IndexIntroductionHarlem RenaissanceSterling BrownArna BontempsConclusionIntroductionDespite the disparities in the poetic styles of Sterling Brown and Arna Bontemps, each author was equally effective in conveying the "new voice" of blacks American during the Harlem Renaissance. The idea of ​​an expression more suited to African Americans repudiates the fundamental ideology of the Renaissance. The unconscious variety in interpretations of the new black society represents the most defining aspect of the movement: the culmination of diverse black backgrounds into a single entity. While Brown wrote the poem “Southern Road” in black vernacular, Bontemps' poem “Golgotha ​​Is a Mountain” uses a more standard literary style. Together, they embody the Harlem Renaissance as a natural progression for the coalescence of black culture. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Harlem RenaissanceA spark of spontaneous and intrinsic culture, the Harlem Renaissance provided a break with traditional stereotypes, ushering in a new identity for Black Americans. After the abolition of slavery in the United States, former slaves poured in from the South and migrated to industrialized cities in the North, producing an unstable mix of culture. This condensed blend included African Americans from distinct backgrounds and diverse geographic areas united in the pursuit of life and freedom, sculpting the new voice and identity for the modern Black American. Best explained by Renaissance artist Aaron Douglas, the boogeyman of this era “did not actually consciously make a contribution; he made his contribution unconsciously” (Lewis 119). Essentially, the Renaissance was not an activist movement with a specific agenda. Rather, it represented an era of unprecedented prosperity for black culture in the United States, developed unwittingly through natural happenstance. Therefore, every black man and woman participated equally in the formation of the Renaissance, even “the man in the street… who would have had difficulty explaining it”; in fact, his “contribution [was] greater than if he had consciously attempted to make a contribution” (Lewis 119). Simply by existing, the black American enacted his culture through the banalities and daily habits of life, leaving a lasting imprint on the history of America.Sterling BrownSterling Brown exemplifies the rise of an original black voice during the Renaissance through the use of an African-American vernacular. in his poem “Southern Road.” By articulating the words of black Americans in a purely natural dialect, Brown instills a sense of black harmony in literary art. His style is an authentic portrait of the black voice, but also creates a worthy poetic composition. For example, the line “doubleshackled—hunh— / guard behin'; / with double chains... eh... / guard behind; / Ball an' chain, bebby, / on my min',” incorporates a wide variety of turns of figurative language (Lewis 228). The repetition represents the endless toil experienced by the black man working in a chain gang, while providing the sense of rhythm and song embodied in the African tradition. Symbolic of many elements in a black man's life, the term "double chained" not only suggests that the man is shackled by both feet, but also insinuates that he is figuratively bound, with no hope or desire to live beyond his bonds . The man's physical and mental imprisonment serves as a representation of the civil trappings of the black American. Clearly, Brown's use of the black vernacular does not diminish the literary merit of his work. It simply provides a representationauthentication of the black man's voice through the adaptation of English: Despite the potential controversy over the use of such "unpoetic" speech, Brown defined a new voice for black Americans. A point of contention for Brown's style is that his use of the black vernacular can be interpreted as degrading and perhaps even stereotypical. This argument has some merit, as the essence of the Renaissance is manifested in the abandonment of previous conventions and the creation of a new identity for the black American. However, this does not compromise Brown's work. Introducing the black vernacular into the literary world was certainly not a stereotype; it was in fact a revolutionary innovation, truly significant as it marked the dawn of black sophistication and its impact on American society. Reasonably, a contemporary reader might misinterpret the lines “po' los' boy, bebby, / evahmo'…” as diminutive (Lewis 229). However, in the context of the Harlem Renaissance era, such a statement would be more indicative of pride. By adopting the demeaning insults endured by slaves, such as “boy,” the black man absorbs the negativity associated with the term and instead redefines the connotation according to his inclination. Yet, while Brown's use of the black vernacular gives the black American an original and genuine voice in literature, other Renaissance poets chose to embrace European approaches. Arna Bontemps' poem “Golgotha ​​Is a Mountain” emulates the standard literary style of the time, exhibiting the black cultural flexibility of Americans. Expressing himself in a white poetic style, Bontemps shows the intellectual capacity of the black man through a European lens. The first two lines of his poem, “Golgotha ​​is a mountain, a purple mound / almost out of sight,” reference Christianity, introduced to Africans by whites, along with the English language (Lewis 224). Bontemps uses Golgotha, the site of the crucifixion of Jesus Christ, as a symbol of a history of suffering and sacrifice, a concept more than familiar to former slaves and their descendants. It essentially synthesizes white culture with black culture, creating a bridge between whites and blacks in mainstream society, redefining the role of the black American. Furthermore, he underlines that “even in Africa there are mountains. / Treasure is buried there: gold and precious stones / And molded glory” (Lewis 225). Although Bontemps writes in a European style, he emphasizes the significance of African tradition, arguing that Africans also possess a rich cultural history. The use of a standard literary style broadens Bontemps' audience, potentially attracting white readers and thus further solidifying the place of black Americans in society. As a result, Bontemps' work effectively helps establish the new voice of black Americans during the Renaissance, but not without inviting criticism. Inevitably, Bontemps' standard literary style faces criticism on the grounds that it does not create a new image for blacks. American, but rather reflects white techniques. Supporters of this mentality fail to recognize the greatness of the Renaissance as a beacon of diverse cultural expressions. By adopting a standard literary style, Bontemps attempts to assimilate white tradition into black culture. Laughs like “I slept at the foot of Fujiyama and dreamed of legend and death” could easily be confused with fragments of white literature of the time (Lewis 225). However, the fact that this is actually the voice of a black man completely changes the meaning behind the phrase, suggesting that the black man also possesses the universal capacity for philosophical wonder. Not just imitating white civilization, he seeks.