The Structure Of Water Lily By Langston Hughes

“The history for Blacks in America starts at slavery,” the further I ponder this statement from my friend Joe, a navy veteran, the more I do not believe it to be true. Today many Blacks in America do not remember stories of their African heritage. Although, they may not know their African history, it does exist, and they did originate from Africa. So, their history does not start at slavery. In a recorded interview, Langston Hughes says he wrote the poem, “The Negro Speaks of Rivers” in 1920, after he completed high school. Hughes also credits his source of inspiration to the Mississippi river which he passed, while on the train, to visit his father in Mexico. He acknowledged what the Mississippi symbolized to Negro people and how it was linked

As time has passed humanity still tends to separate each other based on our racial being rather than seeing each other as one human race. Langston Hughes’s, “A New Song,” published in 1938 introduces the idea of a new vision of social relations in American society. Hughes’s original version of this poem written in 1933, does not encompass his growing anger on this subject that is dwelled upon in his published version. However, with Hughes’s powerful tone and word choice throughout his 1938 rendition, his reader is able to understand his urge to transform America into an interracial culture. (Central Idea) His poem voices the importance of transforming society into a multiethnic unity and working-class established through cultural ties between whites and blacks. (Thesis) Hughes voices this crucial need to change through his emphasis on African American’s past struggles as opposed to the new dream, his militant tone, and through expressing the role that the establishment of cultural ties plays in society.

It is the idea of contrast that Hughes imposes on the reader. Hughes not only focuses on the negativity aspects of life, but through the negative elements is one able to see the positive outcomes. It is the over all theme of overcoming these obstacles, that captures the audience. Towards the end of the last stanza of the poem, we, the audience, see a complete transformation of the speaker and his view on life. He now comprehends the extensity of his actions and views his emotions as a blinding element from reality. He does not have the need to commit suicide anymore, and now fully accepts the loss and embraces the lament. "Though you may hear me holler, and you may see me cry- I'll be dogged, sweet baby, If you gonna see me die. Life is fine! Fine as wine! Life is fine! (Conarroe pg 242, 27-33). With the passage, the reader is now aware of the transformation of the speaker.

Langston Hughes was an American poet, community worker, author, playwright, newspaper man, and inspiration from Joplin, Missouri. He was a protégé for many African Americans, despite the times he lived in.

Symbolism embodies Hughes’ literary poem through his use of the river as a timeless symbol. A river can be portrayed by many as an everlasting symbol of perpetual and continual change and of the constancy of time and of life itself. People have equated rivers to the aspects of life - time, love, death, and every other indescribable quality which evokes human life. This analogy is because a river exemplifies characteristics that can be ultimately damaging or explicitly peaceable. In the poem, “The Negro Speaks of Rivers,” Langston Hughes cites all of these qualities.

A huddle of horns And a tinkle of glass A note Handed down from Marcus to Malcolm To a brother Too bad and too cool to give his name. Sometimes despair Makes the stoops shudder Sometimes there are endless depths of pain Singing a capella on street corners

James Langston Hughes was born February 1, 1902, in Joplin, Missouri. His parents divorced when he was very small, and his father (who found American racism made his desires to be a lawyer impossible) left the family and emigrated to Mexico. Hughes' mother moved with her child to Lawrence, Kansas, so she and he could live with his grandmother, Mary Langston.

The short but inspirational poem "Harlem" by Langston Hughes addresses what happens to aspirations that are postponed or lost. The brief, mind provoking questions posed throughout the poem allow the readers to reflect--on the effects of delaying our dreams. In addition, the questions give indications about Hughes' views on deferred dreams.

Langston Hughes is an extremely successful and well known black writer who emerged from the Harlem Renaissance (“Langston Hughes” 792). He is recognized for his poetry and like many other writers from the Harlem Renaissance, lived most of his life outside of Harlem (“Langston Hughes” 792). His personal experiences and opinions inspire his writing intricately. Unlike other writers of his time, Hughes expresses his discontent with black oppression and focuses on the hardships of his people. Hughes’ heartfelt concern for his people’s struggle evokes the reader’s emotion. His appreciation for black music and culture is evident in his work as well. Langston Hughes is a complex poet whose profound works provide insight into all aspects of black

Langston Hughes was born on February 1, 1902, in Joplin, Missouri. He was named after his father, James Hughes, but was known as Langston. He was the only child from his parents James and Carrie Hughes. His parents were not married for long because of an unhappy marriage. When they separated, Langston was left with his mother, who left him behind to move from city to city to find work. Langston ended up living with his 70 year-old grandmother in Lawrence, Kansas. He lived with her until he was 13, and then he moved back with his mother in Lincoln, Kansas after his grandmother died in 1915.

The period of the Harlem Renaissance was a time of great change and exploration for African Americans . It was during this point in the early twentieth century that African Americans were exploring their cultural and social roots. With the rapid expansion of a cohesive black community in the area, it was only a matter of time before the finest minds in Black America converged to share their ideas and unleash their creative essences upon a country that had for so long silenced them. In the midst of this bohemian convergence, many notable figures arose who would give a new voice to African Americans. With such great notables as Countee Cullen, Jean Toomer, Zora Neale, and James Johnson, mainstream American now had a unique window into the

In “To Paint a Water Lily”, Hughes illustrates the process of an artist observing nature at a pond and painting a lily. While the speaker thoroughly observes all kinds of scenes in the pond, the painter only focuses on the lily. At the end of the poem, the painter resolves on painting only the lily, ignoring the other aspects of the pond. The speaker critiques the painter’s lack of attention to the surrounding and the desire to capture only the beautiful part of the pond. The poem contrasts the beauty and the violence created by the creatures around the lily and conveys that the calm appearance of the pond is not necessarily the reality.

Throughout the poem, Hughes used different literary devices to tell a story to those who are listening. From the very first line of the poem, the reader is able to gather that

At the end of the poem, Hughes has a break of thought from the facade that nature wears to tell himself that to “now paint the long-necked lily flower” in “a painting, trembling hardly at all.” This personification of the water lily having a long-neck tells us of the far stretched view of the how it’s “deep in both worlds” which is hard from some people to comprehend. By describing the water lily as still as a painting without trembling, goes further upon the idea of it’s wide range of feelings that it gives to the speaker to then have a different

Moreover, Hughes argues that in order to create an accurate portrait of one aspect of nature, such as a water lily, one must understand its environment. Hughes begins the poem by distinguishing the water and the sky, thus in the opening line the author has already complicated nature’s depiction. Water and sky become “two minds” of the same woman, the pond. The personification of the environment sends a message immediately: this image is not a landscape, but a portrait.