(align:"=====><=====")[(text-style:"italic","double-underline","expand")+(text-colour:red)[(b4r:"ridge")+(b4r-colour:black)[THE HISTORY OF A BLACK MAN]]]
(text-colour:black)[Welcome to my Create Caribbean 2023 Capstone Project named, 'The History of A Black Man' Told from 2 perspectives, a Caribbean man and an African-American man. Through the years, black people have experienced struggles, goals, and achievements. He has experienced life. By using poems and plays written by Derek Walcott and Langston Hughes, we are able to compare and contrast the typical life of the black man from the Caribbean and the USA.]
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(text-style:"bold","expand")[Table of Contents]
[[The Beginning]]
[[The Poems]]
[[The Plays/Drama]]
[[The Analysis]]
[[The End]](align:"==><=============")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[THE IDEA]]
1) How Did The Idea Come About?
(text-colour:black)[While researching the genres of various books in our group's project, Visualising Caribbean Literary Encounters in 2022, I realized that Derek Walcott’s central theme was society, which piqued my interest. I remembered literary works from Langston Hughes during my English B classes during my fifth form year in high school., and decided to compare their poems and plays.]
2) What Questions Did I Want To Answer During My Project?
(text-colour:black)[a) What are the main themes written by Derek Walcott and Langston Hughes?
b) How effective are the poets in using literary devices and cultural dialect in their work?
c) Did society have an influence on the topics written by the poets?
d) Is there a similarity between a Caribbean man and an African-American man based on the poets' major themes?]
3) What Tools Were Used?
(text-colour:black)[a) Twine
b) Knightlab
c) Google Sheets/Docs
d) Zotero]
4) What Were The Steps Taken To Implement The Project?
(text-colour:black)[a) Select poems and plays from both authors
b) Analyze each poem and play
c) Compare the authors' approach to writing
d) Establish a timeline of the major events of colonialsm and discrimination in the Caribbean and USA
e) Compare the themes of Colonialism vs Racism and Love for the Caribbean vs Black resilience in America]
<img src="https://clipart-library.com/images/di9XjpXAT.png" style="max-width: 35%;">
(text-style:"bold","expand")[Table of Contents]
[[The Authors]]
[[The Beginning]] (align:"=====><=====")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[DEREK WALCOTT]]
<img src="https://upload.wikimedia.org/wikipedia/commons/a/af/Derek_Walcott.jpg" style="max-width: 35%;">
(align:"<==>")+(box:"=XX=")[''Date of Birth: (text-colour:black)[January 23rd, 1930]''
''Date of Death: (text-colour:black)[March 17th, 2017]''
''Author Country: (text-colour:black)[St. Lucia]''
]
(text-colour:black)[Derek Walcott was a renowned poet, playwright, and essayist who captivated audiences with his profound insights and elegant writing. He possessed a unique ability to blend themes of identity, culture, history, and love in a way that resonated deeply with readers from all walks of life.
Walcott's works often showcased his deep connection to his Caribbean roots, exploring the complexities of post-colonialism and the struggles faced by individuals living in a world marked by both beauty and strife. His poetry was rich with vivid imagery and lyrical language, painting a tapestry of emotions and experiences that left a lasting impact.
What set Walcott apart was not just his immense talent, but also his gentle and patient nature. He approached his craft with humility and genuine respect for his audience. With every word he wrote, he sought to uplift and inspire, offering guidance and solace to those who turned to his works for comfort and enlightenment.
Not only was Walcott a master of words, but he was also a warm and friendly individual. He had a remarkable ability to connect with others, always taking the time to listen and understand. His kind and approachable demeanor made him not just an extraordinary artist, but also an invaluable mentor and friend to many aspiring writers.
Derek Walcott's legacy continues to shine brightly, even after his passing. His contributions to the literary world are cherished, and his gentle spirit and patient approach continues to inspire generations of artists and admirers.]
(align:"=====><=====")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[LANSTON HUGHES]]
<img src="https://media.newyorker.com/photos/590967051c7a8e33fb38d6f2/master/w_2560%2Cc_limit/150223_r26162.jpg" style="max-width: 35%;">
(align:"<==>")+(box:"=XX=")[''Date of Birth: (text-colour:black)[February 1st, 1901]''
''Date of Death: (text-colour:black)[May 22, 1967]''
''Author Country: (text-colour:black)[United States of America]''
]
(text-colour:black)[Langston Hughes was a renowned poet, novelist, playwright, and social activist whose impact on American literature and culture is immeasurable. He was a leading figure of the Harlem Renaissance, a cultural movement that celebrated African American art and identity in the 1920s and 1930s.
Hughes's writing was characterized by its raw and authentic portrayal of the African American experience. His poetry, in particular, captured the joy, pain, dreams, and struggles of Black people, giving voice to their hopes and aspirations in the face of systemic racism and oppression.
One of Hughes's greatest strengths was his ability to convey profound and complex emotions in simple yet powerful language. His poems often celebrated the beauty and resilience of everyday life, while also exposing the harsh realities of racial discrimination and inequality. He used his literary talents to shed light on the injustices faced by marginalized communities and championed the fight for equality and social justice.
As an individual, Langston Hughes was described as friendly, approachable, and humble. He had a genuine concern for others and used his platform to uplift and inspire. He was known for his gentle nature and patient demeanor, always taking the time to listen and understand the struggles of those around him.
Hughes's legacy remains influential today, as his work continues to resonate with readers worldwide. His writings serve as a powerful reminder of the importance of acknowledging and embracing diverse voices, while also challenging the status quo. Langston Hughes's contributions to literature and his unwavering commitment to social change make him a cherished figure in American history.]
(text-style:"bold","expand")[Table of Contents]
[[The Idea]]
[[The Beginning]] (align:"=><==================")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:red)[THE BEGINNING]]
''Please Select A Heading or Subheading Below''
(text-style:"bold","expand")[Subtopics]
[[The Idea]]
[[The Authors]]
(text-style:"bold","expand")[Table of Contents]
[[Welcome and Short Intro]]
[[The Poems]]
[[The Plays/Drama]]
[[The Analysis]]
[[The End]]
(align:"=><=================")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:red)[LIST OF POEMS]]
''Please Select A Heading or Subheading Below''
(text-style:"bold","expand")[Subtopics]
''(text-colour:black)[By: Derek Walcott]''
1. Slavery and Post Slavery
[[Ruins of a Great House]]
[[The Sea Is History]]
[[A Far Cry From Africa]]
2. Love For The Caribbean
[[Love After Love]]
[[Map of The New World]]
[[The Flock]]
''(text-colour:black)[By Langston Hughes]''
1. Racism and Discrimination
[[Theme for English B]]
[[Let America Be America Again]]
[[Merry Go Round]]
2. Black Resilience in America
[[Mother to Son]]
[[Brotherly Love]]
[[The Negro Mother]]
(text-style:"bold","expand")[Table of Contents]
[[Welcome and Short Intro]]
[[The Beginning]]
[[The Plays/Drama]]
[[The Analysis]]
[[The End]] (align:"=><==============")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:red)[LIST OF PLAYS/DRAMA]]
(text-style:"bold","expand")[Subtopics]
''By: Derek Walcott''
Theme: Slavery and Colonialism
[[Ti-Jean and His Brothers]]
[[Pantomime]]
''By: Langston Hughes''
Theme: Racism and Discrimination
[[Mulatto]]
[[Jim-Crow Jerico]]
(text-style:"bold","expand")[Table of Contents]
[[Welcome and Short Intro]]
[[The Beginning]]
[[The Poems]]
[[The Analysis]]
[[The End]] (align:"=======><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Ruins of a Great House]]
(align:"==><=")+(text-colour:black)[//though our longest sun sets at right declensions and
makes but winter arches,
it cannot be long before we lie down in darkness, and
have our light in ashes. . .
Browne, Urn Burial
Stones only, the disjecta membra of this Great House,
Whose moth-like girls are mixed with candledust,
Remain to file the lizard's dragonish claws.
The mouths of those gate cherubs shriek with stain;
Axle and coach wheel silted under the muck
Of cattle droppings.
Three crows flap for the trees
And settle, creaking the eucalyptus boughs.
A smell of dead limes quickens in the nose
The leprosy of empire.
‘Farewell, green fields,
Farewell, ye happy groves!'
