When Malindy Sings by Paul Laurence Dunbar
"When Malindy Sings" is a poem by Paul Laurence Dunbar, included in his second collection, "Majors and Minors." This dialect poem, which falls under the "Minors" section of the collection, has gained significant popularity and is one of Dunbar's most anthologized works. The poem draws inspiration from the author's mother, who often sang hymns and spirituals, highlighting the natural musicality and emotive power inherent in African American voices. The narrator, likely a house servant, urges silence to allow Malindy, presumably a field slave, to sing her heartfelt religious songs. The poem contrasts Malindy's raw, innate talent with the more formalized singing of Miss Lucy, emphasizing that true artistry transcends technical skill. Dunbar's use of sensory detail and structured rhyme and meter showcases his poetic prowess, contributing to the poem's enduring legacy as a representation of African American culture and experience. Through its vivid imagery and emotional depth, "When Malindy Sings" invites readers to appreciate the spiritual significance of music as a form of expression and connection.
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When Malindy Sings by Paul Laurence Dunbar
Excerpted from an article in Magill’s Survey of American Literature, Revised Edition
First published: 1895 (collected in Majors and Minors, 1895)
Type of work: Poem
The Work
“When Malindy Sings” appeared in Dunbar’s second collection of poems, Majors and Minors. Because it is a dialect piece, Dunbar placed it in the latter half of the collection, subtitled “Minors.” Ironically, “When Malindy Sings” quickly became one of Dunbar’s most popular poems and has since become perhaps his most anthologized dialect poem.
“When Malindy Sings” was inspired by Dunbar’s mother’s constant singing of hymns and Negro spirituals. In particular, Dunbar attributes the powerful melody and unmatchable phrasings to particular natural gifts of black singers.
The narrator, himself apparently a house servant, admonishes all to keep quiet as Malindy, probably a field slave, sings various songs of religious import. Miss Lucy, perhaps the plantation mistress, is told that her trained singing from a written score is no competition for Malindy’s natural talent; indeed, the birds, though they sing sweetly, hush of their own accord when Malindy sings her superior melodies. Whenever Malindy sings, the narrator observes, it is a singular spiritual experience, one that should be taken advantage of every time.
In this early poem, Dunbar’s gifts as a poet are evident: the meter and rhyme are regular, as are the quatrains that make up the poem. Furthermore, Dunbar is quite adept at creating images and imparting feeling through his use of sensory detail, talents he would continue to employ and capitalize upon in succeeding works.
Bibliography
Alexander, Eleanor. Lyrics of Sunshine and Shadow: The Tragic Courtship and Marriage of Paul Laurence Dunbar and Alice Ruth Moore. Albany: New York University Press, 2001.
Best, Felton O. Crossing the Color Line: A Biography of Paul Laurence Dunbar. Dubuque, Iowa: Kendall/Hunt, 1996.
Bone, Robert. Down Home: Origins of the Afro-American Short Story. New York: Columbia University Press, 1988.
Hudson, Gossie Harold. A Biography of Paul Laurence Dunbar. Baltimore: Gateway Press, 1999.
Revell, Peter. Paul Laurence Dunbar. Boston: Twayne, 1979.
Turner, Darwin T. “Paul Laurence Dunbar: The Rejected Symbol.” Journal of Negro History, January, 1967, 1-13.
Wagner, Jean. “Paul Laurence Dunbar.” In Black Poets of the United States from Paul Laurence Dunbar to Langston Hughes, translated by Kenneth Douglas. Urbana: University of Illinois Press, 1973.