Langston Hughes: Folk Dramatist in the Protest Tradition, 1921-1943

By Joseph McLaren | Go to book overview

only if they were portrayed as speakers of vernacular. However, he also realized that preservation of black folk life, though of cultural importance, was not his sole responsibility as a dramatist. The social conditions of black Americans, the glaring inequities of segregation and racism, were issues that should be addressed in black theatre.


NOTES
1.
Onwuchekwa Jemie, Langston Hughes: An Introduction to the Poetry ( New York: Columbia UP, 1976) xxvi.
2.
Arnold Rampersad, The Life of Langston Hughes, Vol. I: 1902-1941, I, Too, Sing America ( New York: Oxford UP, 1986) 45-48.
3.
Langston Hughes, The Gold Piece, ts., cat. #457, LHP-YUBL. This note was found on the title page of a carbon copy of the manuscript.
4.
Rampersad 48.
5.
Langston Hughes, The Gold Piece: A Play That Might Be True, Brownies' Book 2.7 ( July 1921): 190-92.
6.
Langston Hughes, The Weary Blues ( New York: Knopf, 1926) 91.
7.
Leo Hamalian and James V. Hatch, eds., The Roots of African American Drama: An Anthology of Early Plays, 1858-1938 ( Detroit: Wayne State UP, 1991) 187.
8.
Zora Neale Hurston, Color Struck: A Play in Four Scenes, Fire!! 1.1 ( Nov. 1926): 10.
9.
Hamalian and Hatch 187.
10.
Langston Hughes and Zora Neale Hurston, Mule Bone, ts., cat. #3861- 3863, LHP-YUBL. Hughes's initials alone appear on this draft, which contains on the title page "Jelliffe House."
11.
Rampersad 184-85, 194-98. Rampersad details the events of Hughes and Hurston's "falling out," which involved questions of copyright and coauthorship as well as Hurston's view of the role of Louise Thompson as reviser of the play. Much of the material is constructed from personal correspondences and Hughes's remarks in The Big Sea; Ralph D. Story, Patronage and the Harlem Renaissance: You Get What You Pay For, CLA Journal 32 ( March 1989): 285.
12.
Henry Louis Gates Jr., A Tragedy of Negro Life, Mule Bone: A Comedy of Negro Life, by Langston Hughes and Zora Neale Hurston, ed. George Houston Bass and Henry Louis Gates Jr. ( New York: HarperPerennial, 1991) 5-22. Following Rampersad's detailing of the Mule Bone controversy, Gates discusses the motivation behind Hughes and Hurston writing of Mule Bone and the chronology of the play's unfortunate history through 1931.
13.
Gates, A Tragedy13.
14.
Robert E. Hemenway, From Zora Neale Hurston: A Literary Biography, Mule Bone: A Comedy of Negro Life, by Langston Hughes and Zora Neale Hurston , ed. George Houston Bass and Henry Louis Gates Jr. ( New York: HarperPerennial, 1991) 174.
15.
Langston Hughes, The Big Sea ( New York: Hill and Wang, 1940) 331- 34.

-29-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Langston Hughes: Folk Dramatist in the Protest Tradition, 1921-1943
Table of contents

Table of contents

  • Title Page iii
  • Publication/Copyright Page iv
  • Dedication Page v
  • Contents ix
  • Foreword xi
  • Note xiii
  • Acknowledgments xv
  • Abbreviations xvii
  • Introduction 1
  • Endnotes 12
  • Chapter 1 - Folk Comedy in Collaboration: The Mule Bone Affair 17
  • Endnotes 29
  • Chapter 2 - Radical Drama and the Black Community 33
  • Endnotes 54
  • Chapter 3 - The Tragic Mode: Mulatto 59
  • Endnotes 74
  • Chapter 4 - The Gilpin Players and the Karamu Comedies 79
  • Endnotes 97
  • Chapter 5 - The Karamu Tragedies 101
  • Endnotes 114
  • Additional Info *
  • Chapter 6 - The Harlem Suitcase Theatre 117
  • Endnotes 136
  • Chapter 7 - Community Theatre, Black Iconography, and World War II 141
  • Notes 159
  • Notes 165
  • Notes 170
  • Afterword 173
  • Bibliography 175
  • Index 181
  • About the Author *
  • Recent Titles in Contributions in Afro-American and African Studies *
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 196

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.