“The Blues I’m Playing” by Langston Hughes: A Critical Analysis

Introduction: “The Blues I’m Playing” by Langston Hughes

Published in 1934 as part of the collection “The Ways of White Folks,” “The Blues I’m Playing” by Langston Hughes is a lesser-known work by the iconic Harlem Renaissance writer. Despite its relative obscurity, the story is an important example of Hughes’ exploration of the intersections of race, music, and identity, and offers a powerful critique of the limitations and contradictions of American society in the early 20th century. While it may not be as well-known as some of Hughes’ other works, “The Blues I’m Playing” remains a valuable and resonant piece of literature that continues to captivate readers and inspire critical engagement with issues of race and identity in America.

Main Events in “The Blues I’m Playing” by Langston Hughes

Main Event	Detailed Description	Significance
Discovery and Initial Patronage	* Mrs. Ellsworth, a wealthy white woman dedicated to supporting the arts, hears of Oceola Jones, a talented Black pianist in Harlem. * Ormand Hunter, a music critic, provides the recommendation, intrigued by Oceola’s unique sound. * Mrs. Ellsworth questions Oceola extensively about her life and background, revealing a patronizing attitude under the guise of interest.	* Introduces the central figures and their contrasting backgrounds. * Highlights Mrs. Ellsworth’s initial fascination with Oceola as a “project” for refinement.
Oceola’s Artistic Development	* Mrs. Ellsworth arranges for Oceola to study with renowned teachers, providing financial support to cover education and living expenses. * Oceola initially mistrusts this generosity but is eventually moved out of Harlem and into an upscale environment. * Oceola travels to Paris, financed by Mrs. Ellsworth, studying under Philippe. She immerses herself in a sophisticated lifestyle.	* Shows Mrs. Ellsworth’s growing control over Oceola’s life and career. * Highlights the conflict between Mrs. Ellsworth’s idealized vision of what an artist “should be” and Oceola’s genuine personality.
Pete and the Lure of ‘Real Life’	* While Mrs. Ellsworth isolates Oceola in the world of “high art,” her relationship with Pete, a Pullman porter-turned-doctor, continues to develop. * Pete represents a connection to Oceola’s roots and the world outside of elite artistic circles. * Mrs. Ellsworth views Pete as a threat to her control over Oceola and her vision for Oceola’s career.	* Shows a crucial turning point where Oceola, despite the opportunities offered, yearns for a life with love and a sense of belonging.
Growing Artistic Tension	* Mrs. Ellsworth promotes Oceola’s talent, but their differing ideas of what constitutes “good music” clash. * Mrs. Ellsworth favors formality, classical music, and emotional restraint. Oceola prefers blues and jazz that reflect her Black heritage and emotional depth. * Oceola gives concerts in Europe with critical success, yet Mrs. Ellsworth feels something vital is missing.	* Mrs. Ellsworth’s disappointment reveals her focus on technical skill and social validation rather than understanding Oceola’s authentic expression.
Marriage and Separation	* Oceola returns to the U.S. and marries Pete, planning to settle in Atlanta. * Mrs. Ellsworth sees this as a betrayal, feeling that love is incompatible with artistic greatness. * She decides to end her patronage, revealing the conditional nature of her supposed support.	* This event marks the climax of the story, the moment when Oceola decisively chooses her own life path over Mrs. Ellsworth’s rigid vision.
Final Confrontation and Resolution	* In a final meeting, Mrs. Ellsworth berates Oceola for choosing ordinary life. * Mrs. Ellsworth’s speech reveals a belief that “true art” necessitates a life of isolation, devoid of love or groundedness. * Oceola defies this notion by playing the blues, expressing the full range of her musical identity– joyful, sorrowful, rooted in both Blackness and her own unique experiences.	* This powerful ending rejects Mrs. Ellsworth’s elitist views, asserting that genuine art can be found in the rich tapestry of everyday life.

