Academic journal article Twentieth Century Literature

Do Right to Write Right: Langston Hughes's Aesthetics of Simplicity

Academic journal article Twentieth Century Literature

Do Right to Write Right: Langston Hughes's Aesthetics of Simplicity

Article excerpt

The one thing most readers of twentieth-century American poetry can say about Langston Hughes is that he has known rivers. "The Negro Speaks of Rivers" has become memorable for its lofty, oratorical tone, mythic scope, and powerful rhythmic repetitions:

I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins. (1656)

But however beautiful its cadences, the poem is remembered primarily because it is Hughes's most frequently anthologized work. The fact is, "The Negro Speaks of Rivers" is one of Hughes's most uncharacteristic poems, and yet it has defined his reputation, along with a small but constant selection of other poems included in anthologies. "A Negro Speaks of Rivers," "A House in Taos," "The Weary Blues," "Montage of a Dream Deferred," "Theme for English B," "Refugee in America," and "I, Too"--these poems invariably comprise his anthology repertoire despite the fact that none of them typifies his writing. What makes these poems atypical is exactly what makes them appealing and intelligible to the scholars who edit anthologies--their complexity. True, anthologies produced in the current market, which is hospitable to the African-American tradition and to canon reform, now include a brief selection of poems in black folk forms. But even though Hughes has fared better in anthologies than most African-American writers, only a small and predictable segment of his poetry has been preserved. A look back through the original volumes of poetry, and even through the severely redrawn Selected Poems, reveals a wealth of simpler poems we ought to be reading.(1)

Admittedly, an account of Hughes's poetic simplicity requires some qualification. Most obvious is the fact that he wrote poems that are not simple. "A Negro Speaks of Rivers" is oracular; "The Weary Blues" concludes enigmatically; "A House in Taos" is classically modernist in both its fragmented form and its decadent sensibility. Even more to the point, many of the poems that have been deemed simple are only ironically so. "The Black Christ," for example, is a little jingle that invokes monstrous cultural complexity. Likewise, two later books, Ask Your Mama (1961) and The Panther and the Lash (1967), contain an intricate vision of American history beneath their simple surfaces.(2) Nevertheless, the overwhelming proportion of poems in the Hughes canon consists of work in the simpler style; and even those poems that can yield complexities make use of simplicity in ways that ought not to be ignored.

The repression of the great bulk of Hughes's poems is the result of chronic critical scorn for their simplicity. Throughout his long career, but especially after his first two volumes of poetry (readers were at first willing to assume that a youthful poet might grow to be more complex), his books received their harshest reviews for a variety of "flaws" that all originate in an aesthetics of simplicity. From his first book, The Weary Blues (1926), to his last one, The Panther and the Lash (1967), the reviews invoke a litany of faults: the poems are superficial, infantile, silly, small, unpoetic, common, jejune, iterative, and, of course, simple.(3) Even his admirers reluctantly conclude that Hughes's poetics failed. Saunders Redding flatly opposes simplicity and artfulness: "While Hughes's rejection of his own growth shows an admirable loyalty to his self-commitment as the poet of the 'simple, Negro commonfolk' . . . it does a disservice to his art" (Mullen 74). James Baldwin, who recognizes the potential of simplicity as an artistic principle, faults the poems for "tak|ing~ refuge . . . in a fake simplicity in order to avoid the very difficult simplicity of the experience" (Mullen 85).

Despite a lifetime of critical disappointments, then, Hughes remained loyal to the aesthetic program he had outlined in 1926 in his decisive poetic treatise, "The Negro Artist and the Racial Mountain." There he had predicted that the common people would "give to this world its truly great Negro artist, the one who is not afraid to be himself," a poet who would explore the "great field of unused |folk~ material ready for his art" and recognize that this source would provide "sufficient matter to furnish a black artist with a lifetime of creative work" (692). …

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