jam it not plus more sit in when.
A SOUND.
Elephant beaten with candy and little pops and chews all bolts and reckless reckless rats, this is this.
A TABLE.
A table means does it not my dear it means a whole steadiness. Is it likely that a change.
A table means more than a glass even a looking glass is tall. A table means necessary places and a revision a revision of a little thing it means it does mean that there has been a stand, a stand where it did shake.
SHOES.
To be a wall with a damper a stream of pounding way and nearly enough choice makes a steady midnight. It is pus.
A shallow hole rose on red, a shallow hole in and in this makes ale less. It shows shine.
A DOG.
A little monkey goes like a donkey that means to say that means to say that more sighs last goes. Leave with it. A little monkey goes like a donkey.
A WHITE HUNTER.
A white hunter is nearly crazy.
A LEAVE.
In the middle of a tiny spot and nearly bare there is a nice thing to say that wrist is leading. Wrist is leading.
SUPPOSE AN EYES.
Suppose it is within a gate which open is open at the hour of closing summer that is to say it is so.
All the seats are needing blackening. A white dress is in sign. A soldier a real soldier has a worn lace a worn lace of different sizes that is to say if he can read, if he can read he is a size to show shutting up twenty-four.
Go red go red, laugh white.
Suppose a collapse in rubbed purr, in rubbed purr get.
Little sales ladies little sales ladies little saddles of mutton.
Little sales of leather and such beautiful beautiful, beautiful beautiful.
A SHAWL.
A shawl is a hat and hurt and a red ballon and an under coat and a sizer a sizer of talks.
A shawl is a wedding, a piece of wax a little build. A shawl.
Pick a ticket, pick it in strange steps and with hollows. There is hollow hollow belt, a belt is a shawl.
A plate that has a little bobble, all of them, any so.
Please a round it is ticket.
It was a mistake to state that a laugh and a lip and a laid climb and a depot and a cultivator and little choosing is a point it.
BOOK.
Book was there, it was there. Book was there. Stop it, stop it, it was a cleaner, a wet cleaner and it was not where it was wet, it was not high, it was directly placed back, not back again, back it was returned, it was needless, it put a bank, a bank when, a bank care.
Suppose a man a realistic expression of resolute reliability suggests pleasing itself white all white and no head does that mean soap. It does not so. It means kind wavers and little chance to beside beside rest. A plain.
Suppose ear rings, that is one way to breed, breed that. Oh chance to say, oh nice old pole. Next best and nearest a pillar. Chest not valuable, be papered.
Cover up cover up the two with a little piece of string and hope rose and green, green.
Please a plate, put a match to the seam and really then really then, really then it is a remark that joins many many lead games. It is a sister and sister and a flower and a flower and a dog and a colored sky a sky colored grey and nearly that nearly that let.
PEELED PENCIL, CHOKE.
Rub her coke.
IT WAS BLACK, BLACK TOOK.
Black ink best wheel bale brown.
Excellent not a hull house, not a pea soup, no bill no care, no precise no past pearl pearl goat.
THIS IS THIS DRESS, AIDER.
Aider, why aider why whow, whow stop touch, aider whow, aider stop the muncher, muncher munchers.
A jack in kill her, a jack in, makes a meadowed king, makes a to let.
