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Frederick Douglass

(1818-1895)

Narrative of the life of Frederick Douglass

 

CHAPTER I.

 

I WAS born in Tuckahoe, near Hillsborough, and about twelve miles from Easton, in Talbot county, Maryland. I have no accurate knowledge of my age, never having seen any authentic record containing it. By far the larger part of the slaves know as little of their ages as horses know of theirs, and it is the wish of most masters within my knowledge to keep their slaves thus ignorant. I do not remember to have ever met a slave who could tell of his birthday. They seldom come nearer to it than planting-time, harvest-time, cherry-time, spring-time, or fall-time. A want of information concerning my own was a source of unhappiness to me even during childhood. The white children could tell their ages. I could not tell why I ought to be deprived of the same privilege. I was not allowed to make any inquiries of my master concerning it. He deemed all such inquiries on the part of a slave improper and impertinent, and evidence of a restless spirit. The nearest estimate I can give makes me now between twenty-seven and twenty-eight years of age. I come to this, from hearing my master say, some time during 1835, I was about seventeen years old.

 

(...)My mother and I were separated when I was but an infant—before I knew her as my mother. It is a common custom, in the part of Maryland from which I ran away, to part children from their mothers at a very early age. Frequently, before the child has reached its twelfth month, its mother is taken from it, and hired out on some farm a considerable distance off, and the child is placed under the care of an old woman, too old for field labor. For what this separation is done, I do not know, unless it be to hinder the development of the child’s affection toward its mother, and to blunt and destroy the natural affection of the mother for the child. This is the inevitable result.

 

(...)slaveholders have ordained, and by law established, that the children of slave women shall in all cases follow the condition of their mothers; and this is done too obviously to administer to their own lusts, and make a gratification of their wicked desires profitable as well as pleasurable; for by this cunning arrangement, the slaveholder, in cases not a few, sustains to his slaves the double relation of master and father.

 

(...)The master is frequently compelled to sell this class of his slaves [slaves who are his own children], out of deference to the feelings of his white wife; and, cruel as the deed may strike any one to be, for a man to sell his own children to human flesh-mongers, it is often the dictate of humanity for him to do so; for, unless he does this, he must not only whip them himself, but must stand by and see one white son tie up his brother, of but few shades darker complexion than himself, and ply the gory lash to his naked back; and if he lisp one word of disapproval, it is set down to his parental partiality, and only makes a bad matter worse, both for himself and the slave whom he would protect and defend.

 

(...) It was doubtless in consequence of a knowledge of this fact, that one great statesman of the south predicted the downfall of slavery by the inevitable laws of population. Whether this prophecy is ever fulfilled or not, it is nevertheless plain that a very different-looking class of people are springing up at the south, and are now held in slavery, from those originally brought to this country from Africa; and if their increase do no other good, it will do away the force of the argument, that God cursed Ham, and therefore American slavery is right. If the lineal descendants of Ham are alone to be scripturally enslaved, it is certain that slavery at the south must soon become unscriptural; for thousands are ushered into the world, annually, who, like myself, owe their existence to white fathers, and those fathers most frequently their own masters.

Guiding Questions

 

1. What's the genre of the text?

 

2. What's the context of its publication?

 

3. According to the author, why don't slaves know their birthdays?

 

4. Why are children separeted from their mothers at early age?

 

5. "Slaveholders have ordained, and by law established, that the children of slave women shall in all cases follow the condition of their mothers". What is the most important "case" the author refers to?

 

6. Why did slaveholders establish that by law?

 

7. Slaves who are the sons of their masters often suffered more and were sold. Why?

 

8. What does the author say about masters who are also fathers of slaves? What does he say about their "parental partiality"?

 

9. The author says there is a new class of people springing up at the south held in slavery. Their increase  "will do away the force of the argument, that God cursed Ham, and therefore American slavery is right". Explain this argument.

 

10. He says that "slavery at the south must soon become unscriptural". Why? 

 

11. Is the text eloquent and persuasive? In his context, was it impressive for an African American man to write like him?

 

12. Who is the author? What is his story?

 

 

 

African American Literature

Phillis Wheatley

(1753-1784)

On Being Brought from Africa to America

 

 

'Twas mercy brought me from my Pagan land,
Taught my benighted soul to understand
That there's a God, that there's a Saviour too:
Once I redemption neither sought nor knew.
Some view our sable race with scornful eye,
"Their colour is a diabolic die."
Remember, Christians, Negro's, black as Cain,
May be refin'd, and join th' angelic train. 

 

 

 

His Excellency General Washington

 

 

Celestial choir! enthron'd in realms of light,
Columbia's scenes of glorious toils I write.
While freedom's cause her anxious breast alarms,
She flashes dreadful in refulgent arms.
See mother earth her offspring's fate bemoan,
And nations gaze at scenes before unknown!
See the bright beams of heaven's revolving light
Involved in sorrows and the veil of night!

