BARREDO, NHOVIE MAE B.

3-BSE

“We Real Cool” by Gwendolyn Grooks

1. Phonological
The poem “We Real Cool” by Gwendolyn Brook is characterized by a varied rhythm with
predominantly short, clipped lines, which contribute to its unique style and impact. Each line typically
contains two to four metric foot with a unique rhythmic pattern. This can be shown on the following
lines:
THE POOL / PLAYERS. /

The first line of the poem exemplifies trochaic dimeter as it consists of two feet, both being
trochees. In the first foot, "THE POOL", the stress falls on "THE", followed by the unstressed "POOL”.
Similarly, in the second foot, "PLAYERS", the stress lies on "PLAY", succeeded by the unstressed
"ERS".

Proceeding to the second line,

SEVEN / AT THE / GOLDEN / SHOVEL. /

The structure of the line demonstrates a rhythmic complexity similar to the first line, featuring
four feet that follow a trochaic tetrameter pattern. Each foot contains a stressed syllable followed by
an unstressed syllable. For instance, in the first foot, "SEV" is stressed and followed by "EN", which is
unstressed. This pattern continues throughout the line, with "AT", "GOLD", and "SHO" serving as
stressed syllables followed by unstressed ones like "THE", "EN", and "VEL", respectively. Therefore,
the line is considered trochaic tetrameter due to its consistent use of four trochees.

Moving on the third line of the poem,

We real / cool. We /

Similar to the first line, this line consists of two feet, each containing a trochee. In the first foot,
"We" is stressed, followed by "real", which is unstressed. The same pattern applies to the second
foot, with "cool" as stressed and "We" as unstressed. Like the first line, this line is also considered
trochaic tetrameter due to its composition of two trochees.

On the fourth line of the poem,

Left school. We /

The fourth line of the poem contains only one foot, beginning with the stressed syllable "Left,"
followed by the unstressed syllable "school," and ending with another stressed syllable "We." This
 particular metric foot aligns with the characteristics of a cretic meter, which follows the pattern of
stressed, unstressed, and stressed syllables. Therefore, this line exemplifies a cretic meter.

Moving to the fifth line,

Lurk Late. We /
The fifth line comprises only one foot, specifically a bacchius. It begins with the unstressed
syllable "Lurk", followed by two stressed syllables, "Late" and "We". This arrangement conforms to
the bacchaic meter, characterized by the sequence of syllables as unstressed-stressed-stressed.

Continuing to the sixth line,

Strike straight. We /

This line consists of just one foot, specifically a cretic meter. It adheres to the stressed-
unstressed-stressed pattern, with "Strike" as the initial stressed syllable, followed by the unstressed
syllable "straight", and concluding with another stressed syllable, "We".

The seventh line,

Sing sin. We /

The seventh line, like the previous one, consists of only one foot, specifically a cretic foot. It
begins with the stressed syllable "Sing", followed by the unstressed syllable "sin", and concludes with
the stressed syllable "We”. This line conforms to the cretic meter, maintaining the pattern of stressed-
unstressed-stressed syllables within a foot.

Down to the eight line,

Thin gin. We /

This line comprises only one foot, specifically an antibacchius. It consists of three syllables, with
both "Thin" and "gin" stressed, followed by the unstressed syllable "We". This foot conforms to the
antibacchius pattern, characterized by the sequence of stressed-stressed-unstressed syllables.

Followed by the ninth line,

Jazz June. We /

Once again, this line also has on foot, particularly cretic meter, where it follows the pattern
stressed syllable “Jazz”, then the unstressed syllable “June”, and lastly the other stressed syllable “We”.
As shown above, this is a cretic meter because it fits the characteristics and pattern of a cretic meter.
Lastly,

Die Soon. /

The final line of the poem comprises just one foot, specifically a spondaic foot. This line is
spondaic because it consists of two stressed syllables in succession, "Die" and "Soon." Hence, it is
classified as spondaic meter.

In "We Real Cool" by Gwendolyn Brooks, each line varies in its metrical feet, contributing to the
poem's rhythmic diversity. The poem exhibits a mixture of trochees, iambs, and anapests, creating a
dynamic and engaging rhythm. The poem follows a simple and consistent rhymes throughout.

“We Real Cool”

Gwendolyn Brooks

THE POOL PLAYERS. A

SEVEN AT THE GOLDEN SHOVEL. B

We real cool. We C

Left school. We C

Lurk late. We C

Strike straight. We C

Sing sin. We C

Thin gin. We C

Jazz June. We C

Die soon. D

The poem is presented in a simpley yet consistent rhyme pattern, showing a rhyme scheme of
ABCCCCCCCD. On the first couplet, it doesn’t rhyme the line end with “players” while the second line
end with “shovel”. However, on the following lines, specifically from line 3 down to line 9, they were
all ended with sound “we”, forming a pattern that enhances the poem’s rhythmic flow.
This poem employs various phonological elements such as alliteration that are present in each line:
“THE POOL PLAYERS.”
 This line emphasizes the repetition of the “P” sounds present from the words “POOL
PLAYERS”

“SEVEN AT THE GOLDEN SHOVEL”

 This line also starts with a trochee pattern ("SEVen AT"), followed by a spondee (stressed-
stressed) in "GOLDen," and ends with a trochee in "SHOvel." The repeated "SH" sound in
"SHOvel" and "GOLDen" contributes to alliteration.

“We real cool. We”

 The repetition of the "W" sound in "We real" and "We" adds to the alliteration.

“Left school. We”

 The repeated "L" sound in "Left" and "school" contributes to alliteration.

