Posted at 01.02.2019
Langston Hughes is a poet whose works are proclaimed by a number of jazz poetry, included in this being 'The weary blues, ' 'Ask Your Mama' and 'Jazzonia. ' The poems are designated with the recurring phrases of jazz music, which is characteristic of the African -American culture. Jazz music was also seen as a very powerful tool against the status quo that promoted racial delight and individuality. However, when some poets designed the jazz style in their poetry, they wanted to bring some sense of satisfaction and cohesion in conditions of nationality, competition and culture. Langston Hughes in his poetry adopts a 'blue tradition' and therefore he employs a musical and stanzaic framework in his work of poetry. The majority of his poems are grouped in to the eight and twelve club musical stanzas, which can be quality of jazz music. This form of poetry lengthened to Hughes's religious and folk poetry as well. His debate is that jazz is everywhere and here to state for example. He continues to say that whether music artists use jazz in their music to speak for money or for an authentic love for the rhythm, 'jazz is similar to a big sea that washes up all sorts of sea materials, old do better than or of-beat' (Langston, p16).
In Langston's poem entitled 'The Weary Blues, ' the use of jazz as a tool of recurring emphasis is apparent. For instance, '. . . he have a lazy sway. . . he have a lazy sway. . . ' this is a word that is repeated and with regards to the rest of the poem, this was finished with an aim of bringing out the partnership between the unfortunate song and the vocalist of the song. Within the poem, it is obvious that the persona in the poem is seated in a pale, flat pallor of an old gas light. . . ' on a rickety feces. The sluggish sway, in relation to a range in the persona's lines in the tune '. . . and put my troubles on the shelf. . . ' is sufficient to bring out an image of someone relay burdened with life which is left without energy to do anything about them but to wish them away (Langston, p4).
It has been pointed out earlier in the paper that jazz is also an avenue by which poets seek to promote cultural, racial or countrywide cohesion. Hughes' poems use a terms that is quality of the dark American natives. Merely to quote a stanza, '. . . ain't no person but ma do it yourself. . . ' Note the use of ain't instead of isn't, and ma instead of my. He also refers to a Negro, a term that is common among the black Americans and is utilized as a reference name to people of dark-colored ancestry. In times gone, the word Negro was seen to be always a unifying factor one of the dark-colored people, but today, it is considered obsolete which is not frequently used as it sometimes appears to market racism. In the context that the word was used though, it is apparent that it was used in good faith, as it as used to draw out the tribulations that this particular black man was going through at the moment. The emphasis is brought out, one again, by the repetition of the word Negro in stanza three and eighteen, where in fact the poet says, 'I heard the Negro play. . . that old piano moan. . . '(Langston, p. 4).
Jazz, as we have earlier outlined brings about deeper meaning than is seen on the surface. Looking keenly through the words and looking to get a deeper interpretation through them, it's understandable the persona in the poem is certainly going through some psychological pain as a result of life circumstances. How is this presented? The repetition of '. . . make that old piano moan. . . ' can almost coloring a definite picture of the persona's agony, an agony that is projected in the manner in which he pinches the piano, rendering it 'moan. ' A moaning of the piano is most likely a moaning that is in the persona's heart and soul, but only which may be expresses through such personification (Langston, p4).
In Jazzonia, the persona carries a team of six long-headed jazzers, who draw out the theme of the poem, which is deeply ingrained in the poem, in a way that is not easy to pick not though. The repetition of the stanza 'In a whirling. . . long-headed jazzers play. . . ' helps draw out the happy sense in the poem, concerned with the shining tree, bold eye and beautiful Cleopatra. The play of the jazzers can almost be experienced in the dance girl whose eyes are strong. She lifts the silken, golden dress high, offering the playfulness of the persona. 'The shining rivers of the soul' in the next, eighth and fifteenth stanza, are also used in jazz style to point out on the theme of the poem. The streams have been personified to posses a heart and soul, in which there are shining streams that denote enjoyment and type of care-free lifestyle. However, in this poem, there is absolutely no much use of the African-American indigenous language seen as a a shortening of words and a terminology packed with slang (Harold and Cindy p. 77).
Langston Hughes has in a good way managed to combine jazz rhythm into his poetry which he did giving thought to other styles of music like blues. His success to take action can be related to the fact that his poems time frame back to the time when the Dark Arts Activity was making a significant mark in the world, and jazz poetry as a genre of poetry was getting earth in this field, and in a fast manner.
Harold Bloom and Cindy Dyson. , Langston Hughes, Bloom's biocritiques, Atlanta, InfoBase Posting, 2002
Langston Hughes. and Susan Duffy. , The political plays of Langston Hughes, NY, SIU Press, 2000
Sascha Feinsein and Yusef Komunyakaa, The next set: the jazz poetry anthology, Indiana, Indiana University Press, 1996
Langston Hughes, The Weary Blues, published by Alfred A. Knopf, Inc. Copyright 1994, Retrieved on 5th November 2010 from: http://www. poets. org