The Jaguar by Ted Hughes

 The Jaguar

Ted Hughes

The apes yawn and adore their fleas in the sun.

The parrots shriek as if they were on fire, or strut

Like cheap tarts to attract the stroller with the nut.

Fatigued with indolence, tiger and lion

 

Lie still as the sun. The boa-constrictor’s coil

Is a fossil. Cage after cage seems empty, or

Stinks of sleepers from the breathing straw.

It might be painted on a nursery wall.

 

But who runs like the rest past these arrives

At a cage where the crowd stands, stares, mesmerized,

As a child at a dream, at a jaguar hurrying enraged

Through prison darkness after the drills of his eyes

 

On a short fierce fuse. Not in boredom—

The eye satisfied to be blind in fire,

By the bang of blood in the brain deaf the ear—

He spins from the bars, but there’s no cage to him

 

More than to the visionary his cell:

His stride is wildernesses of freedom:

The world rolls under the long thrust of his heel.

Over the cage floor the horizons come.

Glossary

·  Tarts: Slang for prostitutes, used here to describe the parrots’ flamboyant, attention-seeking behavior. The term "cheap" adds a derogatory tone, highlighting artificiality.

 ·  Stroller with the nut: Refers to a zoo visitor, likely someone casually walking through and offering food (nuts) to animals. It underscores the animals’ dependence on human interaction in captivity.

 ·  Fatigued with indolence: Exhausted by laziness. Describes the tiger and lion, powerful animals rendered passive and listless in the zoo, contrasting their natural majesty.

 ·  Tiger and lion: Large, majestic predators symbolizing strength and wildness. Their stillness "as the sun" highlights their unnatural lethargy in captivity.

 ·  Boa-constrictor’s coil: The coiled body of the snake, likened to a "fossil" to suggest immobility, lifelessness, or being frozen in time, emphasizing the zoo’s stifling effect.

 ·  Fossil: A preserved remnant of a past life form. Used metaphorically to describe the boa-constrictor’s coil, suggesting something ancient, static, or deadened.

 ·  Cage after cage: Refers to the repetitive, confined spaces of the zoo, emphasizing the monotony and restriction of the animals’ lives.

 ·  Breathing straw: Straw in the cages, associated with the animals’ sleep or lethargy. The phrase evokes a sense of stagnation and the organic smell of animal enclosures.

 ·  Nursery wall: Suggests a childlike, simplified depiction of animals, as if the zoo reduces them to mere illustrations, devoid of their wild essence.

 ·  Jaguar: A powerful, solitary big cat, central to the poem. Unlike the other animals, it embodies raw energy and resistance to confinement, symbolizing untamed nature.

 ·  Hurrying enraged: Describes the jaguar’s restless, furious pacing, highlighting its vitality and defiance against captivity.

 ·  Drills of his eyes: A metaphor for the jaguar’s intense, piercing gaze, suggesting focus, precision, and unrelenting energy, as if its eyes bore through its surroundings.

 ·  Short fierce fuse: Likens the jaguar’s energy to an explosive with a short fuse, implying imminent, powerful action or emotion barely contained.

 ·  Eye satisfied to be blind in fire: Suggests the jaguar’s intense focus or passion, where its vision is consumed by its own fiery energy, oblivious to external constraints.

 ·  Bang of blood in the brain: Vividly describes the jaguar’s heightened state of adrenaline or instinct, where its pulse and vitality overpower other senses.

 ·  Spins from the bars: The jaguar’s rapid, spinning movements within the cage, suggesting it transcends the physical bars through its uncontainable spirit.

·  Visionary his cell: Compares the jaguar to a visionary (like a prophet or dreamer) whose confinement (cell) cannot limit their imagination or spirit. The jaguar’s cage is similarly no barrier to its wild essence.

 ·  Wildernesses of freedom: Evokes vast, untamed landscapes, symbolizing the jaguar’s inner freedom and connection to its natural state, despite physical captivity.

 ·  Long thrust of his heel: Describes the jaguar’s powerful, purposeful stride, suggesting dominance and forward momentum, as if it commands the world.

 ·  Horizons come: Implies that the jaguar’s presence or movement brings the vastness of the wild into the confined cage, collapsing the boundaries between captivity and freedom.

Explanation

Stanza 1

The apes yawn and adore their fleas in the sun.

