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Red, white and blue, filled with such false pride. Flag colors and skin colors, they would have you divide. Black brother from black brother, and black men from white, manipulating colors to instigate a fight. From the Bloods to the Crips, to the white supremacists, they are soul-mates of hate in an ironic twist. They fail to view life’s colors in high definition. They opt to see their lives in black and white television. They mistakenly believe that it’s the colors that bind, lost within the duotone prisons of their minds. Perhaps they’ll escape the chains that have locked down their brains, and begin to see other hues than just the red, white and blues.
– (McCullough, 2011)
Critical Threshold
'Twas mercy brought me from my Pagan land, Taught my benighted soul to understand that there's a God, that there's a Savior too: Once I redemption neither sought nor knew. Some view our sable race with scornful eye, "Their colour is a diabolic die." Remember, Christians, Negro's, black as Cain, May be refin'd, and join th' angelic train.
- (Wheatley, 1834)
At the tender age of seven, Phillis Wheatley was brought from Africa to Boston as a slave. Slaves were not typically thought of as bright, creative or intelligent, but her owner saw a light in Phillis and at the age of thirteen, she tried her hand at poetry. Her experience was a unique one, given the opportunity to expand her mind by her owner, but unable to lift the veil of actually being a slave. Her poem expresses her great arrival from Africa, a joyous adventure, being rescued. If only all slaves were given this great arrival experience, more joyous poetry from slaves may have been written. I enjoy this simplicity of this poem from the eyes of a thirteen year old slave child who wa...
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Hughes, L. (1994). I too. The collected poems of Langston Hughes. Knopf and Vintage
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Lawore, A. (2002). Africa…My Africa. Africa redemption magazine. Ghana
Mason, Matthew. 2006. Slavery and Politics in the Early American Republic. Chapel Hill,
NC: University of North Carolina Press.
McCullough, P. (2011). Un-American. Black Poems
Rubel, D. 2005. The Coming Free: The Struggle for African-American Equality. New York,
NY: DK Publishing, Inc.
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IL. Harriet Monroe Poetry Institute.
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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
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.
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
Phillis Wheatley marks the beginning of the African-American literary tradition. Although she is the first African-American to become a published author, it is Wheatley’s work that proves her originality as it reflects a specific time in American history, her status as a slave, and a young woman of Christian faith (Harris). Each of these inherently contribute to her fresh African-American perspective. Wheatley is ingenious in the way she subtly ties in the roots of slavery and racism in a way that whites did not feel guarded. Not only does her work allow those with a conscious to at least somewhat consider the African-American point of view, but it invites criticism by those who care not to see African-Americans as intelligent equal beings that deserve respect. Some of the African-American community also criticizes that Wheatley did not speak enough about the injustices of slavery and prejudices of her time (Scheick). These critics are simply unable to see the Wheatley’s intent as her writing breeds originality and attention to a young and well-educated African-American woman whose words could stifle her freedoms if put any other way. In evaluating Wheatley’s On Being Brought from Africa to America, An Hymn to the Evening, and To the University of Cambridge, in New-England it is clear to see that she could only be imitative in style perhaps, but nuances of her heritage is what places her “writing at the heart of any definition of an African-American canon” (Harris).
Mason, Jr., Julian D. The Poems of Phillis Wheatley. Chapel Hill: The University of North Carolina Press, 1989.
The eyes of potential soul arose into the world in Senegambia, and half way around the world in Easton arisen a soul to be etched into the world forever. A girl , no , a woman I should say given the strength possessed in the soul of her body and mind and certainly a man , a man who will grow to learn fathoms of knowledge breaking the impenetrable minds of those who heard silence. These two were of separate shades although fused from one deep pigment. Two of the most renowned black writers that were for the abolitionist movement in America were Frederick Douglass and Phillis Wheatley. During the times of slavery, finding a literate black slave who could read the very words of a paper who could then think for themselves and stand up to show who they were , to speak with wisdom to tell off the silenced cowards who looked away at the reality of the world was rare . These two authors with bold spirits managed to write literature that inspired the minds of people to change. Wheatley would move her readers with a delicate, yet powerful literature while Douglass would use strong authoritative use of words. ……During the years of 1773 and 1845, works of perfection and meaning arose. In 1773 a work by Phillis Wheatley was published. A poem called “On Being Brought from Africa to America” that had described a doomed destiny but enclosed in a veil of liberation and sovereignty. Wheatley was one of the more passive writers. She knew she was a slave reckoned with no moral standing in the eyes of the whites, and she was aware of her place in society as against the whites. She knew the only way to grasp the attention of her readers was to enflame them in anger. When analyzing slavery...
