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Rh until very recently, practically nothing worth while has been achieved, with the exception of Angelina Grimke's Rachel, notable for its sombre craftsmanship. Biography has given us a notable life story, told by himself, of Booker T. Washington. Frederick Douglass's story of his life is eloquent as a human document, but not in the graces of narration and psychologic portraiture, which has definitely put this form of literature in the domain of the fine arts. Indeed, we may well believe that the efforts of controversy, of the huge amount of discursive and polemical articles dealing chiefly with the race problem, that have been necessary in breaking and clearing the impeded pathway of racial progress, have absorbed and in a way dissipated the literary energy of many able Negro writers.

Let us survey briefly the advance of the Negro in poetry. Behind Dunbar, there is nothing that can stand the critical test. We shall always have a sentimental and historical interest in those forlorn and pathetic figures who cried in the wilderness of their ignorance and oppression. With Dunbar we have our first authentic lyric utterance, an utterance more authentic, I should say, for its faithful rendition of Negro life and character than for any rare or subtle artistry of expression. When Mr. Howells, in his famous introduction to the Lyrics of Lowly Life, remarked that Dunbar was the first black man to express the life of his people lyrically, he summed up Dunbar's achievement and transported him to a place beside the peasant poet of Scotland, not for his art, but precisely because he made a people articulate in verse.

The two chief qualities in Dunbar's work are, however, pathos and humor, and in these he expresses that dilemma of soul that characterized the race between the Civil War and the end of the nineteenth century. The poetry of Dunbar is true to the life of the Negro and expresses characteristically what he felt and knew to be the temper and condition of his people. But its moods reflect chiefly those of the era of Reconstruction and just a little beyond,—the limited experience of a transitional period, the rather helpless and subservient era of testing freedom and reaching out through the difficulties of life to the emotional compensations of laughter and tears.