Jazz is a Type of Music that is Also Associated with the Blues
This music often is related to sadness and hardship. Hughes’ feeling of being broke and filled with anguish in this poem, could show his reaction to the suffering and the racial issues that were taking place in Harlem throughout the U.S in the 1900s. The gloomy flow of the “Weary Blues”, mainly focuses on the readers capability to relate with the emotions that are released into the poem. The blues is a central feeling that is experienced by everyone at some point. Hughes sings: “Ain’t got nobody but ma self… I’s gwine to quit ma frownin’… And put ma troubles on the shelf…” (Hughes, 20-22).
By this stanza the reader can understand his feeling of sorrow but also see the reason to still get through a situation. In journal article: To the Tune of Those Weary Blues: The Influence of the Blues Tradition in Langston Hughes’s Blues Poems, it says, “Hughes’s attitude toward the material itself is evident: “The real Negro blues are as fine as any folk music we have.” He feels that the blues and spirituals are “the two great Negro gifts to American music” … “usually sung by one man or woman alone”; they are “songs folks made up when their hearts hurt… sad funny songs. Too sad to be funny, and too funny to be sad;” (Tracey, pg.79) This small excerpt gives an example of how the blues give off a feeling of being depressed and hopeless. These feelings that the blues give off will help the reader to be able to comprehend the suffering that black people are facing. Langston Hughes’s poem “The Weary Blues” uses a lot of different literary devices such as onomatopoeia and assonance to give the poem a intense feeling of despair that allows the reader to feel like they are actually listening to the blues lyrics that follows throughout the poem.
In A “High Tension” in Langston Hughes’s Musical Verse, it says, “Black musicians, however, frequently drew the wary gaze of the white world, too, something they were keenly aware of. Within their music and the literature that employs their music, white presence is constantly felt, simultaneously revealing its “fundamental role in structuring black cultural forms” (Bernard 268) and complicating any formulation of an independent and insular black vernacular culture to form the basis of a black aesthetic.
Black music was in many ways shaped by its constant engagement with the unique culture of suspicion and surveillance from which it emerged” (Nielson, pg.167) This excerpt helps the reader understand how black music has been linked to the development of the white culture. Black music has changed completely free of white influence. As a result, this also shows how Hughes music is a kind of resting place for black culture.