Marble like Greece, like Faulkner's South in stone,
Deciduous beauty prospered and is gone,
But where the lawn breaks in a rash of trees
A spade below dead leaves will ring the bone
Of some dead animal or human thing
Fallen from evil days, from evil times.
It seems that the original crops were limes
Grown in that silt that clogs the river's skirt;
The imperious rakes are gone, their bright girls gone,
The river flows, obliterating hurt.
I climbed a wall with the grille ironwork
Of exiled craftsmen protecting that great house
From guilt, perhaps, but not from the worm's rent
Nor from the padded calvary of the mouse.
And when a wind shook in the limes I heard
What Kipling heard, the death of a great empire, the
abuse
Of ignorance by Bible and by sword.
A green lawn, broken by low walls of stone,
Dipped to the rivulet, and pacing, I thought next
Of men like Hawkins, Walter Raleigh, Drake,
Ancestral murderers and poets, more perplex4ed
In memory now by every ulcerous crime.
The world's green age then was rotting lime
Whose stench became the charnel galleon's text.
The rot remains with us, the men are gone.
But, as dead ash is lifted in a wind
That fans the blackening ember of the mind,
My eyes burned from the ashen prose of Donne.
Ablaze with rage I thought,
Some slave is rotting in this manorial lake,
But still the coal of my compassion fought
That Albion too was once
A colony like ours, ‘part of the continent, piece of the
main',
Nook-shotten, rook o'erblown, deranged
By foaming channels and the vain expense
Of bitter faction.
All in compassion ends
So differently from what the heart arranged:
‘as well as if a manor of thy friend's. . . ‘//]
''Date:'' (text-colour:black)[1953]
''Poem Analysis:''
(text-colour:black)[The opening verse of the poem begins with a Browne quotation, highlighting the first British author but not the last. The story revolves around death and ultimate destruction, the ruins of one's body, and the final resting place. The speaker walks through the ruins, using personification to bring non-living items to life through the view of the Bible. The Cherubs, once beautifully crafted pieces of the estate, are lying in pain and fear, stained with an uncertain substance that suggests it is due to the horrible events in the estate. The residue is also guilt, which is unclear if it is the Cherubs' guilt for being unable to help or the guilt of the British empire permanently staining the holy beings.
The speaker mentions three crows sitting in the eucalyptus trees, often used to represent evil and doom in literature. The limes, which were the plantation's growth, are all dead, suggesting that the plantation was created to help the British navy during their conquests, likely using enslaved Africans. The last lines of the stanza are a paraphrase of a line in Blake's poem, "Night," which explores the connection between evil and colonialism and the British empire's destruction of others' histories and cultures.
The speaker describes the ruins of a great house in a poem, using marble from Greece as a building material. The speaker references William Faulkner's South, a novelist known for his novels and stories about the southern states of America, which was known for its harsh colonialism and slavery. The speaker implies that the house was meant to stand firmly alongside evil ideals, adding to the comparison of British colonialism to British literature.
The speaker hears the rattle of the dead lime trees in the wind, reflecting on the cruelties of the past and the cultural dilemmas within the ruins. He is morally confused, as their ancestors were mistreated, but the speaker speaks English. The stench of limes hits him, encompassing all the horrible deeds of the British in one inhale.
The speaker references another poet, Donne, a metaphysical poet who wrote many pieces after his severe illness took over. This connects well to the speaker's mental state, as he is now speaking of things after seeing the horrible place and cannot go back to unseeing it. The speaker's conflicted emotional state gets enraged as he pictures a slave in the lake, but his compassionate thoughts try to calm him with reasoning. He uses references and interesting word choices to describe Britain's history of invasion and its relationship with the Roman Empire.
The final three lines of 'Ruins of a Great House' finish with the thought that there will never be forgiveness between them, but a piece of knowledge that no one is fully isolated, and a man's death affects everyone, creating a lot of sorrow in history. The poem leaves the reader wondering about how historical abuse is a version of the circle and how power and colonialism have ruined many civilizations worldwide.]
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[[The Sea Is History]]
[[A Far Cry From Africa]]
[[The Poems]] (align:"==============><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[The Sea Is History]]
(align:"==><=")+(text-colour:black)[//Where are your monuments, your battles, martyrs?
Where is your tribal memory? Sirs,
in that grey vault. The sea. The sea
has locked them up. The sea is History.
First, there was the heaving oil,
heavy as chaos;
then, like a light at the end of a tunnel,
the lantern of a caravel,
and that was Genesis.
Then there were the packed cries,
the shit, the moaning:
Exodus.
Bone soldered by coral to bone,
mosaics
mantled by the benediction of the shark's shadow,
that was the Ark of the Covenant.
Then came from the plucked wires
of sunlight on the sea floor
the plangent harps of the Babylonian bondage,
as the white cowries clustered like manacles
on the drowned women,
and those were the ivory bracelets
of the Song of Solomon,
but the ocean kept turning blank pages
looking for History.
Then came the men with eyes heavy as anchors
who sank without tombs,
brigands who barbecued cattle,
leaving their charred ribs like palm leaves on the shore,
then the foaming, rabid maw
of the tidal wave swallowing Port Royal,
and that was Jonah,
but where is your Renaissance?
Sir, it is locked in them sea-sands
out there past the reef's moiling shelf,
where the men-o'-war floated down;
strop on these goggles, I'll guide you there myself.
It's all subtle and submarine,
through colonnades of coral,
past the gothic windows of sea-fans
to where the crusty grouper, onyx-eyed,
blinks, weighted by its jewels, like a bald queen;
and these groined caves with barnacles
pitted like stone
are our cathedrals,
and the furnace before the hurricanes:
Gomorrah. Bones ground by windmills
into marl and cornmeal,
and that was Lamentations—
that was just Lamentations,
it was not History;
then came, like scum on the river's drying lip,
the brown reeds of villages
mantling and congealing into towns,
and at evening, the midges' choirs,
and above them, the spires
lancing the side of God
as His son set, and that was the New Testament.
Then came the white sisters clapping
to the waves' progress,
and that was Emancipation—
jubilation, O jubilation—
vanishing swiftly
as the sea's lace dries in the sun,
but that was not History,
that was only faith,
and then each rock broke into its own nation;
then came the synod of flies,
then came the secretarial heron,
then came the bullfrog bellowing for a vote,
fireflies with bright ideas
and bats like jetting ambassadors
and the mantis, like khaki police,
and the furred caterpillars of judges
examining each case closely,
and then in the dark ears of ferns
and in the salt chuckle of rocks
with their sea pools, there was the sound
like a rumour without any echo
of History, really beginning.//]
''Date:'' (text-colour:black)[1978]
''Poem Analysis:''
(text-colour:black)[The poem begins with a break from the terza rima structure, where the ruler asks for information about the "martyrs of the battle" between the rulers and the subjects. The subject respectfully replies that they lie in the "grey vault," which is the "sea." The poem also references the "caravel" as the "light of benediction" for the poor native subject, which he calls the Genesis of his tribe. The poem also references the "packed cries of the slave ships" as their "exodus," a historical event of wholesale migration of slave subjects transported from Africa. The poem also references drowning, drowning, and the suffering of women as separate entities of the tribe.
The white master asks the native slave, "But where is your Renaissance?" The black subject has no Renaissance, and the white master replies, "It is locked in the sea sands." The poem also touches on the pain of suffering and nostalgia, with the "spires lancing the side of God/as His son set" being a poignant pun on the death of Jesus Christ.
The poem uses animal and insect imagery to describe the mixed psyche of the races in the West Indies. The reader witnesses metaphors like the bullfrog bellowing for a vote, the mantis like khaki police, and the furred caterpillars of judges. After the manmade chaos, the sea, the recorder of their unwritten history, dares to indulge in a "salt chuckle."
Walcott sees some indication of history's real beginning for the West Indies, but he challenges the concept of history, believing it is like a deity, force, or science. He aims to break with the tradition of the English language and literature to invest his diction with the blood of his tribe and challenge traditional definitions and knowledge of history.
