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Rhetorical Devices In Maya Angelo's A Rock, A River

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The pulse of the poem is set in the very first line of the first strophe: A Rock, A River, A Tree, by the iambic trimester—the closest to the rhythm of the heart. Everything even the indefinite articles are capitalized to emphasize their importance and the personification of the subsequent line: hosts to species long since departed. Such anthropomorphism is carried on, when the Rock cries out, the Rivers sings and the Tree speaks. The first two lines of the poem concurrently epitomize the rhetorical device of apposition—the second element serves as an explanation of the first.[3] The whole first strophe can be interpreted as ethos, an attempt to establish credibility as if uttering: “Look, we have been here since before dinosaurs and mastodons, …show more content…

To give names and define their purpose, yes. But the humans got too caught up in name-calling and forgot their perhaps most important purpose—the “molding of the dream”. The beginning of any creation is logos—word, image, or a dream. Full of pathos Maya Angelo urges the listener to give birth again to the dream. Using the device of a metaphor she persuades women, children, men, [to] take it into the palms of your hands, mod it into the shape of your most private need, Sculpt it into the image of your most public self. This is a deeply philosophical paragraph. The author is using very powerful images/metaphors to stress the importance of what is being said, for example, “to give birth to the dream”. As already mentioned, a dream or an idea is the very beginning of creation, be it a creation of a work of art or conceptualisation of ones own destiny, the image precedes its materialization. The birth is on one hand the very beginning of something and on the other hand it is the ultimate act of creation in terms of materialization. From this perspective the phrase “give birth to the dream” could be considered a pleonasm as if saying “let us go to the beginning of the origin”[6]. In this particular case such pleonasm does not sound redundant, but rather provides the necessary graveness to the point. And then of course there are “your most private need” and “your most public self” which are indispensable to the poem. The “public self” is relatively easy: it is the best version of ourselves, our super-ego if you will. But what is the most private need? It can only be speculated that the need that Maya Angelou is talking about is the need for freedom, not in terms of human rights or civil freedoms, but the essential need to be free from expectations and prejudices, free from burdens of the past and free from fear. In fact the word courage is used twice in the poem, History,

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