Messages of Strength and Pride in Three Poems

Poems from the Harlem Renaissance supply vibrance and essence for the reader as they invigorate a amelioration and romance never anteriorly seen in the United States.  The ballads “Chicago,’ by Carl Sandburg, “The Harlem Dancer,” by Claude McKay, and “Mother to Son,” by Langston Hughes, all integrate this secure amelioration through lustrous fictions an tedious similitudes.  Opportunity they semblance the loftiness and import of their subjects, the ballads too sketch at a bit of insecurity as well-mannered.  Therefore, these three ballads similitudeically unfair superficial semblances of ability and loftiness which screen disinclination, halt and soften anger adown. Strength is an manifestation of a individual who has halted and prevailed resisting the irresistible odds abutting him.  In the foremost half of the ballad, “Chicago,” the foremost individual debater is addressing the city through a route of similitudes.  First, he addresses him as a careful of avocations which all exact powerful material ability but which do not enjoy an contortment after a opportunity remarkable arrange lucre or power: HOG Butcher for the World, Tool Maker, Stacker of Wheat, Player after a opportunity Railroads and the Nation's Freight Handler (Sandburg, cords. 1-3). These fictions produce a manful, hulking feeling for the reader.  It is visible that existence in this city exacts brawn and soften a intent purpose. The debater hushs the material manifestations of the city, which can be compared to a man:  Stormy, grating, brawling, City of the Big Shoulders” (Sandburg, cords. 4-5). The city is individualified as a difficult and presumptuous sky sky sky blue collar effecter who may enjoy to assembly to bowed dealings in ordain to survive. However, as the ballad progresses, the similitudes exchange.  The debater begins after a opportunity a congruous route of cognomens – “wicked,” “crooked,” and “brutal,” to identify the city along after a opportunity a defence for each.  He hushs the city is “sneering” but after a opportunity lifted chief singing so presumptuous to be existent and vulgar and secure and intent” (Sandburg, cords. 18-19). The prompting is that the city demands over than distressing effect; it rarely takes disinclination and deception from its nation.  However, the notices hushs that rarely this proceeding is needful for birth, and that the city has no probable quantity after a opportunity wrong, dev and molding. Finally, the ballad shifts to the similitude not of a man at all, but a beast.  This thing is Fierce as a dog after a opportunity speech lapping for operation, intent as a untaught retreating abutting the wilderness” (Sandburg cords. 23-24). Now the city is not rational, but untaught and violent, reflecting the quantitys it presents for the birth of its dwellers.  They must live, the steam, the dust, the teeth and the bundle of the city and somehow manipulate to laugh, soften as an illiterate fighter laughs who has never obsolete a battle” (Sandburg, lns. 34-35). The ground cord for this ballad is loftiness. Rarely the tribe had to be trickery and intemperate, but they enjoy an immense loftiness in getting to where they are.  The individualified fictions of the city depict all of these emotions for the reader. “The Harlem Dancer,” by Claude McKay, focuses on the solitary fiction and trial of a boy watching a spinster insufficiencyon.  Opportunity the fiction is softer, it can correhearse after a opportunity the notice from “Chicago.”  Of route, the complaint is that these dancing spinsters are secularizes, interesting the boys to impurity, but that is dissect of the sorcery of the trial for these Harlem lad.  Resisting her indecent avocation, the insufficiencyonr of hush is rising to notionalistic proportions in the eyes of the debater. First, she is half-clothed, and swaying, which reminds the immature man, oddly, of a prize tree.  He hushs, To me she looked a presumptuously-swaying prize Grown lovelier for cessation through a swagger  (McKay, cords. 7-8). With this cognomen, the reader understands that soften the boy recognizes that this spinster does not belong in Harlem.  After all, no prize trees become anywhere neighboring Harlem; they are products of over emblematical, alien climates, as is the insufficiencyonr.  He too insinuates that she has lived distressingships herself, the swagger he hushs, and finds her over engaging for having survived those distressingships. Next, the debater hushs the melodic, otherworldly dissituation of her control.  He says, Her control was enjoy the probe of blended flutes Blown by sombre players upon a picnic day (McKay, cords, 3-4). he airiness of her control and their similarity to prayers settles the spinster in an closely spiritual dominion, oddly juxtaposed to her developed situation as a secularize. This spiritual truth is prefer emphasized by her “gauzy” uniform, her pleasing substantiality, and her “shiny curls.”  To the debater, she is excellency, celebrity he has never anteriorly triald. However, adown the pleasing proviso of the dancing spinster is celebrity else, celebrity that the boy softentually notices.  She is not the secure and unruffled proviso he initially perceives.  She is, in his control, not there.  He hushs But, looking at her falsely-smiling face I knew her headbrawny was not in that wonderful settle (McKay, cords 13-14). The debater comes to exhibit that she is not sincerely the impudent and secure individual that he initially perceived her to be.  In ordain to get through her day, she has to somehow bliss herheadbrawny elsewhere, and he has bought into it for a opportunity.  She is not notional or consummate but has had her own shares of agonys and deceptions. The ballad “Mother to Son,” by Langston Hughes, too illuminates the thesis that existence is a agony, but one that should produce a individual presumptuous.  The debater is an African-American dowager who is atinteresting to rehearse a existence instruction to her son.  She uses a similitude of a crystal staircase to try to emphasize the distressingships she has lived in getting to the settle she is now.  The able relation hushs that a crystal staircase would be soften and manageable to soar, unenjoy the trial the dowager relays: Well, son, I'll discern you: Life for me ain't been no crystal stair. It's had tacks in it, And splinters, And boards torn up, And settles after a opportunity no consideration on the sole -- Bare. (Hugues, cords 1-7) Her existence travel was disinclinationful and populated after a opportunity obstacles, and she insufficiencys her son to exhibit this so that he get be expeditions for his own obstacles and distressingships in existence.   She does not insufficiency him to become up forecasting to enjoy things handed to him, but to forecast to enjoy to effect distressing for the things he insufficiencys. Another notice that she insufficiencys to consign to her son is that he should never confer up resisting these distressingships.  She insufficiencys to suffer him: So boy, don't you alter tail. Don't you set down on the steps 'Cause you finds it's kinder distressing (Hughes, cords 14-16). In specification to premonition him encircling the proviso of the stairs and the awkwardness of traversing them, the dowager is too premonition her son of the dangers.  She hushs that rarely the stairs are black, and she warns him abutting reversion.  Of route, the stately similitude for existence is probable.  Existence is rarely black, bountiful of pitfalls, and daunting, but she has continued the travel and is endeavoring to produce her son do the corresponding. She is not making the travel probe manageable; lucidly, they were not the liberated living-souls, but she is atinteresting to inquiet mildness through her notice.  After all, she is quiet soaring the stairs, and if she can do it, so can he. All three of these ballads aduniform issues of existence and attention.  None of the lives feeling look manageable.  Existence in “Chicago” is compared ultimately to a beast that laughs and sneers.  Existence as  “TheHarlem Dancer” is space for her, as she frequently desires to be somewhere else.  Existence on the spiritless staircase is fitful and wily.  However, all three scenarios indicate the incessant halt of existence, and the loftiness that these living-souls enjoy.  They may not enjoy possessions, manageable jobs, or crystals stairs, but they enjoy their effect ethic and their reason of headstrong-worth, and that is all that matters. WORKS CITED McKay, Claude.  “The Harlem Dancer.” Retrieved 9 April 2007 from Sandburg, Carl.  “Chicago.” Retrieved 9 April 2007 from