The Harlem Renaissance was a period when African American writers and artists expressed and articulated themselves through their writing and art. It was a remarkable time, because for the first time in history, African American writers and poets were popularly accredited in America. While many Harlem Renaissance writers were born and raised in the United States, McKay, of Jamaican descent, had a different opinion regarding his views. His poems “America” and “If We Must Die” explored the complex and unique connection African Americans have with their ethnicity. His poems sang of America with words mixing love and hatred, pain and pleasure, contempt and veneration. He viewed America with passion, with all its virtues and vices, because he had chosen America as his homeland. Probing “America” and “If We Must Die,” we discover how McKay draws on Du Bois's concept of “double consciousness” which manifests through his adoration and frustration for America in the first poem and its revulsion in the second, thus providing a voice for black Americans to discuss subtle and overt identity conflict and racism. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Respect and revulsion are two of the most overwhelming emotions one can feel. Outwardly, these feelings seem different because they are poles apart, but diving into the depths produces evocative similarities. In the poem “America,” the reader is confronted with the manifestation of these two emotions in a poem filled with provocative oppositions and important statements about society. Before McKay's "America" ​​and "If We Must Die," another prominent Harlem Renaissance writer, WEB Du Bois, wrote about the "duality" or "double consciousness" of African Americans. “Double consciousness can be defined as “the conscious division of the inner self in an attempt to create a character that would be accepted in mainstream society” (Du Bois, 3). The concept explains how African Americans are stuck between being black and American. This was a crucial question in countless writings of the Harlem Renaissance, as writers struggled to be part of a country that celebrated freedom, while being constrained by African ethnic identity. The essay focuses on "America" ​​and "If We Must Die." ' among all the poems in McKay's anthology trove, because the two poems above perfectly and accurately convey what it means to be black in America. The unusual ardor and emotion of the poems set them apart. McKay distinguished himself as the first writer of the Harlem Renaissance to express the spirit of the new Negro. The "new Negro" is a term propagated during the Harlem Renaissance, suggesting a more outspoken promotion of self-respect and a refusal to peacefully submit to the practices and laws of Jim Crow racial discrimination. The term "New Negro" was made popular by Alain LeRoy Locke. McKay seems to obey conventional and “white” ideas of poetry in writing a Shakespearean sonnet. “He believed that Western societies were much more advanced than those in Africa and that, in some ways, black men brought to the West were lucky; moreover, he considered himself a child of Western civilization. (Hansell 1) But the fact that the poem itself is about issues of black identity proves that he is in an identity crisis, just like most other African Americans. Many poets before and after McKay spoke of the theory of "double consciousness,” but most of them aspired to and referred to the coexistence of African and American cultures. However, unlike them, McKay vehemently believed that the two identities were irreconcilable and it is impossible that a person could live with two very opposing principles. For example, in "Me Too," Hughes, another Harlem Renaissance poet, envisions a black poet as part of an American "family" and says, "Tomorrow, / I'll be at the table / When company comes." / …Besides, / They'll see how beautiful I am / And be ashamed / I, too, am America. (8-18). In “Theme for English B,” Hughes says, “You are white – / yet you are part of me, as I am part of you.” / It’s American. (31-33). We can observe from the above stanzas that Hughes is much more concerned with integrating black people into America, unlike McKay who always finds himself as an outsider and therefore never attempts to merge his dual identity. Many poets of the Harlem Renaissance movement were born in America, but because McKay was born in Jamaica, he approached the concept from an international perspective and was more critical of the experiences of spoken and tacit in America. It is also interesting to note that “McKay did not learn to protest by being a victim of American racism. Before coming to the United States, he had protested against injustice, the cruelty of men, the misunderstandings that ignorance could cause and the evils of deprivation. He attributed general disharmonies to destiny; for specific ills, he placed primary responsibility on individuals. (Hansell 139) Therefore, unlike many poets, McKay did not entirely blame Americans for his community's misery. McKay's writings are often characterized as separatist in nature because they were significantly influenced by his non-American stature. “America” is a sonnet composed of triple quatrains and a couplet composed in iambic pentameter. The poem sees the speaker constantly oscillating between his concentrated feelings of positivity and negativity that he has for America. The dichotomy of dual emotions in the poem reflects the attitude of the African American citizen at the time of the sonnet's publication. In the poem, America is personified and addressed as an entity with which the speaker seems to have a bittersweet relationship. In the first stanza, McKay expresses his contempt for America and the way it has treated him; however, it also expresses its dependence on the country. When McKay says "Though she feed me with the bread of bitterness" (1), the ambiguous speaker is saying