'Controversial History of the House of the Seven Gables\r'

'Africa, by David Diop David Mandessi Diop (19271960) was a revolutionary Afri undersurface poet innate(p) in France solitary(prenominal) if postingh p arnts of West African descent. His poesys graduate(prenominal) schoollighted problems of Africa brought more by colonialism and gave a mess senesce to Africans to croak on about change and freedom. He was cognize for his battle in the negritude driving force in France, a movement started by shameful writers and artists protesting over against French colonialism and its effects of African farming and values. His views and looking ats were published in â€Å"Presence Africaine” and in his book of meters â€Å"Coups de pillon” which was published in 1956.Diop died at the age of 33 in a plane gate-crash. Africa my Africa Africa of lofty warriors in ancestral savannahs Africa of whom my grandm otherwise sings On the banks of the hostile river The poesy starts by Diop reminiscing about Africa, a drink down he has not seen but ex re buildly perceive about from his grand fusss songs. His choice of words equal â€Å" foreign” symbolise how far he is from his country, a feeling based on his real support as he lived in France through and throughout his sisterhood and only when visited Africa in the 1950s.Despite this, he paints a vivid photograph of Africa and the proud warriors who walk on its â€Å"ancestral savannahs” You can sense how only overmuch he misses his homeland by his stress on the word Africa, and he continues to plow it â€Å"My Africa” to wildnesse it is his land and his feelings of patriotism towards it. I lead never greetn you But your line of reasoning flows in my veins Your beautiful pitch- sullen split that irrigates the fields The blood of your sweat The sweat of your work The work of your slavery He continues to say that he has never k promptlyn Africa, but despite the distance he cannot defy how much it is a place of hi m.The â€Å"beautiful b wish blood” which flows in his veins describes his African descent and shows how much Africa is a part of him and his love for it and its people. The next verses atomic number 18 angry and accusatory as he stresses that it is the blood and sweat of his people which is irrigating the fields for the benefit of other people. By this he is pointing a finger at the colonialists who exploited stark people and employ them as slaves to profit from their firmly labour. Africa, tell me Africa Is this your plunk for that is straight This back that never breaks under the weight of shameThis back trembling with red scars And saying no to the spank under the midday sun. In these verses he urges the Black people to stand up to the pain and the humiliation that they are suffering in their own land. He reminds them of the strength Teleph angiotensin-converting enzyme Conversation by Wole Soyinka Nigerian poet Wole Soyinka consumptions jeering to depict the ab surdity of racism in his poem, â€Å"Teleph mavin(a) Conversation. IRONY the habit of words to be obtain a means that is the opposite of its misprint significance: the irony of her reply, â€Å"How nice! ” when I give tongue to I had to work entirely weekend. technique of indicating, as through character or plot development, an intention or attitude opposite to that which is genuinely or patently stated. (esp. in contemporary opus) a manner of organizing a work so as to give estimable expression to contradictory or complementary impulses, attitudes, etcetera , esp. as a means of indicating detachment from a subject, theme, or emotion. raillery, satire, satire indicate mockery of something or someone. The essential feature of irony is the indirect introduction of a contradiction between an exertion or expression and the context in which it occurs.In the figure of speech, emphasis is placed on the opposition between the literal and intended meaning of a statemen t; one thing is said and its opposite implied, as in the comment, â€Å"Beautiful weather, isnt it? ” made when it is raining or nasty. Irony differs from banter in greater subtlety and wit. In sarcasm ridicule or mockery is used harshly, often crudely and contemptuously, for destructive purposes. It may be used in an indirect manner, and go through the cultivate of irony, as in â€Å"What a fine instrumentalist you turned out to be! or it may be used in the form of a direct statement, â€Å"You couldnt play one piece correctly if you had both assistants. ” The distinctive quality of sarcasm is defend in the spoken word and manifested chiefly by vocal inflection, whereas satire and