Phillis Wheatley, who is now known as one of America’s most scholarly writers, has made a major impact on American Literature today. Her role in Literature had influenced many African Americans during this time period because it was very uncommon for them to become educated. Her poems made some people realize that they shouldn’t have slaves. Many people say that Phillis Wheately should go down in history as a hero while others say that she should not. Phillis is a historical hero because of the extraordinary courage that she showed by writing her poems while facing the adversities that she encountered. People disagree with this statement because they say that she did not make a difference in history.
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.
Phillis Wheatley was a black slave born in Africa. She was taken to Boston in 1761 when he was eight years old and was purchased by a wealthy tailor who brought her to America. Wheatley was fortunate to learn how to read and write taught by her master Susannah (419). One of Wheatley’s poems “On Being Brought from Africa to America” describes her discovery of her identity in this world. In the first two lines of the poem “‘Twas mercy brought me from my pagan land, / Taught my benighted soul to understand (lines 1-2)” Wheatley expresses that moving out of Africa and being exposed to the religion of Christianity was a good thing for her. She feels that her “benighted,” or dark soul is now a lighter soul. In the next two lines “That there's a God, that there's a Savior too: / Once I redemption neither sought nor knew (lines 3-4).” Wheatley is pleased ...
Though this poem is only a small snapshot of what I personally thought Douglass was going through, I could never adequately understand the frustration he must have had. My hope in writing this poem was not to provide a psychoanalysis or theoretical idea structure to any audience, but rather to show that even today, a modern audience member like me, can appreciate the struggle of a fellow human and speak against injustices, specifically in Douglass’s time.
Wheatley’s poem, “On Being Brought from Africa to America” is part of a set of works that Henry Louis Gates Jr. recognized as a historically significant literary contribution for black Americans and black women (Baym et al. 752). Addressed to the Christians who participated in the slave trade, the poem is meant to reveal the inconsistencies between their actions and the Christian Ideal. Whether perceived as a work of sincerity or a work of irony, the poem conveys the message that an individual’s behaviors are influenced by the examples of others and that all people are equal. Understanding Phillis Wheatley’s intent in her poem, “On Being Brought from Africa to America,” is gained by considering all of the aspects of her existence when analyzing her work and even though perception is based on individual perspective, analysis and explication will reveal the contrariety Phillis Wheatley observed between society and the Christian Ideal and evidence her desire for the dissolution of every inequality.
This poem is written from the perspective of an African-American from a foreign country, who has come to America for the promise of equality, only to find out that at this time equality for blacks does not exist. It is written for fellow black men, in an effort to make them understand that the American dream is not something to abandon hope in, but something to fight for. The struggle of putting up with the racist mistreatment is evident even in the first four lines:
What is freedom? This question is easy enough to answer today. To many, the concept of freedom we have now is a quality of life free from the constraints of a person or a government. In America today, the thought of living a life in which one was “owned” by another person, seems incomprehensible. Until 1865 however, freedom was a concept that many African Americans only dreamed of. Throughout early American Literature freedom and the desire to be free has been written and spoken about by many. Insight into how an African-American slave views freedom and what sparks their desire to receive it can be found in any of the “Slave Narratives” of early American literature, from Olaudah Equiano’s The Interesting Narrative of the Life of Olaudah Equiano, or Gustav Vassa, the African published in 1789, to Frederick Douglass’s Narrative of the Life of Frederick Douglass, An American Slave, Written by Himself which was published in 1845. Phillis Wheatley’s poetry and letters and Martin R. Delany’s speech Political Destiny of the Colored Race in the American Continent also contain examples of the African-American slaves’ concepts of freedom; all the similarities and differences among them.
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.