18 pages 36 minutes read

Speak

Fiction | Poem | Adult | Published in 1968

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Literary Devices

Form and Meter

The poem comprises five stanzas of eight lines each. It is written in accentual syllabic verse. This means that the number of stresses and syllables in each line is fixed. The meter is mostly iambic; an iamb is a poetic foot that consists of an unstressed syllable followed by a stressed syllable. Lines 1-3 and 5-7 in each stanza are iambic trimeters (three stresses per line; six syllables): “Is all | that I | can do” and “And how | the search | would end” (Lines 2, 6) are good examples. Lines 4 and 8 in each stanza are iambic dimeters (two stresses per line; four syllables): “Above | me blind” (Line 8) and “I die | with them” (Line 36).

There are some variations in both meter and syllable count. The fourth line of Stanza 2 has five syllables rather than four. Stanza 3 is irregular, as the speaker announces, with the first and third lines having seven syllables rather than six. These lines end in an extra unstressed syllable, which is known as a feminine ending: “And Jenn | y, oh  | my Jenny” (Line 17).

In terms of meter, Wright sometimes makes a substitution in the first foot of a line, making it a trochee, in which a stressed syllable is followed by an unstressed syllable, rather than an iamb. This is noticeable in “Asking for you. / Wondering where to turn” (Lines 4-5); and in “Liston dives in the tank, / Lord, in Lewiston, Maine” (Lines 9-10).

Rhyme

The poem has a regular rhyme scheme that can be represented as ABABCDCD. In Stanzas 1 and 2, the second and fourth lines have perfect rhymes, in which different consonants are followed by identical vowel sounds and final consonant sounds (if any): “do” and “you,” “sun” and “won.” However, most of the rhymes in the poem are imperfect, also known as off-rhyme, near rhyme, or slant rhyme. In this case, Wright’s final consonants rhyme but the vowel sounds do not. Thus, in Stanza 1, “voice” is rhymed with “place” (Lines 5, 7), “turn” with “spin,” (Lines 5, 7), and “end” and “blind” (Lines 6, 8).

End-Stops and Enjambment

The fourth line in each stanza is end-stopped, as indicated by a period. End-stopping means that the end of a poetic line coincides with the conclusion of a grammatical unit, in this case a sentence. The poem also employs enjambment, also called a run-on line, in which the sense and grammatical construction of a phrase is not complete at the end of a line but continues into the next one. The reader must go to the next line to grasp the meaning. The first two lines of the poem show enjambment: “To speak in a flat voice / Is all that I can do”; another example is “I have gone forward with / Some, a few lonely some” (Lines 33-34). Enjambment is typically used to convey urgency and a surfeit of emotion, which here works to heighten the speaker’s pleas to God.

Allusion

An allusion is a brief mention of or indirect reference to something that lies outside the poem, such as another poem or work of literature, a historical event, or a person. The poet who makes an allusion expects his reader to recognize the reference. In this poem, Wright makes several allusions. First, to a famous passage in the biblical Book of Ecclesiastes, which he had every reason to believe the reader would recognize: (“[I] saw under the sun / The race was not to the swift / Nor the battle won” (Lines 10-12). Next, he alludes to the 1965 boxing World Heavyweight Championship fight between Sonny Liston and Muhammad Ali. This fight took place only three years before the poem was published and received a huge amount of publicity in newspapers and on television. The final allusion is to the execution of George Earnest Doty, referred to as Ernie Doty. Convicted of a notorious murder in Ohio in 1950, Doty was subsequently executed in 1951. No doubt the name Doty was still widely recognized in Ohio in the 1960s, and Wright wrote two other poems entirely about Doty.

Apostrophe

An apostrophe is a direct address to a person, living or dead, or to some other being, or to an object. Typically, the implication is that the addressee is not in a position to, or is unlikely to, respond to the speaker. In this case, the poem apostrophizes God, thus becoming a kind of prayer. However, this is not disclosed immediately, and the first stanza is addressed to an unidentified “you” (Line 4)—Wright uses the lowercase pronoun to obfuscate the intended recipient of his poem. It is the two later references to “Lord” (Lines 10 and 29) that make it clear who the addressee is.

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