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Frances Ellen Watkins HarperA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
"Do Not Cheer, Men are Dying" by Frances Ellen Watkins Harper (1898)
The biography section touched upon Watkins Harper’s other areas of activism. “Do Not Cheer, Men are Dying” expresses Watkins Harper’s often overlooked anti-war sentiments. Written in response to the Spanish-American War, the poem showcases war’s human cost. The Spanish-American War only lasted from April into early December 1898 but cemented the US’ control over the Caribbean. Ironically, one reason the US allegedly entered the conflict was to support Cuba and the Philippines’ vie for independence from Spanish colonial rule. By the war’s end, the US expanded its colonial rule to the Philippines, Puerto Rico, and Guam.
The Richmond Planet published “Do Not Cheer, Men are Dying” on December 3, 1898, seven days before the war’s conclusion, although records point that the Christian Recorder may have run it previously.
The poem’s title and epigraph came from US naval captain and Spanish-American War veteran Captain John Woodward Philip, who allegedly said the quote when he saw his men cheering at a burning enemy ship.
Watkins Harper therefore frames the poem’s mourners as not just Americans. “The widowed wife,” the “aged fathers,” and “once joyous maidens” could be citizens of Spain or any country the US might find itself fighting (Lines 10, 13, and 21).
As someone deeply invested in getting people to see each other’s humanity, “Do Not Cheer, Men are Dying” marks a natural evolution in Watkins Harper’s oeuvre. She is not just looking to make Americans equal, but everyone equal. The poem speaks out against the US’s growing imperialist tendencies, implying that the distinction between the Civil War and the Spanish-American War comes from the fact that the Civil War was fought to ensure a marginalized group’s agency and justice. While in this poem, equality and co-habitation can only exist if “each nation / Sheathes the sword and blunts the spear” (Lines 37-38).
"Aunt Chloe’s Politics" by Frances Ellen Watkins Harper (1872)
“Aunt Chloe’s Politics” precedes “Learning to Read” in Watkins Harper’s poetry collection “Sketches of Southern Life.”
Chloe conveys the skepticism and uncertainty many formerly enslaved people felt about politics and the people in positions of power. Like in “Learning to Read,” Chloe expresses a humility that belies her intelligence and practical goals. In “Learning to Read,” Chloe states she wants to become literate so she can read the Bible. Yet she also implies her literacy secured her the economic means to buy a house.
While Chloe states, “I don’t know very much / About these politics,” at the poem’s start, she advises the reader about the importance of communal responsibility (Lines 1-2). She states:
When we want to school our children,
If the money isn’t there,
Whether black or white have took it,
The loss we all must share (Lines 13-16).
Chloe points out that a person can fulfill their responsibility to their community through thoughtful civic engagement: “I go for voting clean” (Line 20). Watkins Harper also reiterates education as a priority for Black community as an act of healing, agency, and love at this time.
"To the Negro Farmers of the United States" by Alice Moore Dunbar-Nelson (1920)
Born during the middle of Watkins Harper’s career in 1875, fellow Black writer Alice Moore Dunmore also grew up to become a writer and activist. While more known for her prose and less publicly known than Watkins Harper, Moore Dunbar-Nelson also celebrated and eulogized the complexities of African American life in the late 19th century and early-20th century.
Dunbar-Nelson’s poem “To the Negro Farmers of the United States” places Black farmers and agrarian workers as “favored ones” of God (Lines 1-2). Following the example of the Aunt Chloe poems, the poem valorizes and centers a segment of people usually looked down upon and overlooked. Dunbar-Nelson praises their ability to create instead of wage war (Dunbar-Nelson, Lines 11-14), just as Watkins Harper decried war in “Do Not Cheer, Men are Dying.”
Blood Dazzler by Patricia Smith (2008)
Contemporary African American poet Patricia Smith follows in the tradition of the Black persona poem in her 2008 poetry collection, Blood Dazzler. As seen in Watkins Harper’s Chloe poems, Smith uses the persona to expand narratives about Blackness, defiance, survival, and tragedy.
Blood Dazzler chronicles the course and aftermath of Hurricane Katrina’s path over New Orleans in 2005. The poem uses the disaster to both frame systemic racial injustice and eulogizes those affected by the storm.
Smith inhabits a variety of characters, including a dying old woman, President George W. Bush, a dog owner, and Hurricane Katrina. Through collaging different personas within the collection, Smith captures different aspects of the Black experience within the US, both told by African American people and the forces that oppress them.
"I was not sent to school—never’: The Pursuit of Learning by African Americans before the Civil War" collected by the Humanities Center Resource Toolbox
Aunt Chloe came from Watkins Harper’s imagination, but her story captures the educational journey of many formerly enslaved people. “I was not sent to school—never” compiles the first-hand accounts of people’s literacy accumulation during their enslavement. Their accounts came from interviews found in 1855 records from Ontario, 19th-century Abolitionist Literature, and the Works Progress Administration Federal Writers’ Project during the 1930s. These interviews confirm Watkins Harper’s many details of the enslaved individuals’ struggle in “Learning to Read.” Both George Thompson and Jenny Proctor recalled the need to hide books to avoid the slave owners’ ire. In the poem, Uncle Caldwell hides his book under his hat.
Southern white confederates’ “sneers and frowns” from the fact that “Yankee teachers / came down and set up school” (Lines 25-28) gains more weight after Field states white teachers faced fines and jail time for teaching enslaved African Americans. “Our ignorance was the greatest hold the South had on us,” explained Fields.
The primary sources also showcase literacy as a method of liberation and healing.
Famed activist Frederick Douglass recounted his feeling that learning and reading were “something worth living for; here is an excellent chance for usefulness; and I shall soon have a company of young friends, lovers of knowledge, like some of my Baltimore friends, from whom I now felt parted forever.”
“Rights and Wrongs” by the Amended podcast
Historian and Host Laura Free aims to demystify and expand public knowledge of the American suffragette movement in the Humanities New York non-profit podcast, Amended. Free analyzes the early Women’s Rights Movement through an intersectional lens, often highlights its relationships with the Abolition/Civil Rights, Labor Rights, and other social movements.
In this episode, Free discusses Harper’s civic contributions and efforts to foster collaboration between abolitionists and women’s rights activists. She interviews fellow historian Bettye Collier-Thomas about recovering Watkins Harper’s archives and playwright-actor Sharia Been about playing Watkins Harper as a living history educator for the past decade at public events.
The National Endowment for the Humanities sponsored and released a short film of “Learning to Read,” casting performer Rena Tago Hicks as the poem’s speaker Aunt Chloe. Mirroring the poem’s conversational tone and re-creating its era of publication, Hicks narrates the poem. Director Tony Cope highlights Aunt Chloe’s success by setting the film in Chloe’s warm “little cabin” and ending the poem with Chloe reading by her fireplace.
Throughout the film, Cope and editor Jim Haverkamp cut to scenes of the poem’s other characters’ success in learning to read. Other featured performers include Roderick “Rocky” Shepard (Uncle Caldwell), Rodney Badgett (Mrs. Turner’s Ben), Rymen Sneed (School Teacher), Ianna Hatton (Student #1), and India Hatton (Student #2). Laurel C. Sneed produced the film, and Chris Young did Audio.