]
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[[Ruins of a Great House]]
[[A Far Cry From Africa]]
[[The Poems]] (align:"=============><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Love After Love]]
(align:"==><=")+(text-colour:black)[//The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other's welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.//]
''Date:'' (text-colour:black)[1971]
''Poem Analysis:''
(text-colour:black)[The opening lines of Love After Love reveal the destined event that will happen to the person it will happen to, sparking "elation" and being the product of the person who experiences it. This complex narrative is brought to light through the metaphoric concept of having a person "[arrive at their] own door" and "smile." The reader is encouraged to step into a more metaphoric concept for the lines, as there will be a future moment when this person comes to know and appreciate who they are, and embracing their worth will be a satisfying experience.
The lines do not obey grammar rules, such as dialogue that is not grammatically treated like dialogue and the single word "self" divided into two pieces: "your self." This separation represents the brokenness of the person's heart, which will return one day, and the part that is as their situation caused them to be. This strategy speaks to the freeing element in Walcott's poem by showcasing how freeing it can be to come to know and appreciate oneself.
Beyond this established method of highlighting freedom, the third stanza provides the reader with a sense of what has occurred before this interaction between the speaker and the person addressed. It tells the person to "give back [their] heart to itself," suggesting that they offered their love to someone who did not appreciate it. If the person who was the recipient of that love had cared for it and treated it well, there would be no cause to repossess it since it would have been under good guardianship.
Walcott provides clues as to why the heart needed to be repossessed in mentioning that the reintroduction of this person to their own being will be an introduction to "the stranger who has loved [them]." For someone to become a "stranger" to their own person, something has to separate them from their priorities and ideas. Logically, if a person maintains a sense of self on a day-to-day basis, there is little room to lose track of that self along the way.
In the fourth stanza, Walcott continues the notion that the person addressed has handed over a great deal of self to a third party, as the self that will resurface is one who has been "ignored for another." This idea shows understanding and commitment, and joy will come when this person embraces who they are once again.
In the fourth stanza, Walcott goes on to suggest leaving behind certain things, such as photographs and desperate notes, to prepare for this moment of re-knowing their own being. These notes are "desperate," and while Walcott does not specify whose "desperation" is penned there, the prospect of it belonging to the person addressed is genuine.
After telling the person several things to leave behind, Walcott goes on to advise "peel your own image from the mirror." On first appearance, the statement may feel like a contrasting turn of events, as the speaker repeatedly emphasizes that their self is what they can depend on and what makes them happy. However, Walcott is referencing the reintroduction of the whole person, not just one "image." This image may reflect the person grieving over the heart-breaking relationship, instructing them to look past the immediate grief of the breakup and focus on other, more connected aspects of themselves.
In conclusion, Love After Love highlights the importance of embracing one's identity and the power of forgiveness and reflection. By focusing on personal growth and embracing one's true self, individuals can find happiness and fulfillment in the process.
]
(text-style:"bold","expand")[Table of Contents]
[[Map of The New World]]
[[The Flock]]
[[The Poems]] (align:"=======><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Map of The New World]]
(align:"==><=")+(text-colour:black)[//I Archipelagoes
At the end of this sentence, rain will begin.
At the rain's edge, a sail.
Slowly the sail will lose sight of islands;
into a mist will go the belief in harbours
of an entire race.
The ten-years war is finished.
Helen's hair, a grey cloud.
Troy, a white ashpit
by the drizzling sea.
The drizzle tightens like the strings of a harp.
A man with clouded eyes picks up the rain
and plucks the first line of the Odyssey.//]
''Date:'' (text-colour:black)[1981]
''Poem Analysis:''
(text-colour:black)["Map of the New World" is a poem by William Walcott that explores the aftermath of the British colonization of St. Lucia and the relationship between colonization's historical legacy and the practice of writing poetry in English. The poem was written in 1981 after St. Lucia had just achieved liberation following a ten-year-long war for independence. The poem's profound sense of loss and wandering is informed by this reality, as it questions the fundamental loss of a place that St. Lucia encoded as "new" through the forces of colonization.
Walcott begins by using metaphor to compare the poem to a ship at sea, comparing it to the Odyssey, which implicitly compares St. Lucia's ten-year war for independence with the ten-year war between the Greeks and the Trojans. By referencing Helen's grey hair and the "white ashpit" of Troy, Walcott bypasses the conventional story of the Trojan War and commemorates the wreckage left in their wake.
In the second section, Walcott turns to the English legend of Tristan and Isolde, where Tristan, an English noble, travels across the sea to Ireland, where he falls in love with Isolde. The British legend fares differently than the Odyssey, and Walcott finds power in reclaiming a kind of alternate, Trojan version of the Odyssey for himself as colonized subject.
After independence, what new kinds of writing might be possible? "Far from the curse of government by race," the speaker is able to linger with seditious writing. This sedition is entangled with the island itself. Walcott plays on the word "leaves," which can refer to the pages of a book as well as its more conventional meaning. When "the leaves flash silver signals to the waves," Walcott renders an island landscape that has a voice of its own, which is also the landscape of the book, which is similarly able to speak.
By the end of the poem, this capacity to speak to the sea has become a powerful tool for finding freedom. No longer lost at sea, the poet is able to address the "generous ocean" and ask it to "turn the wanderer / from his salt sheets" and bring him home instead. The "salt sheets" symbolize the wandering writing at sea, but the poem asks for poetry that is no longer lost in the mists at sea and can instead turn towards home.
The final line, "wrench his heart's wheel and set his forehead here," is exceptionally beautiful in describing this theme. The image of setting one's forehead on the earth forms the perfect contrast to being lost at sea, suggesting that the speaker in this poem returns to a place they have already known and, rather than claiming to discover it, is able simply to be with it.
]
(text-style:"bold","expand")[Table of Contents]
[[Love After Love]]
[[The Flock]] (align:"============><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[The Flock]]
''Date:'' (text-colour:black)[1965]
''Poem Analysis:''
(text-colour:black)[The poem begins with an image of winter tightening its grip as migratory birds like teal and mallards fly away from the cold northern hemisphere in search of warmer climates. The poet likens these birds to arrows of yearning, seeking a different sky, and notes that their sense of direction is honed by a season's revolution. In contrast, the poet awakens to the violence of images migrating from his mind, such as a "skeletal forest and a sepulchral knight riding silently at a black tarn's edge," evoking a sense of death and decay.
In the second stanza, Walcott suggests that despite the world's constant changes over centuries, certain things remain unchanged, such as our human interests and fascination with flight. He suggests that as we move forward in time, we should continue to be captivated by the idea of overcoming our limitations, and this is reflected in our art and literature. The last line, "survive our condemnation and the sun's exultant larks," emphasizes that our desire for flight and transcendence remains despite our limited lifespan and the inevitable passage of time.
In the third stanza, the poet reflects on the passage of time and the unchanging nature of the world. He describes the Arctic, with its glaciers that once encased the mastodon and froze giant minds in marble attitudes. The poem suggests that our prepossession with images of flight endures year after year, despite the changes in language, climate, customs, and light.
In the fourth stanza, the poet reflects on his place within this cycle of time, hoping that his mind will reflect on its fixity through the winter, tropic, and equinox when the clear eye clouds like a mirror. The poem ends with a sense of closure as the poet reflects on his journey and the birds' instinctive need to find their secret places.
The narrator suggests that the human mind should reflect upon its own fixity or unchanging nature throughout the seasons. The metaphorical reference to the flock of birds flying across the clear sky represents a change in season, and Walcott portrays the flock as a blessing that crosses the mind, indicating that it is important for the mind to acknowledge and embrace the changes of the season. The journey that the speaker began at the wintry flare of dawn represents the start of a new season, and the flock's instinctive flight to their secret places encourages the speaker to similarly embrace the changes that come with each season.
]
(text-style:"bold","expand")[Table of Contents]
[[The Poems]] (align:"==========><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Theme for English B]]
(align:"==><=")+(text-colour:black)[//The instructor said,
Go home and write
a page tonight.
And let that page come out of you—
Then, it will be true.
I wonder if it’s that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:
It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you:
hear you, hear me—we two—you, me, talk on this page.
(I hear New York, too.) Me—who?
Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.
This is my page for English B.//]
''Date:'' (text-colour:black)[1951]
''Poem Analysis:''
(text-colour:black)[In 'Theme for English B,' the speaker presents an assignment to write a page, describing his life as a young black man born in Winston-Salem, North Carolina. He is the only colored student in his class, making him question his ability to write. The speaker's uncertainty about his position in life and how it relates to others is expressed in the next stanza, which is shorter and only five lines long. He is at a point in his life where he is just starting to understand who he is and what role he has to play.
