Langston Hughes’s Soul Gone Home depicts a fighting relationship between a female parent and her boy. Ronnie. the boy. has merely died. and the manuscript portrays a scene of his true feelings. now that he is dead and can talk his head. His rough words hit the female parent in the bosom. as she now is being accused of maternal ignorance. However. the words don’t paint the whole image. Hughes’s dark imagination is emphasized through the overdone gestures and phase waies he dictates. conveying the complicated and frequently equivocal feelings about the relationship between the female parent and her kid.
The gap act of the drama sets up this dark imagination. giving us a first glance at the complex household dealingss. As indicated by the introducing phase way. “As the drape rises. his female parent. a big. middle-aged adult female in a ruddy jumper. kneels crying beside the fingerstall. aloud imitating grief” ( Hughes 535 ) . Right off the chiropteran. we as readers are led to do premises about what is traveling on. even before the duologue begins. At a first expression. it seems to be a typical relationship. a female parent kneeling down. sorrowing beside her deceasing boy. However. throughout the drama. the equivocal and even beliing actions cloud our vision. doing it difficult to truly understand this household relationship. In the first spoken duologue. the female parent cries out. “Can’t you see she’s bowed down in sorrow? ” ( 535 ) . Hughes’s enunciation choice is peculiarly interesting here within the greater sentence structure. The sentence building with the female parent speech production in 3rd individual makes the statement stand out more. and seems to overstate her feelings.
The word “bowed down” adds to this accent on the mother’s “sorrow” . This gesture of bowing down seems to demo a deeper sense of regard and heartache. However. the over-emphasis the female parent goes through to show her heartache seems a little over the top. As the drama continues. we are baffled by this eccentric relationship. and do non cognize with whom to sympathise. The mother’s character is farther drawn out through her actions. adding to the equivocal relationship. After Ronnie starts impeaching his female parent of being an unsupportive ma. she fires back. His female parent is the first to state it wasn’t her mistake for the poorness and deficiency of money. When Ronnie says “’twarnt my mistake then” she is speedy to snarl back ( 536 ) . The manuscript provinces. “ [ defensively ] You ever was so weak and sallow. you couldn’t earn nothin’ sellin’ papers” ( 536 ) . Obviously. the female parent gets defensive in this statement. as no 1 wants to take incrimination for the state of affairs. Both female parent and boy are speedy to indicate fingers at one another. as the manuscript maintains this character struggle throughout the drama. After much shouting on both terminals. the female parent goes every bit far as to state Ronnie he “ain’t even nice dead” ( 537 ) .
This is a pretty rough statement. particularly coming from a ma. We as the audience members have no right to pick sides or justice characters though. Rather. this dark. comic- calamity is meant to go forth us with a narrative. a scene in which to seek to understand what Hughes wanted us to see. The whole drama is vague. which Hughes so brightly planned. He intended to utilize the manuscript as a usher for the histrions and audience to construe. and clearly did non prefer one character over the other. Apparently. the drama consists of contradictory characters. We are of course led to conflicting point of views: did Ronnie experience maternal ignorance? Or if his female parent truly was that hapless at supplying and caring for him. how do we cognize he couldn’t have done more? He complained a batch about deficiency of money. but besides the obvious privation of it. was it truly necessary for his life style.
Obviously. we as audience members are left with 1000s of inquiries and ideas about whom to hold empathy for. but I think that was Hughes’s purposes. In a really methodical manner. Langston Hughes gave us a glance of a conflicting mother-son relationship. without explicitly taking a side as to who was to fault for the son’s decease. Ultimately. the drama is non meant for us to take sides. and find who morally was a better character. Alternatively. the manuscript provides us with a narrative. one Hughes so carefully chose and meant to picture for his readers. We must admit that the manuscript and phase waies are what Hughes chose. how he meant the drama to be acted. Although when really put into action there are bound to be some differences. we should be aware that this text tells us how Langston Hughes wanted us to see this amusing calamity. The duologue Hughes provides is like a canvas. it merely provides so much ; therefore. the specific gestures and phase waies are what turn the empty canvas into a chef-d’oeuvre. The actions don’t merely fill in the spreads ; they bring the drama to life. In this sense. Langston Hughes conveyed a household lacerate apart. through the actions and significances behind the text.
Hughes. Langston. Soul Gone Home. New York: n. p. . 1937. Print.