Masters of Poetry - Paul L. Dunbar. Paul Laurence Dunbar
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and Ivy, a 2001 play by Kathleen McGhee-Anderson.
In October 1897 Dunbar took a job at the Library of Congress in Washington, DC. He and his wife moved to the capital, where they lived in the comfortable LeDroit Park neighborhood. At the urging of his wife, Dunbar soon left the job to focus on his writing, which he promoted through public readings.
In 1900, he was diagnosed with tuberculosis (TB), then often fatal, and his doctors recommended drinking whisky to alleviate his symptoms. On the advice of his doctors, he moved to Colorado with his wife, as the cold, dry mountain air was considered favorable for TB patients. Dunbar and his wife separated in 1902, but they never divorced. Depression and declining health drove him to a dependence on alcohol, which further damaged his health.
Dunbar returned to Dayton in 1904 to be with his mother. He died of tuberculosis on February 9, 1906, at the age of 33. He was interred in the Woodland Cemetery in Dayton.
Dunbar became the first African-American poet to earn national distinction and acceptance. The New York Times called him "a true singer of the people – white or black." Frederick Douglass once referred to Dunbar as, "one of the sweetest songsters his race has produced and a man of whom [he hoped] great things."
His friend and writer James Weldon Johnson highly praised Dunbar, writing in The Book of American Negro Poetry:
"Paul Laurence Dunbar stands out as the first poet from the Negro race in the United States to show a combined mastery over poetic material and poetic technique, to reveal innate literary distinction in what he wrote, and to maintain a high level of performance. He was the first to rise to a height from which he could take a perspective view of his own race. He was the first to see objectively its humor, its superstitions, its short-comings; the first to feel sympathetically its heart-wounds, its yearnings, its aspirations, and to voice them all in a purely literary form."
This collection was published in 1931, following the Harlem Renaissance, which led to a great outpouring of literary and artistic works by blacks. They explored new topics, expressing ideas about urban life and migration to the North. In his writing, Johnson also criticized Dunbar for his dialect poems, saying they had fostered stereotypes of blacks as comical or pathetic, and reinforced the restriction that blacks write only about scenes of antebellum plantation life in the South.
Dunbar has continued to influence other writers, lyricists, and composers. Composer William Grant Still used excerpts from four dialect poems by Dunbar as epigraphs for the four movements of his Symphony No. 1 in A-flat, "Afro-American" (1930). The next year it was premiered, the first symphony by an African American to be performed by a major orchestra for a US audience.
Maya Angelou titled her autobiography, I Know Why the Caged Bird Sings (1969), from a line in Dunbar's poem "Sympathy", at the suggestion of jazz musician and activist Abbey Lincoln. Angelou said that Dunbar's works had inspired her "writing ambition." She returns to his symbol of a caged bird as a chained slave in much of her writings.
A Short History of the American Negro: Paul Lawrence Dunbar
By Benjamin Brawley1
Incomparably the foremost exponent in verse of the life and character of the Negro people has been Paul Laurence Dunbar. This gifted young poet represented perfectly the lyric and romantic quality of the race, with its moodiness, its abandon, its love of song, and its pathetic irony, and his career has been the inspiration of thousands of the young men and women whose problems he had to face, and whose aspirations he did so much to realize.
Dunbar was born in Dayton, Ohio, June 27, 1872. His parents were uneducated but earnest hard-working people, and throughout his life the love of the poet for his mother was ever a dominating factor. From very early years Dunbar made little attempts at rhyming; but what he afterwards called his first poetical achievement was his recitation of some original verses at a Sunday School Easter celebration when he was thirteen years old. He attended the Steele High School in Dayton, where he was the only Negro student in his class; and by reason of his modest and yet magnetic personality, he became very popular with his schoolmates. In his second year he became a member of the literary society of the school, afterwards became president of the same, as well as editor of The High School Times, a monthly student publication, and on his completion of the course in 1891 he composed the song for his class. Somewhat irregularly for the next two or three years Dunbar continued his studies, but he never had the advantage of a regular college education. On leaving the high school, after vainly seeking for something better, he accepted a position as elevator boy, working for four dollars a week. In 1893, at the World's Columbian Exposition in Chicago, he was given a position by Frederick Douglass, who was in charge of the exhibit from Hayti. "Oak and Ivy" appeared in 1893, and "Majors and Minors" in 1895. These little books were privately printed; Dunbar had to assume full responsibility for selling them, and not unnaturally he had many bitter hours of discouragement. Asking people to buy his verses grated on his sensitive nature, and he once declared to a friend that he would never sell another book. Sometimes, however, he succeeded beyond his highest hopes, and gradually, with the assistance of friends, chief among whom was Dr. H. A. Tobey, of Toledo, the young poet came into notice as a reader of his verses. William Dean Howells wrote a full-page review of his poems in the issue of Harper's Weekly that contained an account of William McKinley's first nomination for the presidency. Dunbar was now fairly launched upon his larger fame, and "Lyrics of Lowly Life," published by Dodd, Mead & Co. in 1896, introduced him to the wider reading public. This book is deservedly the poet's best known. It contained the richest work of his youth and was really never surpassed. In 1897 Dunbar enhanced his reputation as a reader of his own poems by a visit to England. About this time he was very busy, writing numerous poems and magazine articles, and meeting with a success that was so much greater than that of most of the poets of the day that it became a vogue. In October, 1897, through the influence of Robert G. Ingersoll, he secured employment as an assistant in the reading room of the Library of Congress, Washington; but he gave up this position after a year, for the confinement and his late work at night on his own account were making rapid inroads upon his health. On March 6, 1898, Dunbar was married to Alice Ruth Moore, of New Orleans, who also had become prominent as a writer. Early in 1899 he went South, visiting Tuskegee and other schools, and giving many readings. Later in the same year he went to Colorado in a vain search for health. Books were now appearing in rapid succession, short story collections and novels as well as poems. "The Uncalled," written in London, reflected the poet's thought of entering the ministry. It was followed by "The Love of Landry," a Colorado story; "The Fanatics," and "The Sport of the Gods." Collections of short stories were, "Folks from Dixie," "The Strength of Gideon," "In Old Plantation Days," and "The Heart of Happy Hollow." Volumes of verse were "Lyrics of the Hearthside," "Lyrics of Love and Laughter," "Lyrics of Sunshine and Shadow," as well as several specially illustrated volumes. Dunbar bought a home in Dayton, where he lived with his mother. His last years were a record of sincere friendships and a losing fight against disease. He died February 9, 1906. He was only thirty-three, but he "had existed millions of years."
Unless his novels are considered as forming a distinct class, Dunbar's work falls naturally into three divisions: the poems in classic English, those in dialect, and the stories in prose. It was his work in the Negro dialect that was his distinct contribution to American literature. That this was not his desire may be seen from the eight lines entitled, "The Poet," in which he longed for success in the singing of his "deeper notes" and spoke of his dialect as "a jingle in a broken tongue." Any criticism of Dunbar's classic English verse will have to reckon with the following poems: "Ere Sleep Comes Down to Soothe the Weary Eyes," "The Poet and His Song," "Life," "Promise and Fulfillment," "Ships That Pass in the Night," and "October." In the pure flow of lyrical verse the poet rarely surpassed his early lines:
Ere sleep comes down to soothe the weary eyes,
How questioneth the soul that other soul—
The inner sense which neither cheats nor lies,
But self exposes unto self, a scroll
Full writ with all life's acts unwise or wise,
In characters indelible and known;
So, trembling