that he or she relies on America for sustenance like a newborn depends on its mother. The receptive reader appreciates that America cares for the speaker, even though the food he is given is unpleasant and upsetting. This statement addresses the buried emotions experienced by Black Americans regarding their limited rights in the South. Black people enjoyed pseudo-equal rights because these rights were limited to only a tiny portion of the black population who met unrealistic expectations both financially and socially. This led to deep-rooted hostility among African Americans. The speaker fervently felt that America was a parasite sapping the life from his body and this is clearly supported by the lines, "sinks his tiger's tooth into my throat, / Stealing my breath of life, I I will confess” (2-3). This is another scathing remark on the unfair treatment of black people that has broken the pride and soul of the people. The speaker makes a controversial gesture and says, "I must confess, / I love this cultural hell that tests my youth!" (3-4), which is quitecontradictory with the anguish with which the poem opens. The dyad element is evident in the transition of both tone and confession made by the speaker, and it clearly echoes Du Bois's theory of double consciousness. In the lines that follow, the speaker uses the expression “cultured hell” (4) as an oxymoron. The speaker lets his guard down and unabashedly admits to appreciating the filth that exists in American culture. He suddenly presents America as a guilty pleasure and no longer hesitates to admit it. It thus serves as a stark example of the dichotomy that exists throughout the play and in the minds of many African Americans who have a love-hate relationship with America. It appears that McKay enjoyed the challenges, both physical and intellectual, that American society presented to him during this period. McKay, the poet, also seems to relish the trials that society imposes on him during this period, and this is clearly reflected in his writing and poetry. The second stanza begins on a more positive note and strongly suggests the optimistic feelings the speaker has for America. “His vigor flows like tides through my blood, / Giving me strength to resist his hatred” (5-6). This line is one of the most powerful lines in the poem, as it evokes the tactical imagery the reader feels as it conveys the speaker's passion purely fueled by the birth of America. As the speaker boldly proclaims that America is the source of his strength, he rebels against the one who provides him with that strength and uses it to speak out against the racial hatred that was prevalent at that time in America. Although the speaker fervently opposes racism in America, he believes that it is only a drop in the ocean of the struggle for equality, which is clearly reflected in the phrase: " Its greatness sweeps over my being like a flood” (7). His feelings are relevant because we are often afraid of losing our individuality and identity, we are afraid of facing the masses as they approach us like a flood. The speaker feels the same way when communicating the ineffectiveness of a person fighting unsupported against a nation's sectarian history. However, he is brave enough to take a strong stance and express his opinions as frankly as possible through his work. A rebel in the presence of a king will certainly meet his downfall. The speaker speaks of the prospect of standing before a king as a rebel and awaiting censure and punishment. He compares standing in the face of rigid racism to the above and says, "Yet as a rebel faces a state's king, / I stand with his tatterless walls / Of terror, of malice, not a word of mockery” (8 -10). It is interesting to note that it is here the reaction of the “king” which breaks down the expected barrier in the interaction between the two parties. He does not raid or express malice toward strangers in his court. The rebel stands tall and powerful before the king in his fortifications because he is protected by the law. McKay gives us an interesting metaphor to express the true variance of the American system and the reality that existed in America at the time. The speaker, like many Africans, lived in grayness – the constant struggle to be White or Black. America is the source of its strength, but it is also the cause of its anguish and frustration. Like many African Americans, the speaker wishes to remain true to his African cultural roots, but America is his home even if the feeling of alienation haunts him. This expression echoes the concept of “Double Consciousness” explained by WEB Du Bois and echoes what every African-American experiences. The poem settles on one notemelancholy as the speaker predicts what awaits America: "Gloomily I look upon the days to come, / And there I see its power and its granite wonders, / Under the touch of Time's infallible hand, / Like priceless treasures flow. in the sand” (11-14). Traditionally in the United States, to honor a notable citizen or significant event, a stone memorial is erected for posterity to commemorate the exploits of those who came before. In this passage, the speaker examines the statues that remind people of America's inspiring history. The speaker then predicts that America's memory will eventually fade over time. The speaker ingeniously uses the phrase "sinking into the sand" (14), leading the reader to believe that he is familiar with the brevity of America, similar to that of most civilizations that have receded into the sands of inconsistency over time. The poem's robust use of metaphor and duplicity gives it a powerful focus. The brutal dualism proposed by McKay is the sole focus of the prose. These points make a strong connection to all those African Americans who felt this way during the 20th century and he urges them to recognize this feeling and allow it to empower them instead of making them feel demoted. The