This essay argues that the polyphony that features so prominently in many of Robert Hayden’s poems serves as a linguistic parallel for the recognition between distanced subjects his poems both depict and encourage. Drawing on the work of Fanon, Hegel, and Bakhtin, the essay defines recognition as the awareness of mutuality or common ground linking two otherwise distanced subjects. Paying close attention to three of Hayden’s poems—“Night, Death, Mississippi,” “Runagate Runagate,” and “Middle Passage”—the essay then demonstrates how he uses multiple and interweaving voices in his poetry to provoke and evoke recognition. Revealing that the trope of recognition is central to Hayden’s understanding of race, agency, and the human self, this analysis helps us to better understand how he balanced careful attention to his own socio-historical context with a determination to be an internationalist poet not limited by narrow political affiliations.

中文翻译：

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“没有人是外来的”：罗伯特·海登诗歌中的复调与认知

本文认为，在罗伯特·海登 (Robert Hayden) 的许多诗歌中如此突出的复调，作为一种语言上的平行关系，可以在他的诗歌所描绘和鼓励的距离较远的主题之间进行识别。这篇文章借鉴了法农、黑格尔和巴赫金的工作，将承认定义为对相互联系或共同点的认识，将两个原本相距遥远的主题联系起来。密切关注海登的三首诗——“夜晚，死亡，密西西比”，“Runagate Runagate”和“Middle Passage”——然后这篇文章展示了他如何在他的诗歌中使用多重和交织的声音来激发和唤起人们的认可。揭示承认的比喻是海登理解种族、能动性和人类自我的核心，