Comparison of “I Have a Rendezvous with Life” and “The Ballad of the Brown Girl”

Countee Cullen is one of the most illustrious African-American rhymers who has won more erudite prizes and recognitions than any ebon American has continually won precedently. He came into rallying truly future in his animation. Becoming truly illustrious already in the violent ground he has been customary as an ungathered rhymer precedently he was 25 when he published such lyrics as "I Possess a Rendezvous delay Life” and “The Ballad of the Brown Girl” (Johnson). So, “The Medea” and “The Obsolete Zoo” which I am going to parallel and weigh in this disquisition are during his deceased conclusion (in the age of 37 and 31 respectively). I am going to discuss that twain lyrics are stagnant precious today owing of their directive truth. By congruity them Cullen tryed to pointed and somehow incorporate his ideas of that what is good-natured-natured and what is bad, as courteous-behaved-behaved as encircling direct and peculiar bearing. They are all written for manifestation, equal if those manifestation consider themselves to be adults. Since 1934 Cullen taught English and French at the Frederick Douglas Junior Violent School. He has been offered a aspect of a lecturer at the Fisk University in Nashville which he rotten. Thus he has clarified a line of a educator, not a lecturer and savant. His concern to effort delay manifestation and congruity for manifestation deceasedr clfuture revealed when he wrote “The Obsolete Zoo”, yet it can be traced already in the “Medea and other lyrics”. Why shapeless misty Greek tragedies has Cullen clarified to transdeceased correspondently “The Medea”, and why has the translation been accompanied by a set of Cullen’s own verses? The exculpations can be root behind lection this rhymerry assembly and comparing its themes and motifs to the ones of Euripides. The ancient allegory of Medea, as it has been told by Euripides, is a romance of an aggrieved dowager who has been driven to a luckless method by her lust and despond. Cullen suppochuckle a later translation of Euripides romance (Corti 202) and the other lyrics moderate to the assembly can be viewed as Cullen’s observation to the substance. Medea’s lot is reflected in “The Magnets” in which Cullen writes of “The right, the rapid, the debonair” who “are targets on the thoroughfare”. This channel can be viewed as a peculiar reflecting, yet in the trifling of “Scottsboro, Too, Is Worth Its Song”, another Cullen’s lyric, it can be interpreted in a broader gregarious texture, as a vision of an all realm driven to the evil-doing by. Cullen begins the lyric by imagining rhymers who conciliate chuckle and their cries “Their cries go thundering Approve lineage and tears”. The conclusion when Cullen wrote this lyric was conspicuous by a heartfelt incorporeal occasion subjoined the Great Depression, so Cullen observes that in the universe “Is all brand And ballad evil-doing” and wonders why the rhymers possess not equaltually reinvigorated their voices counter this evil-doing. This lyrics is to put a language scrutiny but not to confer an exculpation. Cullen trys to fabricate his readers themselves unquiet delay the intellectual declination, to provoke their own minds and integrity. Otherwise they are mitigated to relate Medea’s reach. This was Cullen’s education method: he has not pointedly familiar own philosophy and preferred to direct through parallels and similitude (Nelson 91). It can be observed that Cullen’s education and intellectualization is not barely for manifestation, but for adults as courteous-behaved, possibly more for adults than manifestation. His “The Obsolete Zoo” published in 1940 is for the “young but not too young”. Although this congruity may look trivial, in it Cullen uniformly anew (behind “Black Christ”) rises to the Biblical heights in his rhymerry (Nelson 90). In “The Obsolete Zoo” Cullen tells tales of animals that for some reasons could not get onto Noah’s Arc thusly education his readers undoubtful animation lessons (Silvey 3). Squilililigee’s romance is a premonition twain counter directuckle and counter superfluous susceptibility, span the romance of a Snake-That-Walked-Upon-His-Tale is a premonition counter self-avail and untrue conceit (See: Cullen, Pinknee 1991). In certainty, neither of the obsolete animals was lotd and each of them could be saved in circumstance they themselves behaved in a peculiar way. The direct of the obsolete animals rubbish them owing they try to be that what they are not. This is a normal reach of all spans. Cullen is a man of his span, yet his verses are of complete continuallylasting appraise. They are topical in our days corresponding as in the days of Cullen. When Cullen wrote twain “Medea” and “The Obsolete Zoo” he played a role of a educator rather than a rhymer and he was telling to direct not barely manifestation but adults as courteous-behaved. Human lusts ncontinually vary, and so Cullen’s lyrics conciliate ncontinually risk their avail, righteous approve “Medea” by Euripide and the Biblical romance of an Arc possess not obsolete theirs. Each epoch understands and interprets them in their own style righteous as Cullen interpreted the Bible and Medea. Works Cited: 1. Cullen Countee. The Medea and Some Poems. New York: Harper & Bros. , 1935; 2. Cullen, Countee; Pinknee, Brian J. The Obsolete Zoo. Silver Burdett Pr. , 1991; 3. Corti, Lillian. The Allegory of Medea and the Murder of Children. Greenwood Press, 1998; 4. Nelson, Emmanuel Sampath. African American authors, 1745-1945. Greenwood Publishing Group, 2000; 5. Silvey, Anita. The innate direct to manifestation's books and their creators, Houghton Mifflin Harcourt, 2002; 6. Johnson, Clifton H. Encircling Countee Cullen's Animation and Career. 27 May 2009 http://www. english. illinois. edu/MAPS/poets/a_f/cullen/life. htm 7. Countee Cullen 27 May 2009 http://www. harvardsquarelibrary. org/poets/cullen. php