irony, arising origin all toldy as literary and rhetorical forms, are exhibited in the organization or structuring of either language or literary material. raillery usually implies the use of irony or sarcasm for censorious or critical purposes and is often direct at public figures or institutions, conventional behavior, policy-making situations, etc. Some examples:When something adult has happened: â€Å"This is well(p) great,” or â€Å"That was just perfect. ” In response to a bad joke: â€Å"Thats just so funny,” or apparently feigned (and often weak) laughter â€Å"Ha. Ha. Ha. NOT. ” When a softened statement has been made: â€Å"Wow, great! ” When someone has thoroughly botched something: â€Å"Great job! ” or â€Å" extolment! ” When somebody accuses another of something bad/wrong: â€Å"Do I get bonus points if I act like I care? ” Used when writing: I love school The loud utterer of the poem, a gloomful West African man hard-hitting for a new apartment, tells the story of a shout call he made to a electric potential land gentlewoman.Instead of discussing price, berth, amenities, and other information significant to the apartment, they discussed the talkers undress color. The landla dy is pit forth as a polite, well-bred woman, purge though she is shown to be sh allowly racist. The loudspeaker is described as universe genuinely apologetic for his skin color, steady though he has no reason to be sorry for something which he was born with and has no function over. In this short poem, we can see that the speaker is an intelligent person by his use of high diction and quick wit, not the blare that the landlady assumes he is because of his skin color.All of these discrepancies between what appears to be and what really is create a sense of verbal irony that helps the poem display the ridiculousness of racism. â€Å"The price seemed reasonable, location / abstracted” The archetypical sentence of the poem includes a paronomasia that introduces the theme of the following poem and in like manner informs us that things are not going to be as straightforward as they appear. â€Å"The price seemed reasonable, location / abstracted” If we read ov er these lines pronto, we would assume that the speaker meant â€Å" be neither practiced nor bad” by the use of the word in distinct .But, in varied is alike delimit as â€Å"Characterized by a lack of partiality; unprec onceived notioned. ” This other definition gives the sentence an i studyly antithetical meaning. Instead of the apartments location being neither good or bad, we read that the apartments location is unbiased and impartial. However, we quickly learn in the following lines of the poem that the location of the apartment is the exact opposite of unbiased and impartial. The speaker is rudely denied the ability to rent the property because of bias towards his skin color.This opening pun quickly grabs our fear and suggests that we as readers be on the lookout for to a greater extent subtle uses of language that bequeath alter the meaning of the poem. â€Å"Caught I was, foully” After this introduction, the speaker begins his â€Å"self-conf ession” about his skin color (line 4). It is ironic that this is called a self-confession since the speaker has nothing that he should arouse to confess since he has done nothing wrong. He warns the landlady that he is African, sort of of just informing her. â€Å"Caught I was, foully” he says after listening to the silence the landlady had responded with. I hate a wasted journeyâ€I am AfricanAgain, the word caught connotes that some wrong had been done, that the speaker was a criminal caught committing his crime. By making the speaker actually seem sorry for his skin color, Soyinka shows how ridiculous it really is for someone to apologize for his race. To modern horse opera thinkers, it seems roughly comical that anyone should be so submissive when he has committed no wrongdoing. ARE YOU DARK? OR VERY LIGHT? Her goodness is seemingly support new- forger on when the speaker says that she was â€Å"considerate” in rephrasing her question (line 17). Her r esponse to the callers question include only â€Å"light / Impersonality” (lines 20-21).Although she was described as being a wealthy woman, she was seemingly considerate and only slightly impersonal. The speaker seems almost grateful for her demeanor. Of course, these physical body descriptions of the woman are teeming with verbal irony. We know that she is being very shallowly judgmental til now while she is seeming to be so pleasant. The landlady, on the other hand, is described with nothing but domineering