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The Collected Poetry of Paul Laurence Dunbar
This new "most complete" edition of the collected poems of Paul Laurence Dunbar, the virtual father of black American poetry, includes sixty poems not included in the previous―and now out of print―Complete Poems. Sixteen of these were found in manuscript form. Paul Laurence Dunbar's work achieved wide recognition in the first part of the twentieth century. The author of six volumes of poetry, as well as novels, librettos, songs, and essays, he was nationally known and accepted by black and white readers alike. As Joanne M. Braxton points out in her substantive introduction to this edition, a reconsideration of Dunbar's work and influence is long "We reclaim, in Paul Laurence Dunbar, a significant American author whose career transcends race and locality even while he makes use of racialized and regional cultural materials to create an African-American aesthetic and a unique black poetic diction."
396 pages, Paperback
First published January 1, 1913
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February 13, 2024
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Before I resumed reading poetry from The Well-Educated Mind list, I had not heard of Paul Laurence Dunbar. But now, I consider him one of my favorite poets. Why? Because every single poem I read from the selected list produced a similar satisfaction.
His topics ranged from life, love, joy, hardship, family, race, traditions, progress, and triumph. He wrote impartially and honestly about African American experiences and traditions of the late 1800s. But the tone was all very kindred. His poems were pragmatic, true, and often cheerful. And best of all, they were musical.
Dunbar wrote many of these poems in the African American dialect, and I found it even more pleasant to hear someone else read them than for me to read them myself. In that way, they become like songs.
His life was fascinating. Born in Ohio, to two former slaves (from Kentucky), he took an interest in writing from his youth. He was the only black student of his high school class and became president of the school literary society, editor of the school newspaper, and the class poet. Orville Wright was his classmate, and helped him print a separate publication, in which Dunbar also contributed poems.
After graduation, and due to the praise from teachers and newspaper editors, Dunbar gained access to the literary world and had some of his work published. Even Orville Wright later helped finance his friend. An admiring attorney offered to pay for his college, but Dunbar rejected the offer to pursue his writing career. Thus, the attorney helped Dunbar publish a second collection of poems. (That's how promising he was. Everyone who knew his work wanted him to succeed.)
Dunbar became America's first prominent African American poet and was an international sensation. His verse dialect was actually preferred by white audiences. In other words: they liked it! He also wrote short stories, novels, and essays, which I would be interested in reading, as well.
Unfortunately, Dunbar suffered from health complications and died at the young age of 33. Gratefully, today, we still have his works, which have only gained in popularity over time. If you are interested, read a poem or two from Paul Laurence Dunbar. You will not be disappointed.
These are the selected poems I read. Favored favorites are in blue:
A Negro love Song
An Ante-Bellum Sermon
At the Tavern
Colored Band
The Debt
Douglass
Little Brown Baby
Ode to Ethiopia
The Old Front Gate
The Poet and His Song
The Seedling
Signs of the Times
Sympathy
We Wear the Mask
When Malindy Sings
When de Co'n Pone's Hot
When Dey 'Listed Colored Soldiers
Before I resumed reading poetry from The Well-Educated Mind list, I had not heard of Paul Laurence Dunbar. But now, I consider him one of my favorite poets. Why? Because every single poem I read from the selected list produced a similar satisfaction.
His topics ranged from life, love, joy, hardship, family, race, traditions, progress, and triumph. He wrote impartially and honestly about African American experiences and traditions of the late 1800s. But the tone was all very kindred. His poems were pragmatic, true, and often cheerful. And best of all, they were musical.
Dunbar wrote many of these poems in the African American dialect, and I found it even more pleasant to hear someone else read them than for me to read them myself. In that way, they become like songs.
His life was fascinating. Born in Ohio, to two former slaves (from Kentucky), he took an interest in writing from his youth. He was the only black student of his high school class and became president of the school literary society, editor of the school newspaper, and the class poet. Orville Wright was his classmate, and helped him print a separate publication, in which Dunbar also contributed poems.
After graduation, and due to the praise from teachers and newspaper editors, Dunbar gained access to the literary world and had some of his work published. Even Orville Wright later helped finance his friend. An admiring attorney offered to pay for his college, but Dunbar rejected the offer to pursue his writing career. Thus, the attorney helped Dunbar publish a second collection of poems. (That's how promising he was. Everyone who knew his work wanted him to succeed.)
Dunbar became America's first prominent African American poet and was an international sensation. His verse dialect was actually preferred by white audiences. In other words: they liked it! He also wrote short stories, novels, and essays, which I would be interested in reading, as well.
Unfortunately, Dunbar suffered from health complications and died at the young age of 33. Gratefully, today, we still have his works, which have only gained in popularity over time. If you are interested, read a poem or two from Paul Laurence Dunbar. You will not be disappointed.
