1. Brandon Cheathon
Professor Hom
English 301
14 May 2015
Not Separate, but Equal
“I, Too” by Langston Hughes, gives critical insight into
the consciousness of an African­American mind during the 1920’s.
During this time of racial oppression, Hughes believes that
people will be able to recognize self­worth regardless of skin
complexion. The fruition of hopefulness is something that
everyone is entitled to, even if that person is a slave, house
servant, or a free black man living in the Jim Crow south. This
internal freedom of expression is something that Hughes displays
openly by claiming he has the right to feel patriotic. Despite
the negative outlook of society towards African­Americans,
Hughes does not suffer in despair. In “I, Too” Hughes uses
literary techniques such as symbolism, extended metaphors and
tone to express that the presence of discrimination should not
extinguish ones hope.

2. The first line of the poem states, “I, too, sing America”
(1). In this line Hughes immediately conveys a sense of
patriotism even though there is little civil justice for
minorities. Originally, the American­dream was not reserved for
people of color. So why would African­Americans want to sing
praises about a country that does not share their dreams and
visions? Singing America is a symbol of belonging. Hughes takes
pride in being American regardless if others do not see him that
way. In this manner, he conveys a sense of ownership or
natural­rights that African­Americans can be influenced by
during this turbulent time period. This also projects a positive
tone for the beginning of the poem. In the face of segregation,
Hughes did not react with words of violence; instead he uses
words filled with hope and optimism to enhance the tone of this
poem.
Another literary technique Hughes uses is an extended
metaphor, also called a conceit. The purpose of a conceit is to
extend a metaphor into the following sentence. “I am the darker
brother/ They send me to eat in the kitchen/ When company comes”
(2­4). I believe Hughes uses this literary device in more than
one dimension. In the same way the readers are anticipating the
second half of the stanza, African­Americans are expecting a

3. brighter future. The common thread is expectation and delayed
hope. We do not know as readers if the following lines will
complement the former. However, that uncertainty does not lessen
our belief and stop us from reading. Similarly, people of color
have no idea if and when segregation will end. Nevertheless they
are willing to play their roles in society and eat in the
kitchen until change comes.
In the second half of the first stanza, Hughes’ usage of
foreshadowing points to a brighter future. During this time of
separation from the “others” and company, the speaker is
focusing his energy on preparation. “But I laugh/ And eat well/
And grow strong” (5­7). Even though he is treated as a
second­class citizen, he has the confident faith that one day he
will be at the table. He laughs off the injustice as if he knows
something that the master does not. The speaker has a firm
conviction that in time everything will change, and he has peace
in believing this truth.
The second stanza further emphasizes the unbroken,
confident belief that things will change for the better.
“Tomorrow/ I’ll be at the table/ When company comes” (8­10).
What keeps someone’s hopes alive in the face of extreme
adversity? What evidence can they stand on to assure themselves

4. of progressive change? Tomorrow is not promised and tomorrow may
never come. Yet, Hughes provides an undying sense of optimism in
this poem. He continues to foreshadow when he says, “tomorrow”.
The reader understands that the next morning will not mark the
end of segregation, but Hughes alludes to a brighter future free
of discrimination and classism. Why is it so important to sit at
the table? The table is a symbol that represents equality and
fairness among people of color.
In lines eleven through fourteen Hughes’ tone shifts from
one of hopefulness to one of entitlement. “Nobody’ll dare/ Say
to me/ “Eat in the kitchen,”/ Then” (11­14). I completely
understand why the change in tone takes place. When you finally
receive something that is overdue, it is understandable to claim
it with conviction. Hughes apprehends his rights and privileges
with an iron fist. Hughes also understands that the time of his
subjugation is almost over.
The final stanza strikes me as the most unusual. “Besides/
They’ll see how beautiful I am/ And be ashamed/ I, too, am
American” (15­18). Hughes believes once the absurdities of
racism are revealed, everyone will be seen for their true
beauty. Not only will previous blind eyes be opened, but a new
conscience will be instilled in the people who were once

5. oppressors. In addition, these former persecutors will feel
“ashamed” of their previous actions. Hughes demonstrates a great
deal of faith in those who once had such a narrow mind. Why
would he believe that these people are capable of changing their
fundamental values? Maybe Hughes is referring to the distant
future and believing that in general the perception of race will
evolve with the changing world. When I envision the last line of
the poem, I imagine a runner crossing a finish line of the most
grueling race imaginable. It is at this point we can see all of
the hard work, which once seemed meaningless, finally paying
off. The goal of equality is reached, and validation has come in
the form of true citizenship.
Throughout “I, Too” Hughes expresses a level of expectation
that is unmatched by conventional wisdom. Regardless of his
immediate circumstances, Hughes maintains a high sense of
integrity that propels him beyond bitterness. By using different
symbols during the course of the poem, readers get a chance to
connect internal truths with future realities through vivid
imagery. Eventually, Hughes’ long­suffering plays a vital role
in later developing civil rights organizations that will push
for positive change. His use of literary devices is just one of

6. his many contributions to African­American poetry and American
literature.
Works Cited
Kennedy, X. J., and Dana Gioia. "I, Too" Literature: An
Introduction to Fiction, Poetry, Drama, and Writing. Boston:
Pearson, 2013. 789. Print.