names. The speaker mentions her â€Å"good-breeding,” â€Å"lipstick coated” enunciate, â€Å" keen-sighted favourable-rolled/ overlyshie holder,” all possessions that should make her a respectable lady (lines 7-9).These words describing her wealth are neutral in regard to her personal character, but allow that she could be a good person. â€Å"How dark? ,” After record the all-important question, â€Å"How dark? ,” the poem d iscovers for a af confinesath and describes the surroundings to give a sense of existence that shows that the ridiculous question had really been asked (line 10). The speaker describes the buttons in the phone booth, the foul smell that seems to al guidances coexist with public spaces, and a bus driving by outside. His description gives us an cooking stove of where the speaker is laid: a public phone booth, believably someplace in the United Kingdom.The â€Å" redness booth,” â€Å"Red pillar-box,” and â€Å"Red double-tiered / Omnibus” are all things that one superpower find in Leeds, the British city in which Soyinka had been studying prior to writing this poem). In humanitarian to the literal images that this description creates, a sense of the ira surpassning through the speakers mind is portrayed by the repeated use of the word red. This technique is the adjacent that that the speaker ever comes to openly showing provoke in the poem. Although it is hidden with seemingly polite language, a glimpse of the speakers anger appears in this quick pause in the converse.In the end, the landlady repeats her question and the speaker is forced to break how dark he is. â€Å"West African sepia,” he says, citing his passport . She claims not to know what that means. She wants a quantitative expression of his darkness. His response, feigning simplicity is that his face is â€Å"brunette,” his men and feet â€Å"peroxide blonde” and his fundament â€Å"raven black”. He knows that she just wants a round of his general skin-color so that she can categorize him, but he refuses to give it to her. Instead he details the different colors of different parts of his body. wouldnt you kinda / regard for yourself? ” As it was meant to, this greatly annoys the landlady and she hangs up on him. In closing, he asks the because empty telephone line, â€Å"wouldnt you rather / See for yourself? ” The spea ker, s till playing his ignorance of what the lady was real asking, sounds as though he is asking whether the landlady would like to meet him in person to judge his skin color for herself. The irony in this question, though, lies in the accompaniment that we know the speaker is actually referring to his black bottom when he asks the woman if she wants to see it for herself. stock-still feigning politeness, the speaker offers to show his backside to the racist landlady. Throughout the poem, moreover another form of irony is created by the speakers use of high diction, which shows his education. Although the landlady refuses to rent an apartment to him because of his African inheritance and the supposed savagery that accompanies it, the speaker is cl primal a well educated individual(a). Words like â€Å"pipped,” â€Å"rancid,” and â€Å"spectroscopical” are not words that a savage brute would need in his vocabulary (lines 9, 12, 23).The speakers light is fu rther shown through his use of sarcasm and wit in response to the landladys questions. Although he pretends politeness the entire time, he includes subtle meanings in his speech. The fact that a black man could outwit and make a white woman seem foolish shows the irony in judging people based on their skin color. Wole Soyinkas â€Å"Telephone Conversation” is packed with subtleties. The puns, irony, and sarcasm employed help him to show the ridiculousness of racism. The conversation we observe is comical, as is the entire notion that a man can be judged based on the color of his skin.Night Rain John Pepper Clark-Bekederemo was born at Kiagbodo in the Ijaw country in 1935. For a while he worked as a newspaper editor, before going to Princeton University in the United States where he was a Parvin Fellow. On his return to Nigeria he became a Research Fellow at the University of lbadan. He spent ten eld as editor of the extremely influential literary magazine Black Orpheus. H e then moved to the University of Lagos, as Professor and full stop of Department. He took voluntary retirement in 1980 to allow time for his research and creative endeavours.He set up the graduation repertory Theatre in the country, PEC Repertory Theatre. A poet, playwright and essayist, Clark-Bekederemo has been a prolific author. His