The parrots shriek as if they were on fire, or strut

Like cheap tarts to attract the stroller with the nut.

Fatigued with indolence, tiger and lion lie still as the sun.

In this stanza, Ted Hughes uses vivid and often ironic imagery to emphasize the unnatural behaviour and subdued vitality of animals in captivity. The apes are portrayed as lethargic and bored, yawning and “adoring their fleas” as they lie in the sun—an image that highlights their loss of wild energy, reduced now to idle grooming. The parrots, usually vibrant and free-flying, are shown either shrieking in agitation —“as if they were on fire”—or strutting vainly, compared to “cheap tarts” seeking attention. This simile conveys a sense of artificiality and degraded dignity, suggesting that even beauty becomes vulgar in the confined zoo setting. The phrase “to attract the stroller with the nut” reflects how the animals perform to catch the interest of human visitors, driven by boredom or dependency. The stanza ends with the tiger and lion, iconic symbols of wild power, now lying motionless, “fatigued with indolence”—so overcome with laziness and confinement that they have become as still and unchanging as the sun itself. Hughes uses this imagery to criticize how the zoo strips animals of their natural strength, vitality, and instincts, leaving behind only passive remnants of their true selves.

Stanza 2

The boa-constrictor’s coil

Is a fossil. Cage after cage seems empty, or

Stinks of sleepers from the breathing straw.

It might be painted on a nursery wall.

In this stanza, Ted Hughes continues to emphasize the lifelessness and stagnation of the zoo. The boa constrictor, a snake normally associated with stealth and deadly movement, is described as so still that its coiled body appears fossilized—a powerful metaphor suggesting that captivity has drained it of life and turned it into something ancient, inert, and lifeless. The phrase "cage after cage seems empty" reinforces this sense of emptiness and absence of vitality, even when animals are present. The ones that are not visibly absent are merely sleeping, and their cages are reduced to “stinking” enclosures—evoking a sensory image of unclean, stagnant air, as the “breathing straw” signals the minimal life left in them. Hughes then shifts to a striking contrast: the entire zoo scene “might be painted on a nursery wall.” This ironic statement suggests that the zoo has become so dull and decorative—so stripped of reality—that it resembles an innocent, idealized children’s mural, completely at odds with the raw wildness these animals once embodied. Through this, Hughes critiques the artificial, sanitized world of captivity, where the essence of wild life is reduced to lifeless display.

 Stanza 3

But who runs like the rest past these arrives

At a cage where the crowd stands, stares, mesmerized,

As a child at a dream, at a jaguar hurrying enraged

Through prison darkness after the drills of his eyes on a short fierce fuse.

This stanza marks a dramatic shift in the poem’s tone and energy. While most zoo visitors casually walk past the lifeless or passive animals, there is one cage that stops them in their tracks: the jaguar’s. Unlike the other creatures, the jaguar is not subdued by captivity. The crowd gathers in front of his cage, mesmerized, their awe likened to that of a child entranced by a dream—suggesting that the jaguar evokes something primal, mysterious, and deeply stirring. The animal is described as “hurrying enraged / Through prison darkness,” an image that captures both his raw power and restlessness. Unlike the still, defeated animals, the jaguar’s movement is furious and purposeful, revealing his refusal to be mentally or spiritually caged. The phrase “after the drills of his eyes” emphasizes his intense focus and penetrating gaze, suggesting that his vision is sharp, active, and possibly predatory. Finally, he is said to be “on a short fierce fuse”, likening him to an explosive about to detonate—tense, volatile, and alive with energy. This stanza reinforces the idea that while most animals have succumbed to captivity, the jaguar retains his wild spirit and defiant vitality, making him the central symbol of unbroken freedom in the poem.

 Stanza 4

Not in boredom—

The eye satisfied to be blind in fire,

By the bang of blood in the brain deaf the ear—

He spins from the bars, but there’s no cage to him

More than to the visionary his cell.

