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Ada LimónA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Gender roles in nature are different from gender roles in human society. There are many examples of species in which the female has more prominence and does more of the dangerous and difficult work than the male. Female lions, for example, hunt and kill while male lions do not. In the wild all animals are instinctively capable of using their power, whether it be the power to fight, kill, give birth, or run.
Horses have long been prized by human beings for their speed and strength. The image of horses connotes freedom, with their connection to the ability to travel freely before the advent of motor vehicles. The speaker is looking to the animal kingdom for an avatar of her natural power, that is, the power that creatures have innately, the life-force that allows them to survive and thrive.
Limón says the female horses “make it all look easy, / like running 40 miles per hour / is as fun as taking a nap, or grass” (Lines 2-4). It is easy for the horses to run fast because it is their natural gift. It is part of their nature just as it is their biological imperative to eat and sleep. This emphasizes the fact that the horse’s body, and by extension the female human body, is meant to exercise power, to perform amazing feats of strength and persistence.
The controlling metaphor of horses is highly dynamic. It is an image that is both natural and highly civilized. Wild horses do not race one another, so the implied tame horse becomes a symbol of both nature and civilization. It is power contained in a ritual. It is animal force turned into a social status symbol. It is both natural and human-influenced.
Limón repeats the phrase “lady” and “ladies” (Lines 1, 5, and 8) throughout the poem. Although the term more generally means a woman, as opposed to a man, the connotation remains that a “lady” is someone of elevated status. “Lady” comes from Medieval times when a “lady” would be distinguished from a common or lower-class woman. She has “breeding” and is intelligent, graceful, and educated. She is not only a female, but the best example of what a female can and should be, all usually while conforming to gender norms of the society that elevates her has come to expect from their highest citizens.
The “lady horses” (Lines 5 and 8) take on the personality of stereotyped “ladies” of America and England. The phrase “Ears up, girls, ears up!” (Line 6) mimics the speech of upper-class women concerned with appearances. Even in the midst of physical activity, like running 40 miles per hour, a lady would make sure she set the right example for those watching.
By using this diction the speaker suggests that lady horses are not rebelling against their society but rather trying to reach and set examples for how to reach its higher standards. At the same time, the line is meant to be funny. Horses probably do not speak like British aristocrats. To believe so betrays how absurd it is for society to tame horses away from their nature. Yet, the lady horses apparently succeed in meeting these rigid and often ridiculous requirements.
However, the horses in Limón’s poem are not bristling at social constraints, longing to break free. They seem to thrive in the social system to which they have been bred. They have a “swagger” (Line 5) to them. They seem to enjoy the attention they get after winning and to take pride in their accomplishments. The line “Ears up girls, ears up!” (Line 6) shows that the horses are aware of being watched. They know they are on parade in front of humans and their cameras, and they seem to enjoy it.
It suggests that women do not necessarily want to escape the confines of society and go back to a wild time or place. Within their confines and structures they want to feel confident, capable of meeting that society’s expectations. The final line of the poem does not call for ending races but rather suggests the speaker wants to believe she will “come in first” (Line 18). That desire for self-confidence, or rather the expression and affirmation of confidence, is central to the poem.
The title “How to Triumph Like a Girl” suggests that there is a particular way in which women or “girls” triumph, a way that is different from the way boys triumph. The speaker references horses that have already won the races they were in. She says they “make it all look easy,” (Line 2) that afterwards they “swagger,” (Line 5) that they say to one another “Ears up, girls, ears up!” (Line 6). This shows that triumphing specifically “like a girl” involves not only speed and strength, but also grace, good showmanship, and a sense of solidarity with the other “lady horses.”
It connotes some of the stereotypes around female beauty pageants, dance contests and other competitions that score on grace in addition to athletic ability. It recalls the famous line about dancer/actress Ginger Rogers that she, “Did everything Fred Astaire did… backwards and in high heels.” The lady horses, need to win with an extra degree of poise that men do not usually feel the need to express. Yet the speaker does not seem to be critiquing as much as admiring how well the horses measure up to those higher standards.
They are aided by the mutual support of their fellow horses. The fillies somewhat represent their gender as a whole. The only line that gives the horses a voice—“Ears up, girls, ears up!”—is not attributed to any one horse who manages their refinement as an etiquette instructor to debutantes. It suggests an egalitarian relationship between the women. They are there to support one another, not pick leaders among themselves; they take mutual pride in their accomplishments. It shows a system of solidarity among the “lady horses” which presumably applies to female athletes or any group of women working with one another, even in a competitive field.
This is perhaps how to “triumph like a girl” specifically. One does it with grace, showmanship, and a willingness to spur on ones teammates and rivals as well.
By Ada Limón