Embark on an insightful exploration of Langston Hughes’s “Theme for English B,” a profound poem that transcends a simple classroom assignment to become a timeless meditation on identity, authenticity, and the intricate tapestry of human connection. This article serves as a comprehensive guide, illuminating the poem’s layers of meaning, its central ideas, and the masterful literary techniques Hughes employs. Prepare to delve into a work that continues to resonate, inviting readers to consider what it truly means to express one’s self.
Theme for English B
by Langston Hughes
The instructor said,
Go home and write
a page tonight.
And let that page come out of you,
Then, it will be true.I wonder if it’s that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas, Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you.
hear you, hear me we two talk on this page.
(I hear New York, too.) Me, who?Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white, yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older, and white—
and somewhat more free.This is my page for English B.
Theme for English B Summary: Identity, Authenticity, and Connection
- Introducing “Theme for English B”: Langston Hughes’s “Theme for English B” is a profoundly honest exploration of identity, assignment, and the complexities of race in America. First published in 1951, the poem isn’t just a fulfillment of a classroom task; it’s a journey into the heart and mind of a young Black man navigating his place in a predominantly white educational setting.
- The Core of the Poem: The poem unfolds as a direct response to an assignment: to write a page that’s “true” to oneself. The speaker, a twenty-two-year-old Black student, grapples with what that “truth” even means. He details his background—his birthplace, education, and current life in Harlem—highlighting his status as the sole Black student in his class. The poem becomes a meditation on how one’s identity is shaped by both personal experiences and societal context.
- Key Themes: Identity, Authenticity, and Connection: At its heart, “Theme for English B” is about discovering and expressing a genuine self. Hughes skillfully explores how race, environment, and personal preferences all contribute to who we are. The poem emphasizes that while individuals each have unique experiences, they are also interconnected. The speaker acknowledges the inherent relationship between himself and his white instructor, recognizing that even across differences, learning and influence flow in both directions. This reciprocal exchange is presented as a fundamental aspect of the American experience.
Theme for English B Analysis: Unpacking Hughes’s Masterpiece
The Initial Prompt and the Struggle for Authenticity
The poem opens with a seemingly straightforward directive from the instructor: “Go home and write / a page tonight. / And let that page come out of you, / Then, it will be true.” This instruction, intended to elicit genuine self-expression, immediately prompts the speaker’s profound contemplation. The question, “I wonder if it’s that simple?” reveals the inherent complexity of authenticity, particularly when one’s identity is shaped by unique social and racial experiences. The speaker is not merely questioning the ease of the assignment; he is grappling with the deeper challenge of encapsulating the multifaceted truth of his being within a single page, aware of the expectations and perceptions that might accompany his identity.
Establishing Identity and Context
The speaker then meticulously constructs his identity, providing readers with crucial context for his perspective. Lines such as “I am twenty-two, colored, born in Winston-Salem” are direct and declarative, with the inclusion of “colored” serving as a deliberate acknowledgment of the racial identity that profoundly shapes his life. This is not merely a demographic detail; it is a foundational element of his existence. He traces his educational journey, moving from Winston-Salem to Durham and finally to the “college on the hill above Harlem.” This geographical progression maps not only his physical movements but also his intellectual and personal development, positioning him at a unique intersection of worlds.
The description of his daily commute, “The steps from the hill lead down into Harlem,” is particularly evocative. It physically and symbolically connects the academic, predominantly white world of the college with the vibrant, predominantly Black community of Harlem. This journey underscores the speaker’s dual existence, navigating the intellectual demands of an institution while remaining deeply rooted in his cultural heritage and community. The detailed route through “St. Nicholas, Eighth Avenue, Seventh” to the “Harlem Branch Y” grounds the poem in a specific, tangible reality, emphasizing his lived experience.
The Dialogue with Harlem and New York
A fascinating dynamic emerges with the lines, “Harlem, I hear you. / hear you, hear me we two talk on this page.” Here, Harlem transcends its role as a mere location; it becomes a living entity, a conversational partner, and a muse that profoundly influences the speaker’s thoughts and feelings. This personification highlights the deep connection between the speaker’s inner world and his external environment. The subsequent inclusion of “(I hear New York, too.)” broadens the scope, acknowledging the larger urban landscape that surrounds and shapes him. This interplay between the personal, the local, and the global enriches the poem, suggesting that true self-expression is always in dialogue with one’s surroundings.
Universal Human Experiences
The speaker then lists a series of fundamental human preferences: “Well, I like to eat, sleep, drink, and be in love. / I like to work, read, learn, and understand life.” These simple, yet profound, statements underscore the universality of human experience. Regardless of race, background, or social standing, individuals share fundamental needs and desires. The speaker further personalizes this by adding specific tastes: “I like a pipe for a Christmas present, / or records—Bessie, bop, or Bach.” This combination of universal needs and individual preferences humanizes the speaker, making him relatable to a diverse readership and laying the groundwork for his subsequent assertions about shared humanity.