These are the selected poems I read. Favored favorites are in blue:
A Negro love Song
An Ante-Bellum Sermon
At the Tavern
Colored Band
The Debt
Douglass
Little Brown Baby
Ode to Ethiopia
The Old Front Gate
The Poet and His Song
The Seedling
Signs of the Times
Sympathy
We Wear the Mask
When Malindy Sings
When de Co'n Pone's Hot
When Dey 'Listed Colored Soldiers
June 8, 2016
Major Field Prep: 22/133
This 1994 collected edition of Dunbar's poetry reprints the 1913 Completed Works and adds an addition 60 or so poems that were not included in that posthumous volume. Dunbar's poetry takes on a wide variety of styles, genres, and forms and the most distinct difference in groupings is between his "dialect" phonetic language representation poetry and the standard English poetry. Early in his career Dunbar dubbed these his "minor" and "major" poems, a distinction that begins to justify some of the criticism of his dialect poetry for rearticulating racist stereotypes of the plantation narrative genre. Braxton's introduction claims that Dunbar was "rightly uncomfortable" with praise for his dialect poetry by white critics "because he knew that they were deaf to his voice of protest and that they misread his work and praised it for the wrong reasons" (xxx). Close attention to the scope of poetry discredits this particular criticism of Dunbar's intention, and claims of intentional pandering have less to do with the work and more to do with the artist. Most notable poems: "We Wear the Mask", "The Haunted Oak", "Sympathy", "Slow Through the Dark", "The Old Cabin". Other poems of interest: "To the South on its New Slavery", "Little Brown Baby", "A Negro Love Song", "Nature and Art", "The Colored Soldiers", "The Lover and the Moon"
This 1994 collected edition of Dunbar's poetry reprints the 1913 Completed Works and adds an addition 60 or so poems that were not included in that posthumous volume. Dunbar's poetry takes on a wide variety of styles, genres, and forms and the most distinct difference in groupings is between his "dialect" phonetic language representation poetry and the standard English poetry. Early in his career Dunbar dubbed these his "minor" and "major" poems, a distinction that begins to justify some of the criticism of his dialect poetry for rearticulating racist stereotypes of the plantation narrative genre. Braxton's introduction claims that Dunbar was "rightly uncomfortable" with praise for his dialect poetry by white critics "because he knew that they were deaf to his voice of protest and that they misread his work and praised it for the wrong reasons" (xxx). Close attention to the scope of poetry discredits this particular criticism of Dunbar's intention, and claims of intentional pandering have less to do with the work and more to do with the artist. Most notable poems: "We Wear the Mask", "The Haunted Oak", "Sympathy", "Slow Through the Dark", "The Old Cabin". Other poems of interest: "To the South on its New Slavery", "Little Brown Baby", "A Negro Love Song", "Nature and Art", "The Colored Soldiers", "The Lover and the Moon"
January 10, 2013
Wonderful and varied poetry! A pleasure to be introduced in a book club to an author that apparently most African-Americans know and I had not heard of.
"He achieved recognition as America's first professional black literary man. The author of six volumes of poetry...as well as of novels, librettos, songs and essays, Dunbar was known nationally at the turn of the century and accepted as a writer among both blacks and whites. He is remembered today chiefly as a poet." "Dubar will speak of the good ole days, then say "We Wear the Mask."
In his words, he had an "all absorbing desire to be a worthy singer of the songs of God and nature. To be able to interpret my own people through song and story, and to prove to the many that after all we are more human than African."
"I know why the caged bird sings" is a line from one of his poems.
"He achieved recognition as America's first professional black literary man. The author of six volumes of poetry...as well as of novels, librettos, songs and essays, Dunbar was known nationally at the turn of the century and accepted as a writer among both blacks and whites. He is remembered today chiefly as a poet." "Dubar will speak of the good ole days, then say "We Wear the Mask."
In his words, he had an "all absorbing desire to be a worthy singer of the songs of God and nature. To be able to interpret my own people through song and story, and to prove to the many that after all we are more human than African."
"I know why the caged bird sings" is a line from one of his poems.
July 31, 2025
The Collected Poetry of Paul Laurence Dunbar is a profound compilation that showcases the lyrical brilliance and cultural significance of one of America's most influential African American poets. Dunbar’s poetry spans themes of resilience, hope, racial identity, and the human condition, all delivered with a masterful command of language and form. His work bridges the gap between the oral traditions of African American communities and the formal poetic structures of the Western literary canon, making his collection both a literary treasure and a vital historical document.
