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Racism in literature
Racism in english literature
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Imagine living a life where you are savagely attacked or murdered solely for the color of your skin. Extreme violence and race riots in the United States arose in 1919 where white people targeted African-Americans. The sonnet, “If I Must Die,” by Claude McKay, uses figurative language to view the perspective of oppressed African-Americans who must resist cruel and unfair brutality during a time where opposition is met with violence or even death. The poem begins with the speaker pleading not to die inhumanely like an animal, a hog, and being hunted down; this leads into the next line, “While round us bark the mad and hungry dogs” (Line 3). The comparison between vicious and cruel white punishers and mad dogs highlights an important viewpoint of the speaker: the animalistic aggressors have a …show more content…
Any attempt to change that or threaten it is met with increased brutality. As the poem continues, the author speaks of dying but only accepting death if it is honorable and not in vain. The speaker proceeds with saying, “then even the monsters we defy / Shall be constrained to honor us though dead!” (Lines 7-8). First, the oppressors are compared to dogs and now to monsters; this shows their lack of humanity and compassion to the point where those who they hurt can no longer see them as human beings. Their “monster” status is significant because if others can’t see them as people, there’s a chance they can’t identify the difference between being a person and being a beast. Furthermore, the quote says that if the speaker must die, he will die in such an honorable way that even those who saw him as nothing will have no choice but to respect his death. Similarly, the speaker refuses to die without fighting for his honor and dignity; his perseverance and drive lead him to continue to fight against all odds for even the slightest amount of respect to prove himself as more than just a black
While the poem's situation is simple, its theme is not. Stafford appears to be intimating that life is precious and fragile; however, nothing so clearly discloses these attributes of life as confrontation with death. Furthermore, the very confrontations that engender appreciation of life's delicacies force action-all to frequently callous action.
In his poems, Langston Hughes treats racism not just a historical fact but a “fact” that is both personal and real. Hughes often wrote poems that reflect the aspirations of black poets, their desire to free themselves from the shackles of street life, poverty, and hopelessness. He also deliberately pushes for artistic independence and race pride that embody the values and aspirations of the common man. Racism is real, and the fact that many African-Americans are suffering from a feeling of extreme rejection and loneliness demonstrate this claim. The tone is optimistic but irritated. The same case can be said about Wright’s short stories. Wright’s tone is overtly irritated and miserable. But this is on the literary level. In his short stories, he portrays the African-American as a suffering individual, devoid of hope and optimism. He equates racism to oppression, arguing that the African-American experience was and is characterized by oppression, prejudice, and injustice. To a certain degree, both authors are keen to presenting the African-American experience as a painful and excruciating experience – an experience that is historically, culturally, and politically rooted. The desire to be free again, the call for redemption, and the path toward true racial justice are some of the themes in their
The poem “If We Must Die”, by Claude McKay, very different from Durbar’s poem, “We Wear the Mask”. The voice in this poem has strong and demanding tone. This poem was written for a black movement. ...
...xperienced about not being able to eat at the table when guests would come which refers to how White America has been treating Black America. He then comes to the conclusion that this too shall pass and believes that he will be able to overcome his oppression. McKay portrays his experiences by speaking in a more mature tone about the significant events that have occurred and tries to find a way to tolerate the oppression. He lets White America know that what they have done to Black America was wrong. He shows that even though white America has alienated African Americans and treated them with disrespect, he will not stoop to their level although he is angry about it. The writers make it clear that their poems may differ yet they hold the same meaning of that White America has wronged Black America but it shall pass and in the future they will regret their actions.
In 1919, race riots that were sweeping the country Claude McKay paid tribute to it by writing a poem entitled “If We Must Die.” Encouraged by his poem and of the NAACP and other black leaders, blacks now appeared in public with rifles at their sides (Rosewood Report, 1993, pg8). In southern communities, black residents increasingly carried weapons to protect themselves against the many lynchings that were occurring. Whites lived in fear, convinced that ...
Lastly both Frankenstein's monster and Roy Baty state what it means to be a slave, one to his envy and rage, and the other to a human race that spurns him. "..but I was the slave, not the master, of an impulse, which I detested, yet could not disobey...Evil thence forth became my good."
The first six lines of the poem highlight the incompetence of love when compared to the basic supplies for life. Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again Love can not fill the thickened lung with breath, Nor clean the blood, nor set the fractured bone; It is quite obvious that the narrator highlights everything that requires living in line 1 through 6. Line 1 depicts the deficiency of love as a thing that is not able to provide food as compared to “meat” (1): love cannot hydrate a man as signified by “drink” (1): love cannot refresh a man as signified by “slumber” (2): it does not offer shelter as signified by “a roof against the rain” (2): love cannot give a preserving “floating spar” to a man who is in peril (3): nor will love give air to a “thickened lung” (5): love cannot “set the fractured bone” (6). The narrator describes love as a worthless element in the first 6 lines, but line 7 and line 8 express a tremendous level of violence that people are willing to commit because of the lack of love: “ Yet many a man is making friends with death / Even as I speak, for lack of love alone” (7-8). Line 7 and line 8 is an evidence to prove that no matter what the poet says about love, people are willing to die for it because it is important.
