Thereissubstantialevidencethatby1926,withthepublicationofTheWearyBlues,LangstonHugheshadbrokenwithtwowell-establishedtraditionsinAfricanAmericanliterature.InTheWearyBlues,HugheschosetomodifythetraditionsthatdecreedthatAfricanAmericanliteraturemustpromoteracialacceptanceandintegration,andthat,inordertodoso,itmustreflectanunderstandingandmasteryofWesternEuropeanliterarytechniquesandstyles.Necessarilyexcludedbythisdecree,linguisticallyandthematically,wasthevastamountofsecularfolkmaterialintheoraltraditionthathadbeencreatedbyBlackpeopleintheyearsofslaveryandafter.Itmightbepointedoutthateventhespiritualsor“sorrowsongs”oftheslaves—asdistinctfromtheirsecularsongsandstories—hadbeenEuropeanizedtomakethemacceptablewithintheseAfricanAmericantraditionsaftertheCivilWar.In1862northernWhitewritershadcommentedfavorablyontheuniqueandprovocativemelodiesofthese“sorrowsongs”whentheyfirstheardthemsungbyslavesintheCarolinaseaislands.Butby1916,tenyearsbeforethepublicationofTheWearyBlues,HurryT.Burleigh,theBlackbaritonesoloistatNewYork’sultrafashionableSaintGeorge’sEpiscopalChurch,hadpublishedJubileeSongsoftheUnitedStates,witheveryspiritualarrangedsothataconcertsingercouldsingit“inthemannerofanartsong.”Clearly,theartisticworkofBlackpeoplecouldbeusedtopromoteracialacceptanceandintegrationonlyontheconditionthatitbecameEuropeanized. EvenmorethanhisrebellionagainstthisrestrictivetraditioninAfricanAmericanart,Hughes’sexpressionofthevibrantfolkcultureofBlackpeopleestablishedhiswritingasalandmarkinthehistoryofAfricanAmericanliterature.Mostofhisfolkpoemshavethedistinctivemarksofthisfolkculture’soraltradition:theycontainmanyinstancesofnamingandenumeration,considerablehyperboleandunderstatement,andastronginfusionofstreet-talkrhyming.Thereisadeceptiveveilofartlessnessinthesepoems.Hughespridedhimselfonbeinganimpromptuandimpressionisticwriterofpoetry.His,heinsisted,wasnotanartfullyconstructedpoetry.Yetananalysisofhisdramaticmonologuesandotherpoemsrevealsthathispoetrywascarefullyandartfullycrafted.Inhisfolkpoetrywefindfeaturescommontoallfolkliterature,suchasdramaticellipsis,narrativecompression,rhythmicrepetition,andmonosyllabicemphasis.Thepeculiarmixtureofironyandhumorwefindinhiswritingisadistinguishingfeatureofhisfolkpoetry.Together,theseaspects,ofHughes’swritinghelpedtomodifythepreviousrestrictionsonthetechniquesandsubjectmatterofBlackwritersandconsequentlytobroadenthelinguisticandthematicrangeofAfricanAmericanliterature. TheauthormostprobablymentionsthereactionsofnorthernWhitewriterstonon-Europeanized“sorrowsongs”inorderto_____.
A.suggest that White writers benefited more from exposure to African American art forms than Black writers did from exposure to European art forms
B.contrast White writers’ earlier appreciation of these songs with the growing tendency after the Civil War to regard Europeanized versions of the songs as more acceptable
C.show that the requirement that such songs be Europeanized was internal to the African American tradition and was unrelated to the literary standards or attitudes of White writers
D.demonstrate that such songs in their non-Europeanized form were more imaginative
正确答案是B