The speaker compares his life with that of his classmates, who are similar in various ways, such as reading, learning, and understanding life. He is not that different from others, but he is different in one important way: his page will not be white. The speaker learns from his white instructor and suggests that they may learn from him as well, even though they are older and white.
The speaker's relationship with the instructor is influenced by their whiteness, and they sometimes don't want to be part of each other's lives or stories. He learns from his white instructor and suggests that they may learn from him as well, even though they are "older" and white. This idea is explored in the final lines of the text, which
]
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[[Let America Be America Again]]
[[Merry Go Round]]
[[The Poems]] (align:"=====><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Let America Be America Again]]
(align:"==><=")+(text-colour:black)[//Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.
(America never was America to me.)
Let America be the dream the dreamers dreamed—
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.
(It never was America to me.)
O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.
(There’s never been equality for me,
Nor freedom in this “homeland of the free.”)
Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?
I am the poor white, fooled and pushed apart,
I am the Negro bearing slavery’s scars.
I am the red man driven from the land,
I am the immigrant clutching the hope I seek—
And finding only the same old stupid plan
Of dog eat dog, of mighty crush the weak.
I am the young man, full of strength and hope,
Tangled in that ancient endless chain
Of profit, power, gain, of grab the land!
Of grab the gold! Of grab the ways of satisfying need!
Of work the men! Of take the pay!
Of owning everything for one’s own greed!
I am the farmer, bondsman to the soil.
I am the worker sold to the machine.
I am the Negro, servant to you all.
I am the people, humble, hungry, mean—
Hungry yet today despite the dream.
Beaten yet today—O, Pioneers!
I am the man who never got ahead,
The poorest worker bartered through the years.
Yet I’m the one who dreamt our basic dream
In the Old World while still a serf of kings,
Who dreamt a dream so strong, so brave, so true,
That even yet its mighty daring sings
In every brick and stone, in every furrow turned
That’s made America the land it has become.
O, I’m the man who sailed those early seas
In search of what I meant to be my home—
For I’m the one who left dark Ireland’s shore,
And Poland’s plain, and England’s grassy lea,
And torn from Black Africa’s strand I came
To build a “homeland of the free.”
The free?
Who said the free? Not me?
Surely not me? The millions on relief today?
The millions shot down when we strike?
The millions who have nothing for our pay?
For all the dreams we’ve dreamed
And all the songs we’ve sung
And all the hopes we’ve held
And all the flags we’ve hung,
The millions who have nothing for our pay—
Except the dream that’s almost dead today.
O, let America be America again—
The land that never has been yet—
And yet must be—the land where every man is free.
The land that’s mine—the poor man’s, Indian’s, Negro’s, ME—
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.
Sure, call me any ugly name you choose—
The steel of freedom does not stain.
From those who live like leeches on the people’s lives,
We must take back our land again,
America!
O, yes,
I say it plain,
America never was America to me,
And yet I swear this oath—
America will be!
Out of the rack and ruin of our gangster death,
The rape and rot of graft, and stealth, and lies,
We, the people, must redeem
The land, the mines, the plants, the rivers.
The mountains and the endless plain—
All, all the stretch of these great green states—
And make America again!//]
''Date:'' (text-colour:black)[1935]
''Poem Analysis:''
(text-colour:black)[In the first stanza of 'Let America Be America Again,' the speaker asks for the return of the freedom and freedom of the "plain" in America. He reflects on his own experiences as a black man in America, stating that things were always different. The second quatrain emphasizes the real, tangible dream that people could strive for, the "great strong land of love." The speaker questions the idea that America is an idealized place where tyranny has no foothold, but this is only fiction. The speaker's own experience and the speaker's real thoughts about America reveal something different.
The pattern of the previous stanzas dissolves when another two-line stanza follows, with lines seventeen and eighteen in italics. The speaker questions the speaker's negativity and tries to disrupt the normal way people see the world. He represents the collected mind of those who have not been able to get in touch with the American dream, such as the poor white, Native Americans, and immigrant children. He has found nothing in the world to make him believe in the American dream, and the speaker has found nothing in the world to make him believe in it.
The next six lines provide additional lines in response to the question, representing the "young man" who began full of hope but is now stuck in the web of capitalism and the "dog eat dog" world. He uses anaphora to emphasize the need to grab profit, and power, and satisfy needs. He also uses alliteration to make the stanza more rhythmic.
The longest stanza, with twelve lines, speaks on the history of those who have come to America in search of that dream but have been unable to find it. He relates the immigrants who first came to America and the dream they were seeking to its nonexistence today. He casts himself as "the man who staled those early seas" looking for a new home, representing the Irishman, Pole, Englishman, and African "torn from Black Africa's strand" all in America now wanting to build a life.
The word "free" is in question in the following line, asking who would even say the word "free?" The speaker questions who would even say the word "free?" The millions who are "shot down when we strike?" or those who have nothing for their pay? There is no "free" to speak of, and all that remains for those mentioned is the sliver of the dream that's almost dead today.
The opening line of 'Let America Be America Again' is repeated at the beginning, exploring what America is really like and what he would like it to be. He speaks of himself, "ME" and all those who made America what it is, stating that those who should benefit most are those who gave their "sweat and blood." America is built on "faith and pain," and it is those who have given the most that should benefit. The speaker hopes that the dream will return to them someday.
The seventh line admits that many will push back against the speaker, but he remains determined to pursue freedom and make it the America it was meant to be.
In the final lines of ‘Let America Be America Again,’ the speaker explains that from the dark, “rape and rot of graft, and steal, and lies” there will come something bright and good. The people are going to be redeemed and free. The vastness of the country will resemble the vastness and freedom of the people. Those put upon and forgotten will renew the world.
]
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[[Theme for English B]]
[[Merry Go Round]]
[[The Poems]] (align:"=========><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Merry Go Round]]
(align:"==><=")+(text-colour:black)[//Where is the Jim Crow section
On this merry-go-round,
Mister, cause I want to ride?
Down South where I come from
White and colored
Can't sit side by side.
Down South on the train
There's a Jim Crow car.
On the bus we're put in the back—
But there ain't no back
To a merry-go-round!
Where's the horse
For a kid that's black?//]
''Date:'' (text-colour:black)[1942]
''Poem Analysis:''
(text-colour:black)[The poem touches on the sensitive section of racism. The speaker, a child from down south, has grown up around racism and that is all he knows. Now that he is at a carnival, in the North, a new question arises to him, where can he sit on the merry-go-round? As a black child, he has been put in the back and set aside but he can't be put in the back on a merry-go-round because there is no back, it is just a circle. The merry-go-round is a simple joy of childhood just like being able to sit where you want is a simple joy to everyday life. This child is deprived of that joy and the merry-go-round makes it apparent that everybody should have the right to sit where they please and go where they please regardless of the color of their skin. To adults, the issue seemed much more complicated but in the poem the author makes the issue seem silly and insignificant by taking it from a complex idea as most adults viewed into the simplicity of a child wondering where to sit on a merry-go-round.
]
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[[The Poems]] (align:"==============><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Mother to Son]]
(align:"==><=")+(text-colour:black)[//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 finds 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.//]
''Date:'' (text-colour:black)[1922]
''Poem Analysis:''
(text-colour:black)[In the first section of Hughes, the speaker addresses her son, contrasting her own life with a difficult one. The speaker aims to teach her son the lesson that moving forward represents a staircase with "tacks" and "splinters" protruding from the wood, with entire boards missing. The staircase is dangerous and presents new challenges, highlighting the lack of support she received or the missing links in her understanding of what to do next.
The last lines add to the already painful and at times scary staircase, describing the poor conditions she has had to deal with and the struggle it has been. The speaker is still moving forward, hoping that this is the lesson her son learns. She inserts landings into the staircase to describe different periods of her life, allowing her to turn the corner and face the darkened corridors of life.
The speaker is unafraid of what might be on the other side, even when she is entering into the "dark." This character trait she hopes to pass on to her son, as she is unafraid or strong enough to face them. The darkened corridors of life are not only dark but also have never been light, indicating that she is the first one there or one of many who have seen the same.
In the final stanza, the speaker directly addresses her son, using the word "boy" to call his attention and make sure he is still listening to her. She tells her son that no matter what he might be going through, he cannot "turn back" and that there is nothing down the stairs that will help him past an obstacle ahead. She also warns him not to "set down on the steps" and warns him against falling.
