The Centaur: Summary and Questions 2

The Centaur: Summary and Questions

The Centaur By May Swenson

Introduction

“The Centaur” is one of the most popular and anthologized poems by May Swenson. In the poem, the poet re-creates the joy of riding a stick horse through the summer of a small town. We find ourselves, with her, straddling “a long limber horse with . . . a few leaves for a tail,” and running through the beautiful dust along the course of the old canal. As her form shifts from child to horse and back, we know exactly what she feels like.

Title

The title ‘‘The Centaur’’ refers to a creature from Greek mythology that was a half-human and half horse and lived in a region called Pelion in Magnesia, a coastal region in Central Greece. Centaurs symbolize masculinity, and are supposed to be brave, loyal warrioris. Interestingly, other than in the title, the term is not used anywhere in the poem. Rather than write about centaurs, Swenson’s aim is to depict a metaphorical centaur, a girl who thinks she is part horse.

STANZA WISE SUMMARY OF THE POEM

Stanza 1

The poem starts with an adult speaker reminiscent of her youth, the summer when she was 10 years old. There’s a wonder in her voice right away because she can hardly believe there was just one summer like that. This attitude of wonder is typical of Swenson ‘s poetry; so is her questioning,

inquiring approach to life indicated grammatically by casting the main part of the first stanza as a question. Another grammatical feature of the opening stanza is that it is largely a parenthetical aside; it is as if the speaker, or the poet, is so full of information and so alive to the connections that it can hardly start in one direction without wanting to go in another, perhaps a bit like a wayward horse.

Stanza 2

Stanza 2 completes the parenthetical aside about there being only one summer when the speaker was ten. Of course, a literal-minded person would say, how could there be more than one summer for any year? However, Swenson and her speaker are poets; they say apparently impossible things
to get at deeper truths, in this case, the fact that the summer in question seemed very long. It must have been a long one, she says, which again literally makes no sense; summers are always the same length. This is a poem about feelings, though, and that summer felt long to the speaker, or perhaps she means that there were more summers like it. What should be noted is that the tone is not tumultuous; this is not a complaint that the summer has been dragging on and on; it is a memory of a delightful time. Here is an aspect of pastoral idyllicity — a portrayal of a simpler, ideal time. The tone of the opening gives a positive attitude to the events of that summer before the speaker even says what they were.

The second and third lines of the second stanza start to recount what happened to her. The speaker was ten in the summer. She says she’s going to choose a different horse from her stable every day. The reader who stopped at the end of this stanza — and the stanza break supports such a stop — may have assumed that the speaker was rich, with a stable full of real horses to choose from. However, the absence of punctuation at the end of the stanza, the running of the sentence from one stanza to the next, means that the reader can certainly continue to do so without stopping.

Stanza 3

The speaker reveals in stanza 3 that there were no real horses; she was not the child of wealthy horse owners; in fact, her stable was a grove of willow trees down near an old canal. Paul Crumbley, writing in Body My House, notes that this was the actual channel near Swenson’s childhood home. It brings out the autobiographical element of the poem, but in the poem, the canal’s oldness combined with the fact that the young girl had to go out to it suggests a journey that could turn out to be magical in some way, away from every day to somewhere.

The stanza ends with the speaker saying she ‘d go to the grove in barefoot. The fact that she was going barefoot indicates a change, in this case with her clothes and shoes away from civilization and into nature with its lack of artificial coverings. That’s possibly the key message this sentence conveys at first reading, but in retrospect, the reader could note that the speaker stresses that she walked on her own two feet; the assertion is somewhat strange, because who else might the girl’s feet have gone on with? The reader soon discovers who may have been involved with the feet of another.

Stanza 4

The first word in stanza four shows some contrast to the statement immediately preceding that the girl went down on her own feet to the canal. However, it will be a few more stanzas before the point of the contrast is made clear; meanwhile, the reader is left wondering why a contrast was set up as the speaker plunges into a parenthetical clause about using the knife of her brother to cut a horse. If it wasn’t already clear, the reader learns here that the horses are only branches from the willow trees. At least this is the natural assumption of the reader, although the speaker does not actually say that they are branches; she simply says that she cut herself a horse, making a kind of metaphor, except that this is less a metaphorical way of describing a branch as a horse than a little girl who thought, or pretended to think, that her branch was a horse.

