Hughe's Two Major Poetic Styles

" Hughes portrays these identity worries with humanity for himself and his friends. He does not condemn the tenuous shape of their grip on the self; instead, he "wonders how things got this stylus." What sets Hughes' verse apart is that he is adequate to maintain the lyricality poets like Browning and Eliot abandon (in party favour of maximizing their crises of identity) and cool it convey his own uneasiness closely how he views himself and is seen by others. Hughes employs end rhymes and a snappy sentiency of consonance in the lines "To probe in the polite way/The why and wherewithal/Of darkness USA." The song-like feel to the end of the verse form is just as lyrical.

It seems the more lyrical Hughes gets in his poetry, the more sympathy he evokes for the plight of what it means to be pigeonholed into an identity. His lyricism is distinctive, as well. Michael Borshuk notes the depth of bebop rhythm in Hughes' lyric as well as his "ability to articulate solemn themes through upbeat sound" (Borshuk, 74). Both prongs of his poetic style are at work in 'Un-the Statesn Investigators.' His rhythm reflects the rotation betwixt the sharp jabs of a trumpet followed by a fluent whole note, especially in the opening lines, "The committee's fat/Smug, virtually secure." The punchy, ja

In 'Mother to Son,' Hughes applies colloquial expression in order to give the poem a lyrical base. Words like "a-climbin," "'cause," and "goin'" give the poem a relaxed ill-use. The lines "And turnin' corners/And reachin' landin's" mistreat the poem particularly evenly. The message of the poem emerges from the lyrical well. With the lyricism as a helper, we are left with the moving line "life for me ain't been no crystal stair." (O' Brien, 55). This device is used in 'Still Here,' also. The lines "Snow has friz me, sun has baked me/Looks like between 'em/ They do tried to make me" establish a lyrical pace that crescendos with the triumph of the self and one's identity in the last line, "I'm still here!" (O'Brien, 177).

In the final analysis, Hughes expertly combines the tools of the hammy monologue and the lyric form of poetry in order to focusing his readers on crucial issues regarding identity in America. As this musical composition has demonstrated, Hughes uses the lyric in order to establish the framework of his poem so that he can then employ the dramatic monologue in order to deconstruct the way America frames racial identity.

That Hughes focuses on the Jewish struggle with identity and governmental discrimination epitomizes Hughes' concern with struggles over identity. He wanted to utilize all sorts of identity issues, especially political ones (Comprone, 147). As Jonathan Scott writes, Hughes' poetry was "a direct ideological challenge to the biological kin of race itself, referring neither to white nor black but or else to the suffering and enduring deprivations of the individual American in a white supremacist society" (Scott, 75). Hughes was also obsessed with integration politically and artistically (Comprone, 144). It makes sense, therefore, that his poetic style integrates the lyric and the dramatic monologue.

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