by Chinwuba Iyizoba
By the turn of the twentieth century, African American poets and other Negro artists were met with enormous cultural and racial barriers that threatened to compartmentalize them into an insipid group whose successes were measured by how effectively they could copy white people. Consequentially, James Weldon Johnson noted in 1921 that the Aframerican poets must create a “new and distinct form of expression,” unique to them (Mays 1050), characterized by truthful writing about the Negro life. This paper would argue that a comparison of the historical-cultural background, structure, figurative devices, and imagery of Langston Hughes’ “Harlem” and Claude McKay’s “Harlem Shadows” would reveal that both poets, though differing in style, nevertheless satisfy the need that Johnson expressed in their own unique way.
To begin, the two poems were published at different times. Hughes’ “Harlem” is part of his collection of poems called “Montage of Dream Differed,” published in 1951 (Little), a period marked by civil unrest and activism against racial injustice in America. In line 1, Hughes asks, “What happens to a dream deferred?” and then suggests a series of possible answers in an attempt to understand the nature of the oppressive racism deferring the legitimate aspirations for freedom and equality of millions of African American Negros. On the other hand, McKay’s “Harlem Shadows” was published in 1922 (Lannamann) during the Harlem Renaissance, when Negro poets and artists migrated to the Harlem area of New York City, fleeing the burden of stifling racism choking them in the rural South.
According to Mars, the two poets were major characters of the Harlem Renaissance, the period between the First World War and the beginning of the Great Depression in America. The author argues that the Harlem Renaissance was a culmination of historical social and cultural factors that converged within 10 years and brought many talented American Negros to Harlem, who, individually, rather than as a group, spurred Negro poetic and artistic growth and stirred up Negro consciousness to become part of the American story, leading to many original Negro works of art (1031). It is significant to note that the Renaissance was neither planned nor organized but erupted spontaneously, caused by the savage effects of slavery, racism, and oppression and by the migration of sharecropping Negroes from the rural South to the urban North, where the war had created a vacuum and job opportunities in factories for the Negros (Mays 1031). Consequently, some Negros who migrated experienced separation from their place of origin and cultural and religious uprooting. This fragmentation was keenly felt by the more vulnerable groups, such as girls. McKay paints the picture of the broken and hopeless girls, destitute and roaming the streets of Harlem, forced into prostitution by the cruelty of poverty and alienation (Graham 157).
For Hughes, the cultural uprooting created a shallow and pathetic desire among Negros to imitate white people, while economically prosperous Negros were proposed as cultural models for less developed Negros and White culture as the ultimate aspiration and respectability (Barnett 853). The new Negro Renaissance instead proposes that the Negro should be helped to grow their own distinctive voice. Thus, Hughes created a new voice of poetry by introducing the popular Negro folk blues and spirituals into literature and integrating poetry and jazz (Hughes 00:09:25) and pledged to express this new Negro spirit, beautiful or ugly, without fear or favor, regardless of who disapproves, as the spirit of the Harlem Renaissance (Shawn 89). Amiri Baraka notes that Hughes and McKay’s focus on the everyday, ordinary Negro was irksome to quite a few black critics who would have preferred them to celebrate and write about upwardly mobile Negros and those aspiring to move up the middle-class ladder (Hughes 00:10:55). Hence, while McKay’s poem examines the lives of real Negros, Hughes uses the metaphor (Barnett 845) of “deferred dream” to highlight the bitter frustrations of racism breaking the spirit of Negros. In lines 1–2, he compares a “dream deferred” to a succulent and sweet raisin that dries and shrivels when left out in the sun. It can be argued that for Hughes, the mark of a disenfranchised people is their inability to protect their dreams, but for McKay, it is their inability to protect their girls.
Interestingly, since there is no use of any personal pronoun in the poem, the speaker in Hughes’ “Harlem” is impersonal, thus widening the scope of the poem’s relevancy to all afflicted by oppression, and Dr. Martin Luther King Jr. . would later adopt Hughes’ “Dream” in his address at Lincoln Memorial Park in 1963 to a massive crowd protesting racial injustice (Eschner). Likewise, Lorraine Hansberry would draw the title of her play, “Raisin in the Sun,” about an indigent Negro family, from Hughes (Miller). In contrast, McKay uses the personal pronoun “I” in line 1: “I hear the halting footsteps of a lass,” and identifies with the subject’s black race in line 16, a significant hint that he is the speaker: “The sacred brown feet of my fallen race!”(16) “Ah, little dark girls who have slippery feet” (5).
Essentially, the two poems differ in their poetic form since “Harlem” is a free verse with a unique form, while “Harlem Shadows” is a formal verse with a strict rhyme scheme that is quite predictable (Lannamann). Structurally, “Harlem” has an unusually irregular line length, with the first stanza having 8 lines, the second 3 lines, and the third 1 line that is italicized. “Harlem Shadows,” on the other hand, has 18 lines and 3 stanzas with ABABCC rhyme schemes. In addition, “Harlem” utilizes assonances and end rhymes, for instance: lines 3/5: “sun/run,” lines 6/8: “meat/sweet,” and lines 10/11: “load/explode.”. Additionally, the poem opens and closes with single-line stanzas that mirror each other: “What happens to a dream differed?” “Or does it explode?” (Sharma 4).
