Composition II
Professor Kratz
Sample Paper, Writing Assignment 2
COLOR CODE:
Original thesis statement in RED
Each body paragraph should have the following pattern:
 The writer’s original point (Topic Sentence/Conclusion) in PURPLE
 Quote (Secondary Source) in Gray
 How the writer positions him/herself relative to the secondary source (does he/she
agree, disagree, both?) in GREEN
 Quote (Primary Source) in YELLOW
 Writer’s poetry analysis in BLUE
 The writer’s original point (Topic Sentence/Conclusion) in PURPLE
Langston Hughes’ poetry directly embodied the idea of the “American Dream”
for African Americans. Both I, Too and Dream Variations communicated the
inequalities and harsh realities they faced, but also offered hope for the future as well.
Langston Hughes was a pivotal poet who ultimately became a political figure for all
African Americans. At a time when African Americans were treated as second-class
citizens in America, Hughes’ became the face of equality. Langston Hughes portrayed
how freedom was out of reach for minorities and how their dreams sometimes died or
were forgotten. However, he revealed his belief that one day African Americans would
be capable of pursuing their own dreams. Through the use of simplistic language, Hughes
was able to communicate his views on racial equality and create hope for African
Americans. Langston Hughes was a significant poet of the 1900’s, but he made more of a
contribution to politics than he did to poetry.
Dream Variations conveyed the injustices African Americans faced through the
utilization of simplistic language in order to reach his primary audiences. In advocating
for equality, Langston Hughes became a political figure. The implementation of simple
language ultimately enabled the reader to fully understand the reasons as to why the
speaker could not fulfill his dream (of freedom). The lines, “To whirl and to dance/ Till
the white day is done/ Then rest at cool evening/ Beneath a tall tree,” (lines 2-5) conveys
the struggles of the speaker. Lines two through five could articulate the literal meaning
that an African American works for the white man and their work is not complete until
the white man is satisfied; or it could be interpreted rather that the black man works until
the sun has set. With either interpretation, it is clear that the speaker desired to rest after a
long day of work, but was unable to. Arnold Rampersad writes, “As for all serious poets,
the writing of poetry was virtually a sacred commitment. And while he wished to write
no verse that was beyond the ability of the masses of people to understand, his poetry, is
replete with allusions that must be respected and understood…” (page 732). Hughes’
intended to reach out to his primary audiences in order communicate the struggles of
African Americans. Rampersad also states, “To respect Hughes’ work, above all one
must respect the African American people and their culture, as well as the American
people in general and their national culture”. While Rampersad is correct in regards to
Hughes’ being a serious poet despite his use of simplistic language, Langston Hughes
made less of a contribution to poetry than he did to politics. Hughes’ poetry urged
African Americans to refrain from conforming to the societal norms of the time. He
believed that African Americans were capable of living a carefree life once their equality
was granted. His poems advocated for black equality and reached out to the masses so
that they were aware that they should strive to fulfill their “American Dream”.
I, Too exhibited Langston Hughes’ importance as a political figure through
optimistic language within the poem. Rather than communicating how African
Americans faced discrimination in a pessimistic way, Hughes’ implemented lines of
poetry that spoke of a future where they would be equal to whites. The poem began with
the line “I, too, sing America/ I am the darker brother”(lines 1-2). The speaker instantly
revealed his racial status and claimed his right to be equal in America despite his skin
tone. Hughes’ incorporated a character that was confident that African Americans would
be freed from the societal norms that bound them. The narrator spoke of how “They send
me to eat in the kitchen/ When company comes,” (lines 3-4). Despite his race, he was
sure that he would overcome the segregation of the time and that “Tomorrow/ I’ll be at
the table/ When company comes,” (lines 8-10). The speaker voiced his optimism that he
too would be accepted as an “American” and would no longer be treated poorly. Due to
the straightforward language used within I, Too one was able to understand Hughes’ wish
to be equal to whites. Rampersad wrote, “By his absolute dedication to his art and to his
social vision, as well as to his central audience, he fused his unique vision of himself as a
poet to his production of art” (page 732). Rampersad strictly referred to Hughes as a
pertinent poet, but Hughes was an even more significant political figure due to his
consistent dedication towards gaining equality for African Americans. Hughes’ poem I,
Too expressed his own belief that African Americans are a valuable part of society and
that one day they would be treated equal in America.
Langston Hughes was aware of the injustices African Americans faced but did not
articulate poems that were filled with hatred. His poems captured the attention of African
Americans who were discriminated against and reassured them that they would not be
unequal forever. Instead of being a political figure that attended conventions and gave
speeches, Hughes’ wrote poetry that directly gained the support of the masses. Just as
Martin Luther King Jr. had called for peaceful, non-violent demonstrations, Hughes’ did
the same only through literature. His choice to incorporate politics in his poems through
simplistic language, allowed not only adults, but also children, to understand what
potential they held. His poems I, Too and Dream Variations were a prime example of
Langston Hughes’ position in politics. Langston Hughes was a serious poet, but proved to
be an even more significant political figure.