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18 pages 36 minutes read

Paul Laurence Dunbar

Sympathy

Fiction | Poem | Adult | Published in 1899

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Background

Historical Context: Post-Reconstruction

Post-Reconstruction spans from 1877 to about 1900 in United States history. The politics and culture of the period shaped Dunbar’s rhetorical choices in “Sympathy.” During Reconstruction (1865-1877), the federal government attempted to use its power to ensure that Black Americans, particularly men, had in practice the civil rights enumerated in the 13th, 14th, and 15th Amendments. Efforts like the Freedman’s Bureau helped set up literacy schools and other important institutions to integrate Black Americans as full citizens and provide reparations for what enslavers materially stole from them. The federal government used troops and federal officials to govern Southern states that fought against the United States during the Civil War. When these state governments were reconstituted, many of the first Black Americans elected to state government gained their seats.

For a brief moment, it looked as if this effort to undo centuries of enslavement and oppression would be successful. By the early 1870s, however, most of the Southern states that the federal government directly governed during Reconstruction regained full statehood, and federal troops withdrew. During the presidential election of 1876, political bargains and waning interest in guaranteeing Black Americans’ rights with force ended Reconstruction. During Post-Reconstruction, the consequences included lynching by terroristic groups such as the Ku Klux Klan, disenfranchisement at voting polls, and draconian Black codes that limited Black Americans’ right to free movement and economic activity.

The details of Dunbar’s life would have made him keenly aware of the historical forces at work in curtailing Black Americans’ freedom. Dunbar was the son of formerly enslaved Black Americans who saw the end of slavery as a legal institution. He was four when Reconstruction ended and would have been a teen during the Post-Reconstruction period, when lynching (including at least two in 1872 and 1896 in Ohio) accelerated ("Oxford Community in Butler County, Ohio, Erects Historical Marker.” Equal Justice Initiative, 2021). Despite these difficult circumstances, Black people and activists resisted such violence. Dunbar was 24 when Ohio finally passed an anti-lynching law. In the context of this national, state, and personal history, “Sympathy” is a poem that reflects the realities of Black life during the Post-Reconstruction period.

Linguistic Context: Standardized US English Versus African American Vernacular English

Notwithstanding such works in standardized, literary English as “Sympathy” and “We Wear the Mask,” Dunbar was known to many white readers as a Black writer who produced entertaining poems in the Black dialect now commonly called African American Vernacular English (AAVE), or Black English. Dunbar’s work includes poems in both of these Englishes, and all show the sure hand of a writer using his craft to respond to the needs of purpose, genre, and audience.

While it seems unremarkable that a poet would use standardized, literary English, Dunbar’s skillful use of this English served as a counternarrative to the smear that Black Americans were fundamentally “different” from and “inferior” to white people. When this young and brilliant Black poet uses standardized, literary English, he does so in the context of a country that explicitly forbade Black Americans to acquire and exercise their literacy less than 40 years before. His mastery of this English enhances his credibility with sympathetic white readers who assumed Black Americans were not capable of using standardized English because of this history.

Dunbar knew by 1899 that many white audiences and editors welcomed his work in dialect and rejected his work in standardized, literary English as inferior. When he uses the latter English to represent the reality of living under a racist system, his choice is a form of resistance that cost him sales and popularity. The implicit message of his diction in “Sympathy” is that an English that is standardized and literary is also one that is fit for protest against the oppression of Black Americans.

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