The stairs must be handled carefully, as there are broken boards, tacks, and splinters to avoid. These obstacles, not of one's own making, are only emphasized by those brought on by one's choices. The staircase becomes more difficult depending on how one handles their own life.
In the last three lines, the speaker reiterates that even though life is hard, she is still going and "still climbin'" through the hardships.
]
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[[Brotherly Love]]
[[The Negro Mother]]
[[The Poems]] (align:"============><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Brotherly Love]]
(align:"==><=")+(text-colour:black)[//A Little Letter to the White Citizens of the South
In line of what my folks say in Montgomery,
In line of what they’re teaching about love,
When I reach out my hand, will you take it
Or cut it off and leave a nub above?
If I found it in my heart to love you,
And if I thought I really could,
If I said “Brother, I forgive you,”
I wonder, would it do any good?
So long, so long a time you’ve been calling
Me all kinds of names, pushing me down –
I been swimming with my head deep under water,
And you wished I would stay under until I drown.
But I didn’t! I’m still swimming! Now you’re mad
Because I won’t ride in the back end of your bus.
When I answer, “Anyhow, I’m gonna love you,”
Still and yet, you want to make a fuss.
Now listen, white folks!
In line with Reverend King down in Montgomery –
Also because the Bible says I must –
I’m gonna love you – yes I will! Or BUST!//]
''Date:'' (text-colour:black)[1956]
''Poem Analysis:''
(text-colour:black)[The central theme of the narrative is that we are all members of one people, one nation, and one destiny regardless of our skin tone, racial background, or place of origin. Even though he had talked about the difficult love, it is still very difficult and challenging in this country today because there is still violence, crime, racism, and fighting between individuals. However, our identity is not defined by the people around us because one day we will all stand before God for judgment and give an account of ourselves. God doesn’t consider flaws, eyes, skin, or immigration status in this country, nor does he consider any other physical characteristics.
However, this poem and Langston Hughes’ “I, too, Sing America” are comparable because they both describe how white people discriminate against him. When they have guests, they make him leave the room, and they wish he would stay under the water until he perishes. Both poems demonstrate how he rejects these kinds of discriminatory behaviors and thoughts despite tolerating them. As stated in the poem above, he can laugh about it and “keeps swimming” even though the white people wanted him to perish. He strives to make the most of his current circumstances by finding strength, hope, and goodness in them.
Brotherly Love, by Langston Hughes, is a poem about the discrimination of blacks by white people in Montgomery.
What matters to him most is the heart and what is inside. The biblical concept of brotherly love is an extension of the natural affection associated with close family members toward the larger community of fellow believers. It goes beyond the simple command in Leviticus 19:18 to “love thy neighbor as thyself” and manifests as “unfeigned love” from a “pure heart,” which extends an unconditional hand of friendship and loves when not reciprocated, gives without expecting anything in return, and constantly seeks out the best in others.
]
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[[Mother to Son]]
[[The Negro Mother]]
[[The Poems]] (align:"============><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[The Negro Mother]]
(align:"==><=")+(text-colour:black)[//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 finds 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.//]
''Date:'' (text-colour:black)[1931]
''Poem Analysis:''
(text-colour:black)[The Negro Mother, although written by Langston Hughes, a man, comes to readers through the voice of a woman and a former slave. She writes to her children, challenging them to pick up the torch and carry it on, fighting for freedom and equality. Her words paint the image of a strong and passionate black woman who has been abused and mistreated, but who has not succumbed to oppression but has risen above it with a passion in her heart and a song in her mouth. These are the words she wants every black child in America to take to heart.]
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[[The Poems]] (align:"===========><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Ti-Jean and His Brothers]]
(link: "Click Here To Watch The Play")[(goto-url: 'https://www.google.dm/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwjCoMLZoMOAAxXOSzABHZNIAEsQwqsBegQIDRAF&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D5SNnajJKdFE&usg=AOvVaw2Lcblyldkz7wXgXD01ad4z&opi=89978449')]
''Date:'' (text-colour:black)[1958]
(align:"=================><==")[Character List:
1) Ti-Jean
2) Mi-Jean
3) Gros Jean
4) Devil / Planter/ Old Man
5) Mother
6) Bolom
7) Frog]
]
''Analysis:''
[//(text-colour:black)[“Ti-Jean and his Brothers" is a Caribbean folktale by Derek Walcott written in 1958. The protagonist Ti-Jean, short for Tiny Jean, is the youngest of three brothers, each of which challenges Papa Bois/the planter/the devil, the antagonist of this play. The play takes place on the island of Trinidad near a forest. The Prologue of the play provides background information about the characters and introduces the main source of conflict in the play. The play is about three boys who lived with their mother in abject (miserable/hopeless) poverty in a hut on the fringes of a magical forest. Mother looks after her three sons: -
Gros Jean or Big Jean is the eldest who has the gift of physical strength. He is a woodsman.
Mi-Jean or middle Jean, the middle child, is a fisherman only “half as dumb’’. He has the gift of intelligence from 'book smarts'.
Ti-Jean or tiny Jean is the youngest, good-natured who has yet to test himself out in the world. He has the good sense (common sense) to ask his mother AND the forest animals for advice; something his older brothers didn't think or didn't care to do. (His brothers actually blatantly snubbed the forest creatures) Ti-Jean's humbleness and down-to-earth personality won his family riches and saved his own life.
Each boy makes an attempt to take up the Devil’s challenge and use the gifts each possesses to defeat him. The arrival of one Bolom, a spookily shrouded (cloaked) “child of the devil’’ bears this challenge, sending them out to seek their fortune. If any human can make him (the devil) feel “anger, rage, and human emotion,’’ she promises the reward will be “a shower of sovereigns . . . fulfillment, wealth, peace.’’ On the other hand, their failure to achieve this will lead to the boys’ death.
]//]
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[[Pantomime]]
[[The Plays/Drama]](align:"================><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Mulatto]]
(link: "Click Here To Watch The Play")[(goto-url: 'https://www.youtube.com/watch?v=4_6Z1_3btQ8')]
''Date:'' (text-colour:black)[1935]
(align:"======><=====")[Character List:
(text-colour:black)[1) Robert Lewis
2) Colonel Norwood
3) Cora Lewis
4) Sallie Lewis
5) Fred Higgins
6) William Lewis
7) Assorted black servants and white townspeople.]
]
''Analysis:''
[//(text-colour:black)["Mulatto" begins with a son proclaiming to his biological father, "I am your son, white man!" The son describes the scene in the woods against Georgia dusk, where the father rapes his female slaves, claiming they were just a "toy." The son then questions his white half-brothers and half-sisters about their mother's body, revealing that the white mother who birthed his white half-siblings was also a sexual toy. The white children refuse to engage in the blues refrain, separating themselves from their biracial half-siblings.
The son evokes the Southern night and the yellow stars hanging in the sky, describing the slaves' "dark dusk bodies" giving birth to "little yellow bastard boys." The father tells the son to go back into the night because he is not white. The son describes the "bright stars" scattering everywhere, calling it a "nigger night, / A nigger joy." This victory over his father is symbolized by the "bright stars" scattering everywhere, which continue to grow in power and ebullience.
The son boldly proclaims that he is the white man's son, completing the circle. This poem functions to give a voice to the disenfranchised, similar to "I, Too." The speaker starts by defining himself by his white parentage, but after his blood relatives refuse to acknowledge their connection, the narrator answers his own call and empowers himself by imagining other individuals who are just like him. The stars overhead offer him a sense of inclusion, even though his father refuses to accept him.
]//]
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[[Jim-Crow Jerico]]
[[The Plays/Drama]] (align:"============><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Jim-Crow Jerico]]
''Date:'' (text-colour:black)[1964]
(align:"=================><==")[Original Cast List:
(text-colour:black)[1) Joseph Attles
2) William Cain
3) Dorothy Drake
4) Micki Grant
5) Rosalie King
6) Metrogene Myles
7) Gilbert Price]
]
''Analysis:''
[//(text-colour:black)[Jerico-Jim-Crow explores the American Civil Rights Movement, which aimed to free black people from slavery but failed to grant them their fundamental rights. The story revolves around an old woman who recounts her past experiences of slavery, including the separation of her family from each other and the trade of slaves. The woman believes in God and prays for her children to escape the inhuman treatment they endured.
