VI. ReadingComprehensionAmong the leadingfigure of the HarlemRenaissance,
CounteeCullen is the writerwhoserole in thatmovement is
mostdifficult to assess. Thisdifficultyarises in partbecause his
poetryemulates the style and tone of nineteenthcenturyEnglishRomanticism, but realcomplexityconcerns his choice of subjectmatter.
CullenenteredHarvard in 1925, to pursue a master in
English, about the sametime his collections of poems, Color,
was published. Written in a careful, traditionalstyle, the workcelebratedblackbeauty and deplored the effects of racism.
Culleninsisted on the freedom of the Blackpoint to choose any
subject: he believedthat a restrictedconcernwithrace was a
hindrance to the development of the Blackartist, and he claimedthatthere is poetrywritten by Blacks, but not a linguisticcategorythatcould be calledBlackpoetry.
Yet he was quick to add that for the Blackpoet, escapingawareness of race was impossible, and Cullen was always in
some way writingaboutbeingBlack. By suffusing an
Cullen in his own way succeeded in doingwhatotherwriters of
the HarlemRenaissanceweredoing by experimentingwithBlackfolkforms: making a lastingcontribution to the growth of
【題組】50. The author’s conclusionaboutCullen’s contribution to the
development of a distinctiveAfricanAmericanvoicewould
be mostweakened by the publication of which of the
(A)The diary of a writer of the HarlemRenaissancedocumenting the racialepisodes in one of the writer’s
(B) A survey of AfricanAmericanliteraturedemonstratingBlackwriters’ ultimaterejection of Europeanliterarymodels.
(C) The poems of a nineteenth-centuryBlackpoet who used
the forms of eighteen-centuryEnglishpoetry.
(D) An assay by a Blackpoetinsisting on thisresponsibility
of Blackwriters to address the issue of race in theirwriting.