Similar to that of Oludah Equiano’s narrative, Phillis Wheatley was the first African-American woman in America to publish her book of poems. Being subject to a variety of discriminations, being a woman and black she was able to publish successful poems, although commonly directed at the religious aspect of the importance of Christianity for a slave, she also touches upon issues relating to race in “On Being Brought from Africa to America” being a powerful insight into slavery leading us to connect these issues into Gilroy’s idea of the “Black Atlantic”. Using rhyme and iambic pedometer "On Being Brought" mixes themes of slavery, Christianity, and salvation, and although it's unusual for Wheatley to write about being a slave taken from Africa …show more content…
to America, this poem powerful addresses ideas of liberty, religion, and racial equality. Phillis Wheatley’s writings is all centred around the subject of change, as is the way we view the “Black Atlantic” Wheatley had to change her country, her name and chose to change her religion in order to help conquer the ideal her life had be subject to. According to Paul Gilroy, the term "Black Atlantic world" refers to the transformations that resulted from "this historical conjunction--the stereophonic, bilingual, or bifocal cultural forms originated by, but no longer the exclusive property of, blacks dispersed within the structures of feeling, producing, communicating, and remembering." This idea is greatly a part of the historical and cultural connections presenting the struggles of Black people as being able to enhance the modern world into what it is today, with migration and resistance to this change being of vital importance to the “Black Atlantic” world.
As Gilroy wrote: "The history of the black Atlantic since then, continually crisscrossed by the movement of black people--not only as commodities--but engaged in various struggles towards emancipation, autonomy, and citizenship, is a means to re-examine the problems of nationality, location, identity, and historical memory." The poem by Phillis Wheatley greatly enlightens Gilroy’s thesis, being a strong figure in the fight for freedom and equality within the Black community, also emphasizing the idea that knowledge is power to those Black people who were unable to read and write, seeing the impact she made through her poems. England, unlike the United States, gave Black intellectuals the opportunity to publish their writings. The poem by Phillis Wheatley greatly enlightens Gilroy’s thesis, being a strong figure in the fight for freedom and equality within the Black community, also emphasizing the idea that knowledge is power to those Black people who were unable to read and write, seeing the impact she made through her
poems. Religion is a very important theme in both Oludah’s Narrative and Phillis Wheatley’s On being brought from Africa to America playing a vital role in “Black America”... “I thought I could plainly trace the hand of God, without whose permission a sparrow cannot fall. I began to raise my fear from man to him alone, and to call daily on his holy name with fear and reverence: and I trust he heard my supplications, and graciously condescended to answer me according to his holy word, and to implant the seeds of piety in me, even one of the meanest of his creatures.” Here Equiano introduces us to the depth of his spiritual nature, converting from converting from the Eboe religion into Christianity, as he practiced his Christianity, he could see that the white people were not following the teachings of the religion, which maintained a great deal of power in fuelling a Black uprising and shaping modernity and the Atlantic forever. Equiano is even baptized in 1759; Religion thus permeates the text and is an important component in Equiano's attainment of selfhood and identity. Again, Equiano gives us an insight into his spirituality as he explains “O, ye nominal Christians! might not an African ask you-- Learned you this from your God, who says unto you, Do unto all men as you would men should do unto you? …Why are parents to lose their children, brothers their sisters, or husbands their wives? Surely this is a new refinement in cruelty…” Equiano uses this as a way to connect with the reader and offer white people the chance to reflect their beliefs that they seem to be ignoring. His faith is ultimately what gives him the strength to survive and progress despite this ordeal and may his life rest with God. This poses us the question as to whether this hope which comes with the Bible offers little release as “Gods will be done” and if this is for slavery to occur can also offer strength in the sense that it is all part of God’s greater plan and there is some form of salvation in the end.