The story also touches on the separation of family members and the white domination of the slaves. The woman believes in God and prays for their escape from hell. The story also touches on the social status of the slaves in South America, where they were treated as commodities and treated as commodities. They were not allowed to live together with their family members, and they were often subjected to brutal treatment by the whites.
The story also touches on the old woman's husband, who moved to the North and fought against slavery and civil rights. The whites hugged him due to his involvement in the Civil Rights Movement, highlighting the cruelty towards humanity. The story highlights the importance of considering equal rights and the struggles of black people in the fight for freedom.
]//]
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[[Mulatto]]
[[The Plays/Drama]] (align:"=><=========================")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:red)[THE ANALYSIS]]
(text-style:"bold","expand")[Subtopics]
[[Author vs Author]]
[[Region vs Region]]
[[Theme vs Theme]]
(text-style:"bold","expand")[Table of Contents]
[[The Beginning]]
[[The Poems]]
[[The Plays/Drama]]
[[The End]]
(align:"===================><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:red)[THE END]]
Dear audience,
As we come to the close of this project exploring the beautiful poetry of Derek Walcott and Langston Hughes, I invite you to reflect on the profound impact of their words and the experiences they shared through their art.
Throughout this journey, we have delved into the rich tapestry of both Caribbean and African American cultures, as reflected in the work of Walcott and Hughes. We have witnessed their ability to weave personal experiences with broader themes of identity, discrimination, love, and resilience.
Now, it is time for us to connect their poems to our own lives and experiences. Take a moment to consider how their words have resonated within you. How has their portrayal of struggle and hope spoken to your own personal journey? What emotions have their verses evoked, and in what ways have they stirred your empathy and understanding?
Whether you find solace in the soothing rhythm of Walcott's "Love After Love" or draw strength from Hughes' powerful depiction of the African American experience in "Let America Be America Again," remember that poetry is not meant to be a solitary endeavor. It is a medium that unites us, transcending boundaries and fostering empathy.
As we bid farewell to the enchanting poems of these two remarkable poets, let their words continue to reverberate within us, encouraging dialogue and inspiring change. May their messages serve as reminders of the power of language and art to challenge discrimination, celebrate diversity, and forge connections between individuals and communities.
Thank you for joining me on this exploration of the poetic voices of Derek Walcott and Langston Hughes. May their legacy guide us as we embrace the beauty and complexity of the human experience.
Thank you for your time,
Zervita Charles
(align:"=============><===")[(text-style:"bold","expand")[Subtopic]
[[Bibliography]]
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[[The Beginning]] ](align:"=======><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[BIBLIOGRAPHY]]
10 of Langston Hughes’ Most Popular Poems. (2021, January 28). Biography. https://www.biography.com/authors-writers/langston-hughes-poems
(text-colour:black)[This site displays the most famous poems of Langston Hughes. This is important as it will help me narrow down my choice of poems.]
Derek Walcott. (2023). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Derek_Walcott&oldid=1161576535#Allegations_of_sexual_harassment
Derek Walcott Poems—Poems by Derek Walcott. (n.d.). Poem Hunter. Retrieved July 11, 2023, from https://www.poemhunter.com/derek-walcott/poems/
(text-colour:black)[This site displays poems by Derek Walcott. This is extremely important as it will help me narrow down my options.]
Foundation, P. (2023a, August 3). Mother to Son by Langston Hughes (https://www.poetryfoundation.org/) [Text/html]. Poetry Foundation; Poetry Foundation. https://www.poetryfoundation.org/poems/47559/mother-to-son
Foundation, P. (2023b, August 4). Map of the New World by Derek Walcott (https://www.poetryfoundation.org/) [Text/html]. Poetry Foundation; Poetry Foundation. https://www.poetryfoundation.org/poems/47662/map-of-the-new-world
Foundation, P. (2023c, August 4). Theme for English B by Langston Hughes (https://www.poetryfoundation.org/) [Text/html]. Poetry Foundation; Poetry Foundation. https://www.poetryfoundation.org/poems/47880/theme-for-english-b
GradeSaver. (n.d.). Pantomime Characters | GradeSaver. Retrieved August 4, 2023, from https://www.gradesaver.com/pantomime/study-guide/character-list
Langston Hughes. (2023). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Langston_Hughes&oldid=1157444062#Sexuality
(text-colour:black)[This Wikipedia site helps provide information on Langston Hughes allowing me to effectively write a short biography on him.
]
LitCharts. (n.d.). LitCharts. Retrieved August 4, 2023, from https://www.litcharts.com/lit/ti-jean-and-his-brothers/characters
Love, L. A. (n.d.). Love After Love by Derek Walcott. Retrieved August 4, 2023, from https://allpoetry.com/Love-After-Love
Merry-Go-Round—Merry-Go-Round Poem by Langston Hughes. (2003, January 3). Poem Hunter. https://www.poemhunter.com/poem/merry-go-round/
Poets, A. of A. (n.d.-a). A Far Cry from Africa by Derek Walcott—Poems | Academy of American Poets [Text]. Poets.Org. Retrieved August 4, 2023, from https://poets.org/poem/far-cry-africa
Poets, A. of A. (n.d.-b). Let America Be America Again by Langston Hughes—Poems | Academy of American Poets [Text]. Poets.Org. Retrieved August 4, 2023, from https://poets.org/poem/let-america-be-america-again
Poets, A. of A. (n.d.-c). The Sea Is History by Derek Walcott—Poems | Academy of American Poets [Text]. Poets.Org. Retrieved August 4, 2023, from https://poets.org/poem/sea-history
Posmentier, S. (2015). The Slave in the Great House: “The Star-Apple Kingdom,” Property, and the Plantation. In A. Brown & V. Smith (Eds.), Race and Real Estate (p. 0). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199977260.003.0016
Rambhau, M. G. (2018). JERICO-JIM-CROW : THE REFLECTIONS OF SLAVERY AND CIVIL RIGHTS MOVEMENT.
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[[The End]] (align:"=======><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[REGION VS REGION]]
Caribbean: (text-colour:#B62000)[1940s-1980s]
(text-colour:black)[The Caribbean region underwent significant changes between 1940 and 1980, in the aftermath of slavery. This period marked a pivotal era of decolonization, social movements, and efforts to establish independent nations in the Caribbean. The region faced various challenges and experienced significant progress in terms of politics, economics, and cultural identity.
In the aftermath of slavery, many Caribbean countries emerged as colonial territories under the rule of European powers, primarily Britain and France. The region was characterized by socio-economic disparities, with a small elite class controlling much of the wealth and power, while the majority of the population lived in poverty and faced limited opportunities for advancement. However, between 1940 and 1980, there were notable shifts in the political landscape as the push for independence gained momentum.
Several Caribbean countries achieved independence during this time, including Jamaica (1962), Trinidad and Tobago (1962), Barbados (1966), and Grenada (1974). These newly independent nations sought to shape their own destinies and address the social and economic imbalances left behind by colonialism. There was a renewed emphasis on fostering national identity and pride, showcasing indigenous cultures and building a sense of unity among the diverse populations.
The post-slavery Caribbean also witnessed the rise of influential political leaders and activists who advocated for social justice and equality. Figures like Eric Williams of Trinidad and Tobago, Michael Manley of Jamaica, and Maurice Bishop of Grenada championed progressive policies, such as education reform, land redistribution, and empowerment of marginalized communities. These leaders played a crucial role in addressing historical injustices and laying the foundation for inclusive societies.
Economically, the region faced challenges in the post-slavery era. Agricultural production, once dominated by plantation crops like sugar and bananas, declined due to global market changes and the need for economic diversification. Many countries turned to tourism, offshore banking, and manufacturing as means of development. The establishment of the Caribbean Community and Common Market (CARICOM) in 1973 aimed to promote regional economic integration and cooperation, facilitating trade and providing a platform for joint decision-making.
Culturally, the post-slavery period saw a resurgence of Caribbean art, literature, and music. Influential writers like Derek Walcott of Saint Lucia and V.S. Naipaul of Trinidad gained international recognition, enriching the literary landscape with their works that explored themes of identity, history, and post-colonial struggles. Additionally, various musical genres, such as reggae from Jamaica and calypso from Trinidad, gained popularity and became powerful expressions of Caribbean culture and resistance.