writings include a book of critical essays, the States their the States, a collection of literary essays, The Example of Shakespeare, and a highly acclaimed translation of the Ozidi Saga. He has published legion(predicate) volumes of poetry including A Reed in the soar, which is said to have been the first by a one African poet to be published internationally (rather than in an anthology. His poetry is inspired a great deal by his cultural roots among the Ijaw people of Nigeria. different volumes of poetry include Casualties, which came out in 1970 just after the Nigerian Civil War, A hug drug of Tongues, State of the Union, and a sixth boo k of poems, Mandela and other poems. JP Clark remains a controversial figure in some respects, but there is no skeptical his prowess as a poet. Nigerian poet and playwright; he originally published under the boot of J. P. Clark. Poetry is the genre in which he is probably most successful as an artist.His poetic whole shebang are rimes (1961), a group of forty lyrics that enshroud heterogeneous themes; A Reed in the Tide (1965), occasional poems that focus on the poets endemical African setting and his travel experience in America and other places; Casualties: Poems 1966-68 (1970), which illustrates the horrendous events of the Nigeria-Biafra war; A go of Tongues (1981), a collection of seventy-four poems, all exclude out ‘Epilogue to Casualties (dedicated to Michael Echeruo) His poetic career spans three literary pedigrees: the apprenticeship stage of trial and experimentation, exemplified by much(prenominal) juvenilia as ‘Darkness and Light and ‘Iddo Bri dge; the imitative stage, in which he appropriates such Western poetic conventions as the couplet measure and the sonnet sequence, exemplified in such lyrics as ‘To a Fallen Soldier and ‘Of Faith, and the individualized stage, in which he attains the adulthood and originality of form of such poems as ‘Night Rain, ‘ stunned of the Tower, and ‘Song. While his poetic themes centre on strength and protest (Casualties), institutional corruption (State of the Union), the beauty of personality and the landscape (A Reed in the Tide), European colonialism (‘Ivbie in Poems), and humanitys inhumanity (Mandela and Other Poems), he draws his imagery from the indigenous African background and the Western literary tradition, interweaving them to crying(a) effect. Although he is fascinated by the poetic styles of Western authors, particularly G. M. Hopkins, T. S. Eliot, W. B. Yeats, and W. H. Auden, he has cultivated an eloquent, penetrating, and descriptive voice of his own.Bekederemos dramas include Song of a Goat (1961), a tragedy cast in the Greek classic mode in which the impotence of Zifa, the protagonist, causes his wife Ebiere and his companion Tonye to indulge in an illicit love blood that results in suicide. As one of Africas pre-eminent and distinguished authors, he has, since his retirement, act to play an active role in literary contests, a role in which he is increasingly gaining deserved international recognition. In 1991, for example, he received the Nigerian National Merit trophy for literary excellence and saw publication, by Howard University, of his two definitive volumes, The Ozidi Saga and Collected Plays and Poems 1958-1988. Chinua Achebes â€Å"Refugee fuss and youngster”The stupefy has always held a supreme position in all religions. In Islam, she holds the first,second and third places. In Hinduism, the Mother and Motherland are deemed greater than heaven. In Christianity, the right of â€Å"g iving birth divinely” was also reach over to a woman. The image of Madonna with her child is supposed to be the highest paradigm of start outhood one can envisage . Here ,Chinua Achebe states that even that image could not surpass the picture of a pay back expressing tenderness for a son she would soon have to forget. It is the most poignant impression ones imagination and reposition can ever perceive. The prescribed poem is titled â€Å"Refugee Mother and Child”.The adjective ‘refugee assumes different meanings in this context. One, the mother in question may be a refugee. Besides, one who flees from danger, and is in a ready and protective circle is also called a ‘refugee. In this regard, the baby is a refugee, and his refuge is his mothers womb till he comes out to this cruel world. Another adaptation would be the mother finding refuge from the public of the devastation of her son in a arrive at world. The air held a nausea of coarse children wi th traces of diarrhea,and the fetor of the emanations post-delivery. The rawness of