In this powerful stanza from “The Jaguar”, Ted Hughes deepens the contrast between the jaguar and the other caged animals. He clarifies that the jaguar’s wild movement and restless energy are “not in boredom”—he is not aimlessly pacing like other captive animals. Instead, his “eye satisfied to be blind in fire” suggests that he is consumed by an inner blaze of passion or instinct, so intense that it blinds him to the outside world. Similarly, the phrase “by the bang of blood in the brain deaf the ear” conveys how the internal rhythm and vitality within him are so overwhelming that they drown out all external sounds. These lines portray the jaguar as a creature entirely driven by raw energy and primal consciousness. When Hughes writes, “He spins from the bars, but there’s no cage to him / More than to the visionary his cell,” he implies that the jaguar, like a visionary or prophet, is not limited by physical constraints. Just as a visionary can mentally transcend the prison of a cell, the jaguar remains spiritually and mentally free, despite being locked in a cage. This elevates the jaguar to a symbol of indomitable freedom, representing the power of the wild spirit to resist confinement and retain its essential nature.

 Stanza 5

His stride is wildernesses of freedom:

The world rolls under the long thrust of his heel.

Over the cage floor the horizons come.

In this concluding stanza, Ted Hughes brings the jaguar’s untamed spirit to its most triumphant expression. The line “His stride is wildernesses of freedom” emphasizes that every movement the jaguar makes embodies the vastness and wildness of the natural world. His stride is not just a physical act—it symbolizes his mental and spiritual freedom, untouched by the limitations of his cage. The next line, “The world rolls under the long thrust of his heel,” uses powerful, almost mythic imagery to suggest that the jaguar is so dominant and alive that the very earth seems to move beneath him. It presents him as a majestic, unstoppable force. Finally, “Over the cage floor the horizons come” implies that although he is physically enclosed, his mind conjures up limitless possibilities—horizons appear to unfold beneath his feet. The jaguar's internal vision and fierce energy transform the cage into a symbolic landscape of freedom and power. Through this stanza, Hughes completes the poem’s central idea: the jaguar, unlike the other animals, remains mentally unconquered, his spirit expansive and wild, no matter how small or confining the physical space around him may be.

Critical Appreciation

Introduction

Ted Hughes's “The Jaguar” is a powerful poem that explores the themes of captivity and freedom, using stark and contrasting imagery to depict the lifelessness of most zoo animals and the fierce vitality of a single jaguar. First published in Hughes’s 1957 collection The Hawk in the Rain, the poem reflects his signature style—visceral, energetic, and focused on the raw forces of nature. Through intense visual and auditory imagery, Hughes critiques the effects of confinement and celebrates the unyielding spirit of wildness.

Themes

1. Captivity vs. Freedom:

The central theme is the contrast between the passive, broken spirits of most animals in the zoo and the jaguar's defiant, undiminished freedom. While others are subdued, the jaguar’s spirit remains wild and unbounded.

2. The Power of the Imagination:

The jaguar is compared to a "visionary" who transcends the physical limitations of his cage. This elevates the poem into the realm of the symbolic—where imagination or inner fire can defy external control.

3. Human Gaze and Spectacle:

The poem also critiques how zoos reduce majestic creatures into objects of human amusement. Yet, the jaguar resists this objectification, mesmerizing the crowd not with tameness but with his wild energy.

Structure and Form

The poem is composed in five unrhymed quatrains (four-line stanzas). The free verse structure reflects the chaotic, unpredictable energy of the jaguar and avoids the neatness and order that rhyme might impose—mirroring the theme of wildness within confinement.

The enjambment (continuation of a sentence without a pause beyond the end of a line) throughout the poem enhances its momentum and mimics the jaguar’s relentless motion and intensity.

Style and Tone

Hughes’s style in this poem is highly sensory and metaphorical. His language is physical and vivid, often bordering on violent, which underscores the raw force of nature he aims to capture. The tone shifts significantly:

• In the opening stanzas, the tone is satirical and lethargic, mocking the subdued, almost decorative lives of the caged animals.
• In the later stanzas, the tone becomes reverent and awe-struck, especially when describing the jaguar.

Mood

The mood at the beginning is dreary and dull, evoking a sense of lifelessness and stagnation in the zoo. This changes dramatically when the jaguar is introduced—the mood becomes tense, electric, and exhilarating, capturing the power of untamed life.