While the period between 1940 and 1980 presented its share of challenges, the Caribbean made significant progress in asserting its independence, addressing inequalities, and reclaiming cultural pride. The era laid the groundwork for future developments in politics, economics, and cultural expression, shaping the vibrant and diverse region that we know today.
]
(align:"=======><=====")[''Timelime of Major Events That Occured in St Lucia Between 1940s-1980s'']
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North America: (text-colour:#B62000)[1920s-1960s]
(text-colour:black)[Between 1920 and 1960, the United States of America was marked by deep-rooted racism and racial discrimination. Despite advancements and achievements during this time, racial tensions persisted and significantly impacted the lives of African Americans and other minority groups.
The 1920s, known as the Roaring Twenties, saw a surge in economic prosperity and cultural changes, but racism remained prevalent. African Americans faced segregation and systemic discrimination, particularly in the southern states where Jim Crow laws enforced racial segregation and denied them equal rights and opportunities. Racial violence, such as lynchings, was also a common occurrence.
The Great Depression in the 1930s exacerbated racial inequalities. Economic hardships disproportionately affected African Americans, who faced higher unemployment rates and limited access to relief programs. The New Deal policies implemented by President Franklin D. Roosevelt aimed to revive the economy, but they perpetuated racial exclusion and segregated labor practices.
World War II (1939-1945) brought about some changes as African Americans mobilized in support of the war effort. The Double V campaign, advocating for victory against fascism abroad and racism at home, gained momentum. However, racial segregation and discrimination persisted within the armed forces and society at large.
The post-war period witnessed the Civil Rights Movement gaining traction. African American veterans returning from the war were determined to fight for their rights. In 1954, the landmark Supreme Court case Brown v. Board of Education declared racial segregation in public schools unconstitutional, challenging the doctrine of "separate but equal" established by the earlier Plessy v. Ferguson decision.
Throughout the 1950s, African Americans and their allies organized protests, boycotts, and marches to demand an end to racial segregation and discrimination. The Montgomery Bus Boycott in 1955 and the sit-ins in Greensboro, North Carolina, in 1960 were pivotal events that drew national attention to the cause.
Despite these efforts, racism and violence persisted. African Americans faced intimidation, violence, and even death for their involvement in the civil rights movement. Prominent figures like Martin Luther King Jr., Rosa Parks, and Malcolm X emerged as leaders, advocating for racial equality and justice.
While the 1920-1960 period was marked by significant challenges and systemic racism, it also witnessed important strides toward dismantling segregation and institutionalized discrimination. The civil rights movement of the era laid the foundation for the passage of landmark legislation, including the Civil Rights Act of 1964 and the Voting Rights Act of 1965, which aimed to address racial inequalities and protect the rights of African Americans.
However, it is important to note that racism remained deeply ingrained in American society beyond this timeframe, requiring ongoing efforts to achieve true racial equality and social justice. The struggle against racism continues to shape the United States to this day.]
(align:"=======><=====")[''Timelime of Major Events That Occured in the United States of America Between 1920s-1960s'']
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(text-style:"bold","expand")[Table of Contents]
[[Author vs Author]]
[[Theme vs Theme]]
[[The Analysis]] (align:"=======><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[AUTHOR VS AUTHOR]]
(text-colour:black)[Derek Walcott and Langston Hughes are both renowned poets who have made significant contributions to the realm of literature. While their styles and themes may differ, their approach to writing poems reflects their unique experiences and perspectives.
Derek Walcott, a Caribbean poet, often explores themes of identity, history, and the struggles of post-colonial societies in his poetry. His approach to writing is characterized by an intricate use of language and vivid imagery. Walcott's poems are intricate tapestries that weave together multiple cultural and historical threads. His collection "Omeros" is a prime example of his ability to juxtapose mythological and contemporary references, creating a rich and complex narrative.
Walcott's writing approach can be described as meticulous and detailed. He pays careful attention to the intricacies of language and uses it as a tool to evoke emotions and create imagery. His work often explores the complexities of personal and cultural identity, reflecting on the influence of history and colonization. Walcott's writing style is marked by a lyrical quality, with a musicality that resonates throughout his verses. His poems often embrace the beauty of nature and the power of art as a means of healing and liberation.
On the other hand, Langston Hughes, an African-American poet, was a prominent figure of the Harlem Renaissance. His approach to writing differs from Walcott's in several ways. Hughes' poetry is characterized by its simplicity and accessibility. He often used vernacular language, drawing inspiration from the everyday experiences of African-Americans. Hughes' writing style reflects his commitment to representing the voices and struggles of his community.
Hughes' approach to writing can be described as direct and honest. He often employed a conversational tone, speaking directly to his readers. His poems explore themes of racial inequality, freedom, and the African-American experience. Hughes' poetry often celebrates the resilience and strength of the black community, while also highlighting the injustices they face. His work is known for its rhythmic qualities, often adopting the structure and cadence of music or blues.
While both Walcott and Hughes address important social and cultural themes in their poetry, their approach to writing differs in terms of style and complexity. Walcott's poems are often multi-layered, drawing upon a wide range of influences and incorporating multiple perspectives. Hughes' poetry, on the other hand, is more accessible and straightforward, aiming to capture the authenticity and vibrancy of African-American life.
In conclusion, Derek Walcott and Langston Hughes exemplify two distinct approaches to writing poems. Walcott's work is characterized by its linguistic precision and exploration of complex themes, while Hughes' poetry embraces simplicity and directness to give voice to the African-American experience. Despite their differences, both poets have left an indelible mark on the literary landscape, enriching the world of poetry with their unique perspectives and artistry.
]
(text-style:"bold","expand")[Table of Contents]
[[Region vs Region]]
[[Theme vs Theme]]
[[The Analysis]] (align:"=======><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[THEME VS THEME]]
1) Slavery and Post-Slavery vs Racism and Discrimination
(text-colour:black)[Derek Walcott and Langston Hughes, two prominent poets from different cultural contexts, both explore themes of oppression and injustice in their works. While Walcott focuses on the post-slavery and colonialism experiences in the Caribbean, Hughes delves into the reality of racism and discrimination faced by African Americans in the United States. Despite their different approaches, both poets shed light on the lasting impact of these historical injustices, as well as the resilience and spirit of those who have been marginalized.
In his poems, Walcott delves into the aftermath of slavery and colonialism in the Caribbean context. He explores the complex psychological and emotional consequences experienced by individuals and communities who have endured the trauma of these oppressive systems. Walcott's work addresses themes of identity, heritage, and the struggle for freedom. His poetic language and imagery vividly capture the landscapes, culture, and history of the Caribbean, providing readers with a deeper understanding of the legacy of slavery and colonialism.
On the other hand, Hughes focuses on the African American experience in the United States, particularly during the Harlem Renaissance, a period of cultural revival for Black artists and intellectuals. Hughes' poetry confronts the reality of racism and discrimination faced by African Americans, highlighting the systemic injustices that persist in American society. He tackles themes such as racial inequality, social exclusion, and the quest for equality and civil rights.
While Hughes focuses primarily on racism and discrimination, Walcott's exploration of post-slavery and colonialism often intersects with broader themes of race, power, and identity. Both poets call attention to the historical and ongoing struggles of marginalized communities, emphasizing the need for collective action and social change. They also celebrate the resilience, creativity, and cultural richness of these communities, reminding readers of the enduring spirit and strength that has emerged from these challenging circumstances.
In terms of style, Walcott and Hughes differ in their poetic techniques. Walcott's poetry frequently incorporates vivid descriptions of natural landscapes and historical references, creating a sense of place and history. His language can be intricate and rich with symbolism, inviting readers to reflect deeply on the themes he presents. In contrast, Hughes often employs a more direct and accessible poetic style, utilizing colloquial language and rhythms rooted in African American oral traditions. His poetry often features a conversational tone, giving voice to the everyday experiences and emotions of African Americans.
Both Walcott and Hughes provide valuable insights into the impacts of historical injustices and the struggles faced by marginalized communities. Their poetry serves as a powerful tool for social critique and a call for justice and equality. While Walcott's exploration focuses on the Caribbean's post-slavery experience and colonization, and Hughes's work centers on racism and discrimination endured by African Americans, their contributions to literature and their ability to provoke thought and inspire change remain significant and enduring.
