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Langston HughesA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The most significant symbol in Hughes’s essay is the “racial mountain” cited in the title. In the introductory paragraph, Hughes describes the mountain as the “urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible” (Paragraph 1). To Hughes, the internal “race toward whiteness” (Paragraph 1) is part of the two other issues he names here: the tendency of American society to push all people towards assimilation and to minimize racial individuality. American society, to Hughes, is difficult environment for a Black artist who desires to make art that is separate from “American standardization” or that “urge within” to become more White.
To Hughes, the mountain is an inherently inhospitable environment in which the Black artist must overcome both their internal desire to be White. The difficulty of confronting the mountain also involves the external pressures from White people who reward assimilation and from Black people who critique so-called inappropriate expressions of Blackness. Ideally, to Hughes, the Black artist will “stand on top of the mountain, free within [themselves]” (Paragraph 14). Overcoming the racial mountain takes self-acceptance and self-love, which enables Black artists to “express [their] dark-skinned selves without fear or shame” (Paragraph 14).
The image of the mountain contrasts to most of the other images in the essay, most of which relate to suburban and urban American life, not the natural environment. As such, the mountain stands figuratively apart in the reader’s imagination, which emphasizes the idea that the mountain is difficult to climb for most Black artists. In addition, the scale of this metaphorical mountain helps capture, in the reader’s mind, the severity of the issue. The mountain is not merely a rock or a difficult road; it is an obstacle that requires a certain skill set and set of tools to overcome. The use of this metaphor to title and frame the essay communicates gravity; the act of mountain-climbing, literal and figurative, is a dangerous one, but the rewards of such an accomplishment are great.
Towards the conclusion of the essay, Hughes introduces the image of the tom-tom, which he describes as beating “eternal[ly] in the Negro soul” (Paragraph 12). The rhythmic beating of the drum refers to Hughes’s description of Black life and music, which is lively and thriving. It also suggests the incessant, ongoing struggle for Black people in American society.
Hughes describes both “the tom-tom of revolt against weariness in a white world” (Paragraph 12) and “the tom-tom of joy and laughter” (Paragraph 12), capturing the duality of Black life that interests him. To Hughes, being Black can mean a life characterized by a sense of burden and fatigue that is also filled with a special kind of joy that only Black people can experience.
Later, Hughes refers back to the tom-tom before closing the essay: “The tom-tom cries and the tom-tom laughs” (Paragraph 14). This image of making music that “cries” and “laughs” explicitly signifies the tension for the Black artist who can create freely; the tom-tom’s sounds are the same if it is played with exuberance or with grief or frustration.
Another important recurrent symbol throughout Hughes’s essay appears in the many references to jazz and spirituals. Both forms of musical expression, for Hughes, are distinctly Black. When the music is described in the essay, the descriptions undergird Hughes’s assertions that Black artists can produce something distinct from Whiteness. Including jazz and spirituals as specific examples of Black art serves two central rhetorical purposes: firstly, they allow Hughes to connect with an audience who likely appreciated or had familiarity with these musical genres; secondly, they support Hughes’s arguments that Black art exists, as these forms of music are examples of Black excellence that are vastly different from White art and expression.
Towards the conclusion of the essay, Hughes discusses his writing of “so many jazz poems” (Paragraph 11), which some critics argue are counterproductive to his artistic path. Hughes contends: “jazz to me is one of the inherent expressions of Negro life in America” (Paragraph 12). Mid-paragraph, he then connects jazz back to the club owner who disregarded spirituals: “she turns up her nose at jazz and all its manifestations-likewise almost everything else distinctly racial” (Paragraph 12). Through this description, Hughes elevates jazz and spirituals; not only are jazz and spirituals examples of authentic Black creative expression, but they are also an “inherent expression” of Black life. Jazz and spirituals represent the kind of resistance that for which Hughes argues; they are forms of Black art that do not desire Whiteness and embrace “pain swallowed in a smile” (Paragraph 12).
By Langston Hughes
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