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Children love this poem, but critics find it "coy" and "lightweight". The 'peering into shanties' metaphor is thought "snobbish". The exact animal employed as a metaphor for the railroad initially proves a puzzle, but at poem's end it is decidedly a horse which neighs and stops (like the Christmas Star) at a "stable door".
The Dictionnaire des symboles asserts that all the rites, myths, poems and tales evoking the horse simply highlight this relationship between rider and mount, considered, in psychoanalytical terms, to represent that of the psychic and the mental: "if there is conflict between the two, the horse's race leads to madness and death, but if there is ...
A writer in The Sydney Morning Herald noted, of the original publication: "A beautiful volume, as far as typography goes, is Mr Will H. Ogilvie's 'Fair Girls and Gray Horses,' a collection of Australian poetry with the imprint of the 'Bulletin' Company. The real westward—that means anywhere from Menindie to the Gulf of Carpentaria and west of ...
The rhythm is suggestive of the foot falls of a galloping horse. Noyes frequently uses alliteration, such as the phrase "ghostly galleon", and also uses refrains in each stanza. The genre of this poem seems to be a romance, but like Romeo and Juliet, the poem is a tragedy in the end. This poem can also be called a ballad. [citation needed]
The two drive the horses down into the deeps of Busiltjörn, and all of the horses swim back to land but a large, young, and handsome gray horse that no one had ever mounted. The grey-bearded old man says that the horse is from "Sleipnir's kin" and that "he must be nourished heedfully, for it will be the best of all horses". The old man vanishes.
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The poem follows the life of a Turco-Mongol conqueror historically known as Tamerlane. The name is a Latinized version of "Timur Lenk", the 14th-century warlord who founded the Timurid Empire, though the poem is not a historical depiction of his life. Tamerlane ignores the young love he has for a peasant in order to achieve power.
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