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Term
Your mind and you are our Sargasso Sea, London has swept about you this score years And bright ships left you this or that in fee: Ideas, old gossip, oddments of all things, Strange spars of knowledge and dimmed wares of price. Great minds have sought you- lacking someone else. You have been second always. Tragical? No. You preferred it to the usual thing: One dull man, dulling and uxorious, One average mind- with one thought less, each year. Oh, you are patient, I have seen you sit Hours, where something might have floated up. And now you pay one. Yes, you richly pay. You are a person of some interest, one comes to you And takes strange gain away: Trophies fished up; some curious suggestion; Fact that leads nowhere; and a tale for two, Pregnant with mandrakes, or with something else That might prove useful and yet never proves, That never fits a corner or shows use, Or finds its hour upon the loom of days: The tarnished, gaudy, wonderful old work; Idols and ambergris and rare inlays, These are your riches, your great store; and yet For all this sea-hoard of deciduous things, Strange woods half sodden, and new brighter stuff: In the slow float of differing light and deep, No! there is nothing! In the whole and all, Nothing that's quite your own. Yet this is you. - - |
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Definition
PORTRAIT D'UNE FEMME by Ezra Pound |
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| W.E.B. Du Bois; black self-perception v white perception of blacks. |
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| Across the cultural spectrum (literature, drama, music, visual art, dance) and also in the realm of social thought (sociology, historiography, philosophy), artists and intellectuals found new ways to explore the historical experiences of black America and the contemporary experiences of black life in the urban North. From about 1919 to mid 1930s |
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| cannot determine author's inten, so analyze the work on its own merit |
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| Understand that text does not exist in a vacuum. Need historical information to properly analyze content. |
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| Immigration of 7 million African Americans from South toe North during 1916 to 1970. Aided by WW1, since new factories provided economic opportunities. |
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| Whites fleeing from Harlem |
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| movement from 1910s to 1930s. Form characterized by experimetnation, perspectivism (different perspectives), heavy use of symbols, extensive allusions. Themes include fragmentation of modern civilziation, inner psychological realities, loss of cultural traditions |
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| A cener is a socially constructed system of though. Gertrude Stein advocatedto "act as if ther is no use in a center," to free ourselves from socially contsturced confines, limits, and constaints. |
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| clear distinction between capital-A Art and mass culture, and it places itself firmly on the side of Art and in opposition to popular or mass culture. |
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Through the pregnant universe rumbles life's terrific thunder,
And Earth's bowels quake with terror; strange and terrible storms break,
Lightning-torches flame the heavens, kindling souls of men, thereunder:
Africa! long ages sleeping, O my motherland, awake!
In the East the clouds glow crimson with the new dawn that is breaking,
And its golden glory fills the western skies.
O my brothers and my sisters, wake! arise!
For the new birth rends the old earth and the very dead are waking,
Ghosts are turned flesh, throwing off the grave's disguise,
And the foolish, even children, are made wise;
For the big earth groans in travail for the strong, new world in making--
O my brothers, dreaming for dim centuries,
Wake from sleeping; to the East turn, turn your eyes!
Oh the night is sweet for sleeping, but the shining day's for working;
Sons of the seductive night, for your children's children's sake,
From the deep primeval forests where the crouching leopard's lurking,
Lift your heavy-lidded eyes, Ethiopia! awake!
In the East the clouds glow crimson with the new dawn that is breaking,
And its golden glory fills the western skies.
O my brothers and my sisters, wake! arise!
For the new birth rends the old earth and the very dead are waking,
Ghosts have turned flesh, throwing off the grave's disguise,
And the foolish, even children, are made wise;
For the big earth groans in travail for the strong, new world in making--
O my brothers, dreaming for long centuries,
Wake from sleeping; to the East turn, turn your eyes!
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Definition
| Claude Mckay, exhortation: summer, 1919 |
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Term
| For the dim regions whence my fathers came My spirit, bondaged by the body, longs. Words felt, but never heard, my lips would frame; My soul would sing forgotten jungle songs. I would go back to darkness and to peace, But the great western world holds me in fee, And I may never hope for full release While to its alien gods I bend my knee. Something in me is lost, forever lost, Some vital thing has gone out of my heart, And I must walk the way of life a ghost Among the sons of earth, a thing apart; For I was born, far from my native clime, Under the white man's menace, out of time. |
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[image] The sun sought thy dim bed and brought forth light, The sciences were sucklings at thy breast; When all the world was young in pregnant night Thy slaves toiled at thy monumental best. Thou ancient treasure-land, thou modern prize, New peoples marvel at thy pyramids! The years roll on, thy sphinx of riddle eyes Watches the mad world with immobile lids. The Hebrews humbled them at Pharaoh's name. Cradle of Power! Yet all things were in vain! Honor and Glory, Arrogance and Fame! They went. The darkness swallowed thee again. Thou art the harlot, now thy time is done, Of all the mighty nations of the sun. |
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| Applauding youths laughed with young prostitutes And watched her perfect, half-clothed body sway; Her voice was like the sound of blended flutes Blown by black players upon a picnic day. She sang and danced on gracefully and calm, The light gauze hanging loose about her form; To me she seemed a proudly-swaying palm Grown lovelier for passing through a storm. Upon her swarthy neck black shiny curls Luxuriant fell; and tossing coins in praise, The wine-flushed, bold-eyed boys, and even the girls, Devoured her shape with eager, passionate gaze; But looking at her falsely-smiling face, I knew her self was not in that strange place. |
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Definition
| claude mckay, the harlem dancer |
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| His Spirit in smoke ascended to high heaven. His father, by the cruelest way of pain, Had bidden him to his bosom once again; The awful sin remained still unforgiven. All night a bright and solitary star (Perchance the one that ever guided him, Yet gave him up at last to Fate's wild whim) Hung pitifully o'er the swinging char. Day dawned, and soon the mixed crowds came to view The ghastly body swaying in the sun The women thronged to look, but never a one Showed sorrow in her eyes of steely blue; And little lads, lynchers that were to be, Danced round the dreadful thing in fiendish glee. |
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Definition
| claude mckay, the lynching |
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Term
- [image] HEAR the halting footsteps of a lass
- In Negro Harlem when the night lets fall
- Its veil. I see the shapes of girls who pass
- Eager to heed desire's insistent call:
- Ah, little dark girls, who in slippered feet
- Go prowling through the night from street to street.
