Censorship In Langston Hughes The Weary Blues

When we read The Weary Blues we must be aware that it is not just a poem - but a fundamental work that cannot ignore the events, the environments, the men, the things that have marked its existence. It symbolizes for many African Americans the "true soul" of the black people and a point of no return in the history of their protest in America. The verses belong to Langston Hughes, an African American poet born in Joplin, Missouri, on February 1, 1902, and became famous - as well as for his poems - also for "the risky nickname" that his colleagues entrusted him: "The Shakespeare in Harlem ". Hughes was a key figure of writer and activist, a putative father of the Negro Renaissance of the 1920s (Chinitz, 2016). This essay will focus on the incredible

The censorship was theoretically banned, but the aesthetic legacies of critics and conformist professors prove to be hard to eliminate - harsher than any political dictatorship. Hughes' poetry does not have precise and calculated cadences of the Italian metric, born in the middle of the Harlem Renaissance and it is "militant poetry" that implodes in the Marxist ideology. His weapon is a type of poetry unique in its kind, full of lyricism, blues rhythm, and jazz-braggart. His "ladies" verses do not bring reverence to the precise structures of classical verses and the angelic blessed - which inspires the Italian poet - in Hughes turns into the black girl dressed in red who walks with her head held high in the streets, glaring with dirty looks the white men watching her go

In his Poetry work, Langston Hughes said that "We young Negro artists who create today hear our individual selves and dark skin without fear or shame. If it pleases whites we are happy. If it does not, it does not matter. We know we are beautiful. And ugly, too. The tam-tam cries and the tam-tam laughs. If it pleases people of color we are happy. If this is not the case, their displeasure does not matter either. We build our temples for tomorrow, as solid as we know how to do, and we stand on top of the mountain, free in ourselves (Hughes,