chaotic screams that McKay releases from the lines of this poem are the reverberations of a group caught between true parity and false hope. After delving deep into the emotional and confused mind of the speaker in “America,” the reader feels almost strangled by the tone of “If We Must Die” and the militant message it attempts to convey. Although McKay denied referring specifically to blacks and whites in the poem, the fact that it was written after the "Red Summer" of 1919, when anti-black riots broke out, makes the sonnet echo the despair of African Americans during this time. that time. "The character calls on black men in America to arm themselves against racial oppression and lynching. He then urges them to defy all sinister forces and respond to violence with violence to secure their ethical dignity in their struggle for social, economic and political emancipation, regardless of any situation (Adewumi and Bolawale 17) McKay uses a mocking tone throughout the poem, quite contrary to that used in "America" ​​and seems to cross the line. barrier of devotion to anguish The speaker aims to empower black Americans and emphasizes the importance of an honorable death The existence and gruesome deaths of African Americans are rightly equated with breeding and. to breeding a pig only to be slaughtered The rhetoric used here hits home because it has a powerful impact Pigs are gelding male pigs and the reference states that black people became helpless and had to die without having the. choice. “hunted and herded into an inglorious place” (McKay 2), goes on to show the aspect of being trapped in a pen; just like pigs. This revolting contrast is intentional, because McKay wants the seriousness of the unrest to be firmly ingrained in the minds of his people. He wants readers to be touched so that their conscience can understand what his people were going through at the time. McKay is strongly linked to African Americans in this poem and he speaks directly to them. This poem speaks to all those who are submissive, especially black people, and they are the ones mentioned in this poem. The speaker implores his people to passionately resist all those who murder them, saying, “If we must die, oh let us die nobly, so that our precious blood may not be shed in vain.” » (McKay 5-7). He wants them to forget the notion of being moral through non-violence and shows them thenobility of an intentional death. The opening line "If we must die" is meant to inspire the rebels to act regardless of the consequences and is conveyed by the line "then even the monsters we challenge will be forced to honor us even if they are dead ". (McKay 7-8). It is interesting to note the contrast in the speaker's mind: on the one hand he gives them hope, but on the other he tells them that death is imminent and inevitable. Duality and uncertainty are explained by the conditional clause “if” in the poem. McKay emphasizes mortality throughout the poem and seems concerned with the manner of death rather than the time of death. The setting of the poem is that of a brewing war and McKay urges his people to stay united and fight for their honor, whatever the outcome. He said: “O Parents! We must face the common enemy! Even if we are greatly outnumbered, let us show courage. (8-9) and warns them that they may be digging their own grave, but that courage is more important than victory. He urges them to never give up: “Pressed against the wall, dying, but fighting back.” It can be strongly argued that the poem is aimed only at the men of society, as the imagery and tone used in the poem is masculine, for example: “Like men, we will face the murderous and cowardly pack. » (McKay 13). The poem seems to say that the act of rebellion is associated with men and that masculine visual imagery is used to enforce acts of war and hunting. Combat distinguishes between cowards and true men in the last line of the poem and aims to give a voice to African Americans and instill in them that they deserve an honorable death. McKay wants his people to deal the ultimate killing blow knowing they may not survive and he wants them to know that dying under oppression for freedom makes it all the more honorable. The theme of nobility and honor is summed up by the phrase: "must be compelled to honor us though dead! Dogs represent the enemy in this poem and the image of vicious and hungry dogs creates fear among readers The poem, like many of McKay's poems, ends on a blue, double note. He calls the enemy a cowardly pack, but at the same time bluntly tells his people to fight back, knowing that death could be imminent: “pressed against the wall, dying, but fighting back!” The brevity is emphasized and conveyed by McKay and leaves readers with hope that the death of his people will bear fruit for posterity in the form of true equality and humanity. The impact of the poem was significant and astonishing even for McKay himself "If We Must Die" became, as Joel Rogers said in 1927, the true "Marsellaise of the American Negro" (James 17). Later, Melvin Tolson, the prominent African-American poet, also noted that the poem was the anthem and McKay a symbol of the militant New Black in the aftermath of World War I and not just in the United States. . “Indeed, “If We Must Die” is not only one of the most famous poems ever written by any of Africa's children; the poem has also become the rallying cry for oppressed people of all colors, everywhere. (James 17) The reason for this fame can be attributed to both the poem and the poet's state of mind. Both McKay and his poems were afflicted with a double consciousness. We see a burning passion and respect for America in the poem of the same name and we also see the desolation of the speaker. In “If We Must Die,” the poet rightly criticizes white people as “enemies” and implores his people to fight back. Thus, McKay's double consciousness is evident. The fact that the. 2, 22 2016