The Goddess comes, she moves divinely fair,
Olive and laurel binds Her golden hair:
Wherever shines this native of the skies,
Unnumber'd charms and recent graces rise.

Muse! Bow propitious while my pen relates
How pour her armies through a thousand gates,
As when Eolus heaven's fair face deforms,
Enwrapp'd in tempest and a night of storms;
Astonish'd ocean feels the wild uproar,
The refluent surges beat the sounding shore;
Or think as leaves in Autumn's golden reign,
Such, and so many, moves the warrior's train.
In bright array they seek the work of war,
Where high unfurl'd the ensign waves in air.
Shall I to Washington their praise recite?
Enough thou know'st them in the fields of fight.
Thee, first in peace and honors—we demand
The grace and glory of thy martial band.
Fam'd for thy valour, for thy virtues more,
Hear every tongue thy guardian aid implore!

One century scarce perform'd its destined round,
When Gallic powers Columbia's fury found;
And so may you, whoever dares disgrace
The land of freedom's heaven-defended race!
Fix'd are the eyes of nations on the scales,
For in their hopes Columbia's arm prevails.
Anon Britannia droops the pensive head,
While round increase the rising hills of dead.
Ah! Cruel blindness to Columbia's state!
Lament thy thirst of boundless power too late.

Proceed, great chief, with virtue on thy side,
Thy ev'ry action let the Goddess guide.
A crown, a mansion, and a throne that shine,
With gold unfading, WASHINGTON! Be thine. 

Guiding Questions

 

1. What's the genre of the texts?

 

2. What's the context of their publication?

 

3. Read the following information about Phillis Wheatley and answer the questions that follow:

 

"Phillis Wheatley was the first published African American poet and first African-American woman whose writings helped create the genre of African American literature. Born in Gambia, she was made a slave at age seven. She was purchased by the Wheatley family of Boston, who taught her to read and write, and helped encourage her poetry. 

The 1773 publication of Wheatley's Poems on Various Subjects, Religious and Moral brought her fame, with figures such as George Washington praising her work. Wheatley also toured England and was praised in a poem by fellow African American poet Jupiter Hammon. Wheatley was emancipated by her owners after her poetic success, but stayed with the Wheatley family until the death of her former master and the breakup of his family. 

Wheatley’s popularity as a poet both in the United States and England ultimately gained her freedom on October 18, 1773. She appeared before General George Washington at a poetry reading in March, 1776. She was a strong supporter of American independence, reflected in both poems and plays she wrote during the Revolutionary War" (from Poemhunter.com)
 

3.1 What calls your attention about the author's life and literature?

 

3.2 Find the elements described in the text above, reading the poems "On being brought from Africa to America" and "His Excellency General Washington".

 

4. Was Wheatly pro independence?

 

5. Describe Wheatley's language use.

 

6. Describe the versification patterns of the first poem, "On being brought from Africa to America".

 

7. What is the conclusion of the first poem?

 

 

 

 

The Weary Blues

 

 

Droning a drowsy syncopated tune, 
Rocking back and forth to a mellow croon, 
I heard a Negro play. 
Down on Lenox Avenue the other night 
By the pale dull pallor of an old gas light 
He did a lazy sway .... 
He did a lazy sway .... 
To the tune o' those Weary Blues. 
With his ebony hands on each ivory key 
He made that poor piano moan with melody. 
O Blues! 
Swaying to and fro on his rickety stool 
He played that sad raggy tune like a musical fool. 
Sweet Blues! 
Coming from a black man's soul. 
O Blues! 
In a deep song voice with a melancholy tone 
I heard that Negro sing, that old piano moan-- 
"Ain't got nobody in all this world, 
Ain't got nobody but ma self. 
I's gwine to quit ma frownin' 
And put ma troubles on the shelf." 

Thump, thump, thump, went his foot on the floor. 
He played a few chords then he sang some more-- 
"I got the Weary Blues 
And I can't be satisfied. 
Got the Weary Blues 
And can't be satisfied-- 
I ain't happy no mo' 
And I wish that I had died." 
And far into the night he crooned that tune. 
The stars went out and so did the moon. 
The singer stopped playing and went to bed 
While the Weary Blues echoed through his head. 
He slept like a rock or a man that's dead. 

Guiding Questions

 

1. What's the genre of the text?

 

2. Talk about the author and the context of publication.

 

3. Analyze the poem "The weary blues": what are the language effects that relate it to blues and jazz?

 

4. Describe the versification patterns. 

 

5. What is a "syncopated tune"? 

 

6. What are the meanings of "down", in "down on Lenox Avenue"?

 

7. "The Harlem Renaissance is mostly portraied as an African American necessity of creating an art of high quality as a response to their social conditions, as an affirmation of their dignity and humanity in the face of poverty and racism" (Norton Anthology of African American Literature). They are responsible for the birth of jazz and blues music, stressing a normally weak beat and oscillating to the music that mellowed to a sentimental humming". Find elements in the poem that justify these arguments.