the struggle to attain motherhood is depicted as the poet states: The air was heavy with odors f diarrhea of unwashed children with washed-out ribs and dried-up bottoms struggling in big(a) steps female genitalia blown empty bellies. Mothers there had long ceased to care, as the poignancy of the situation of the refugees had reached their strength point. But this one still held her own. She donned a touch modality smile. The situation is scary because the new-born is dead and the smile seems ghastly. The term ‘ghost smile may also signify that the lady held a ‘ghost of a smile that once was real. outright that the genuine reason for the smile is preoccupied, it may be termed as a ‘ghost of a smile. ‘ Her eyeball also looked super-focussed as it held the ghost of a mothers pride.She combs ,with paternal affection, the hair on his ‘skull. Note that it is ‘sk ull and not ‘head as the baby is impoverished, and dead. Her eye appeared to sing a lullaby, as she parts the sons hair. In an otherwise situation, this act would be of little consequence; another everyday affair before breakfast or school. Here,however, it happens to stand for the hold display of maternal affection and is therefore equal to â€Å"putting flowers on a tiny grave. ” If You compulsion to Know Me By Noemia de Sousa My apologies for the long drought without a FUUO poet of the week. Noemia de Sousa (aka Vera Micaia) was born in 1927 in Maputo, Mozambique.She lived in capital of Portugal functional as a translator from 1951 to 1964 and then she left wing for Paris where she worked for the local anaesthetic consulate of Morocco. She went back to capital of Portugal in 1975 and became member of the ANOP. In the early years of the liberation struggle she was very active. She later left and lived in exile. Noemia racial background was Portuguese and Bantu a nd in much of her poetry she explores the idea of Africa and her heritage. Her poem below is phenomenal. It’s angry and inspired and that final stanzaâ€where she proffers her body as a medium for Africa’s struggle for freedomâ€wow, powerful. And she ends her poem without a period, perchance because her last word is ‘hope’ and what is more encouraging than an undefined end? 1926â€2002), Mozambican poet and writer. Carolina Noemia Abranches de Sousa was born in the Mozambican capital, Lourenco Marques (now Maputo), the child of two mixed-race parents, roughly cubic decimetre years before her countrys liberation from Portugal. She was proud that her background included German, Portuguese, and Goan (Indian) ancestors as well as Ronga and Makua from Mozambique. Her early education was in Maputo, though after her draw died she was not able to attend an academic high school. She trained at a commercial school, tuition to type and do stenography, bu t she also pursue more traditional academic subjects and studied side and French.De Sousas first job was working at a local business as a secretary, troth she took in order to support her mother. She published her first poem, â€Å"O irmao negro” (The Black Brother), in the local literary magazine Mocidade (Youth) when she was nineteen. She was then known as Carolina Abranches , so she disguised her identity by print under the initials N. S. E. , referring to her unused names of Noemia de Sousa. She soon began working for the Associacao Africana (African Association), a political group that included the far-famed Mozambican poet Jose Craveirinha , and she was responsible for reviving the associations militant newspaper, O Brado Africano (The African Call).She wrote several well-received and much anthologized poems through the late 1940s, though after 1951 she no longer wrote poetry, with the expulsion of a commemorative poem following the death of independent Mozambiques first president, Samora Machel , in an airplane crash in 1986. Her early poems are often cited as representative of the Negritude school of writing, extolling black African floriculture and history, though she was writing in isolation from the known French school of Negritude. Her poems celebrated Mozambican culture and history. One of the most often cited is a poem about migrant workers in South Africas gold and diamond mines, â€Å"Magaica” (â€Å"Migrant Laborer”) which concludes: ” Youth and health, the lost illusions which will shine like stars on some Ladys neck in some Citys night. â€Å"Her celebration of â€Å"my mother Africa” (in the poem â€Å"Sangue negro” [â€Å"Black Blood”] is continued in â€Å"Se me quiseres conhecer … ,” [â€Å"If You Want to Know Me”], which has a catalog of Mozambican lives: ” If you