Classic and Contemporary Poetry: Explained

In "Parts: Human Leg Goat Leg," Robert Creeley explores themes of transformation, continuity, and the interplay between human and animal instincts. The poem’s fragmented syntax and surreal imagery evoke a sense of primal connection, blending human and animal elements to suggest that identity is fluid, shaped by both the natural world and ancient, instinctual drives. Creeley’s sparse language and cryptic phrasing challenge the reader to consider the ways in which human and animal forms overlap, mirroring one another in unexpected ways that reveal both the unity and the divide between them.

The opening phrase, “Which the way echoed,” immediately sets a tone of reflection, as if calling back to an earlier time or a distant place. This echo suggests a cyclical process, a resonance that continues to sound across time, hinting at something ancient or persistent. In the context of the poem’s focus on human and goat legs, the “echo” may represent the shared experiences of movement, survival, and instinct that bind all living creatures together, despite their differences. This repetition hints at the enduring aspects of life and identity that are passed down through generations, connecting humans and animals alike in a continuous loop of existence.

The term “previous cloven-hoofed” introduces the imagery of the goat, whose cloven hooves are distinct and characteristic of certain animals. By labeling the goat’s hooves as “previous,” Creeley suggests an ancestral or primal quality, as if the goat represents an older, perhaps more instinctual part of existence that predates human civilization. The phrase implies that the “cloven-hoofed” is both foreign and familiar to humanity—a part of its distant past or buried instincts. This imagery blurs the boundary between human and animal, positioning the goat as a kind of primal ancestor or counterpart to the human, embodying traits or energies that have been preserved in humanity’s own animalistic nature.

“Dark field faint formed / those goat men leading her” evokes an almost mythological scene, suggesting figures that exist on the edge of human and animal realms. The “dark field” implies a setting that is mysterious and untouched, a liminal space where transformations might occur. The “goat men” here are reminiscent of mythological figures such as satyrs or fauns, creatures that combine human and goat characteristics, often embodying wild, untamed aspects of nature. This image of “goat men leading her” suggests a guidance or initiation, as though the human figure is being led into a deeper understanding of her own nature through these hybrid beings. The line evokes the idea of humanity being both led and influenced by its primal instincts, a reminder of the ways in which animalistic drives continue to shape human identity and behavior.

The line “in physical earth’s spring / jumps one-legged parallel” brings in the natural world’s cyclical qualities, particularly in the context of spring, a season associated with rebirth and vitality. The phrase “jumps one-legged parallel” suggests an act of mimicry or alignment, as if the human figure and the goat are moving in tandem, mirroring one another’s actions. This “one-legged” jump hints at an attempt to bridge the gap between human and animal, an exploration of the similarities that link them. The act of moving “parallel” implies that while humans and animals may share certain rhythms or instincts, they remain on separate yet interconnected paths.

The phrase “long walked thinned out / to sparse grounded skin” captures a sense of weariness, a gradual diminishing of physical vitality that comes with time or effort. This line suggests a journey that has stripped the figures down to their essential elements, reducing them to “sparse grounded skin.” The use of “grounded” implies a deep connection to the earth, as if the journey itself has brought them closer to the basic, animalistic aspects of existence. “Thinned out” conveys a sense of exhaustion or fragility, as though the transformation process—whether from human to animal or vice versa—demands a shedding of layers, leaving behind only what is most elemental.

“Bones of what scale say / now goat transforms man” hints at the structural similarities between humans and animals, particularly in the bones that provide form and function. Bones, as fundamental parts of the body, represent a shared foundation that transcends species. By questioning “what scale” these bones belong to, Creeley seems to be probing the arbitrary distinctions humans make between themselves and animals. The line “now goat transforms man” suggests a reversal or blurring of identity, as if the boundaries between human and animal are permeable, allowing for shifts and transformations. This transformation is not one-directional; instead, it implies that humans and animals can exchange qualities, that the essence of one can inhabit the other, challenging rigid notions of identity.

The final phrase, “then man goat becom,” leaves the transformation incomplete, breaking off in an unfinished form. This lack of resolution reflects the fluid, ongoing nature of the relationship between human and animal, as if the process of becoming is continuous and never fully realized. The partial word “becom” suggests a state of perpetual transformation, capturing the idea that identity is not fixed but constantly evolving. By ending on this unfinished note, Creeley emphasizes that the line between human and animal, self and other, is always shifting, subject to the cycles of nature and the influences of time.

Structurally, "Parts: Human Leg Goat Leg" follows Creeley’s minimalist style, using brief, fragmented lines that give the poem a sense of motion and incompleteness. Each line builds upon the last, yet the breaks and lack of punctuation create a fluidity that mirrors the theme of transformation. This fragmented structure suggests that the identities of human and goat are not entirely separable, that they blend into one another in a way that resists clear boundaries or definitions.

In "Parts: Human Leg Goat Leg," Creeley uses the imagery of legs, movement, and transformation to explore the porous boundaries between human and animal. The poem suggests that identity is not a fixed state but a continuous process, shaped by inherited instincts, environmental influences, and the persistent rhythms of the natural world. Through the interaction between the human and goat forms, Creeley captures the idea that the essence of life is shared across species, that the desires, impulses, and cycles of existence are universal. The poem invites readers to consider the ways in which human nature is interwoven with animal instincts, hinting at a primal connection that unites all living beings in the ongoing, unfinished process of becoming.

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