 

8. What's the meaning of "weary blues"? 

 

9. Does the poem invite us to read it quickly or slowly? What are the elements from the poem that justify your answer?

 

10. Research about the Harlem Renaissance and present it to the class.

 


 

 

 

 

Maya Angelou
(1928)

Still I Rise

  

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I'll rise.

 

Does my sassiness upset you?
Why are you beset with gloom?
'Cause I walk like I've got oil wells
Pumping in my living room.

 

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.

 

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?

 

Does my haughtiness offend you?
Don't you take it awful hard
'Cause I laugh like I've got gold mines
Diggin' in my own backyard.

 

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I'll rise.

 

Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?

 

Out of the huts of history's shame
I rise
Up from a past that's rooted in pain
I rise
I'm a black ocean, leaping and wide,

 

Welling and swelling I bear in the tide.

Leaving behind nights of terror and fear
I rise
Into a daybreak that's wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

 

Guiding Questions

 

1. What's the genre of the text?

 

2. Talk about the author and the context of publication.

 

3. Listen to Maya Angelou quote her poem. What parts does she enphasize and why?

 

4. Describe the versification patterns. 

 

5. Each verse begins with a negative aspect of: history, morality, subordination, discourses and prejudice. Explain them. 

 

5. What's the meaning of "I rise" in the poem?

 

 

 

 


 

 

 

 

I Know Why The Caged Bird Sings

 

The free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.

But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.

The caged bird sings
with fearful trill
of the things unknown
but longed for still
and his tune is heard
on the distant hill for the caged bird
sings of freedom

The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.

But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing

The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.

 

Author Notes

 

The title and inspiration for this poem came from a line in Paul Dunbar's poem "Sympathy" http://oldpoetry.com/opoem/11717-Paul-Laurence-Dunbar-Sympathy .
It was also the title of the first volume of Dr. Angelou's autobiography published in 1969.

Guiding Questions

 

1. In the second poem, "I know why the caged birds sing", who are the caged birds?

 

2. Why do caged birds sing?

 

3. Describe the versification patterns. 

 

4. What is the main difference between caged and free birds, according to the poem?

 

5. What is the poem's final image?

 

 

 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Negro Speaks of Rivers

BY LANGSTON HUGHES

 

 

I’ve known rivers:

I’ve known rivers ancient as the world and older than the flow of human blood in human veins.

 

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.

 

I’ve known rivers:

Ancient, dusky rivers.

 

My soul has grown deep like the rivers.

 

Langston Hughes, “The Negro Speaks of Rivers” from Collected Poems. Copyright © 1994 by The Estate of Langston Hughes. Reprinted with the permission of Harold Ober Associates Incorporated.

 

Euphrates: one of the most historically important of Western Asia's rivers. Originating in eastern Turkey, the Euphrates flows through Syria and Iraq to join the Tigris in the Shatt al-Arab, which empties into the Persian Gulf.

 

Hut: a small single-story building of simple or crude construction, serving as a poor, rough, or temporary house or shelter.

 

Congo: The Democratic Republic of the Congo, sometimes referred to as DR Congo, DRC, Congo-Kinshasa, Congo-Zaire, DROC, or RDC, is a country located in the African Great Lakes region of Central Africa.

 

Nile: a major north-flowing river in northeastern Africa, generally regarded as the longest river in the world. It is 6,853 km (4,258 miles) long. The Nile is an "international" river as its water resources are shared by eleven countries, namely, Tanzania, Uganda, Rwanda, Burundi, Democratic Republic of the Congo, Kenya, Ethiopia, Eritrea, South Sudan, Sudan and Egypt. In particular, the Nile is the primary water source of Egypt and the northern Sudan.

 

Mississippi: The Mississippi River is the chief river of the largest drainage system in North America, flowing entirely in the United States (though its drainage basin reaches into Canada). The river either borders or passes through the states of Minnesota, Wisconsin, Iowa, Illinois, Missouri,Kentucky, Tennessee, Arkansas, Mississippi, and Louisiana.

Native Americans long lived along the Mississippi. Formed from thick layers of this river's silt deposits, theMississippi River Valley is one of the most fertile agricultural regions of the country, which resulted in the river's storied steamboat era. During the American Civil War, the Mississippi's capture by Union forces marked a turning point towards victory because of the river's importance as a route of trade and travel (the "Union" was a term used to refer to the United States of America, and specifically to the national government and the 20 free states and five border slave states which supported it. The Union was opposed by 11 southern slave states that had declared a secession to join together to form the "Confederacy"). 

 

Dusky: Darkish in color.

 

Next 1/ High School
Objetivo Sorocaba

Profa. Dra. L. Winter

© 2013 by L. Winter

 

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