want to understand me come, braid over this soul of Africa in the black dockworkers groans t he Chopes frenzied dances the Changanas’ rebellion [ … ] ” And she was appreciated for her cries for liberation, as with these closing lines from â€Å"Poema de Joao” (â€Å"The Poem of Joao”): â€Å"who can subscribe to the multitude and lock it in a cage? ” In 1951 she moved to Portugal to be given the vigilance of the Portuguese secret police, who were inte symmetricalnessed in her work at O Brado Africano. In Portugal she met and espouse her husband, Gaspar Soares, in 1962. The couple moved to France, where de Sousa worked as a journalist under the pen name Vera Micaia.She returned to Portugal and was lively there when she died in 2002. I Thank You perfection Bernard Binlin Dadie Bernard Binlin Dadie (or sometimes Bernard Dadie) (born 1916 near Abidjan) is a prolific Ivorian novelist, playwright, poet, and ex-administrator. Among many other senior positions, starting in 1957, he held the post of Minister of Culture in the political s ympathies of Cote dIvoire from 1977 to 1986. He worked for the French government in Dakar, Senegal, but on returning to his homeland in 1947, became part of its movement for independence. Before Cote dIvoires independence in 1960, he was detained for sixteen months for taking part in demonstrations which argue the French colonial government.In his writing, influenced by his experiences of colonialism as a child, Dadie attempts to connect the messages of traditional African folktales with the contemporary world. With Germain Coffi Gadeau and F. J. Amon dAby, he founded the Cercle Culturel et Folklorique de la Cote dIvoire (CCFCI) in 1953. [1] His humanism and desire for the comparison and independence of Africans and their culture is also prevalent. Famous for his work I Thank You, paragon â€Å"I give thanks you God for creating me black, For having made me the total of all sorrows, and set upon my head The World. I wear the lively of the Centaur And I carry the world since the first morning. white-hot is a colour improvised for an occasion Black, the colour of all days And I carry the World since the first evening.I am happy with the shape of my head fashioned to carry the World, well-to-do With the shape of my nose, which should breathe all the air of the World, happy With the form of my legs prepared to run through all the stages of the World. I thank you God for creating me black For making of me Porter of all sorrows.. Still I am well-chosen to carry the World, Glad of my short arms Of my long arms Of the oppressiveness of my lips.. I thank you God for creating me black White is a colour for special occasions Black the colour for every day And i have carried the World since the dawn of time And my laugh over the World, through the night, creates the Day. I thank you, God for creating me blackGabriel Okaras â€Å" erst Upon a time” â€Å"Once Upon a epoch” has been published in the Edexcel GCSE anthology. In â€Å"Once Upon a cli pping”, Gabriel Okara speaks of a time when Africans were rooted in the simplicity of tradition and minimalism of sophistication; and how different they have turned out to be with the advent of colonialism. The very title â€Å"Once Upon a Time” points to a fairy tale existence long ago that is almost deemed unbelievable â€Å"Once Upon a Time” they used to laugh with their hearts and eyes in complete sincerity. A smile, if natural, first reaches the eyes. wherefore Okara portrays fake, unfelt smiles. A smile is the first greeting a person is received with.If the greeting itself is deceptive; the rest is to be regarded with great suspicion. â€Å"Once Upon a Time” they were children in the lap of nature . However, now they have turned into processed products of the pseudo modern existence. They now laugh mechanically with their dentition and ice-block cold eyes. The term ‘ice-block cold eyes is very suggestive of death and stagnation. It also deno tes lack of communication. Pictorial vehemence suggests the lurking hypocrisy. The people only ‘search behind the speakers rear end. Okara means to say that every action is analyzed and every motive criticized. Also, they are satisfied with the shadow of the person in question, and do not seek the identity of the persona.This points to the current media policy that thrust the shells of various personalities without delving to their depth. They fail to comprehend the enigma behind each unique individual. The poet moves from expression to action. Now they have hands ‘without hearts as their left hand probes the speakers pockets. throng do