- Through the long night until the silver break
- Of day the little gray feet know no rest,
- Through the lone night until the last snow-flake
- Has dropped from heaven upon the earth's white breast,
- The dusky, half-clad girls of tired feet
- Are trudging, thinly shod, from street to street.
- Ah, stern harsh world, that in the wretched way
- Of poverty, dishonor and disgrace,
- Has pushed the timid little feet of clay.
- The sacred brown feet of my fallen race!
- Ah, heart of me, the weary, weary feet
- In Harlem wandering from street to street.
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Definition
| claude mckay, harlem shadows |
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Term
| Although she feeds me bread of bitterness, And sinks into my throat her tiger's tooth, Stealing my breath of life, I will confess I love this cultured hell that tests my youth! Her vigor flows like tides into my blood, Giving me strength erect against her hate. Her bigness sweeps my being like a flood. Yet as a rebel fronts a king in state, I stand within her walls with not a shred Of terror, malice, not a word of jeer. Darkly I gaze into the days ahead, And see her might and granite wonders there, Beneath the touch of Time's unerring hand, Like priceless treasures sinking in the sand. |
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Definition
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| If we must die, let it not be like hogs Hunted and penned in an inglorious spot, While round us bark the mad and hungry dogs, Making their mock at our accursed lot. If we must die, O let us nobly die, So that our precious blood may not be shed In vain; then even the monsters we defy Shall be constrained to honor us though dead! O kinsmen! we must meet the common foe! Though far outnumbered let us show us brave, And for their thousand blows deal one death-blow! What though before us lies the open grave? Like men we'll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting back! |
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Definition
| claude mckay, if we must die |
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Term
- O WORD I love to sing! thou art too tender
- For all the passions agitating me;
- For all my bitterness thou art too tender,
- I cannot pour my red soul into thee.
- O haunting melody! thou art too slender,
- Too fragile like a globe of crystal glass;
- For all my stormy thoughts thou art too slender,
- The burden from my bosom will not pass.
- O tender word! O melody so slender!
- O tears of passion saturate with brine,
- O words, unwilling words, ye can not render
- My hatred for the foe of me and mine.
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Definition
| claude mckay o word i love to sing |
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| exists a single speaker and auditor. reader percieves a gap between what he says and what he reveals. ex: the love song of S. Alfred prufrock, t.s. elliot |
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| an attempt to rpesent an object directly in verse form; a kind of poetric minimalism that relies wholly on the poewr of the image. example: in a station of the metro" of H.D.'s "Oread" |
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| theory that money is the root to evil |
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| enumerating/listing for peotic effect |
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reult of WW2, rise of suburbia, anti-establishment, spontaneous creativity, non-confomrity. connotation of "beat down" and "beatific." From 1950s to 1960s. |
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| repetition of a word or words at the beginning of two or more successive verses, clauses, or sentences |
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| a story in which the narrator is absent from it. |
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| describes his or her personal and subjective experiences as a character in the story |
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| The progression toward dichotomy is also a progression toward the questioning of what lies between the two extremes. The gray area is very significant, while also asking the reader if it is significant only because the human being cannot be satisfied without an attempt at pointing significance. |
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| recoutns dramtic episode, sually comprised to be sung. traditional ballads usually concered with "noble" themes, tragic love, etc. |
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Definition
| aesthetic and spiritual sister of the black power movment. it advocated for black pride, black superiority, and social change. |
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| a belief in the "exceptional" quailty and providential destiny of the US due to its unique origins, national credo, social/polotical instituations. |
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Definition
| trend in contemporary fiction in which fantastic elements are blended into a narrative. |
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| Black Nationalism a philosphohy espoused by malcom x that advocated black pride, indepnence, and self-suffiency |
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Definition
a philosphohy espoused by malcom x that advocated black pride, independence, and self-sufficiency |
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Definition
This literay trend is characterzeid by a reaction against claims ot certainty, an emaphsis on relative truth, and formal experiemtnation |
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