Literary Devices

1. Imagery:
   The poem is rich in visual imagery:
• “The boa-constrictor’s coil is a fossil” evokes lifelessness.
• “Over the cage floor the horizons come” gives a surreal, expansive image of mental freedom.
2. Simile:
• “Like cheap tarts” – The parrots are degraded, their natural beauty made gaudy in captivity.
• “As a child at a dream” – The crowd's fascination with the jaguar is pure, awe-filled, and almost mystical.
3. Metaphor:
• “His stride is wildernesses of freedom” – The jaguar becomes a living embodiment of the wild.
• “The eye satisfied to be blind in fire” – The jaguar is consumed by inner energy and instinct.
4. Alliteration:
• “Stinks of sleepers” and “stands, stares” use sound patterns to emphasize mood and tone.
5. Contrast:
   The biggest structural and thematic device in the poem is contrast—between the inert animals and the vibrant jaguar; between outer captivity and inner freedom.
6. Symbolism:
   The jaguar becomes a symbol of resistance, wild instinct, and spiritual independence in the face of oppression.

Conclusion

Ted Hughes’s “The Jaguar” is more than a poem about animals in a zoo—it is a philosophical meditation on freedom, power, and the indomitable nature of the wild spirit. With his fierce and unflinching language, Hughes not only critiques the artificiality and sterility of confinement but also celebrates the enduring force of life that refuses to be caged. The jaguar, in this context, emerges as a mythic symbol of strength, imagination, and liberation, making the poem a profound and enduring work in modern poetry.

 

No Speech from the Scaffold by Thom Gunn

 

No Speech from the Scaffold (English)

There will be no speech from
the scaffold, the scene must
be its own commentary.

The glossy chipped
surface of the block is like
something for kitchen use.

And the masked man with his
chopper: we know him: he
works in a warehouse nearby.

Last, the prisoner, he
is pale, he walks through
the dewy grass, nodding

a goodbye to acquaintances.
There will be no speech. And we
have forgotten hi offense.

What he did is, now,
immaterial. It is the
execution that matters, or,

rather, it is his conduct
as he rests there, while
he is still a human.

Glossary

Scaffold:
A physical structure used for public executions. Here, it symbolizes judgment, punishment, or a climactic moment of truth or consequence.

Chopper: Slang for an axe or cleaver, used here as the executioner’s weapon.

Critical Appreciation

Introduction

Thom Gunn’s poem No Speech from the Scaffold is a powerful and compact reflection on stoicism, the limits of language, and the confrontation with death. It speaks from the imagined perspective of an individual who is about to be executed, and who chooses silence over any final declaration. The poem wrestles with profound existential themes in Gunn’s typically restrained yet intense style.

Themes

1. Silence and Absence: The repeated phrase “There will be no speech” underscores the central theme of silence. The expected final speech is denied, suggesting a broader absence of justice, empathy, or narrative.
2. Normalization of Violence: The execution is depicted not as a rare event but as part of routine life. The executioner is a familiar figure, and the block is compared to a kitchen utensil—violence becomes banal.
3. Loss of Individuality: The poem reflects how society forgets the offense, reducing the prisoner to an anonymous figure. His identity fades, and the focus shifts to his conduct in the final moment.
4. Human Dignity in Death: Despite the dehumanization, the prisoner retains a sense of composure and dignity. His silent gestures highlight the resilience of the human spirit even in the face of death.
5. Spectacle and Indifference: The execution becomes a performance—something to be witnessed, not questioned. The poem critiques how public punishment can become emotionally and morally detached.

Structure & Form

• Free Verse: The poem does not follow a fixed rhyme scheme or meter, aligning with its stark, realistic tone.
• Short Stanzas: The stanzas are compact, offering a snapshot-like progression of the execution scene.
• Line Breaks: Gunn uses enjambment to create a flowing, conversational rhythm that mirrors the quiet, inevitable unfolding of the event.

Style

• Minimalist and Observational: The style is restrained and precise. Gunn avoids overt emotion or judgment, allowing the stark images to speak for themselves.
• Prosaic yet Poetic: Despite its straightforward language, the poem achieves lyrical intensity through its pacing and vivid detail.
• Detached Narrative Voice: The speaker is almost journalistic—recording, not moralizing. This detachment reinforces the poem’s theme of societal apathy.

Tone

• Solemn and Clinical: The tone is quiet and reflective, yet tinged with an unsettling coldness.
• Detached yet Sympathetic: Though emotionally restrained, the poem subtly evokes sympathy for the prisoner through humanizing details.

Mood

• Somber: A mood of quiet dread and inevitability pervades the poem.
• Reflective: Readers are encouraged to think deeply about justice, humanity, and the mechanics of punishment.
• Unsettling: Familiarity with the executioner and the forgotten crime create a chilling atmosphere.

