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Maya AngelouA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
“A Brave and Startling Truth” is a 78-line free verse poem made up of 11 stanzas of varying length. The poem does not use a formal structure, and can be read as a long, continuous sentence. The only punctuation is the period at the very end of the poem: “We come to it” (Line 78), even though some stanzas end on natural sentence breaks while others are intentionally enjambed, or connected in syntax and meaning to the following line that opens the next stanza.
Stanzas range from five lines to 11 lines, and individual lines range from five syllables to 19 syllables long. This gives the poem a conversational, colloquial quality while still retaining the ability to lend additional emphasis to certain phrases or ideas. The poem does not use a traditional rhyme scheme, but uses instances of consonance and assonance to convey a feeling of rhythm.
Anaphora is the stylistic repetition of words or phrases at the beginning of successive sections of a poem. “A Brave and Startling Truth” uses the word “When” to open many lines, with the phrase “When we come to it” appearing seven times across the poem. The repetition creates a rhythmic beat, as its landing phrases hold the poem together. This kind of repeated introductory dependent clause structure borrows from the conventions of the Black sermon, a tradition and genre Angelou would have been deeply familiar with.
This repeated phrase opens six stanzas, starting with the second: “And when we come to it” (Line 7). The speaker also uses a similar construction in the interior of some stanzas; for example, “When we come to it / When the curtain falls on the minstrel show of hate” (Lines 12-13). This creates a sense of rhythm and forward motion, giving the poem a visceral, ritualized quality. The line’s final occurrence closes the poem—“We come to it” (Line 78)—bookending the poem and thus creating a feeling of impact, closure, and balance.
The poem also uses the repeated phrase “We, this people” throughout the poem to describe the small world in which we’re all inhabiting. This is an allusion to the opening of the Preamble of the US Constitution, which famously starts with the phrase “We the people of the United States.” Angelou transforms this nationalistic identity into a global one, as her variant of the phrase connects the people not to a specific country, but to Earth. The poem repeatedly reminds readers that humans from all countries are the same species and that we inhabit the same planet: “We, this people, on a small and lonely planet” (Line 1); “We, this people, on this minuscule and kithless globe” (Line 49); and “We, this people, on this wayward, floating body” (Line 68), among others. This repetition emphasizes the need for unity among all peoples—the necessary precondition for the poem’s vision of a peaceful future.
Maya Angelou evokes numerous senses through the visual, tactile, auditory, and olfactory imagery of the poem. These combined effects create a vivid and immersive world for readers.
Particularly emphatic visual images include “faces sooted with scorn” (Line 14), “children dress their dolls in flags of truce” (Line 26), and “the Grand Canyon / Kindled into delicious color / By Western sunsets” (Lines 39-41). The poem uses broad scene-setting, as well as attention to minute and human details, such as the children playing with their dolls.
Tactile imagery evokes physical sensation and touch (closely related is kinesthetic imagery, or the sensation of movement). Examples from the poem include “releas[ing] our fingers / From fists of hostility” (Lines 9-10) and “those same hands can touch with such healing” (Line 62), as well as references to naturally-caused sensations such as breezes.
Auditory imagery contrasts “The screaming racket in the temples” (Line 20) with “songs of such exquisite sweetness” (Line 56). Similarly, a powerful use of olfactory imagery also uses shocking disparity: “When religious ritual is not perfumed / By the incense of burning flesh” (Lines 29-30). This juxtaposition of “perfume” and the scent of “burning flesh” is a powerful turning point in the poem.
By combining numerous bodily sensations, the speaker grounds the abstractions the poem describes in human perception and experience.
By Maya Angelou
9th-12th Grade Historical Fiction
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Black History Month Reads
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Equality
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War
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