]
2) Love for the Caribbean vs Black Resilience in America
(text-colour:black)[Derek Walcott and Langston Hughes, two influential poets of the 20th century, explore different aspects of the African diaspora experience in their works. While Walcott celebrates his love for the Caribbean, emphasizing its cultural heritage and natural beauty, Hughes focuses on themes of black resistance, resilience, and the pursuit of equality for African Americans. Through their poetic voices, both poets shine a light on the struggles and triumphs of their respective communities, shedding important insight into the complexities of race, identity, and history.
Derek Walcott's poetry is deeply rooted in his love for the Caribbean, which he considers both his home and muse. His works often evoke a sense of nostalgia and reverence for the region's rich cultural heritage, diverse landscapes, and historical legacy. Walcott celebrates the beauty of the Caribbean, its vibrant colors, lush vegetation, and rhythmic music and dance. In "Omeros", for example, he weaves together mythology, history, and personal experience to create a tapestry that reflects his deep connection and love for the Caribbean. Walcott's themes of love and admiration for his homeland serve as a counterbalance to the colonial legacies and post-slavery struggles that loom large in Caribbean history.
In contrast, Langston Hughes' poetry is characterized by themes of black resistance and empowerment, as he explores the African American experience in the United States. Hughes uses his poetic voice to expose the harsh realities of racism, discrimination, and systemic inequality faced by African Americans. His poems serve as a call to action, urging his community to fight against injustice and demand equal rights. Hughes' poem "I, Too" defiantly asserts the importance of black representation and inclusion, presenting a vision of hope and resilience in the face of oppression.
While Walcott focuses on celebrating the Caribbean's cultural heritage, Hughes delves into the complexities of black resistance, acknowledging the immense challenges confronted by African Americans throughout history. Both poets highlight the significance of acknowledging and reclaiming one's identity. For Walcott, this means embracing and honoring the diverse influences that have shaped Caribbean culture. For Hughes, it involves asserting the dignity and humanity of African Americans while challenging the dominant narratives that perpetuate racial inequality.
Stylistically, Walcott's poetry often incorporates lush imagery and descriptive language, drawing upon his profound love and admiration for the Caribbean. His use of metaphors and allusions creates a vivid sensory experience that immerses readers in the beauty and complexity of the region. In contrast, Hughes' poetry has a more direct and accessible style, employing straightforward language and rhythm to convey his messages of resistance and empowerment. His colloquial tone reflects the lived experiences and voices of ordinary African Americans.
In conclusion, while Derek Walcott's poetry celebrates his love for the Caribbean and its cultural heritage, Langston Hughes' works focus on themes of black resistance, resilience, and the pursuit of equality. Both poets contribute significant voices to literature, shedding light on the nuanced experiences of their respective communities. Walcott highlights the beauty and complexity of the Caribbean, while Hughes confronts the injustices faced by African Americans head-on, calling for change and empowering his community. Their works remind us of the power of poetry to explore, question, and provoke meaningful discussions about race, identity, and history.
]
(text-style:"bold","superscript","condense")[Table of Contents]
[[The Analysis]] (align:"=========><==")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[A Far Cry From Africa]]
(align:"==><=")+(text-colour:black)[//A wind is ruffling the tawny pelt
Of Africa. Kikuyu, quick as flies,
Batten upon the bloodstreams of the veldt.
Corpses are scattered through a paradise.
Only the worm, colonel of carrion, cries:
"Waste no compassion on these separate dead!"
Statistics justify and scholars seize
The salients of colonial policy.
What is that to the white child hacked in bed?
To savages, expendable as Jews?
Threshed out by beaters, the long rushes break
In a white dust of ibises whose cries
Have wheeled since civilization's dawn
From the parched river or beast-teeming plain.
The violence of beast on beast is read
As natural law, but upright man
Seeks his divinity by inflicting pain.
Delirious as these worried beasts, his wars
Dance to the tightened carcass of a drum,
While he calls courage still that native dread
Of the white peace contracted by the dead.
Again brutish necessity wipes its hands
Upon the napkin of a dirty cause, again
A waste of our compassion, as with Spain,
The gorilla wrestles with the superman.
I who am poisoned with the blood of both,
Where shall I turn, divided to the vein?
I who have cursed
The drunken officer of British rule, how choose
Between this Africa and the English tongue I love?
Betray them both, or give back what they give?
How can I face such slaughter and be cool?
How can I turn from Africa and live?//]
''Date:'' (text-colour:black)[1962]
''Poem Analysis:''
(text-colour:black)[In "A Far Cry from Africa," the poem explores the violence of racial conflicts in the islands. The poem begins with a worm imagery, symbolizing a high-ranking army official officiating over the dead. The worm symbolizes the inversion of power dynamics, as it devours the bodies of the buried dead and turns them to dust. The poem also uses the worm imagery in "Names," where the native is reduced to uncivilized savages or helpless animals that must be hunted. The violence of beast upon beast is seen as natural law, explaining Darwin's theory of evolution and the survival of the fittest. The natives are fearful of the "white peace" offered by the colonizer, as it was used to conceal exploitation in the name of progress and trade. The Europeans, with their impeccable manners, wipe their hands with "brutish necessity" with a tissue of a "dirty cause." The discovery of the West Indies by Christopher Columbus led European nations to seek colonial power over the islands, bringing slaves from Africa to provide labor for these settlements. The poem also presents the African as a "gorilla," representing them as dark, ape-like, and uncivilized, while the white man is "Superman," presenting progress and power. The poet questions where to turn to as he is tainted by the blood of both races. The speaker finds it difficult to choose between "this Africa" and the English language, as the English language has become a vital part of their self. The poet's identity stems from a flow of history and events that have taken his past and given him his future, and he cannot retaliate without suffering an immense loss in the future.]
(text-style:"bold","expand")[Table of Contents]
[[The Poems]] (align:"================><=")[(text-style:"italic","double-underline","fade-in-out","expand")+(text-colour:#FFC300)[Pantomime]]
(link: "Click Here To Watch The Play")[(goto-url: 'https://www.youtube.com/watch?v=b1bC503njMI')]
''Date:'' (text-colour:black)[1978]
(align:"=================><==")[Character List:
(text-colour:black)[1) Harry Trewe
2) Jackson Phillip]
]
''Analysis:''
[//(text-colour:black)[The play revolves around Harry Trewe, an English hotel owner, and his Creole servant in Tobago, Trinidad. Trewe rehearses a play in the hotel lobby, but the rehearsals go poorly. Jackson Phillip, Trewe's assistant, urges him to focus on polishing up the hotel, which is in poor condition. Trewe jokes about committing suicide to escape the work, but Jackson tells him not to because he would get blamed for it.
Trewe persists in his rehearsal of the play, an adaptation of Robinson Crusoe, which is a racial equality play. Jackson manipulates Trewe into helping him, turning him into an imperialist and turning him into an imperialist. Trewe, who is playing the role of Crusoe's servant, is taken aback by this change. Jackson then forces Trewe to play the role of a seagull, angering Trewe.
In Act II, Jackson works loudly on the table to annoy Trewe, and he apologizes for being difficult. He blames his mood on the heat of Tobago and suggests he return to England. After this, Trewe admits he spent all his savings on the hotel and cannot return to England. They resume their hybrid version of the play, with their different styles complementing each other.
The play uses constant role reversal to demonstrate the struggle of colonized people and colonizers to find their identity. After a bathroom break, Jackson instructs him to use his toilet instead of the servant's toilet, but Jackson declines due to the power imbalance between them. This demonstrates the complicated relationship between Jackson, a colonized person, and Trewe, a colonizer.
After the parrot's death, Trewe becomes even angrier, so Jackson plays a slave to appease him. After a run-through of the play, they toast to Trewe's wife, but Jackson does not toast her. He urges Trewe to talk about his suppressed feelings, and Trewe confides in Jackson that he is jealous of his wife's success as an actress and thinks she may have killed their son.
After a short, therapeutic session, Trewe becomes morose and needs Jackson's encouragement to continue with the Robinson Crusoe character. The two men enjoy each other's company and spend the rest of the day laughing. In the end, Jackson asks Trewe for a pay raise.
]//]
(text-style:"bold","expand")[Table of Contents]
[[Mulatto]]
[[The Plays/Drama]]