Literary Devices in “The Blues I’m Playing” by Langston Hughes

·  Alliteration:

• “brilliant young Bas”: Repetition of the ‘b’ sound for emphasis.
• “she had no children of her own”: The repetition of soft consonant sounds creates a sense of melancholy.

·  Allusion:

• References to musical giants like Rachmaninoff, Liszt, and Ravel signal their status within the world of classical music.
• The mention of Billy Kersands’ Minstrels connects to a history of Black musical performance, subtly contrasting with the Eurocentric art that Mrs. Ellsworth favors.

·  Contrast:

• Blackness/Whiteness: Oceola’s skin color vs. Mrs. Ellsworth’s stands as a visual representation of their differing backgrounds and perspectives.
• High Art/Folk Art: Mrs. Ellsworth’s love of classical music clashes with Oceola’s connection to blues and jazz, representing a conflict between traditional and marginalized forms of artistry.

·  Diction:

• Mrs. Ellsworth’s refined language (“protégée,” “sublimate her soul”) reflects her class and her idealized views on art.
• Oceola’s colloquialisms (“Sure did,” “I do right well here”) reveal authenticity and practicality amidst an artificial artistic world.

·  Dialogue:

• The conversations between Oceola and Mrs. Ellsworth expose clashes in value systems, worldviews, and underlying power dynamics.

·  Foreshadowing:

• Early references to the “why-look” in Oceola’s eyes hint at her growing resistance to Mrs. Ellsworth’s control.
• Pete’s increasing presence in Oceola’s life foreshadows her eventual decision to prioritize love over patronage.

·  Imagery:

• Descriptions of Harlem (“holes in the wall,” cramped living space) contrast with the lavishness of Mrs. Ellsworth’s world, highlighting socioeconomic disparities.
• Oceola’s strong physique (“hard young body”) represents a vitality that Mrs. Ellsworth lacks.

·  Irony:

• Mrs. Ellsworth, despite supporting Black artists, holds prejudices and is oblivious to the depth of the music she attempts to ‘refine.’
• Oceola’s talent flourishes most when she fully embraces her authentic musical voice, defying Mrs. Ellsworth’s imposed ‘sophistication.’

·  Metaphor:

• Oceola’s art is likened to a physical force, a “flair for the piano,” highlighting its expressive power, in contrast to Mrs. Ellsworth’s focus on technique.
• Mrs. Ellsworth’s belief that art should make one “float on clouds of bliss” underscores her disconnect with real emotions.

·  Mood:

• The story shifts from initial curiosity, through tension between Oceola and Mrs. Ellsworth, to a sense of defiance and ultimately, hope and liberation.

·  Motif:

• The recurring image of blues music emphasizes Oceola’s cultural identity and represents the authentic creative expression she must ultimately choose.

·  Personification:

• Art and music are often treated as living things, capable of being “preyed upon” or “shaking the stars” – this reflects both characters’ intense attachment to their ideals of creation.

·  Point of View:

• The story is primarily told from Oceola’s perspective, subtly building sympathy for her against Mrs. Ellsworth’s condescension.

·  Repetition:

• “Art is long … time is fleeting”: Mrs. Ellsworth’s emphasis on this phrase reveals her limited understanding of both.

·  Setting:

• Contrasting Harlem with Mrs. Ellsworth’s wealthy world and European scenes highlights the social and cultural barriers Oceola navigates.

·  Simile:

• The blues are “like a mountain jack” – comparing music to a powerful, natural figure evokes its untamed spirit.

·  Symbolism:

• The piano itself becomes a symbol of both opportunity and the struggle between imposed and authentic musical expression.
• “Pigs’ feet” represent comfort and connection to Oceola’s roots that Mrs. Ellsworth never fully understands.

·  Structure:

• The story is divided into five sections, mirroring Oceola’s journey from discovery to artistic liberation.

·  Tone:

• Shifts from inquisitive to subtly critical of Mrs. Ellsworth’s patronizing attitude, and culminates in a sense of triumph for Oceola.

