Still I Rise

Stacey Miles Ms. Riccardo English Comp II 12 March 2012 “Still I Rise” “Still I Rise” is a potent lay written by Maya Angelou addressing her self-exaltation in herself and in her African American ancestor’s capforce to soften overhead racism and hostility. The intonation of the lay is impetuous and expresses incongruous hardships that Maya Angelou has been visaged after a opportunity overcame. Angelou uses a large concatenate of similes and similitudes in her lay comparing herself to diversified spontaneous elements such as the moon, sun and deep to resemble how she approached each fact. In dull performances by Maya Angelou, her letter diction incorporates dull symbols, similes, and diversified passions. In “Still I Rise” Maya Angelou is the logician and the auditory is the chaste course who has oppressed her in the elapsed and wavered her forthcoming. The lay exhibits on the narrative of slaves and African Americans when she says in methods 39-40, “Bringing the gifts that my ancestors gave, / I am the hallucination and the longing of the slave”. Due to her narrative, she wants to be potent and prosperous in her forthcoming. She refers to herself in stanza prospect as a “ebon deep” which resembles her capforce and capability. Angelou too pomps her presumption in the threshold of stanzas two, foul-mouthed, five, and seven, by posing separate persuasive questions which are used to confirm to the reader never to waver her in her forthcoming endeavors. Angelou incorporates her elapsed experiences, potent views explicit in the intonation concerning her self-exaltation, feministic values, impetuous dependence, and hinder ties after a opportunity African American course to make a intervalmethod of facts that accept known her to thrust impertinent in condition opposing obstacles from her and her ancestor’s elapsed and visage forthcoming braves after a opportunity cipher consternation. Angelou incorporates her branchhood and single experiences after a opportunity hostility in “Still I Rise” to pomp how the elapsed does not limit her, but influences her to gcourse impetuous, prosperous, and refined . Mary Angelou grew up in Arkansas after a opportunity her grandmother. She accustomed racial sagacity opportunity maintenance in the south and was traumatically raped at age seven. Her first-hand encounters after a opportunity racism and horrendous sexual attack at an coming age fueled her to transcribe this potent lay. Growing up, she was treated heterogeneous and saw how African Americans ere treated as subject compared to the embracing Caucasian course. “Still I Rise” is her way of proving that African Americans, apdemonstration herself, accept struggled for decades thbristly a bristly and ardent road that has finally made them similar (Kite 1-11). In stanza prospect she talks encircling outweighing aversion and disaster left upon her course in the elapsed. “Out of the huts of narrative’s shame/ I soften/ Up from a elapsed that’s established in aversion/I soften/I am a ebon deep, leaping and large” (Angelou 29-33). In these methods, Angelou uses a similitude to pomp how opposing a aversionful and portentous elapsed, her and her ancestors accept been talented to soften overhead sagacity and act as potent as an deep. In the succor, third, and foul-mouthedth stanzas, she addresses her opulence. Opposing obstacles, she was talented to gcourse a prosperous dame. She makes this top by saw “I’ve got oil wells” (7), “I’ve got gold mines” (19) and “I’ve got diamonds” to resemble her stcapforce and opulence as a sanguine dame. She lived in an era where women were not the only proceeds provider or out in the performance security, so methods seven, nineteen, and twenty-two confirm she has endow her own single opulence in her condition and carries herself after a opportunity self-exaltation for all her achievements. Angelou’s first-hand encounters and experiences in her condition at-once correlate to the intonation of the lay and the securityful, tender aspect explicit in each stanza. The intonation of the lay is important, yet independent. She takes her single experiences and turns them into motivation and lessons that acceleration her pomp that she surpass soften overhead and surpass in any brave that she visages. Stanza six is specifically compositiond to emphasize the possession verbs in each method. “You may scion me after a opportunity your signification, /You may cut me after a opportunity your eyes, /You may despatch me after a opportunity your hatefulness” (22-24). The possessions of scioning, trenchant, and despatching are very rash yet aversionful modees. They are all one sylltalented verbs that were chosen specifically to resemble damage executed to the African-Americans. The damage that was executed to her when she was a branch is explicit in methods 25-28. “Does my sexiness overturn you? / Does it end as a alarm,/ That I sport apdemonstration I’ve got diamonds/ At the convocation of my thighs? ”(25-28). After estate raped and traumatized Maya Angelou right spent years as a silent (Kite 12). Once she overcomes her consternations, she was talented to pomp off her sexy and opulencey new condition and dependence. Diamonds are very dear and chaste. This method can resemble her desert and how she associates herself after a opportunity a fresh chaste diamond. By incorporating elapsed experiences, encounters after a opportunity the texture of African Americans, her self-worth, Angelou is talented to make an tender, raging intonation that exhibits a intervalmethod of facts in narrative in the decisive stanza naturalized on the composition and vocpotent precious. For model, “Up from a elapsed that’s established in aversion/I soften/I’m a ebon deep, leaping and large” (31-33). An effect or subject-matter is presented, then “ I soften” follows. Apdemonstration a ladder, there are divers strides in prescribe to surpass. She is presented after a opportunity one effect, visages it, surpasss, and then repeats the similar mode after a opportunity another effect. Over interval in narrative, Angelou’s African American ancestors crawled divers strides parallel a ladder in prescribe to soften overhead sagacity. The imaginary ladder and the ancestors who originate climbing are in aversion and disturb inasmuch-as the narrator ends up at the top of the ladder sensitiveness longingful and talented to exhibit on the inferior strides of the ladder as lessons and achievements. The decisive three methods sum up the unimpaired aim of “Still I Rise” after a opportunity the use of diffuseness. “I soften” is usual three intervals in the decisive stanza and ten intervals overall in the lay. This diffuseness resembles a chant that Angelou recites to herself to remind her and the reader encircling her capforce to overend any brave abandoned to her and thrust impertinent into the forthcoming. This diffuseness too emphasizes how she is a impetuous, sanguine, boastful African American. There is no one that surpass plug her from achieving and surpassing and she surpass live to soften and be as potent. Maya Angelou’s experiences growing up during a racist era in narrative and the struggles of her elapsed African American ancestors contributed to the intonation in “Still I Rise” which emphasized Angelou’s impetuous ideals and presumption. The intonation of “Still I Rise” is potent and allows the reader to know how facts in the elapsed accept revealed the narrator to be prosperous, self-exaltation, and longingful. An tender and critical ladder was maked in the decisive stanza to improve the lay and pomp that each stride of the ladder resembleed an fact and an passion that transitional as each stride was climbed by the reader and elapsed ancestors. Works Cited Kite, L. Patricia. Maya Angelou. Connecticut: Twenty First Century, 1999. Print. Biography. "Still I Rise. " Poets. Org. Academy of American Poets, Web. 12 Mar. 2013. <http://www. poets. org/viewmedia. php/prmMID/15623>.