18 pages • 36 minutes read
Naomi Shihab NyeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
“300 Goats” is written in unrhymed free verse in 15 lines. The poem employs no formal meter or rhythmic pattern. The poem’s text is double-spaced, giving the impression it is composed of both one stanza and 15 separate stanzas (a stanza of a single line is called a monostich). While the spacing lends a feeling of isolation to the lines, they flow and connect to one another through frequent use of enjambment, or the syntactical continuation of one line or stanza to the next. In fact, the title itself is enjambed with the first line: “300 Goats / In icy fields” (Title - Line 1).
Though grammatically linked, the widely spaced and singular lines each make a strong impression by themselves, introducing a new image or idea in successive lines as the reader moves down the page. While the tone is largely informal and conversational, the structure commands formal attention.
The poem “300 Goats” makes liberal use of punctuation. If punctuation is considered a way to indicate pauses and stops—and in so doing, indicate breath—then the poet gives us a detailed map by which to read this poem. After the title tells the reader the subject of the poem—“300 Goats”—it proceeds to a first, short phrase with a full stop: “In icy fields” (Line 1). The title and the first line form a fragment rather than a sentence. The first line is capitalized, despite its syntactical connection to the title. The effect is to encourage the reader to give full attention to the line before dropping into the next line. Sitting alone on the line, “icy fields” (Line 1) sets an ominous stage.
The use of the question mark introduces the instability of not knowing, a kind of helplessness or anxiety on the part of the speaker. The parentheses allow for an aside, an associative thought that occurs within the moment, without taking the reader entirely out of the moment. There’s an em-dash for the dramatic pause before the difficult question: “Another frigid night swooping down— / Aren’t you worried about them?” (Lines 10-11). The use of italics for the last word—“goats” (Line 15)—creates emphasis and delivers the punchline.
Line seven brings a tonal shift to “300 Goats” in the form of a benediction. Prior to this moment, the speaker is in her own head, picturing and worrying about the goats. She remains in her head as she becomes distracted by the Chinese zodiac. Then, the speaker makes a leap and intones a kind of prayer:
O lead them to a warm corner,
little ones toward bulkier bodies.
Lead them to the brush, which cuts the icy wind (Lines 7-9).
The speaker doesn’t indicate to whom she is asking for help on behalf of the goats. The language, however, feels like a blessing, an offering that can be made from a great distance. The fact of the rancher brings the tone of the poem back to a conversational level. According to the rancher, the goats require neither divine nor human intervention—they need only their own natural instincts.
By Naomi Shihab Nye