The narrator’s father is being freed from slavery after the civil war, leads a quiet life. On his deathbed, the narrator’s grandfather is bitter and feels as a traitor to the blacks’ common goal. He advises the narrator’s father to undermine the white people and “agree’em to death and destruction (Ellison 21)” The old man deemed meekness to be treachery. The narrator’s father brings into the book element of emotional and moral ambiguity. Despite the old man’s warnings, the narrator believes that genuine obedience can win him respect and praise.
"He said it again and something fell away from me, and I seemed to be telling myself in a rush: You were trained to accept the foolishness of such old men as this, even when you thought them clowns and fools; you were trained to pretend that you respected them and acknowledged in them the same quality of authority and power in your world as the whites before whom they bowed and scraped and feared and loved and imitated, and you were even trained to accept it when, angered or spiteful, or drunk with power, they came at you with a stick or a strap or cane and you made no effort to strike back, but only to escape unmarked. But this was too much…he was not grandfather or uncle or father, nor preacher or teacher. Something uncoiled in my stomach and I was moving toward him, shouting more at a black bur that irritated my eyes than at a clearly defined human face, 'You''ll Kill Who?"
In the second stanza, the poet reveals that in the face of death, the criminal will still be unhappy, even though it is was he wanted all along. Line (7) of the poem, the poet means that hangings are a means of curing society, ridding it of pests (criminals).
The ethical life of the poem, then, depends upon the propositions that evil. . . that is part of this life is too much for the preeminent man. . . . that after all our efforts doom is there for all of us” (48).
Who does not cower in fear upon the thought of death? Almost everybody does! However, people have differing views on the abstract idea of dying. In examining the poem "Because I Could Not Stop For Death? by Emily Dickinson and "Do Not Go Gentle Into That Good Night? by Dylan Thomas, it is evident that the poets use contrasting and comparative techniques in their unique presentations of the concept of death. In the poem "Because I Could Not Stop For Death? Emily Dickinson presents the idea of acceptance of death, whereas in the poem "Do Not Go Gentle Into That Good Night? Dylan Thomas presents the idea of refusal and opposition to death. Despite the differences in theme, these two poets both use similar figurative language devices, such as metaphors, personification and alliteration as they explore their contrasting ideas pertaining to the concept of death. Through the use of their same literacy techniques, both of the authors have presented two very different perceptions on death: Dickinson's message is acceptance whereas Thomas?is rejection.
Instead of dwelling on the loss of honor that the Black man endures, which the white man will not sympathize with, Whittier strips the white man of his dignity. Just as crafty, “The Hunters of Men” feeds on the pride of the white man to bring him to his knees. The poem is so ridiculously obscene that indignation is aroused in the reader (Whittier 584). The satiric poem works because it does not try to raise sympathy for the African, but instead seeks to humiliate the
The first quatrain of the poem begins undermining the idea of death by personifying it. Death is personified by Donne throughout the poem as he challenges death by stating that it is not the “mighty and dreadful” aspect of life that people are afraid of, but as an escape from life where people can find peace after death because “nor yet canst thou kill me” (Donne 1100). He argues that death does not really kill those whom it thinks it kills to further beat death into humility. In the opening line of the poem he uses an apostrophe, “Death, be not proud..” to begin with a dramatic tone to argue with death as people’s adversary (Donne 1100). Death is given negative human traits, such as pride, but also inferiority and pretense.
The fundamental theme of this poem is regarding the significance of succumbing to death, for after having a full life everyone must fearlessly face the end. In addition, the poem emphasizes that one should not fight against the arrival of death in any of its forms. In fact, this argument is first introduced in the title and further displayed throughout Shakespeare's poem. In the first line of all three stanzas, the author begins with the phrase, "Fear no more," openly showing his belief that one should willingly submit to mortality. Furthermore, the poem's theme is displayed through the phrase "all must … come to dust." By acknowledging that death is inevitable for all of humanity, the author attempts to emphasize his belief that one should not "fear" fate. The theme of the poem is also reinforced through repetition. For example, to emphasize his stance, the author repeats the phrase, "Fear no more" in the first line of the first, second, and third stanza of the poem. Once again this occurs with the phrase, "must… come to dust" in the fifth and sixth line of the first, second, and third stanza. This is of importance