In the introduction to the collection, Dunbar expresses his spiritual and artistic purpose with the words: "I sing God's songs, and I sing them in the language of the people." This statement highlights his desire to serve as a vessel for divine inspiration while remaining rooted in the vernacular and authentic voices of his community. Dunbar saw his poetry as a form of spiritual expression, aiming to uplift and inspire through the singing of divine truths in a language accessible to all.
In "By Rugged Ways," Dunbar reflects on the arduous journey of life, emphasizing perseverance and resilience in the face of adversity. The poem celebrates the strength required to navigate life's hardships, acknowledging that the path is often steep and challenging. Dunbar’s tone is both inspiring and contemplative, urging readers to embrace their struggles as part of their growth and dignity. The poem underscores the idea that true strength is forged through perseverance, and that enduring hardship is a noble and necessary part of the human experience.
By rugged ways and thro' the night
We struggle blindly toward the light;
And groping, stumbling, ever pray
For sight of long delaying day.
The cruel thorns beside the road
Stretch eager points our steps to goad,
And from the thickets all about
Detaining hands reach threatening out.
"Deliver us, oh, Lord," we cry,
Our hands uplifted to the sky.
No answer save the thunder's peal,
And onward, onward, still we reel.
"Oh, give us now thy guiding light;"
Our sole reply, the lightning's blight.
Vain, vain," cries one, "in vain we call;"
But faith serene is over all.
Beside our way the streams are dried,
And famine mates us side by side.
Discouraged and reproachful eyes
Seek once again the frowning skies.
Yet shall there come, spite storm and shock,
A Moses who shall smite the rock,
Call manna from the Giver's hand,
And lead us to the promised land!
The way is dark and cold and steep,
And shapes of horror murder sleep,
And hard the unrelenting years;
But 'twixt our sighs and moans and tears,
We still can smile, we still can sing,
Despite the arduous journeying.
For faith and hope their courage lend,
And rest and light are at the end.
BY RUGGED WAYS
"The Lesson" is a poignant reflection on humility and the importance of learning from life's experiences. Dunbar narrates a story of a young man who, after experiencing failure and disappointment, gains wisdom and maturity. The poem emphasizes that setbacks and hardships are valuable teachers, shaping individuals into wiser and more compassionate beings. Dunbar’s tone is gentle yet firm, encouraging humility and the recognition that growth often comes through struggle and reflection.
My cot was down by a cypress grove,
And I sat by my window the whole night long,
And heard well up from the deep dark wood
A mocking-bird's passionate song.
And I thought of myself so sad and lone,
And my life's cold winter that knew no spring;
Of my mind so weary and sick and wild,
Of my heart too sad to sing.
But e'en as I listened the mocking-bird's song,
A thought stole into my saddened heart,
And I said, "l can cheer some other soul
By a carol's simple art."
For oft from the darkness of hearts and lives
Come songs that brim with joy and light,
As out of the gloom of the cypress grove
The mocking-bird sings at night.
So I sang a lay for a brother's ear
In a strain to soothe his bleeding heart,
And he smiled at the sound of my voice and lyre,
Though mine was a feeble art.
But at his smile I smiled in turn,
And into my soul there came a ray:
In trying to soothe another's woes
Mine own had passed away.
THE LESSON
One of Dunbar’s most distinctive stylistic features is his masterful use of vernacular language, especially in his dialect poems. He employs African American vernacular speech to authentically portray the voices and experiences of Black communities. This linguistic choice serves multiple purposes: it preserves cultural identity, lends authenticity to his characters, and challenges prevailing stereotypes by showcasing the richness and complexity of Black speech and thought. Dunbar’s vernacular poetry often balances humor, dignity, and resilience, making his work accessible and relatable while also elevating the vernacular as a legitimate and powerful poetic form.
The Collected Poetry of Paul Laurence Dunbar is a vital collection that captures the depth and diversity of Dunbar’s poetic voice. His ability to blend vernacular language with traditional poetic forms, along with his insightful themes, makes his work timeless and influential. Dunbar’s poetry not only offers a window into the struggles and triumphs of African Americans in his era but also provides universal lessons on perseverance, humility, and the human spirit.
In the introduction to the collection, Dunbar expresses his spiritual and artistic purpose with the words: "I sing God's songs, and I sing them in the language of the people." This statement highlights his desire to serve as a vessel for divine inspiration while remaining rooted in the vernacular and authentic voices of his community. Dunbar saw his poetry as a form of spiritual expression, aiming to uplift and inspire through the singing of divine truths in a language accessible to all.
In "By Rugged Ways," Dunbar reflects on the arduous journey of life, emphasizing perseverance and resilience in the face of adversity. The poem celebrates the strength required to navigate life's hardships, acknowledging that the path is often steep and challenging. Dunbar’s tone is both inspiring and contemplative, urging readers to embrace their struggles as part of their growth and dignity. The poem underscores the idea that true strength is forged through perseverance, and that enduring hardship is a noble and necessary part of the human experience.
