17 pages • 34-minute read
Alberto RíosA 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’s form is inviting and reader-friendly. It consists of nine verses: eight compact couplets and a one-line coda. It uses plainspoken language and everyday imagery meant to be easily understandable: rivers coming together, a diamond in a pile of nails, two primary colors mixing into a secondary color.
Adding to the poem’s accessibility is its conversational meter. The rhythm is flexible, with each line a variation on iambic pentameter (typically, 10 syllables of alternative stress and unstress, but here less regular). This makes the lines feel less sing-song or performative. The poem is unrhymed, or in blank verse. However, there are some slant rhymes and end-line repetition that offers a similar effect to more traditional rhyme.
This formal looseness gives the poem an organic feel and allows recitation to emphasize critical words rather than follow an anticipated beat.
Anaphora is the repetition of a word or phrase to build to momentum and create a feeling of dramatic movement. The first two couplets repeat the words “We give because” (Lines 1-4); the third couplet repeats “We have been” (Lines 5-6). In addition, the verb “give” and its variants recur often—a rhetorical device that underscores the poem’s themes and message.
Anaphora also has resonances with the call-and-response portions of Catholic liturgy. Likewise, this rhetorical device appears in many parts of the King James Version of the Bible, such as the Books of Genesis, Psalms, and Proverbs, as well as in Christ’s Sermon on the Mount (also known as the Beatitudes). As a lifelong Catholic, Rios would have had this literary precedent in mind when writing.
Punctuation creates rests at the end of poetic lines, interrupting the flow of the poem for dramatic pauses that produce an ebb-and-flow effect. In contrast, enjambment, or the lack of grammatical or punctuating end-line rest, means that readers do not pause at the end of a line and must instead read the next one to understand the complete thought.
While most of the poem’s lines close with some mark of punctuation, its closing lines shatter that division. Lines 14-17 work together to create a single thought, using enjambment to allow these lines to flow one into the other exactly as the poem celebrates the energy of people coming together and the power of defying division and boundaries. The punctuation marks in these lines create mid-line pauses that help readers process ideas without dispelling the effect of enjambment. Moreover, the dash in Line 16 functions like a bridge uniting the two thoughts that close the poem. Form thus becomes theme.



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