Lucy Dunn only ‘ thinks ’ ( l . 23 ). Repeating this in a chorus , furthermore , reinforces the importance of black women being listened to and not , as mentioned , silenced by issues such as indirect racial stereotyping . The free bird lacks empathy for the caged bird ; his selfishness is demonstrated when he continues on to ‘ another breeze ’ ( l . 23 ) in greed . This is underscored by the only overt repetition that the free bird is presented in ; the anaphoric use of ‘ and ’ ( l . 3 ). The unprogressiveness of this is emphasised by the worms ‘ waiting ’ on the ‘ bright lawn ,’ ( l . 25 ) while the caged bird is restrained , and the free bird is too busy naming ‘ the sky his own ’ ( l . 26 ). The worms , as usual prey for birds , are not being eaten ; something is evidently wrong . Further to this , there is a disconnection between the birds , stressed by the half-rhyme of ‘ lawn ’ and ‘ own ’ ( ll . 25-6 ). Clearly , the free bird does not utilise its privilege to make change , which further exposes the issue at hand . In the first two stanzas , Angelou uses plosive alliteration when discussing both birds ; ‘ b ’ and ‘ d ’ sounds are continuously heard , with undertones of harshness and warning , to demonstrate that they are both still in danger as long as one of them is being ignored . Through this , Angelou ’ s critique of those of privilege within oppressed groups for not helping those further marginalised is evident . Moreover , like ‘ Junkie Monkey Reel ,’ ‘ Caged Bird ’ is structured into six stanzas ; however , it is not as fragmented , arranged into two septets , an octave , two quatrains , and then a second octave . Angelou thereby presents notions of unity , as seen in this structure
22 with two of each sized stanza , to further reinforce the need for it within oppressed groups in order for them to progress . As Audre Lorde noted in the same year as ‘ Caged Bird ’ was published in Angelou ’ s 1978 anthology , accepting difference within marginalised groups is ‘ key to our survival .’ ( 2018 p93 ). Likewise , Angelou demonstrates that without helping black women , those who suffer inequality but are of more privilege will not move forward , remaining just as silenced .
While Angelou deals with racial and patriarchal oppression critically , it is also important to acknowledge her efforts to reinforce hope within oppressed communities , as in ‘ Caged Bird .’ Despite physical attempts to restrain the caged bird , as he is ‘ tied ’ and his wings are ‘ clipped ’ ( l . 29 ), he is able to resist oppression by remaining hopeful . He ‘ sings of freedom ’ ( l . 22 ), evidencing his optimism in spite of his circumstance . Although this line is part of a rhyming octave , it is the only one out of rhyme within this stanza ; this musically separates it from the other lines , demonstrating that the hope of the caged bird keeps it from falling into a controlled structure , here symbolic of oppression . This separation is further emphasised by the juxtaposition of the words ‘ caged ’ and ‘ freedom ’ within this chorus ( ll . 21-22 ). Thus , it reigns clear that hope is the caged bird ’ s resistance , showcased through song . The use of anaphora to discuss the caged bird , with the repetition of the possessive pronoun ‘ his ’ in stanzas two and five , further reinforces his ownership of hope for freedom , despite his physical confinement ( ll . 9-30 ).