Langston Hughes English Modern Tradition

Introduction

Langston Hughes (1902-1967) is one of those poets who have nurtured the work by exploring other arts, namely music and visual arts. It was ubiquitous in large parts of his career because the music was not a simple home office inspiration, but a kind of matrix work of alchemy. This concept made it easier to move the rhythms of jazz and blues to poetic territory by adapting the musical language in poetic language. It is not simply an imitation to the poem but as a reflection on a possible transposition of musical structures in poetry. Such work was not new to the United States in the early twentieth century, as modernist poets as important as TS Eliot or Vachel Lindsay had clearly indicated their debt to jazz. However, Langston Hughes contribution towards the literature was very high and he devoted his whole life towards this subject. Therefore, all his great work will be discussed in detail.

Thesis Statement

The major argument towards the contribution made by the writer is that he achieved a lot of success in his work and it can be proved from the recognitions he received from the readers regarding his literature work.

Main Body

Hughes was the first poet to systematize this work across whole collections. The Weary Blues of 1926 and Fine Clothes to the Jew of 1927 are innovative because they impose no blues and jazz as mere references, not least in the title of the first of two collections, paradoxically less centered on the blues than jazz, but the experiments borrow the formal structures of the blues and the spirit of surprise and switching of jazz. Hughes was then celebrated as the "jazz poet" or "blues poet" of the Harlem Renaissance, the black aesthetic movement of the 1920 and 1930 he contributed to the rich poetic hours. The Harlem Renaissance, as shown by David Lewis in the book, was never a unified group speaking as one voice. These movements, made up of strong personalities, often were incompatible and eventually reluctant to base any school. They gave rise to much heartbreak than enthusiasm, and, were strictly speaking a real family for Hughes. The formal choices of Hughes made him a kind of public enemy for one of its main instigators, WEB Du Bois, for his design of a "black aesthetic" was significantly different. Turning to popular forms such as blues and jazz, Hughes embodies a desire for emancipation vis-à-vis the European culture who spoke constantly in American history, but in the early twentieth century was reaffirmed with particular vigor and followed by a large number of intellectuals and artists (Berry, 25).

It is the first sign of a progressive loss of inferiority complex American artists of the younger generation, which can be guessed at Langston Hughes when he wrote in the columns of The Nation June 23, 1926 “We, Younger Negro Artists, steward to express the dark-skinned selves Without Fear or shame. What is at stake here is not only the racial pride of the poet, ...