The New Yankee Doodle / 185 Old Jonathan pricked up his ear, Said he, “What is this clatter, About the black man that I hear? It is a serious matter. And British sympathizers were All barking in accord, sir;5 For in perverted garbled guise The news had gone abroad, sir; And hints that looked like threats came back Across the briny water, That Johnny Bull his brains did rack To “stop the horrid slaughter.” And Jonathan had some bad boys, Unfriendly to the cause, sir; They rallied now, and raised a cry Of “Union as it was,” sir.6 They said the war perverted was If Sambo lost his collar; They wouldn’t “give another man, And not another dollar.” Said Jonathan, “My lads, look here, You set of wretched shirks! Your miserable rebel souls You’d bolster with such quirks. ’Tis such as you more mischief do Than Stonewall on the border. To block your, game, you coward crew, A speedy draft I’ll order.” Then Congress, just to show the rebs This spunky Yankee nation Ain’t scared at trifles, made by law An Act of Confiscation.7

Keyword(s):  
Transition ◽  
2019 ◽  
pp. 146
Author(s):  
Roumain ◽  
Marxsen
Keyword(s):  

Callaloo ◽  
2016 ◽  
Vol 39 (3) ◽  
pp. 592-594
Author(s):  
Jari Bradley
Keyword(s):  

2007 ◽  
Vol 40 (3) ◽  
pp. 580-581
Author(s):  
Malcolm Womack
Keyword(s):  

Author(s):  
Ian Smith

In addition to cosmetic applications for early modern ‘blackface’ theatrical representation, the essay posits that performers used a variety of racial prostheses, most notably cloth and animal skins. In The Merchant of Venice, Morocco’s description of his own body as ‘shadowed livery’—that is, dyed cloth worn by a servant or apprentice—reveals a complex metatheatrical consciousness indebted to this prosthetic blackface tradition. Morocco’s identification with livery connects specifically to Lancelot, the other liveried character in the play whose servant uniform contextualizes Morocco’s corporal blackness as a sign of membership in a social underclass. The play’s mercantile ethos, reflecting John Wheeler’s assessment from A Treatise of Commerce that pervasive economic interests bring ‘all things into commerce’, creates the conditions for category violations: people are perceived as commodities, and none more insidiously than Morocco, the textile black man, read, in turn, as a powerful antecedent for post-Enlightenment constructions of race.


Lateral ◽  
2016 ◽  
Vol 5 (1) ◽  
Author(s):  
Anne Donlon

Anne Donlon delves into the history of the British Left after World War I to assert the significance of the Black and feminist interventions of Claude McKay and Sylvia Pankhurst. Donlon centers the publication of “A Black Man Replies,” McKay’s letter to the editor published in Pankhurst’s newspaper The Worker’s Dreadnought, against white supremacist logics mobilized by prominent 1920s leftists that contributed to the reestablishment of policing of and violence against black men. Donlon’s archival discoveries weave together biography, material cultural analysis, and histories of trans-Atlantic activism, and, in the process, reveal the labor of building radical intersectional solidarity that came before and followed the moment of “A Black Man Replies.”


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