By rugged ways and thro' the night
We struggle blindly toward the light;
And groping, stumbling, ever pray
For sight of long delaying day.
The cruel thorns beside the road
Stretch eager points our steps to goad,
And from the thickets all about
Detaining hands reach threatening out.
"Deliver us, oh, Lord," we cry,
Our hands uplifted to the sky.
No answer save the thunder's peal,
And onward, onward, still we reel.
"Oh, give us now thy guiding light;"
Our sole reply, the lightning's blight.
Vain, vain," cries one, "in vain we call;"
But faith serene is over all.
Beside our way the streams are dried,
And famine mates us side by side.
Discouraged and reproachful eyes
Seek once again the frowning skies.
Yet shall there come, spite storm and shock,
A Moses who shall smite the rock,
Call manna from the Giver's hand,
And lead us to the promised land!
The way is dark and cold and steep,
And shapes of horror murder sleep,
And hard the unrelenting years;
But 'twixt our sighs and moans and tears,
We still can smile, we still can sing,
Despite the arduous journeying.
For faith and hope their courage lend,
And rest and light are at the end.
BY RUGGED WAYS
"The Lesson" is a poignant reflection on humility and the importance of learning from life's experiences. Dunbar narrates a story of a young man who, after experiencing failure and disappointment, gains wisdom and maturity. The poem emphasizes that setbacks and hardships are valuable teachers, shaping individuals into wiser and more compassionate beings. Dunbar’s tone is gentle yet firm, encouraging humility and the recognition that growth often comes through struggle and reflection.
My cot was down by a cypress grove,
And I sat by my window the whole night long,
And heard well up from the deep dark wood
A mocking-bird's passionate song.
And I thought of myself so sad and lone,
And my life's cold winter that knew no spring;
Of my mind so weary and sick and wild,
Of my heart too sad to sing.
But e'en as I listened the mocking-bird's song,
A thought stole into my saddened heart,
And I said, "l can cheer some other soul
By a carol's simple art."
For oft from the darkness of hearts and lives
Come songs that brim with joy and light,
As out of the gloom of the cypress grove
The mocking-bird sings at night.
So I sang a lay for a brother's ear
In a strain to soothe his bleeding heart,
And he smiled at the sound of my voice and lyre,
Though mine was a feeble art.
But at his smile I smiled in turn,
And into my soul there came a ray:
In trying to soothe another's woes
Mine own had passed away.
THE LESSON
One of Dunbar’s most distinctive stylistic features is his masterful use of vernacular language, especially in his dialect poems. He employs African American vernacular speech to authentically portray the voices and experiences of Black communities. This linguistic choice serves multiple purposes: it preserves cultural identity, lends authenticity to his characters, and challenges prevailing stereotypes by showcasing the richness and complexity of Black speech and thought. Dunbar’s vernacular poetry often balances humor, dignity, and resilience, making his work accessible and relatable while also elevating the vernacular as a legitimate and powerful poetic form.
The Collected Poetry of Paul Laurence Dunbar is a vital collection that captures the depth and diversity of Dunbar’s poetic voice. His ability to blend vernacular language with traditional poetic forms, along with his insightful themes, makes his work timeless and influential. Dunbar’s poetry not only offers a window into the struggles and triumphs of African Americans in his era but also provides universal lessons on perseverance, humility, and the human spirit.
December 13, 2018
Very, very beautiful poetry from a black man who died at only 33. Paul Laurence Dunbar (June 27, 1872 – February 9, 1906) was an American poet, novelist, and playwright of the late 19th and early 20th centuries. Born in Dayton, Ohio, to parents who had been enslaved in Kentucky before the American Civil War, Dunbar began to write stories and verse when still a child; he was president of his high school's literary society. He published his first poems at the age of 16 in a Dayton newspaper.
December 21, 2015
Lyrics of Lowly Life, which I reviewed by itself, is great. The rest of the collection is a bit more uneven, but the strong poems are quite worth it. This is certainly the volume to get if you're going for Dunbar's poetry.
June 29, 2014
Applaud the spirit of trying to write in his own communal dialect, but it makes the poem nearly unreadable for me.
February 11, 2018
3 1/2 stars
January 4, 2011
Can't go wrong with Dunbar. He is one of my favorite poets. I love verse just as much as I love his dialectical poetry. He's a big influence in my own writing.
January 6, 2011
Finally, a great edition of the Poet with the Ear!
May 20, 2015
Enjoyable, full of spirit.
March 24, 2018
Loved it! Dunbar is insightful, inspiring, and soulful. Excellent.
Displaying 1 - 12 of 12 reviews