Literary Devices

• Anaphora: The repetition of “There will be no speech” emphasizes silence and absence.
• Simile: “The block is like something for kitchen use” domesticates the act of execution, highlighting its normalization.
• Irony: The prisoner is calm and composed while society is indifferent; the focus is on death rather than the life lived.
• Imagery: “Dewy grass,” “masked man,” “glossy chipped surface” provide visual detail that enhances the realism and mood.
• Juxtaposition: The routine life of the executioner versus the extraordinary moment of death shows societal detachment.
• Symbolism: The scaffold symbolizes institutional power, and the mask suggests the facelessness of authority.

Conclusion

Thom Gunn’s “No Speech from the Scaffold” is a masterful meditation on death, detachment, and dignity. With minimalist precision and subtle emotional undertones, the poem critiques society’s desensitization to violence while quietly affirming the humanity of those caught in its machinery. Its free verse form and controlled style amplify its themes, making it both haunting and thought-provoking.

 

Explanation

"There will be no speech from the scaffold, the scene must be its own commentary."

• The poem opens by stating that no final words will be spoken by the condemned; the execution itself will serve as the narrative, conveying its own meaning without the need for verbal explanation.​

"The glossy chipped surface of the block is like something for kitchen use."

• The execution block, typically associated with death, is described with an unexpected comparison to a mundane kitchen item, highlighting the unsettling normalization of violence within institutional settings.​

"And the masked man with his chopper: we know him: he works in a warehouse nearby."

• The executioner is depicted as an ordinary individual, familiar and unremarkable, emphasizing the impersonal and routine nature of the execution process.​

"Last, the prisoner, he is pale, he walks through the dewy grass, nodding a goodbye to acquaintances."

• The prisoner is portrayed as pale, perhaps from fear or resignation, walking through morning dew to his execution, acknowledging friends or fellow inmates with a final nod, underscoring his humanity in these last moments.​"There will be no speech."

• A reiteration emphasizing the absence of final words, reinforcing the poem's focus on actions over words.​

"And we have forgotten his offence. What he did is, now, immaterial."

• The specifics of the prisoner's crime are irrelevant to the present moment; his past actions are overshadowed by the current ritual, suggesting a collective disengagement from the nuances of individual histories.​

"It is the execution that matters, or, rather, it is his conduct as he rests there, while he is still a human."

• The poem concludes by asserting that the execution itself is less significant than the prisoner's demeanor in his final moments, highlighting the importance of maintaining dignity and humanity even in the face of death.​

On the Move by Thom Gunn

 On the Move

By Thom Gunn

The blue jay scuffling in the bushes follows

Some hidden purpose, and the gust of birds

That spurts across the field, the wheeling swallows,

Has nested in the trees and undergrowth.

Seeking their instinct, or their poise, or both,

One moves with an uncertain violence

Under the dust thrown by a baffled sense

Or the dull thunder of approximate words.

On motorcycles, up the road, they come:

Small, black, as flies hanging in heat, the Boys,

Until the distance throws them forth, their hum

Bulges to thunder held by calf and thigh.

In goggles, donned impersonality,

In gleaming jackets trophied with the dust,

They strap in doubt – by hiding it, robust –

And almost hear a meaning in their noise.

Exact conclusion of their hardiness

Has no shape yet, but from known whereabouts

They ride, direction where the tyres press.

They scare a flight of birds across the field:

Much that is natural, to the will must yield.

Men manufacture both machine and soul,

And use what they imperfectly control

To dare a future from the taken routes.

It is a part solution, after all.

One is not necessarily discord

On earth; or damned because, half animal,

One lacks direct instinct, because one wakes

Afloat on movement that divides and breaks.

One joins the movement in a valueless world,

Choosing it, till, both hurler and the hurled,

One moves as well, always toward, toward.

A minute holds them, who have come to go:

The self-defined, astride the created will

They burst away; the towns they travel through

Are home for neither bird nor holiness,

For birds and saints complete their purposes.

At worst, one is in motion; and at best,

Reaching no absolute, in which to rest,

One is always nearer by not keeping still.

Glossary

Blue jay
A brightly colored bird known for its intelligence and loud calls

Scuffling
Moving with quick, confused, or noisy motions—suggests the bird is searching or struggling in the bushes.

Hidden purpose
An unseen or mysterious motive; implies that even nature’s actions may have meaning beyond human understanding.