Characterization in “The Blues I’m Playing” by Langston Hughes

Major Characters

• Oceola Jones:
  • Talented pianist: Described with natural ability and a powerful playing style (“tremendous tone,” “hard young body”)
  • Independent and Practical: Oceola supports herself through various jobs, and questions the necessity of wealth or pretension.
  • Loyal to her roots: Maintains connections to her Harlem community and values genuine expression (blues, jazz).
  • Increasingly Conflicted: Grateful for the opportunities but feels constrained by Mrs. Ellsworth’s expectations, leading to a final choice of authenticity over imposed refinement.
• Mrs. Dora Ellsworth:
  • Wealthy Patron of the Arts: Her privilege allows her to indulge her interest in supporting ‘exotic’ talents.
  • Idealistic about Art: Views art as a form of escapism (“clouds of bliss”) rather than connected to lived experience.
  • Condescending and Paternalistic: Treats Oceola as a project, questioning her choices and background with thinly veiled snobbery.
  • Ultimately Selfish: Her generosity is conditional, prioritizing her own vision of ‘greatness’ over the artist’s well-being and autonomy.

Minor Characters

• Ormond Hunter:
  • Music Critic: Initially connects Oceola to Mrs. Ellsworth, representing an established (likely white) musical world
  • Gatekeeper: His recommendation signals Oceola’s ‘acceptable’ talent, a subtle form of control within the story.
• Pete Williams:
  • Pullman Porter turned Doctor: Ambitious and upwardly mobile, symbolizing a path outside the confines of Mrs. Ellsworth’s influence.
  • Supportive Partner: Represents love and connection to a life grounded in community and shared goals, contrasting with Mrs. Ellsworth’s world of individual achievement.
• Oceola’s Stepfather:
  • Traveling musician: Embodies Oceola’s connection to musical roots, but also the instability of an artist’s life.
• Mrs. Ellsworth’s Servants:
  • Unnamed and Unheard: Their presence reinforces the class power-dynamic within the story, highlighting the invisible labor behind Mrs. Ellsworth’s privileged lifestyle.

Major Themes in “The Blues I’m Playing” by Langston Hughes

1. Racism and discrimination – This issue is present throughout the story, as Mrs. Ellsworth experiences racial discrimination despite her talent and success. For example, the white maid who visits Mrs. Ellsworth’s apartment assumes that Oceola is a servant and treats her with disrespect. Mrs. Ellsworth also shares stories of being excluded from concerts and clubs because of her race.
2. Art and sacrifice – Mrs. Ellsworth’s dedication to her art is a central theme of the story. She has made many sacrifices in order to achieve her success, including giving up her personal life and enduring discrimination. She tells Oceola that “to play the blues, you got to pay your dues,” suggesting that success in art requires sacrifice and hard work.
3. Mentorship – Mrs. Ellsworth takes Oceola under her wing and tries to impart her wisdom and experience to her. She encourages Oceola to pursue her own musical career and gives her advice on how to succeed. This theme highlights the importance of mentorship and the passing on of knowledge and skills from one generation to the next.
4. Identity – Both Mrs. Ellsworth and Oceola struggle with issues of identity in the story. Mrs. Ellsworth is torn between her identity as an artist and her racial identity, while Oceola is struggling to find her own identity as a musician. This theme speaks to the complexities of identity and the ways in which individuals navigate their sense of self in a world that may not fully accept them.

Writing Style in “The Blues I’m Playing” by Langston Hughes

Characterized by vivid imagery, evocative language, and a focus on the experiences of Black Americans, Langston Hughes’ writing style in “The Blues I’m Playing” reflects his status as a prominent figure of the Harlem Renaissance. His prose is lyrical and poetic, using musical language to describe Mrs. Ellsworth’s playing and the emotions it evokes in both the characters and the reader. Hughes also uses symbolism to convey the themes of the story, such as the blue piano representing the Black experience and the sacrifices made in pursuit of artistic success. Additionally, Hughes’ writing style in this story is notable for its exploration of racial identity and the effects of racism on the lives of Black Americans, a recurring theme in his work.

