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Langston HughesA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The poem has a loose, flexible structure, incorporating stanzas of different lengths, as well as single lines and two-line sections. The lines vary greatly in length, from one poetic foot (two syllables) to seven poetic feet. The first three stanzas are quatrains; the two stanzas that make up lines 19 to 30 are sestets (six lines each). They are followed by an eight-line stanza and then a 12-line stanza, the longest in the poem. Line 51, consisting of just two words, is followed by a 10-line stanza (Lines 52-61), then an eight-line one (Lines 62-69), then two five-line stanzas, followed by a seven-line stanza that concludes the poem. There are in total three single lines standing apart from the stanza structure, one rhyming couplet (Lines 15-16) and one two-line, italicized section set apart (Lines 17-18). Overall, the variable stanzaic structure gives the impression of an improvisational jazz piece rather than something that follows traditional poetic form.
Within that irregular structure, however, many of the lines are iambic pentameters, a common poetic form. An iamb is a poetic foot consisting of an unstressed syllable followed by a stressed syllable. The stanza that makes up Lines 39-50, for example, has many iambic pentameters, such as “Who dreamt a dream so strong, so brave, so true” (Line 41), and the following four lines:
O, I’m the man who sailed those early seas
In search of what I meant to be my home—
For I’m the one who left dark Ireland’s shore,
And Poland’s plain, and England’s grassy lea (Lines 45-48).
Other iambic pentameters include “The poorest worker bartered through the years” (Line 67) and “The rape and rot of graft, and stealth, and lies” (Line 81).
The poem’s shorter lines include iambic tetrameter (four feet), as in, “The steel of freedom does not stain” (Line 71) and “Whose sweat and blood, whose faith and pain” (Line 81). Hughes also employs iambic trimeter (three feet), as in “For all the dreams we’ve dreamed” (Line 56 and the three lines that follow).
The poem begins with a distinct rhyme scheme that Hughes applies to the first three quatrains and the lines in parentheses. In the quatrains, Lines 1 and 3 rhyme, as do Lines 2 and 4. For example, the first quatrain:
Let America be America again. (a)
Let it be the dream it used to be. (b)
Let it be the pioneer on the plain (a)
Seeking a home where he himself is free. (b)
Taken as a single unit, the rhyme scheme in the first 16 lines can be presented as follows: abab (b) cdcd (b) bebe (bb).
After this, however, the rhymes become less frequent, although the poet does not entirely abandon rhyme. All the stanzas contain at least two lines that rhyme. In the two sestets, for example, Line 4 rhymes with Line 6 in each case (Line 22, “seek,” and Line 24, “weak”; Line 28, “need!” and Line 30, “greed!”) In the stanza that makes up Lines 62-69, there are three rhyming lines:
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again (Lines 67-69).
Alliteration is a common poetic device. It refers to the repetition of nearby consonants. Hughes uses alliteration frequently in this poem. Examples include “Pioneer on the plain” (Line 3), “kings connive” (Line 8; although the consonants differ, the sound is the same); “grab the gold” (Line 28), “humble, hungry” (Line 34) “sailed those early seas” (Line 45), “Poland’s plain” (Line 48) “steel of freedom does not stain” (Line 71), and “rack and ruin of our gangster death, / The rape and rot” (Lines 80-81). Alliteration often becomes even more effective when a poem is read aloud, as this poem surely was meant to be. In conjunction with the other poetic devices employed, it helps to create a sense of heightened language that distinguishes the poem from prose.
Anaphora is a literary device in which a word or a phrase at the beginning of a line is repeated in subsequent lines. An example comes right at the beginning of the poem: “Let America be America again. / Let it be the dream it used to be. / Let it be the pioneer on the plain” (Lines 1-3; the words “Let America” and “Let it” are also repeated in Lines 6-7).
Hughes employs the same technique in the following lines:
I am the poor white, fooled and pushed apart,
I am the Negro bearing slavery’s scars.
I am the red man driven from the land,
I am the immigrant clutching the hope I seek— (Lines 19-22).
The repetitions drive the point home, as they do in the following example from the stanza that begins at Line 52, in which anaphora is the main device:
Who said the free? Not me?
Surely not me? The millions on relief today?
The millions shot down when we strike?
The millions who have nothing for our pay?
For all the dreams we’ve dreamed
And all the songs we’ve sung
And all the hopes we’ve held
And all the flags we’ve hung (Lines 52-59).
Anaphora is particularly effective when a poem is read aloud, as it can convey rising excitement and intensity and even an incantatory feeling. Anaphora is often used in political oratory for that reason; it can move a crowd emotionally. One of the best examples is Dr. Martin Luther King Jr.’s famous “I Have a Dream” speech given in Washington, DC, in August 1963, in which Dr. King repeated that phrase many times, to fine effect. (The theme of that speech was very similar to that of Hughes’s “Let America Be America Again.” It invoked the promises of America, the American dream, contrasted it with the reality for African Americans and presented a visionary scenario in which the dream would become a reality for all American citizens.)
By Langston Hughes
African American Literature
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Equality
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