Gust of birds
A sudden, forceful movement of a group of birds; likened to a gust of wind—emphasizing energy and unpredictability.

Spurts
Bursts or sudden rushes; refers to the way the birds fly across the field.

Wheeling swallows
Swallows flying in circular or graceful patterns—symbolizing freedom, grace, or instinctive motion.

Nestled in the trees and undergrowth
Birds settling or living in trees and low vegetation—implying home, instinct, or shelter in nature.

Poise
Balance or composure; the birds (or metaphorically people) may be seeking harmony or steadiness.

Dust thrown by a baffled sense
Confusion clouding perception; the metaphor suggests that the senses are overwhelmed or misdirected.

Dull thunder of approximate words
Refers to the inability of language to fully express meaning—words are imprecise, and communication becomes heavy and unclear.

 Up the road

Suggests the approach of the riders from a distance, emphasizing anticipation and movement.

Small, black, as flies hanging in heat
A simile comparing the approaching boys on motorcycles to black flies in hot weather—conveys a sense of menace, insignificance, or irritation.

Distance throws them forth
As the boys get closer, they emerge from the blur of distance into sharp focus—implies sudden presence or impact.

Their hum bulges to thunder
The soft sound of approaching engines grows louder and more intense, turning into a thunderous roar—evoking power and tension.

Held by calf and thigh
Describes how the riders grip the motorcycles with their legs—emphasizes control, masculinity, and physicality.

Donned impersonality

Wearing a look of emotional detachment—suggests a mask-like appearance, suppressing individual personality.

Gleaming jackets trophied with the dust
Shiny jackets covered in dust from the road—dust acts like a badge of pride or experience.

Strap in doubt – by hiding it, robust
Though they may feel uncertain or insecure, they hide it behind a display of strength and confidence.

Almost hear a meaning in their noise
Suggests a yearning for purpose or identity—trying to find meaning in the loudness or chaos they create.

 Exact conclusion of their hardiness

The final outcome or purpose of their toughness or daring behavior is not yet clear—suggests uncertainty about their future or identity.

Has no shape yet
There is no defined form or destiny—their journey or end remains unknown or unformed.

Hurler and the hurled: the dual role of controlling and being controlled by life’s momentum.

Toward, toward: Relentless forward motion. The destination is unspecified, implying that purpose lies in the act of moving itself, not necessarily in the goal.

A minute holds them, who have come to go
A brief pause before departure—those who are constantly moving or seeking don’t linger long.

Astride 
Riding or being in control of a will or drive that they themselves have formed—symbolizes conscious, self-chosen movement or motivation.

Critical Appreciation of "On the Move" by Thom Gunn

Thom Gunn’s “On the Move” is a reflective and philosophical poem that explores the tension between motion and stillness, purpose and purposelessness, freedom and constraint, especially within the context of post-war masculinity and existential uncertainty. The poem uses the image of leather-clad bikers speeding down roads to symbolically examine the human condition in a modern, dislocated world.

Themes

1.      Restlessness and Search for Purpose:                                                                                
The poem deals with existential restlessness. The bikers are constantly on the move, searching for meaning in a world where traditional values have faded. Movement itself becomes a metaphor for the search for identity and direction.

2.      Masculine Identity and Performance:                                                                                           
Gunn presents the bikers as “the Boys,” whose tough appearance hides inner doubt. Their leather jackets, goggles, and powerful machines become symbols of constructed masculinity and emotional suppression.

3.      Freedom vs. Control:                                                                                                                       
There’s a tension between the freedom of riding and the limits of human control. Though the bikers seem autonomous, they ride paths already laid down. Gunn subtly critiques the illusion of total freedom.

4.      Existentialism and Modern Dislocation:                                                                            
The poem engages with existential ideas—there is no fixed “absolute” or resting point. Humans are both “hurler and hurled,” acting and being acted upon in a world without inherent value.

5.      Nature vs. Mechanism:                                                                                                        
Birds, trees, and instinct represent the organic world, while motorcycles and dust symbolize human artifice. The poem questions whether humans can find the same unity with purpose that nature seems to possess.

Style and Form

The poem is written in regular iambic pentameter with a loose but consistent rhyme scheme, giving it a steady, deliberate rhythm that mirrors the motion of the motorcycles. Gunn uses formal structure to bring control and clarity to his philosophical reflections, a typical feature of his early poetry.