Literary Theories and Interpretation of “The Blues I’m Playing” by Langston Hughes

Literary Theory	Interpretation	Quotes
Feminist Theory	This section highlights the patronage system prevalent in the arts, where wealthy individuals, often white women like Mrs. Ellsworth, supported struggling artists. It also introduces the protagonist, Oceola Jones, a talented pianist navigating racial and gender dynamics in the art world.	“Poor dear lady, she had no children of her own. Her husband was dead. And she had no interest in life now save art, and the young people who created art.”
Marxist Theory	Here, the unequal power dynamics between Oceola and Mrs. Ellsworth are evident. Mrs. Ellsworth’s patronage initially appears benevolent, but it imposes control over Oceola’s artistic expression and personal life. Oceola’s struggle against economic exploitation and her desire for artistic freedom reflect Marxist themes.	“The Negro girl, as time went on, began to occupy a greater and greater place in Mrs. Ellsworth’s interests, to take up more and more of her time, and to use up more and more of her money.”
Postcolonial Theory	This section explores Oceola’s identity and her engagement with her African-American heritage. Despite Mrs. Ellsworth’s attempts to “civilize” Oceola by introducing her to European culture, Oceola remains connected to her roots, expressed through her music and resistance to cultural assimilation.	“Why did Oceola, at her last concert in a Harlem church, not stick to the classical items listed on the program? Why did she insert one of her own variations on the spirituals, a syncopated variation from the Sanctified Church?”
Psychoanalytic Theory	Oceola’s relationship with Mrs. Ellsworth and her fiancé, Pete, reveals underlying psychological tensions. Mrs. Ellsworth’s maternalistic control over Oceola reflects a desire for power and validation. Pete’s presence represents Oceola’s struggle between personal fulfillment and societal expectations.	“But from then on, things didn’t go well between her and her patron. The white lady grew distinctly cold when she received Oceola in her beautiful drawing room among the jade vases and amber cups worth thousands of dollars.”
Critical Race Theory	The resolution highlights the complexities of racial dynamics and personal agency. Oceola’s decision to prioritize her relationship with Pete over Mrs. Ellsworth’s patronage reflects her assertion of autonomy and resistance against racial and class-based oppression.	“Thanksgiving evening, in bed, together in a Harlem apartment, Pete and Oceola talked about their wedding to come.”

Questions and Thesis Statements about “The Blues I’m Playing” by Langston Hughes

Short Questions-Answers about “The Blues I’m Playing” by Langston Hughes

• What is the significance of the title “The Blues I’m Playing” in Langston Hughes’ short story?
• The title “The Blues I’m Playing” is significant in Langston Hughes’ short story as it serves as a metaphor for the protagonist’s struggles with racial identity and artistic expression. The blues, a genre of music that emerged from African-American culture, represents both the pain and the resilience of the protagonist’s community. Through her music, the protagonist attempts to reconcile her desire for artistic freedom with the expectations placed upon her by a society that values conformity above individual expression. Ultimately, the title reflects the complexity of the African-American experience during the early 20th century, emphasizing the ways in which creative expression can be used as a form of resistance against oppressive social norms.
• How does Langston Hughes use symbolism in “The Blues I’m Playing”?
• Langston Hughes uses symbolism in “The Blues I’m Playing” to explore themes of racial inequality and cultural identity. The piano, which serves as a central symbol in the story, represents both the protagonist’s artistic aspirations and the limitations placed upon her by a society that values conformity over individual expression. Additionally, the piano symbolizes the commodification of African-American culture by the white elite, as the protagonist is only able to perform for white audiences who view her music as a form of entertainment rather than a genuine expression of her cultural identity. Through the use of symbolism, Hughes effectively conveys the complexities of the African-American experience during the early 20th century, highlighting the ways in which cultural identity is both celebrated and suppressed within a society that values whiteness over other forms of identity.
• What role does irony play in “The Blues I’m Playing”?
• Irony plays a significant role in “The Blues I’m Playing,” as Langston Hughes uses it to satirize the white elite’s condescending attitudes towards African-American culture. The protagonist, a talented pianist, is only able to perform for white audiences who view her music as a form of entertainment rather than a genuine expression of her cultural identity. Furthermore, the white patrons who attend her performances claim to value diversity and cultural expression, yet they actively participate in a system that suppresses African-American culture and perpetuates racial inequality. By using irony, Hughes highlights the hypocrisy of a society that claims to value diversity while actively suppressing it, emphasizing the ways in which racism and oppression are perpetuated through seemingly innocuous actions and attitudes.
• How does Langston Hughes use music to explore the theme of artistic expression as a form of resistance in “The Blues I’m Playing”?
• Langston Hughes uses music as a central metaphor in “The Blues I’m Playing” to explore the theme of artistic expression as a form of resistance against oppressive social norms. The blues, a genre of music that emerged from African-American culture, represents both the pain and the resilience of the protagonist’s community. Through her music, the protagonist attempts to reconcile her desire for artistic freedom with the expectations placed upon her by a society that values conformity above individual expression. By using music as a metaphor for resistance, Hughes highlights the ways in which creative expression can be used to challenge social norms and promote cultural change. Furthermore, he emphasizes the importance of cultural expression as a means of preserving cultural identity and promoting social justice.

