PrepTest 41, Section 4, Question 9

Countee Cullen (Countee Leroy Porter, 1903�1946) was one of the foremost poets of the Harlem Renaissance, the movement of African American writers, musicians, and artists centered in the Harlem section of New York City during the 1920s. Beginning with his university years, Cullen strove to establish himself as an author of romantic poetry on abstract, universal topics such as love and death. Believing poetry should consist of "lofty thoughts beautifully expressed," Cullen preferred controlled poetic forms. He used European forms such as sonnets and devices such as quatrains, couplets, and conventional rhyme, and he frequently employed classical allusions and Christian religious imagery, which were most likely the product both of his university education and of his upbringing as the adopted son of a Methodist Episcopal reverend.

Some literary critics have praised Cullen's skill at writing European-style verse, finding, for example, in "The Ballad of the Brown Girl" an artful use of diction and a rhythm and sonority that allow him to capture the atmosphere typical of the English ballad form of past centuries. Others have found Cullen's use of European verse forms and techniques unsuited to treating political or racial themes, such as the themes in "Uncle Jim," in which a young man is told by his uncle of the different experiences of African Americans and whites in United States society, or "Incident," which relates the experience of an eight-year-old child who hears a racial slur. One such critic has complained that Cullen's persona as expressed in his work sometimes seems to vacillate between aesthete and spokesperson for racial issues. But Cullen himself rejected this dichotomy, maintaining that his interest in romantic poetry was quite compatible with his concern over racial issues. He drew a distinction between poetry of solely political intent and his own work, which he believed reflected his identity as an African American. As the heartfelt expression of his personality accomplished by means of careful attention to his chosen craft, his work could not help but do so.

Explicit references to racial matters do in fact decline in Cullen's later work, but not because he felt any less passionately about these matters. Rather, Cullen increasingly focused on the religious dimension of his poetry. In "The Black Christ," in which the poet imagines the death and resurrection of a rural African American, and "Heritage," which expresses the tension between the poet's identification with Christian traditions and his desire to stay close to his African heritage, Cullen's thoughts on race were subsumed within what he conceived of as broader and more urgent questions about the suffering and redemption of the soul. Nonetheless, Cullen never abandoned his commitment to the importance of racial issues, reflecting on one occasion that he felt "actuated by a strong sense of race consciousness" that "grows upon me, I find, as I grow older."

Countee Cullen (Countee Leroy Porter, 1903�1946) was one of the foremost poets of the Harlem Renaissance, the movement of African American writers, musicians, and artists centered in the Harlem section of New York City during the 1920s. Beginning with his university years, Cullen strove to establish himself as an author of romantic poetry on abstract, universal topics such as love and death. Believing poetry should consist of "lofty thoughts beautifully expressed," Cullen preferred controlled poetic forms. He used European forms such as sonnets and devices such as quatrains, couplets, and conventional rhyme, and he frequently employed classical allusions and Christian religious imagery, which were most likely the product both of his university education and of his upbringing as the adopted son of a Methodist Episcopal reverend.

Some literary critics have praised Cullen's skill at writing European-style verse, finding, for example, in "The Ballad of the Brown Girl" an artful use of diction and a rhythm and sonority that allow him to capture the atmosphere typical of the English ballad form of past centuries. Others have found Cullen's use of European verse forms and techniques unsuited to treating political or racial themes, such as the themes in "Uncle Jim," in which a young man is told by his uncle of the different experiences of African Americans and whites in United States society, or "Incident," which relates the experience of an eight-year-old child who hears a racial slur. One such critic has complained that Cullen's persona as expressed in his work sometimes seems to vacillate between aesthete and spokesperson for racial issues. But Cullen himself rejected this dichotomy, maintaining that his interest in romantic poetry was quite compatible with his concern over racial issues. He drew a distinction between poetry of solely political intent and his own work, which he believed reflected his identity as an African American. As the heartfelt expression of his personality accomplished by means of careful attention to his chosen craft, his work could not help but do so.

Explicit references to racial matters do in fact decline in Cullen's later work, but not because he felt any less passionately about these matters. Rather, Cullen increasingly focused on the religious dimension of his poetry. In "The Black Christ," in which the poet imagines the death and resurrection of a rural African American, and "Heritage," which expresses the tension between the poet's identification with Christian traditions and his desire to stay close to his African heritage, Cullen's thoughts on race were subsumed within what he conceived of as broader and more urgent questions about the suffering and redemption of the soul. Nonetheless, Cullen never abandoned his commitment to the importance of racial issues, reflecting on one occasion that he felt "actuated by a strong sense of race consciousness" that "grows upon me, I find, as I grow older."