  So while he praised Négritude as the revolutionary poetry of the time, Sartre maintained the traditional Marxist view about the proletariat being the sole true revolutionary class and actor of history. Just as Eurydice was the creation of Orpheus’ power of evocation, Négritude was a creation of poetry, a “Myth dolorous and full of hope” and like “a woman who is born to die” (Sartre 1976, 63). History and its laws had already condemned Négritude to be just a Poem, indeed a swan song: the future of liberation was in the hand of the proletariat, the universal class who was going to bring effective revolution and liberation from all oppressions. When all is said and done and Négritude has permitted the blacks to “raise relentlessly the great negro cry until the foundations of the world shall tremble” (Césaire’s Les armes miraculeuses quoted by Sartre as the last words of Black Orpheus), it will have to be shed “to the profit of the Revolution” (1976, 65) by the only true actor of history which is the proletariat. In other words the “being-in-the-world of the Negro” as Sartre defined Négritude using Heideggerian language is “subjective” while class is “objective”: the notion of race is concrete and particular, Sartre writes, while that of class is universal and abstract; in the terminology of Karl Jaspers the first resorts to “comprehension” while the latter resorts to “intellection” (1976, 59).