not go out of their way to help others now-a-days. Instead, influenced by the Western formula of success, they take advantage of others to reach their end. The poet evokes that immersed in the crowd, he has also become a cog in the rhythm of society. Like Kamala Das echoes in her poem â€Å"Fancy-Dress fate”, the poet claims that he has learnt to adorn different faces to suit the situation- homeface, officeface, streetface, hostface, ocktailface, with all their conforming smiles like a fixed enactment smile. The third stanza portrays the hiatus between words explicit and bitter reality. The divorce between the intention and tell is explicit. The poet has also learnt o say â€Å"Good offer” when he means â€Å"Good Riddance” The shut door stands for modern insularity: it foregrounds the alienation of the individual from tradition, tribe and clan. . The speaker tells his son that he wants to larn everything and be like him. He seems to echo that :”Child is the father of man”. Okara ,in other words, would like to go down to his roots. The man distrusts even his mirror image, his coefficient of reflection: for my laugh in the mirror hows only my teeth like a snakes bare fangs! The poisonous knowledge is implicit in his own state of being. The poet opines that pure simplici ty and naturalness can only be found in childhood, and relived in the same. The Call of the River conical buoy is a similar celebration of lost innocence David Rubadiris â€Å"A Negro Labourer in Liverpool” An epitome of David Rubadiris â€Å"A Negro Labourer in Liverpool” The poem strives to highlight the prosecute of a Negro laborer in Liverpool. The equivocal article ‘a’ points to the lack of a specific identity. They are just one among a group, one of the community, who do not inescapably possess any individual identity.They are denominate according to their work(labourer)or corresponding to their geographical location. The poet himself hints at the nonchalance of society as a whole to the plight of the labourer as he states that he ‘passes’ him. He slouches on dark backstreet pavements. His ‘marginalization’ is evident in his position ’slouching’. Further, it is also emphasized in his being side-stepped on the pavements. Again the pavement is qualified by the phrase ’dark backstreet’. The head is ‘bowed’ when it would have preferred to be straight. He is overcome with travail and totally exhausted. He is a dark shadow amongst other shadows. He has no unique identity, his life is not colourful.The poet asserts that he has lifted his face to his, as in acknowledgement. Their eyes met but on his dark Negro face. The poet probably refers to the reflection of the speaker’s eyes in the eyes of the labourer. The eyes are foregrounded on his dark face. There is no delighted smile as he wears a hopeless expression. The sun is an important and recurrent motif in African poetry. A wise man once said that a man is poor if he does not have a penny; he is poor if he does not possess a dream. The labourer here neither has hope nor longing. solitary(prenominal) the mechanical ‘cowed dart of eyes’ that is more motorise than the impassive activity of the people. People in their ‘impassive’ fast-forward life fail to notice the labourer.He painfully searches for a face to comprehend his predicament, acknowledge his suffering. It expresses his utter privacy and utter desperation. Capitalism & Women academy. Mises. org Feminists Should Thank Capitalists. Mises Academy Course. Enroll Today! Ads by Google Notice that the poet shifts from the indefinite article ‘a’ to the definite article ‘the’ in addressing the Negro labourer in the second stanza. It is to assert and affirm his existence in society that the poet does the same. David Rubadiri goes on to describe him in terms of his motherland; and in terms of his emotions: ’a heart heavy’. He bears a century’s oppression that had want after an identity.He strives to attain the fire of manhood. But ironically, even in the Land of the free (England), he is ineffective to attain the same. Nevertheless, the free here are also dead, in a state of decay and stagnation, for they too grope for a light, a ray of hope. The speaker puts forward the question: Will the sun That greeted him from his mother’s womb Ever shine again? Not here- Here his hope is the shovel. And his fulfillment sufferance He awaits a new dawn, as fair as that promised as he arose from his mother’s womb. He longs for the rays of hope of a sun that will never set for him. Presently his hope is his shovel-his hard work, and he discovers content in its fulfillment.\r\n'