Langston Hughes (蘭斯頓‧休斯 1901 – May 22, 1967) 美國詩人、社會運動家、小說家、劇作家和專欄作家。作為爵士詩歌的早期創新者，休斯最廣為人知的身份是哈林文藝復興的領導者。 "I, Too," a 1925 poem by Langston Hughes, is a powerful assertion of Black humanity and equality in America/"I, Too", Sing America: Music in the Life of Langston Hughes . .Digital Archive Shares In-Depth Stories of Black America-CMU News - Carnegie Mellon University
James Mercer Langston Hughes (February 1, 1901[1] – May 22, 1967) was an American poet, social activist, novelist, playwright, and columnist from Joplin, Missouri. An early innovator of jazz poetry, Hughes is best known as a leader of the Harlem Renaissance.
https://en.wikipedia.org/wiki/Langston_Hughes
"I, Too", Sing America: Music in the Life of Langston Hughes
a powerful assertion of Black humanity and equality in America. It depicts a "darker brother" forced to eat in the kitchen, yet confident that the future will bring equality, forcing America to recognize his beauty and rightful place at the table, affirming, "I, too, am America".
Key Themes and Analysis
Equality and Inclusion: The poem challenges the exclusion of Black Americans, demanding, and ultimately predicting, full integration into the American experience.
Resilience and Dignity: The speaker laughs and grows strong despite being marginalized, showing endurance rather than passive submission.
The "Darker Brother": Hughes identifies himself as the "darker brother," highlighting the racial divide while establishing kinship with the nation.
Hope for the Future: The phrase "Tomorrow, I'll be at the table" acts as a prophecy of overturning systemic racism.
Response to Whitman: The poem is a direct response to Walt Whitman's "I Hear America Singing," with Hughes claiming a place for African American voices in the American song.
Structure The poem is brief and free-verse, with shifting tones from submissive to confident, building tension between the current reality of oppression and the promised future of equality.
Full Text of "I, Too"
I, too, sing America.
I am the darker brother. They send me to eat in the kitchen When company comes, But I laugh, And eat well, And grow strong.
Tomorrow, I'll be at the table When company comes. Nobody'll dare Say to me, "Eat in the kitchen," Then.
Besides, They'll see how beautiful I am And be ashamed—
I, too, am America.
"I, too, sing America. I am the darker brother. They send me to eat in ...
Feb 1, 2018 — A poem by Langston Hughes for July 4th. I, Too By Langston Hughes 1902-1967 I, too, sing America. I am the darker brother. They se...
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Langston Hughes - I, Too
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I, Too, Sing America by Langston Hughes - Poem Analysis
I, Too, Sing America * A Black speaker asserts he belongs to America. * Sent to the kitchen, he endures with pride, eating and gro...
Poem Analysis
I, Too, Sing America - California Teachers Association
Jun 10, 2022 — IN THE FAMOUS POEM, “I, Too,” Langston Hughes constructs a powerful and undeniable message: African Americans have long contribute...
California Teachers Association
I, Too - Wikipedia
"I, Too" is a poem written by Langston Hughes that shows a want for equality through patience whilst going against the idea that p...
Hughes does not simply hear America singing, he sings America. Hughes slightly but monumentally alters the final line to read "am"
Gilder Lehrman Institute of American History |
I, Too, Sing America: by Langston Hughes | PDF - Scribd
The poem expresses the experience of an African American man who is told to eat in the kitchen away from guests, but who remains p...
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from "The Negro Speaks of Rivers" (1920) ... My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset. ...
In 1932, Hughes became part of a group of black people who went to the Soviet Union to make a film depicting the plight of African Americans in the United States. Hughes was hired to write the English dialogue for the film. The film was never made, but Hughes was given the opportunity to travel extensively through the Soviet Union and to the Soviet-controlled regions in Central Asia, the latter parts usually closed to Westerners. While there, he met Robert Robinson, an African American living in Moscow and unable to leave. In Turkmenistan, Hughes met and befriended the Hungarian author Arthur Koestler, then a Communist who was given permission to travel there.[101]
As later noted in Koestler's autobiography, Hughes, together with some forty other Black Americans, had originally been invited to the Soviet Union to produce a Soviet film on "Negro Life",[102] but the Soviets dropped the film idea because of their 1933 success in getting the US to recognize the Soviet Union and establish an embassy in Moscow. This entailed a toning down of Soviet propaganda on racial segregation in America. Hughes and his fellow Blacks were not informed of the reasons for the cancellation, but he and Koestler worked it out for themselves.[103]
Hughes also managed to travel to China,[104] Japan,[105] and Korea[106] before returning to the States.
Hughes's poetry was frequently published in the CPUSA newspaper and he was involved in initiatives supported by Communist organizations, such as the drive to free the Scottsboro Boys. Partly as a show of support for the Republican faction during the Spanish Civil War,[107] in 1937 Hughes traveled to Spain[108] as a correspondent for the Baltimore Afro-American and other various African-American newspapers. In August 1937, he broadcast live from Madrid alongside Harry Haywood and Walter Benjamin Garland. When Hughes was in Spain a Spanish Republican cultural magazine, El Mono Azul, featured Spanish translations of his poems.[107] On 29 August 1937, Hughes wrote a poem titled Roar, China! which called for China's resistance to the full-scale invasion which Japan had launched less than two months earlier.[109]: 237 Hughes used China as a metonym for the "global colour line."[110] According to academic Gao Yunxiang, Hughes's poem was integral to the global circulation of Roar, China! as an artistic theme.[109]: 237 In November 1937, Hughes departed Spain for which El Mono Azul published a brief farewell message entitled "el gran poeta de raza negra" ("the great poet of the black race").[107]
Thanks to a longtime partnership with CMU, The HistoryMakers online database of more than 9,000 hours of interviews with more than 2,700 individuals is searchable and available for students and scholars at subscribing institutions including Carnegie Mellon, Harvard, Yale and Princeton, among many others
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