Literary Works Similar to “The Blues I’m Playing” by Langston Hughes

Works Focusing on Race, Class, and Cultural Identity

• “Sonny’s Blues” (1957) by James Baldwin: This short story examines familial ties, the destructive potential of addiction, and the search for meaning through the blues. It presents a nuanced exploration of African American experiences in mid-century urban America.
• Their Eyes Were Watching God (1937) by Zora Neale Hurston: Hurston’s lyrical novel follows Janie Crawford’s journey of self-discovery as a black woman in the early 20th century American South. Themes of race, gender, community, and individual identity are at the forefront.
• Invisible Man (1952) by Ralph Ellison: This seminal novel delves into the experiences of a nameless black man navigating a society that refuses to see him as a fully realized individual. Ellison critiques systemic racism and the resulting alienation and invisibility.

Works Featuring Music as Expression and Resilience

• “The Weary Blues” (1925) by Langston Hughes: Hughes’ iconic poem epitomizes the genre of blues poetry. It captures the music’s rhythms and melancholy, reflecting the lived experiences and resilience of a weary musician.
• Beloved (1987) by Toni Morrison This powerful and haunting novel delves into the traumatic legacy of slavery. Morrison employs a chorus-like narrative, fragmented language, and spiritual elements that resonate with the blues tradition.

Alignment with “The Blues I’m Playing”

These works align with Hughes’ story by:

• Social Commentary: They challenge racial and class-based hierarchies, exposing power imbalances that limit individual and communal flourishing.
• Musicality: The authors’ prose or poetic forms frequently draw influence from the rhythms and emotional expressiveness of blues and jazz music.
• Quest for Identity: Characters negotiate a world that seeks to define them according to narrow terms. They grapple with internal desires and societal expectations, forging paths of self-determination.

Further Exploration: These works offer rich opportunities for comparative analysis alongside “The Blues I’m Playing,” expanding an understanding of African American literary contributions and social critique in 20th-century literature.

Suggested Readings: “The Blues I’m Playing” by Langston Hughes

Suggested Readings

• **Dickinson, Donald C. “Langston Hughes’s ‘The Blues I’m Playing.'” The Explicator, vol. 45, no. 4. Summer 1987, pp. 7-8. JSTOR.
• **Giles, James R. Langston Hughes: The Art of His Life. University Press of Mississippi, 2021. [A book-length biographical work delving into Hughes’ life and writing, likely containing relevant passages about “The Blues I’m Playing”]
• The Langston Hughes Society Website: [May contain essays, interviews, or articles related to Hughes and his work]
• Poetry Foundation: “Langston Hughes” https://www.poetryfoundation.org/poets/langston-hughes [Provides biographical information, links to poems, and sometimes critical resources]