Hope in the Poems of Langston Hughes Essay Example

The Harlem Renaissance is a literary period exemplified by prolific writers full of inclination to change infused with the empowered desire to turn the hearts of the people in a nation that they have inhabited for generations. It is best understood that when most writers during this period refer to him or herself, they are talking about the Black community in America, of whom they mainly speak to and identify with. Langston Hughes, a superb example of such a writer during this period intertwines certain aspects of hope in the prevalence of the outcast man rising above in three poems including “Democracy,” “I too,” and “Mother to Son” in order to provoke a new tone of awareness and response in the American Voice. 

Hughes implements a message of urgency in “Democracy” in order to convey the gravity of the living conditions amongst the  ethnic minority in America, awakening a sense of action to prevail against the times and allow the oppressed to rise above in the future. The urgency of Hughes' cry for “democracy” is heavily emphasized when he states that “[he] doesn’t need [his] freedom when [he’s] dead, and cannot live on tomorrow’s bread” (“Democracy” 13-14). 

 Hughes also shares that “[he] lives in America too and wants freedom just as you [White American Public]” (“Democracy” 19-21). Hughes inadvertently achieves his goal of “influencing the thinking and actions of men with his poetry,” specifically in this profound piece.” (Paris 26). Use of descriptive language in “Democracy” creates a space for Hughes to pivot the minds of the American people by leaving words of resound measures that further echoes the culprit of his goal as previously described (Paris 26). 

The revelation of how minorities are treated in America become Hughes’ fuel for hope in “I, Too,” which serves as a renewal of such hope amongst the Black community, of whom Hughes is referring to. “I, Too” is a written embodiment of a hopeful future in which all ethnicities in America “sit together at the table” (“Too” 9) that Langston Hughes, along with other members of his community will build for both himself and the many others around him, who are grappling with the destiny of finally being seen and heard as equals (Metzger Karmiol 108). Hughes explicitly describes a fictional table, of which all properly-treated White people thrive at. This table represents a group of people who do not fear for their lives when they step out of the comfort of their homes, and a people who can achieve the American Dream and climb the ladder of success, while also living in the intended pursuit of happiness as so destined by The United States’ forefathers. Alternatively, Black people are forced to enter the dining room from the back door, and essentially eat the scraps from dinner, exemplified by the situation of Black children of those times receiving poor education passed down from outdated, and ragged books received from White schools.  Hughes’ reply to the relationship between Blacks and Whites and the imaginary dinner table is that “tomorrow, [he’ll] be at the table when company comes” (“Too” 9-10). With further hope, Langston looks to the day when “they’ll see how beautiful [he is] and be ashamed, for [he] too, is America” (“Too” 16-18). In this poem, Hughes outlines a hopeful glance at the future for Black Americans in how one day the rest of America will see how much contribution to the flourishing of society is accomplished based on the merit and accreditation of Blacks. Exemplary actions of such behavior in history can be outlined in various Black figures who aid in improving all aspects of life in a variety of industries. 

Hughes forwardly reminds  Black Americans of the successful men and women alike and before them, illustrating the fact that they can move towards further cultivating special hope and growth. Furthermore, “Mother to Son” is purposefully written by Hughes in a monologue style with the goal of developing personal resolution by implementing the familiar relationship of a mother to her  son, of which the mother is giving her son, sound and solidified advice through her own life struggles and triumphs (Wasley 184). The mother in Hughes’ poem builds a rhetorical argument of ethos for her son when she shares with him that “life for [her] ain’t been no crystal stair. It’s had its tacks in it, and splinters, and boards torn up” (Mother ``2-5). In sharing this, the mother is saying that she hears what her son is saying and that she fully relates and identifies with the predicament of his life. Carefully passing down the kindled fire of hope that is inside of her to her son, the mother represents Hughes’ personification of looking to hope as a savior for generations to come. Perhaps more important than realizing that hope is the key to the future, is realizing that continual cultivation of that hope is what truly makes a difference. In doing so, mother ends her words of wisdom to her son by saying “so boy, don’t you turn your back. Don’t you set down on the steps” (“Mother” 14-15). 

Langton Hughes, a prominent  poet during the Harlem Renaissance, profoundly cultivates the influence of hope of a broken people in a broken society, one day destined to rise above in three of his most notable works including “Democracy,” “I, Too,” and “Mother to Son.” Through this, he cultivates a powerful proclamation  to his people, intertwined with hope and encouragement, which establishes his ability to relate to the struggles of the Black man, and how  he dreams for a bigger and brighter future as a natural result of such oppressive struggles. Hughes creates a space for his Black audience to relate profoundly to his work, which consequently influences them to make tremendous efforts in rising above the set status quo, through artistic endeavors that reach that part of the soul, of which is completely necessary. Hughes inflicts change on the intonation of the American voice by raising it with alarms of mistreated people in America, building up the strength to demolish the obstacles set before them by their fellow American man as exemplified by his poetry during the Harlem Renaissance. 

Works Cited

Hughes, Langston. “Democracy” 

Paris, April. “Criticism on ‘Democracy.’” Poetry for Students, edited by Kristin B. Mallegg, vol. 54, Gale, 2016, pp. 17-30. 

Metzger, Karmiol Sheri. “Criticism on ‘I Too.’” Poetry for Students, edited by Sara Constantakis, vol. 30, Gale Cengage Learning, 2009, pp. 106-109 

Wasley, Aiden. “Criticism on ‘Mother to Son.’” Poetry for Students, edited by Marie Rose Napierkowski and Mary Ruby, vol. 3, Gale, 1998, pp. 177-189.