Lenox Avenue
Lenox Avenue is a crucial street in Harlem, which to the extent the geology of New York is North, or uptown. We might inquire as to why Hughes has formed "down on Lenox Avenue" rather than "up on Lenox Avenue." Let's think, then, about the character of the speaker of the ditty. Since Harlem was home basically to African Americans and the parts of New York City south of Harlem (suggested as "downtown") were populated generally by whites, if the speaker were to see Lenox Avenue as "up" from his place of beginning stage, we might expect that he is white. In the midst of the 20s and 30s, creations by African-Americans about dim character and culture increased. This especially profitable time of expansive and awesome dynamic creation is implied
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So when Hughes' speaker says he was "down on Lenox Avenue" we can expect that he is not white. Why does it have any kind of effect whether we see this speaker as white or dim? Absolutely, people of all races have experienced soul (both the music and the slants) and entertainers of all tones have played soul music. Regardless, jazz and soul music must be seen as one of a kind to African Americans, borne out of "the compelling drive of blacks to make strikingly expressive strength of a high bore as a key response to their social conditions, as an affirmation of their honorability and humankind even with desperation and preference "ne can see this vital thought in lines 9 and 16: "With his midnight hands on each ivory key" and "Beginning from a dim man's soul." The photo of dim hands on white keys proposes the course in which dim entertainers have taken an instrument of white Western culture and through it conveyed their own particular creative expression. Steven C. Tracy makes the going with about this
So when Hughes' speaker says he was "down on Lenox Avenue" we can expect that he is not white. Why does it have any kind of effect whether we see this speaker as white or dim? Absolutely, people of all races have experienced soul (both the music and the slants) and entertainers of all tones have played soul music. Regardless, jazz and soul music must be seen as one of a kind to African Americans, borne out of "the compelling drive of blacks to make strikingly expressive strength of a high bore as a key response to their social conditions, as an affirmation of their honorability and humankind even with desperation and preference "ne can see this vital thought in lines 9 and 16: "With his midnight hands on each ivory key" and "Beginning from a dim man's soul." The photo of dim hands on white keys proposes the course in which dim entertainers have taken an instrument of white Western culture and through it conveyed their own particular creative expression. Steven C. Tracy makes the going with about this