“Lurk Late. We”

 This line starts with a trochee ("Lurk late"), followed by an iamb ("We"). The repetition of
the "L" sound in "Lurk" and "late" creates alliteration.

“Strike Straight. We”

 the repeated "S" sound in "Strike" and "straight" adds to alliteration.

“Sing sin. We”

 The repetition of the "S" sound in "Sing" and "sin" contributes to alliteration.

“Thin gin. We”

 The repeated "T" sound in "Thin" and "gin" creates alliteration.

“Jazz June. We”

 The repetition of the "J" sound in "Jazz" and "June" adds to alliteration.

“Die Soon”

 The final line consists of a spondee ("Die soon"), ending the poem with a strong and
emphatic rhythm.
 2. Graphological
The poem is consists of five couplet, emphasizing the repeated “we” at the end of each
line. The poem is written in Times New Roman font type and was aligned on the left side. The
design design of the poem itself gives additional coolness to the poem, making it catchy to the
readers.
The poem begins with capitalized letters for the lines "THE POOL PLAYERS." and "SEVEN
AT THE GOLDEN SHOVEL.". The use of capitalization at the beginning of each stanza highlights
the title-like quality of these lines and sets them apart from the rest of the text. The lines are
aligned to the left margin, creating a clean and organized appearance. This alignment allows the
reader to easily follow the progression of the poem and emphasizes the consistent structure of
each couplet. However, on the second couplet down to the fifth couplet, they were all written
with no indention each side. There is a significant space between each couplet, allowing readers
to pause each stanza. Each couplet is composed of two sentences divided by a period.
On the first couplet, the first line, “We real cool.” Was the first sentence, leaving the
“We” hanging and that where the enjambment occur. The author applies the poetic from called
“A Golden Shovel” in which the last word of each line forms a second, pre-existing poem that
the poet admires. Essentially, the poet uses the words of the original poem to end the lines of
their own poem, creating a link between the two works. This technique continues throughout
the poem, allowing thoughts to flow seamlessly from one line to the next.
The unique form of this poem captures the readers’ interests and it enhances the overall
visual appeal of the poem.

3. Semantic
From the first two lines of the poem, we could establish the central setting and
characters of the poem. Where “THE POOR PLAYERS”, are the possible character identity of the
poem and the line “SEVEN AT THE GOLDEN SHOVEL”, it suggest a location potentially the
central setting of the poem.
The language of the poem is sparse, where it uses minimal, straightforward and
declarative sentences. The author employs vernacular and colloquial expressions and slang
terms to create an authentic portrayal of the youths' voices and experiences such as:
“We real cool”
- a colloquial language the uses the word “real” instead of “really” and “cool” to convey
a sense of confidence and swagger
“Left school”
-a straightforward statement which means to drop out in school
“Lurk Late”
-another colloquial language with use of the word “lurk”, to describe the youth’s
behavior of staying out late
“Thin gin”
-a colloquial word that describes a drinking alcohol with “thin”, possibly indicating a
cheap alcohol
“Jazz June”
 - another colloquial language to describe indulging in pleasure or excitement,
particularly during the summer months, using "jazz" as a verb to convey a sense of
liveliness or excitement.

Ironically speaking the title itself “We Real Cool” suggests confidence, but the content reveals
vulnerability. The players’ choices may seem cool, but they lead to a tragic outcome as staed on the last
line, “Die Soon”.

4. Symbolism, imagery and meaning

The poem employs richness in symbolism, imagery and meaning itself in order to convey profound
themes present in the poem.

SYMBOLISM:

 The pool players (Line 1) - the said central character of this poem symbolizes the
marginalized youths of the society wherein their identity suggest sensed of belongingness
and camaraderie within their group.
 The golden shovel (Line 2)- the phrase “We real cool” is repeated throughout the poem, and
it’s like a golden shovel that these teenagers use to dig their own metaphorical graves. The
allure of rebellion and self-destruction is portrayed as “real cool,” but it ultimately leads to
their downfall

IMAGERY

 Visual Imagery: Brooks employs vivid visual imagery to paint a picture of the youths'
rebellious lifestyle. Phrases like "Left school," "Lurk late," and "Strike straight" evoke images
of defiance and recklessness.
 Sensory Imagery: The poem appeals to the senses through descriptions of actions and
activities such as singing, striking, and drinking gin. This sensory imagery creates a visceral
and immersive experience for the reader, drawing them into the world of the poem.
 Symbolic Imagery: Brooks uses symbolic imagery to convey deeper meanings beyond the
literal words. For example, "Thin gin" may symbolize the cheapness or emptiness of the
youths' indulgences, while "Jazz June" symbolizes a fleeting sense of pleasure or excitement.

MEANING

The poem portrays a group of young individuals who have chosen to reject societal norms and
engage in reckless actions. The poem depicts the youths' defiance against societal expectations and
authority figures. They "Left school" and "Lurk late," indicating a disregard for conventional paths and
rules, indulging in vices and embracing risky behavior and symbolized by their actions such as the
drinking of “Thin gin’. However, the poem also hints at the consequences of their choices. The repetition
of “We real cool” emphasizes their bravado, but it also underscores their vulnerability. Their defiance
may lead to premature death, the phrase "Die soon" serves as a stark reminder of the potential dangers
and tragedies that await those who lead a life of rebellion and recklessness.
 Through its concise language and vivid imagery, the poem highlights the struggles and
challenges faced by marginalized youths and underscores the need for guidance and support in
navigating the complexities of adolescence.