CHAPTER V
THE NEW FORMS OF POETRY
The newer methods in poetry—free-verse, rhythmic strophes, polyphonic prose—have been tried with success by only a few Negroes. Of free-verse particularly not many noteworthy pieces have come from Negro poets. Well or ill, each may judge according to his taste. But the objection has been made that the Negro verse-makers of our time are bound by tradition, are sophisticated craftsmen. More independence, more differentness, seems to be demanded. But the conditions of their poetic activity seem to me in this demand to be lost sight of. They are as much the heirs of Palgrave’s Golden Treasury as their white contemporaries. And the Negro is said to be preëminently imitative—that is, responsive to environing example and influence. One requirement and only one can we lay upon the Negro singer and that is the same we lay upon the artists of every race and origin. However, for artistic freedom he has an authority older than free-verse, and that authority is not outside his own race. It is found in the old plantation melodies—rich in artistic potentiality beyond exaggeration.
196
