ing in the deadfire’s ashes for a Negro’s bones” (6 - 8) further emphasizes his point that the Southernway of life has halted in its development and failed to evolve into modern America -- anAmerica in which “the dead fire” represents slavery and Blacks have succeeded inreducing it to “ashes,” struggling to rise above racism like smoke. This emphasispragmatically dismantles any aggrandized view of the South, elucidating itsdiscriminatory nature with effective poetic language that amplifies Hughes’ artisticpower. Finally, his declaration that “I, who am black, would love her but she spits in myface” (18 - 19) exemplifies the contemptible character of Southern society as well as theunjust persecution of Black Americans. This serves to elevate both the Negro’s place insociety and the quality of Hughes’ writing. Hughes does not merely develop a wise andsensitive poetic voice; he uses this voice to develop, in turn, an active, perceptive “Bluesaesthetic.” In one of his most famous poems, “The Weary Blues,” Hughes relates apoignant experience of witnessing an African-American man play the Blues. As Hughesdescribes the man “droning a drowsy syncopated tune, rocking back and forth to a mellowcroon” (1 - 2), he brings a heartfelt motion to the poem, generating a strong feeling ofrealism for the reader. He continues this motion and realism when the man makes “thatpoor piano moan with melody” (10); the man, the music, and the piano all become fullyengaged in the poem as active elements. When he mentions the “ebony hands on eachivory key” (9), Hughes creates a simple, subtle, intelligent reference to the many issues ofa polarized black and white society. While he does not elaborate on the complexities ofthese issues, much of the beauty of the poem lies in the fact that he does not need to: theBlues stand on their own, ...
