Hughes and Baldwin: Blues Music in African-American Literature

Introduction: The Blues Tradition in Harlem Renaissance Literature

Music plays a major role in much of the literature that emerged from the Harlem Renaissance. The Harlem Renaissance was an American cultural movement that aimed to celebrate African-American culture through literature, art, and other intellectual and artistic means. One of the musical styles most influential in the literary works of Langston Hughes and James Baldwin was the blues. This musical style rose out of the experiences of African-Americans, and the Harlem Renaissance sought to celebrate these experiences by juxtaposing the struggles of past generations with the struggles of present generations.

In "The Weary Blues" by Langston Hughes, a narrator observes an old blues musician as he sings his weary tune. In "Sonny's Blues" by James Baldwin, the narrator finally comes to understand what has motivated his brother to pursue a life in music and how his brother's experiences have been highly influential in shaping his character. The bluesman in "The Weary Blues" appears to be a future representation of Sonny in "Sonny's Blues."

Musical Structure and Rhythm in 'The Weary Blues'

In "The Weary Blues," Hughes structures the poem to resemble a song. The poem is very musical in theme and uses terms associated with music. Hughes also uses language that insinuates movement and creates rhythm and flow within the poem. For example, "[droning] a drowsy syncopated tune / Rocking back and forth to a mellow croon" gives the poem a relaxed feel that is neither too hurried nor too loud (Hughes, lines 1–2). This feeling is reinforced by the bluesman's demeanor as "he did a lazy sway… / He did a lazy sway… / to and fro on his rickety stool" (lines 6–7, 11).

Repetition in the poem also aids in the creation of a music-like structure, especially through the use of onomatopoeia. "Thump, thump, thump, went his foot on the floor" helps to establish the musical setting for both the song and the bluesman himself.

Tone, Sorrow, and the Bluesman's Voice

The poem's somber tone is reflected in the blues song that serves as the central focus of "The Weary Blues." This is demonstrated through the bluesman's playing and singing. The narrator notes that the bluesman makes "that poor piano moan with melody" and sings "[in] a deep voice with a melancholy tone" (lines 10, 17). A feeling of disconnect is created by juxtaposing descriptions of a melodic piano with a melancholy vocal tone.

This disconnect is further emphasized when the bluesman contends, "Ain't got nobody in all this world / Ain't got nobody but ma self. / I's gwine to quit ma frownin' / And put my troubles on the shelf" (lines 19–22). In a sense, the bluesman declares that he has the power to set his troubles aside, if only for a moment, and to enjoy his life even in solitude.

Conclusion: Blues as Cultural Voice and Personal Survival

Despite everything that the bluesman in "The Weary Blues" and Sonny in "Sonny's Blues" have had to endure, music has allowed them to continue living their lives. It has become both a medium of catharsis and a vehicle for conveying their life stories to others. Both Hughes and Baldwin incorporate African-American experience into their work, which not only personalizes the narrative but also allows readers to relate to the struggles that the narrators and subjects of the poem and story have faced. The blues tradition, as rendered by both writers, ultimately stands as a testament to resilience, cultural identity, and the enduring power of art.

Works Cited

Baldwin, James. "Sonny's Blues." From Moscardi [Course]. Web. 28 June 2012.

Hughes, Langston. "The Weary Blues." Web. 28 June 2012.

"Langston Hughes." Poets.org. Web. 28 June 2012.

Reilly, John M. "'Sonny's Blues': James Baldwin's Image of Black Community." Negro American Literature Forum. 4.2 (July 1970), pp. 56–60. JSTOR. 28 June 2012.