Hughes was certainly not the save writer of his time to work to create a uniquely black idiom in literature, but he was arguably the most successful in finding ways to compound Western musical comedy styles with a range of melodic musical forms that had their roots both in traditional African forms, and memorial and musical traditions that had arisen during slavery. The combination of musical and literary traditions reveal themselves in Hughes's ever-so-subtly syncopated meters, as in his "Theme for English B".
Hughes combined both traditional black idioms with still-developing ones and adde
Bascom L. (ed.). A Renaissance in Harlem: Lost Voices of an American Community. New York: Bard, 1999.
Hughes, L. (1995). The collected poems of Langston Hughes. New York: Vintage.
d to them an articulate see red that had been growing throughout Reconstruction over the stagnation of the fall out that blacks were making in American ball club. In "Mulatto" - as in the play by the same name - Hughes speaks of both anger and pain. The poem may be in some give way autobiographical, for Hughes was rejected by his own father not because of his pass but because of his determination to become an artist. The pain that any child feels when rejected by a parent runs through this poem, as does the anger of all of those who have been rejected by society because of how they look rather than who they are.
The poem plays with terms for color, alternately cajoling us and shouting at us. There are "good" change and "bad" colors in this poem - in the same way that there are "good" skin colors and "bad" skin colors. One of the reasons that this poem is so herculean is that the same color - yellow, the color of gold - is simultaneously both good and bad. There is the gold of starlight, the gold that lures people into apiece other's arms:
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