Onwuchekwa Jemie: On "The Negro Speaks of Rivers"
"The Negro Speaks of Rivers" is perhaps the most profound of these poems of heritage and strength. Composed when Hughes was a mere 17 years old, and dedicated to W. E. B. DuBois, it is a sonorous evocation of transcendent essences so ancient as to appear timeless, predating human existence, longer than human memory. The rivers are part of God's body, and participate in his immortality. They are the earthly analogues of eternity: deep, continuous, mysterious. They are named in the order of their association with black history. The black man has drunk of their life-giving essences, and thereby borrowed their immortality. He and the rivers have become one. The magical transformation of the Mississippi from mud to gold by the sun's radiance is mirrored in the transformation of slaves into free men by Lincoln's Proclamation (and, in Hughes's poems, the transformation of shabby cabarets into gorgeous palaces, dancing girls into queens and priestesses by the spell of black music). As the rivers deepen with time, so does the black man's soul; as their waters ceaselessly flow, so will the black soul endure. The black man has seen the rise and fall of civilizations from the earliest times, seen the beauty and death-changes of the world over the thousands of years, and will survive even this America. The poem's meaning is related to Zora Neale Hurston's judgment of the mythic High John de Conquer, whom she held as a symbol of the triumphant spirit of black America: that John was of the "Be" class. "Be here when the ruthless man comes, and be here when he is gone." In a time and place where black life is held cheap and the days of black men appear to be numbered, the poem is a majestic reminder of the strength and fullness of history, of the source of that life which transcends even ceaseless labor and burning crosses.
From Langston Hughes: An Introduction to The Poetry. Copyright © 1976 by Columbia University Press.