Despite the structured form, the diction is modern and accessible, blending formal poetic elements with contemporary imagery. This juxtaposition enhances the poem’s exploration of modernity’s challenges.

Tone

The tone is contemplative, philosophical, and at times melancholic. While Gunn admires the energy and defiance of the bikers, he also recognizes the futility in their ceaseless movement. There is a detached sympathy in the tone—a recognition of shared human striving without romanticizing it.

Structure

The poem is structured in five stanzas, each developing a different facet of the central theme. The first stanzas set the scene with vivid imagery of birds and bikers, contrasting natural instinct with human doubt. Midway, Gunn delves into philosophical inquiry, reflecting on human will, artifice, and the search for meaning. The final stanzas offer a resolution—not a conclusion, but an acceptance: the act of moving forward is, in itself, a form of purpose.

Mood

The mood fluctuates between restless energy and reflective resignation. The initial imagery is dynamic and full of movement, but as the poem progresses, a sense of philosophical weight and emotional weariness settles in. The closing lines offer a kind of stoic hope—“one is always nearer by not keeping still”—suggesting movement as the only way to approach understanding, even if the destination is unclear.

Literary Devices

1.      Simile and Metaphor:

o    "Small, black, as flies" evokes insignificance and menace.

o    “Hurler and the hurled” captures the duality of agency and passivity.

2.      Enjambment:

o    Lines often run into one another, reflecting the unbroken, continuous motion of the riders and the stream of thought.

3.      Symbolism:

o    Motorcycles symbolize modern freedom and alienation.

o    Birds represent instinct, natural purpose, and grace.

4.      Irony:

o    The bikers seem powerful and free, but their journey is shaped by routes already “taken,” and their confidence hides doubt.

Conclusion

“On the Move” is a richly layered poem that explores the existential dilemma of modern man through powerful imagery, disciplined form, and philosophical insight. Gunn’s use of the biker as a symbol of 20th-century dislocation allows him to interrogate the human need for direction in a world devoid of fixed values. Through its balanced tone, carefully structured form, and thoughtful engagement with modern identity, the poem remains a compelling meditation on motion as both metaphor and condition of life. 

 

Detailed Explanation

Stanza 1: 

    The blue jay scuffling in the bushes follows

Some hidden purpose, and the gust of birds

That spurts across the field, the wheeling swallows,

Has nested in the trees and undergrowth.

Seeking their instinct, or their poise, or both,

One moves with an uncertain violence

Under the dust thrown by a baffled sense

Or the dull thunder of approximate words.

    This stanza explores the contrast between the natural world’s instinctive motion and the human struggle for meaning and clarity. The blue jay scuffling in the bushes and the swallows wheeling through the air seem to follow some hidden yet purposeful instinct. Their movements, though rapid and unpredictable, are guided by a natural order—they nest in trees and undergrowth, grounded in their environment. This represents a kind of harmony and balance inherent in the animal world. In contrast, the human figure in the stanza moves with “an uncertain violence,” suggesting emotional turmoil and a lack of direction. Unlike the birds, people often lack clear instinct or poise, and instead, they struggle to navigate a world filled with confusion. This confusion is symbolized by the “dust thrown by a baffled sense,” indicating clouded perception, and by the “dull thunder of approximate words,” which reveals the inadequacy of language to fully express complex inner experiences. The stanza highlights themes such as the divide between instinct and reason, the insufficiency of language, and human alienation from the natural flow of life. Ultimately, it portrays the human condition as one of restless searching, in contrast to the seamless, instinctive existence of animals.

Stanza 2: 

    On motorcycles, up the road, they come:

Small, black, as flies hanging in heat, the Boys,

Until the distance throws them forth, their hum

Bulges to thunder held by calf and thigh.

In goggles, donned impersonality,

In gleaming jackets trophied with the dust,

They strap in doubt – by hiding it, robust –

And almost hear a meaning in their noise. 