Wheatley was born in West Africa around 1750, and was captured when she was 7. John Wheatley purchased Phillis for his wife, Susanna; together they taught Phillis how to read and write, and as early as 12, Phillis was writing poetry and her first poem had been published. Wheatley’s poems implicitly advocated for racial equality, while condemning slavery. Her work received some negative feedback from political figureheads, such as Thomas Jefferson. White America classified a human as having the ability to read, write, and reason; therefore, leaving no room for the uneducated Africans, seeing Africans as nonhuman. Jefferson claimed Wheatley’s work was not literature because the moment he admitted Wheatley’s work was indeed literature, he would have had to admit she was a human being. The way Phillis Wheatley handled the adversity she faced is admirable. Wheatley definitely impacted American history, and “owes her place in history to advocates of inequality” (Young 1999
Readers unfamiliar with Phillis Wheatley may wonder of her background and who she was in particular to be able to gain rights to be mentioned in early American literature. Wheatley was born in 1753 and was captured by Africans, and sold to an American family known as the Wheatley’s. She quickly became a member of the Wheatley family, living in the home, and being tutored on reading and writing.
As a final point, Phillis Wheatley may have been bought a slave but she never lost faith and ended up being one of the best known poets in the early nineteenth century. This poem illustrates how she was living in darkness in Senegal, West Africa and because of slavery she was bought and brought to America. In this poem “On Being Brought from Africa to America,” Wheatley uses poetic devices such as similes, metaphors, hyperboles to illustrate color and darkness, multiple meanings of words, and the relationship between skin tone and salvation. This poem seems to be a narrative of her life and how slavery might have been the best thing that happened to her.
Throughout the poem, “To the University of Cambridge, in New England”, Phyllis Wheatley suggest that she accepted the colonial idea of slavery, by first describing her captivity, even though this poem has a subversive double meaning that has sent an anti-slavery message. Wheatley’s choice of words indicates that her directed audience was educated at a sophisticated level because of the language chosen. Her audience was assumingly also familiar with the bible because of the religious references used. The bible was used as a reference because of its accessibility. Wheatley uses religious references to subversively warn her readers about slavery and its repercussions and to challenge her reader’s morals.
To further analyze a more spoiled African American of the time, Phillis Wheatley did address the issues of her race as much as Sojourner Truth did. Wheatley mainly wrote “to Whites, for Whites and generally in the Euro-American tradition at that time” (Jamison 408). Her content focused on Christianity, morality, virtue, and other non-African-American-related topics. Her poetry has an underlying attitude of a white, not an African American. She shares the same views and attitude as a Caucasian, therefore she is part of African American literature because she was born into it, but she did not share the particular views and struggles of the African American population. She was heavily praised, because it was not expected from an African such as herself, although her upbringing should be considered. Some white men admired her work, because it was more than
Phillis Wheatley overcame extreme obstacles, such as racism and sexism, to become one of the most acclaimed poets in the 18th Century. Her works are characterized by religious and moral backgrounds, which are due to the extensive education of religion she received. In this sense, her poems also fit into American Poetry. However, she differs in the way that she is a black woman whose writings tackle greater subjects while incorporating her moral standpoint. By developing her writing, she began speaking out against injustices that she faced and, consequently, gave way to authors such as Gwendolyn Brooks and Countee Cullen.
Phillis Wheatley was an African-born slave in the last quarter of the eighteenth-century in New England. She was born in West Africa and brought to America on the slave ship Phillis. She was, however, much more than chattel-she was a poet. Phillis was the first African American to have a book published. In a time when women were not expected to be able to read or write, and when teaching an African American to be literate was frowned upon, Phillis Wheatley became educated in Latin and English literature. The education of Phillis Wheatley was, for the most part, for the intent of training "a servant and would-be companion for domestic utility," in which they undoubtedly succeeded. However, they "got an intellectual adornment" who, with her knowledge of the poems of Alexander Pope, the "Puritanical whiteness of her thoughts," and ability to write poems, soon became a celebrity among Boston?s social elite (Richmond 18,19).