Addressing Race and Identity Directly
The poem reaches a pivotal point as the speaker directly addresses the implications of his racial identity: “I guess being colored doesn’t make me not like / the same things other folks like who are other races.” This statement is a powerful assertion of common humanity, challenging any assumptions or stereotypes that might suggest his race diminishes his shared experiences or preferences. It is a subtle yet firm rejection of racial essentialism. This leads to a crucial question: “So will my page be colored that I write?” The answer, “Being me, it will not be white,” is a profound declaration of authenticity. The speaker acknowledges that his perspective, his experiences, and his voice are inherently shaped by his race, and he embraces this truth rather than attempting to conform to a dominant, “white” narrative. His page will be true to himself, and therefore, it will reflect his identity.
The Interconnectedness of Self and Other
The poem culminates in a deeply insightful reflection on the reciprocal relationship between the individual and the “other.” The lines “But it will be / a part of you, instructor. / You are white, yet a part of me, as I am a part of you” lie at the very heart of the poem’s message. The speaker recognizes that despite their racial and generational differences, he and his instructor are inextricably linked. Learning is presented as a mutual process; both individuals influence and learn from each other. The declaration, “That’s American,” suggests that this interconnectedness, this blending of diverse experiences and perspectives, is a defining characteristic of the American identity. However, Hughes does not shy away from acknowledging the potential for friction or discomfort in this relationship: “Sometimes perhaps you don’t want to be a part of me. / Nor do I often want to be a part of you.” Yet, the poem concludes with an affirmation of an enduring truth: “But we are, that’s true!” This powerful statement underscores the unavoidable and profound connections that bind individuals, regardless of their differences, emphasizing a shared human experience that transcends superficial divisions.
Literary and Poetic Devices in “Theme for English B”
Langston Hughes masterfully employs various literary and poetic devices to enrich “Theme for English B,” making it both profound and accessible.
Free Verse
“Theme for English B” is written in free verse, a poetic form that does not adhere to a strict rhyme scheme or meter. This choice allows Hughes to create a natural, conversational tone that mirrors the speaker’s authentic voice and stream of consciousness, making the poem feel like a direct, unmediated thought process.
Imagery
Hughes utilizes vivid imagery to create a sensory and tangible experience for the reader. Phrases such as “The steps from the hill lead down into Harlem” and “up to my room, sit down, and write this page” allow readers to visualize the speaker’s physical journey and actions, grounding the abstract themes in concrete reality. The description of “a pipe for a Christmas present, / or records—Bessie, bop, or Bach” also paints a clear picture of the speaker’s personal tastes.
Anaphora
Anaphora, the repetition of a word or phrase at the beginning of successive clauses or lines, is used to create emphasis and rhythm. Observe the powerful repetition in these lines: “I like to eat, sleep, drink, and be in love. / I like to work, read, learn, and understand life.” This device underscores the speaker’s universal desires and experiences.
Consonance
Consonance, the repetition of consonant sounds within words in close proximity, subtly weaves a musicality throughout the poem. For example, the repetition of the ‘h’ and ‘r’ sounds in “Harlem, I hear you. hear you, hear me we two talk on this page” creates a rhythmic flow and emphasizes the speaker’s auditory connection to his environment.
Assonance
Assonance, the repetition of vowel sounds within words in close proximity, adds to the poem’s melodic quality. The repetition of the short ‘i’ sound in “I like a pipe for a Christmas present” creates a sense of connection between the words and enhances the poem’s internal music.
Alliteration
Alliteration, the repetition of consonant sounds at the beginning of words, is employed for emphasis and a playful touch. The repetition of the ‘b’ sound in “or records—Bessie, bop, or Bach” highlights the speaker’s diverse musical tastes and adds a memorable quality to the line.
Rhetorical Question
The poem begins with a rhetorical question: “I wonder if it’s that simple?” This device immediately engages the reader, inviting contemplation and setting the stage for the speaker’s complex exploration of identity and truth. It suggests that the answer is not straightforward, prompting deeper thought.
By carefully analyzing the language and structure of “Theme for English B,” one can gain a deeper appreciation for Hughes’s masterful use of literary and poetic devices, which collectively contribute to the poem’s enduring power and resonance.
Langston Hughes’s “Theme for English B” remains a cornerstone of American poetry, a testament to the power of self-expression and the enduring quest for understanding. Through its candid voice and insightful observations, the poem invites readers to reflect on their own identities, the communities that shape them, and the profound connections that bind humanity, even across perceived divides. This timeless work continues to challenge and inspire, proving that a single page, written with honesty and courage, can indeed reveal universal truths.