s” (24 - 26). Hughes’ discussion of “the child-minded South scratching in the dead fire’s ashes for a Negro’s bones” (6 - 8) further emphasizes his point that the Southern way of life has halted in its development and failed to evolve into modern America -- an America in which “the dead fire” represents slavery and Blacks have succeeded in reducing it to “ashes,” struggling to rise above racism like smoke. This emphasis pragmatically dismantles any aggrandized view of the South, elucidating its discriminatory nature with effective poetic language that amplifies Hughes’ artistic power. Finally, his declaration that “I, who am black, would love her but she spits in my face” (18 - 19) exemplifies the contemptible character of Southern society as well as the unjust persecution of Black Americans. This serves to elevate both the Negro’s place in society and the quality of Hughes’ writing. Hughes does not merely develop a wise and sensitive poetic voice; he uses this voice to develop, in turn, an active, perceptive “Blues aesthetic.” In one of his most famous poems, “The Weary Blues,” Hughes relates a poignant experience of witnessing an African-American man play the Blues. As Hughes describes the man “droning a drowsy syncopated tune, rocking back and forth to a mellow croon” (1 - 2), he brings a heartfelt motion to the poem, generating a strong feeling of realism for the reader. He continues this motion and realism when the man makes “that poor piano moan with melody” (10); the man, the music, and the piano all become fully engaged in the poem as active elements. When he mentions the “ebony hands on each ivory key” (9), Hughes creates a simple, subtle, intelligent reference to the many issues of a polarized black and white society. While he does not elaborate on the complexities of these issue...
