an astute, attentive, descriptive voice in his poem “The South,” which examines “the lazy, laughing South with blood on its mouth” (1 - 2). Hughes exhibits an extremely refined sense of language in his descriptions: “beautiful, like a woman, seductive as a dark-eyed whore, passionate, cruel, honey-lipped, syphilitic -- that is the South” (13 - 17). In his accurate attribution of these qualities to Southern society, Hughes creates an intense awareness of both the seductive charisma and the severely problematic nature of the South; he thus calls the reader’s attention to the oppressive elements of Southern society as well as elevating the African-American -- and simultaneously, his art -- by engaging in an intelligent, perceptive quest toward “the cold-faced North, for she, they say, is a kinder mistress” (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, percep...