Hence Sharma argues that the complicated structure of “Harlem” reflects the complicated and troubled life of the Negros in 1920 Harlem as well as in 1950 America (4) and that it is conceivable that Hughes is deliberately rebelling against the strict rhyme schemes that dominate White poetry by creating a dissonant theme similar to Negro Jazz and Blues. On the other hand, the regular predictability of McKay’s “Harlem shadows” perhaps suggests that he is familiar with prostitutes and feels comfortable talking about them (Winston 34) in an age (1920) when prostitution and discussion about prostitutes were very much muted in society and the very idea of a girl selling herself in prostitution was an unspeakable topic among polite company. Understanding the social environment at that time makes clear the significant impact and radical nature of Claude’s poetry and his belief that by constantly highlighting prostitution as well as its underlying cause (racism), he would eventually put an end to it.
Further differences between the two poems are in the symbols they employ. In “Harlem Shadows,” the main symbol is the “feet.”. McKay writes that they are “halting” in line 1, “slippered” in line 5, “grey” and “no know rest” in line 8, “weary, weary” in line 17, and “timid” in line 15, yet they go on prowling through the streets by night and never give up. He also declares that they are “sacred” in line 16, hence suggesting that their violation is sacrilegious. His juxtaposition of the mundane and the sacred further highlights the dire circumstances of these young girls. In contrast, the main symbol of Hughes’ “Harlem” is the “Dream,” which can be understood as an aspiration, a goal, or a desire for achievement. The speaker does not specify whose dream it is that is deferred, but it can safely be assumed, judging by the title of the poem, that it is that of the Negros of Harlem, yet it can equally validly represent everyone’s dream, aspirations, or goals.
Similarly, both poets employ different imagery to underscore the Negro quagmire. Sharma argues that the imagery used by Hughes helps readers understand that a deferred dream is an unpleasant and disgusting sight, like a festering sore or the painful sight of a heavy load sagging down a man’s shoulder. He also uses auditory imagery when he compares it to an explosion or a bomb, and he uses nasal imagery when he likens it to the unpleasant smell of rotten meat. In the same way, McKay uses the imagery of the veil in lines 2–3 to describe Harlem nights: “In Negro Harlem, when the night lets fall its veil,”. Just like a veil covers the face from the scrutiny of strangers, night covers the young prostitutes, shielding them from the scrutiny of other individuals or from themselves, and under the veil of the night, they can carry on with their shameful acts. He also describes the night as long and lonely, bringing to the reader’s mind the image of fatigue and exhaustion because “the little gray feet know no rest” (line 8). Furthermore, McKay, wishing to draw the reader’s attention to the fact that men who batter for sex with young girls have lost their humanity and are controlled by lust, employs personifying “desire” in line 4: “To bend and barter at desire’s call.”. He implies that a twofold process is taking place: the lusting men regard the girls as “objects” of pleasure, while the girls are only interested in the men’s money.
Moreover, McKay’s use of repetition of “street to street” to end each stanza and repetition of “feet” after every 5 lines of each stanza adds lyrical beauty to the poem but, more importantly, draws attention to the hopelessness and danger that these girls are exposed to wandering dark, cold streets at night. According to Lannamann, the repetition of “weary, weary feet” makes “feet” a symbol of desolation and calls to mind scurrying nocturnal creatures like rats and rodents, images of misery. In lines 13-14 apostrophe, his anguish overflows in a heart-rending cry: “Ah, stern harsh world, which in the wretched way” (13) “of poverty, dishonor, and disgrace.”(14) His diction or register is cleverly chosen to soften the reader’s hearts towards these young girls, as well as evoke a tender feeling usually reserved for children, while at the same time preserving the reader’s anger towards the unjust structures responsible for their plight.
Finally, McKay’s use of the “feet of clay” in line 15 is a biblical allusion to the Babylonian king who erected a mighty golden image of himself that had feet of clay and hence came crashing down when struck by a small stone pebble (New Jerusalem Bible Daniel 2:41). Perhaps he is warning that these oppressed girls (Negros) are the “feet of clay” that could bring down American society, no matter how powerful and strong it may look unless racism and oppression are rooted out and the Negros restored to full citizenship. Similarly, a shift occurs in line 11 of “Harlem,” as the speaker finally compares a “dream deferred” to a bomb that explodes in violence: Or does it explode? This is the only metaphor in the poem, and by putting this last line in italics, the speaker is perhaps hinting that the conclusion that he has reached is that a deferred dream ends in violence. He may also be alluding to the Harlem race riots that exploded in 1935 and 1943 (Little).
In conclusion, comparing the poems “Harlem” by Langston Hughes and “Harlem Shadows” by Claude McKay reveals that they are two of a kind, and though published nearly 30 years apart, they identify with the Harlem Renaissance, a movement that sought, through art and literature, to bring to light the oppressive and unjust forces bearing down on the broken shoulder and bowed head of the Negro and thus help bring these injustices out from the shadows to the full nakedness of light to end them. Furthermore, a comparison of the historical-cultural background, structure, figurative devices, and imagery of these two great poems reveals that their authors are, as James Weldon Johnson proposed, the voice of the new Negro, unashamed to speak of the everyday life of the ordinary Negros in a manner that truthfully delineates the full racial relations between blacks and whites and thus enables the necessary changes to be made by those who have the power to make them.
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