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A critical review of the harlem dancer and her storm
Initially, a division is drawn between the speaker and the rest of the audience simply because of a distinction in race and maybe morality. Critic Beth Palatnik agrees, stating that the speaker “identifies himself and the dancer with blackness” (Palatnik). According to her analysis, the speaker assumes a position of moral superiority over the rest of the audience that sexualizes the dancer’s “half clothed body” (McKay two). She notes that the speaker is much more preoccupied with the woman’s “swaying palm” than he appears to be with her scantily clad figure.
Though Palatnik seems to believe that this evidence alone proves the speaker’s moral superiority, the speaker is nevertheless an audience member himself in the nightclub, watching this sexualized dance. As a result, it seems hypocritical to recommend that he is morally superior to these around him who are watching the identical show. Nevertheless, maybe the difference requires not what the speaker sees, but what the audience does not see for the duration of the functionality. The other audience members are described as “laughing,” “eager,” and “passionate” diction that alludes to their unburdened enjoyment of the efficiency. The speaker is separate from these “boys” and “girls,” and the slow, deliberate meter of this sonnet, antithetical to the raucous atmosphere of the nightclub, allows the reader to infer that the speaker is a more reserved and thoughtful presence. Critic Eugenia W. Collier confirms that the “slow, measured, dignity of the sonnet” form, contrasts with the “wild world” of Harlem (Collier). The speaker’s demeanor contrasts with those about him just as the structure of this poem contrasts with its setting. Perhaps, as Palatnik suggests, his behavior is derived from his repudiation of the audience-projected eroticism, which she labels as “cultural rape”or possibly, as Collier speculates, he behaves differently because of the age disparity amongst him and the other audience members (Palatnik). Yet, it is a third explanation that very best defends the vital assertion that the speaker of this poem is morally superior to those around him. In the ending heroic couplet following this sonnet’s volta, the reader learns that the speaker sees the dancer’s “self” as well as her physique, producing a psychological connection rather than just a corporeal fascination. The audience and the speaker are both voyeurs, enjoying the aesthetic pleasure of watching the dancer, but as opposed to the audience the speaker sees the dancer as a fully actualized getting, spiritually separated from her body and gender, if not race. The speaker sees her as a person as nicely as the desirable topic of his voyeurism, especially a particular person equivalent to himself because of their shared ethnicity. He recognizes the intersection of beauty and pain that both define her humanity and, as the speaker implies, the African-American race.
Making use of the dancer as an archetype, the speaker and poet illuminate the codependence of beauty and adversity in relation to the African-American lady, and the black neighborhood in general. In accordance with the philosophy of this poem, adversity begets beauty and this is emphasized by means of McKay’s use of a storm as an extended metaphor for the hardships faced by the black population through the course of American history. The poem states that the dancer had “grown lovelier for passing via a storm” (McKay eight). Palatnik is right in her assertion that this storm is a metaphorical storm of racial oppression, supported with the emphasis on race in this poem and exemplified in the euphonic phrase “blown by black players,” the description of the dancer’s neck as “swarthy”, as well as by means of McKay’s other works that focus on race (ie: “Mulatto”). Critic Cary Nelson argues that the dancer’s beauty and pride, epitomized by way of her graceful movements and “proudly swaying palm,” represent the gains black people had made from overcoming adversity (McKay 5-7). Nonetheless, although the dancer might seem gorgeous and triumphant, the description of her as “falsely-smiling” in the final heroic couplet implies that the resilient “self” that she projects to the audience could be as considerably of a functionality as her dance.
Despite the fact that analysis of the speaker establishes his recognition of the dancer’s “self,” further examination of the final phrases of this poem suggests that what the speaker is seeing is not the “self” but the absence of the “self,” resulting from the dancer’s continued knowledge of racial subjugation. The speaker states that he knew the dancer’s “self” was not in the “strange place” of the nightclub. This line consists of two metrical deviations from normal iambic pentameter a pyrrhic followed by a spondee that emphasize the words “strange place”. This spondee’s function is to separate “strange place” from the rest of the line, generating a division amongst itself and the word “self” and therefore a thematic separation of the dancer’s internal self from her external atmosphere. This tactic conveys that the dancer has overcome adversity by means of adaptation, safeguarding the “self” via separating it from her physique, which exists in an atmosphere of racial oppression and sexual exploitation.
The music playing in the Harlem nightclub fades with a final somber note. Though triumph is identified at the starting of this poem, it is only a triumph of adaptation. In this poem, McKay insinuates that the oppressive circumstances African Americans endured for centuries still persist into his current era and that any projected contentment on the community’s behalf is as considerably a facade as the dancer’s “falsely-smiling” face.
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