The poetry of Phillis Wheatley is crafted in such a manner that she is able to create a specific aim for each poem, and achieve that aim by manipulating her position as the speaker. As a slave, she was cautious to cross any lines with her proclamations, but was able to get her point across by humbling her own position. In religious or elegiac matters, however, she seemed to consider herself to be an authority. Two of her poems, the panegyric “To MAECENAS” and the elegy “On the Death of a young Lady of Five Years of Age,” display Wheatley’s general consistency in form, but also her intelligence, versatility, and ability to adapt her position in order to achieve her goals.
The clash between racial reality and idea is what is artistically shown in “on being brought from Africa to America”. Wheatley is a subtle rebel. At the beginning of her poem she shows thanks for being enslaved because it brought happiness to her life in finding Christianity, but as time goes by we start to see the true tone of Wheatley, which clearly show in the last two lines of the poem, now Wheatley begins to take a big position of power as if she already has the attention of the reader. Wheatley continues by saying that Africans may not be perfect but the Christians who enslave human beings aren’t
Gwendolyn Brooks is the female poet who has been most responsive to changes in the black community, particularly in the community’s vision of itself. The first African American to be awarded a Pulitzer Prize; she was considered one of America’s most distinguished poets well before the age of fifty. Known for her technical artistry, she has succeeded in forms as disparate as Italian terza rima and the blues. She has been praised for her wisdom and insight into the African Experience in America. Her works reflect both the paradises and the hells of the black people of the world. Her writing is objective, but her characters speak for themselves. Although the idiom is local, the message is universal. Brooks uses ordinary speech, only words that will strengthen, and richness of sound to create effective poetry.
Gwendolyn Brooks was born in Topeka, Kansas, in 1917. She grew up in a harsh, racist time period along with The Great Depression. Brooks’ poems were influenced from this and encouraged her to write many poems about the life of a black American. “She was inspired by the black power movement and the militancy of such poets as Amiri Baraka” (Barker, 448). During the 1960s her writing underwent a racial change in style and subject matter. Brooks learned to write such great poems at the Associate of Literature and Art, Wilson Junior College, 1936. Writing many known poems such as: A Street in Bronzeville, Annie Allen, Maud Martha, Bronzeville Boys and Girls, The Bean Eaters, etc. She’s a poet of contemporary writings; her poems mirror the ups and the downs of black American lives at this time. Although she writes with great encouragement and wisdom, she looks at everything with an open mind. Her characters speak for themselves. “Her works sometimes resembled a poignant social document, but her poems are works of art…” (Miller, 78). One can picture a vivid idea of Bronzeville, U.S.A. because of the great details she puts into her poems. A black district in her native Chicago, that serves as the setting for many of her poems. “Her characters are usually the unheroic black people who fled the land for the city- only to d...
In 1942, Margaret Walker won the Yale Series of Younger Poets Award for her poem For My People. This accomplishment heralded the beginning of Margaret Walker’s literary career which spanned from the brink of the Harlem Renaissance of the 1930s to the cusp of the Black Arts Movement of the 1960s (Gates and McKay 1619). Through her fiction and poetry, Walker became a prominent voice in the African-American community. Her writing, especially her signature novel, Jubilee, exposes her readers to the plight of her race by accounting the struggles of African Americans from the pre-Civil War period to the present and ultimately keeps this awareness relevant to contemporary American society.
The contradiction of being both black and American was a great one for Hughes. Although this disparity was troublesome, his situation as such granted him an almost begged status; due to his place as a “black American” poet, his work was all the more accessible. Hughes’ black experience was sensationalized. Using his “black experience” as a façade, however, Hughes was able to obscure his own torments and insecurities regarding his ambiguous sexuality, his parents and their relationship, and his status as a public figure.
The Olaundah Equiano narrative is a view of servitude from a former captive himself. He begins his story in Africa from the land of Esska, his native homeland. He describes his tribe and all the many traditions they practiced as a way of living. Equiano was not originally born into servitude but a free male, son of a chief. Equiano’s life in Africa was common among the many members of his tribe. He was strongly attached to his mother and clenched to her as much as possible. His father obtained many slaves himself, but treated them like an equal part of the family. Equiano lived a common life in African society, until one day his destiny took an unexpected turn for the worst and life would never be the same.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.