    This stanza vividly captures the arrival of a group of young men on motorcycles, symbolizing a restless, rebellious spirit. They are first seen from a distance, appearing small and black “as flies hanging in heat”—a simile that suggests their insignificance, anonymity, and perhaps a slight menace. As they come closer, the soft hum of their engines swells into a thunderous roar, emphasizing their powerful presence and the physical control they assert, “held by calf and thigh.” Their goggles and dust-covered jackets create a uniform appearance, projecting a hardened, impersonal identity. The phrase “donned impersonality” suggests that they have adopted a deliberate detachment, a way to mask vulnerability. Their dust-covered jackets become trophies of experience, signs of their journey and struggle. The line “they strap in doubt – by hiding it, robust –” reveals that beneath their tough exterior lies uncertainty or insecurity, which they conceal through their aggressive posturing. Finally, the stanza ends on a poignant note: “they almost hear a meaning in their noise,” implying a desperate search for purpose or identity through the very chaos and sound they create. The stanza explores themes of youth, masculinity, performance, and the search for meaning in a seemingly indifferent world.

Stanza 3: 

Exact conclusion of their hardiness

Has no shape yet, but from known whereabouts

They ride, direction where the tyres press.

They scare a flight of birds across the field:

Much that is natural, to the will must yield.

Men manufacture both machine and soul,

And use what they imperfectly control

To dare a future from the taken routes.

    This stanza reflects on the uncertain yet determined journey of individuals who move forward despite not knowing exactly where they are headed. Their "hardiness", or resilience, lacks a clear "conclusion"—there is no fixed outcome or final destination in sight. Yet, from "known whereabouts", they continue riding, guided only by the direction their "tyres press", suggesting instinctive or habitual movement rather than deliberate planning. Their passage startles a flight of birds, symbolizing the disruption of natural peace by human activity. The line "Much that is natural, to the will must yield" points to the dominance of human will over nature, highlighting how human ambition often overrides organic, instinctive patterns. The stanza deepens this idea by stating that "Men manufacture both machine and soul", suggesting that not only technology but even human identity is constructed. Yet, both are imperfectly controlled, indicating the limits of human mastery. In spite of this, people still "dare a future", courageously attempting to shape what lies ahead by following paths already begun—"taken routes". The stanza underscores themes of uncertainty, human agency, and the complex relationship between progress, control, and the natural world.

• Stanza 4: 

  It is a part solution, after all.
  

  One is not necessarily discord
  

  On earth; or damned because, half animal,
  

  One lacks direct instinct, because one wakes
  

  Afloat on movement that divides and breaks.
  

  One joins the movement in a valueless world,
  

  Choosing it, till, both hurler and the hurled,
  

  One moves as well, always toward, toward.

    The stanza acknowledges the existential uncertainty and fragmented experience of being human but offers a kind of resolution or coping strategy. It suggests that accepting life’s “movement that divides and breaks” is itself “a part solution.” Despite lacking the clarity of pure instinct—being “half animal”—humans are not necessarily doomed or in conflict (“discord”) with the world. Instead, one can find peace in embracing this complexity. Rather than resisting the chaos of existence or the lack of inherent meaning (“a valueless world”), one can choose to join the flow of life. In doing so, even as one is both the “hurler and the hurled”—both the one acting and being acted upon—there is movement forward. The solution lies in acceptance and engagement: to live is to move, to participate actively in the journey without expecting final answers. The repetition of “toward, toward” emphasizes that progress or meaning may not lie in a destination, but in the act of ongoing movement itself. Thus, the poem offers a way of living authentically in a fragmented world—by choosing motion, embracing ambiguity, and finding meaning in the striving.

Stanza 5: 

A minute holds them, who have come to go:

The self-defined, astride the created will

They burst away; the towns they travel through

Are home for neither bird nor holiness,

For birds and saints complete their purposes.

At worst, one is in motion; and at best,

Reaching no absolute, in which to rest,

One is always nearer by not keeping still.    

    This stanza reflects on the transient nature of those who are perpetually on the move, defining themselves through their own choices rather than fixed circumstances. "A minute holds them, who have come to go" implies that their presence is brief—a fleeting moment before they move on. These individuals, described as “the self-defined,” consciously harness a force—a created will—that propels them forward. They burst away into the world, leaving behind towns that offer no lasting refuge or identity, being unsuitable even for birds or saints who fulfill their complete, specific purposes. In contrast, the wanderers remain in a constant state of motion; even if their journey seems aimless at times (“at worst, one is in motion”), this very movement enables them to edge closer to a potential, elusive destination. Although they never reach an absolute state of rest or finality, their persistent pursuit ensures that they are always nearer to some form of fulfillment simply by refusing to stagnate.