Stanza 5

Stanza 5 goes into more detail about how the girl can transform her branch of the willow into a horse. Swenson has frequently been praised for her attention to detail and here she describes the branch peeling and the leaves arranged for a tail. The speaker also notes that she used the belt of her brother (again something of her brother’s) to gird around the branch, to tighten, to keep control. There are both wildness and control elements in it. Traditionally, rationality and passions have been metaphorically represented as a rider and his horse, with the rider needing to keep his horse under control, just as rationality was expected in a human being to keep the passions under control.

Stanza 6

Stanza 6 carries on the notion of control by suggesting that the belt was supposed to act as a rein when tightened around the neck, but the speaker finishes by saying that as soon as she speaks of making her horse take up a modest gallop as if control had been lost and the main point is to give up on adventure.

Stanza 7

In this stanza, the speaker says she ‘d trot in the dust which she describes as lovely by using the word. It is not clear why dust would be lovely, but maybe it is because it is part of nature and the purpose here is to escape into nature. In this stanza, the reader also begins to understand why the orator ‘s feet are emphasized by the sentence that started in stanza 4, and that is still going on. The speaker in this stanza describes how the dust hid her toes and covered the hoofs of her horse. She arrived on two feet but now she’s riding on four hoofs; a transformation is underway.

Stanza 8

Stanza 8 finishes the thought about the horse’s hoofs, which are referred to as feet here. Perhaps this indicates that the transformation from human to horse is not complete. There is also another possibility. Swenson is often seen as a poet who describes blending, and the poem seems to display some blending between human and animal.

Stanza 9

In this stanza, the transformation from human to horse, or the blending of human and horse, continues. The willow knob, the speaker says, was part of the saddle and part of the horse’s head. At the same time, she says her head and her neck were her own, and there the stanza ends; like most of the stanzas, it ends in mid-sentence.

Stanza 10

In stanza 10, the sentence continues with another contrast. Although the speaker said in the previous stanza that her head and neck were her own, now she says that at the same time they were like a horse, and her hair was like a horse’s mane, blowing in the wind. This could be considered a simile, but it is more a statement of transformation. The speaker remembers that as a girl when she went out on her willow branch she began to feel like a horse.

Stanza 11

Horse imagery continues in this stanza, with the speaker using the word forelock, a term for hair usually used only in connection with horses. Also, she describes herself as snorting and performing other actions that a horse might do.

Stanza 12

Stanza 12 continues the detailed description of the girl as a horse, but then there is a pronoun shift. She suddenly switches to the first-person plural we. It appears that now she is both girl and horse, understood as two separate identities that are nonetheless one.

Stanza 13

Here the speaker explicitly declares the merging of identities between horse and rider that was implied in the previous stanza. It is less that she becomes transformed from human to horse than that she conjures up an imaginary horse and partly becomes him while yet remaining herself. She is both the magical imaginary creature and the ordinary person riding the creature, so when she smacks his rear, she is also hitting her own behind, as she says at the start of the next stanza.

Stanza 14

The speaker finishes the thought about how slapping the horse’s rear means hitting herself and begins the next sentence with a word that is a highly appropriate term to describe what is happening; she has become double – she is both herself and another.

Stanza 15

Stanza 15 explores the doubleness of the situation. The speaker says that she was both the one with the bit in her mouth, in other words, the horse being controlled by a rider, and yet at the same time the rider herself, sitting on her steed.

Stanza 16

Stanza 16 provides more detail about how she was the rider, pressing her legs around the horse’s ribs, standing in the stirrups. The end of the sentence marks the end of the stanza. Instead of ending the stanza in mid-sentence and so carrying the reader on to the next stanza, as she has done in most of the previous stanzas, Swenson here orders a stop, marking the end of a section of the poem.

Stanza 17

Stanza 17 marks a change in tone. A calmness descends after the wild galloping, the snorting, the riding in the wind. Now the pace slows, literally, to a walk, as the speaker describes how she would return to her house, riding slowly up to the porch and tying her horse to the fence: an odd image, because she would have been tying one piece of wood to another.

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Perhaps to this girl, she will always have the horse within her, always be both things—girl and horse, horse and rides simultaneously. For the wonderful, but serious, extent of this poem we are allowed to experience it with her thanks to Swenson’s use of language, imagery, structure and point of view.

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