King of the Wind

“And then the jockey remembered the trainer’s words: ‘Let Red run his own race. Don’t hold him in.’ He gave Man o’ War his head. Like a dynamo on the loose, Big Red leaped out. He was a machine with pistons for legs, pistons that struck out in perfect rhythm. He caught Sir Barton. He flew past him in great long leaps.”

Henry uses a simile to liken Man o’ War to “a dynamo on the loose,” and a metaphor compares the horse to “a machine with pistons for legs.” These instances of figurative language convey the stallion’s unbeatable speed and vigor, adding excitement to Henry’s account of the historic race.

“There was no sound anywhere, not from the palace walls beyond, nor from the quarters over the stables where the horseboys lived. The whole world seemed to be holding its breath, waiting for dusk to fall. Small voices of insects and birds were beginning to pierce the quiet. Twilight toads piping on their bassoons. Crickets chirping. Wood doves cooing. And afar off in the Atlas Mountains a hyena began to laugh.”

The author’s use of auditory imagery, such as the laughter of hyenas, helps to establish the narrative’s movement from 1920 Canada to 18th-century Morocco. These specific sounds, such as “[t]wilight toads piping” and “[c]rickets chirping,” signal the approach of sunset, which marks the end of the day’s fast. The scene’s atmosphere of anticipation mirrors Agba’s inner tension as he waits for permission to feed the pregnant mare.

“I will that a creature proceed from thee. Condense thyself! I will that a creature proceed from thee. Condense thyself! He told the words over and over in his mind until suddenly the stable walls faded away and Agba was riding the South Wind. And there was nothing to stop him. No palace walls. No trees. Nor hedges. Nor rivers. Only white clouds to ride through, and a blue vaulted archway, and the wind for a mount.”

The novel blends historical fact and legend. Accordingly, the italicized portion of this passage references a Bedouin creation myth about horses that establishes the wind as a motif of The Role of Divine Will in Personal Destiny. In addition, the repetition of “No” and “Nor” near the end of this excerpt emphasizes the sensation of freedom that the enslaved Agba experiences in his dream of riding the wind.

“Agba leaped to his feet. He wanted to climb the tower of the mosque. He wanted to blow on the trumpet. He wanted to cry to the four winds of heaven: ‘A foal is born. And he will be swift as the wind of the desert, for on his hind heel is a white spot. A white spot. A white…’”

Anaphora refers to the repetition of a word or sequence of words at the beginning of a series of sentences or phrases. The repetition of “He wanted” at the start of the passage’s second, third, and fourth sentences is an instance of anaphora that emphasizes Agba’s triumphant excitement. The repetition of the phrase “white spot” and the simile “swift as the wind of the desert” underscore the significance of the mark on the foal’s heel, which symbolizes speed and is considered a good omen. This exalted imagery transforms Sham’s birth from a stable event into a sacred proclamation, foreshadowing that his life will be marked by destiny as well as struggle.

“The world was full of wonders! If he stretched his nostrils to the wind, he could sift the most interesting smells—the delicious fragrance of clover, the biting smell of smoke from the burning stubble of cornfields, the perfume from orange and lime groves, the spicy aroma of pine woods beyond the city wall, the musky smell of the wild boar, the cool, moisture-laden scent of the clouds that blew over the snow-topped mountains.”

The passage abounds with olfactory imagery from “the delicious fragrance of clover” to “the cool, moisture-laden scent of the clouds.” Sham’s attentiveness to these scents and the alliterative declaration that the “world was full of wonders” communicate the colt’s innocence, joy, and curiosity about the world around him.

“Plop, plop. Plop, plop. The soles of their feet made dull, thudding sounds on the earth. To Agba they echoed the noise of his heart. Plop, plop. Plop, plop.”

Henry uses the onomatopoeia “plop” to capture both the noise of the stableboys’ footsteps and the sound of Agba’s heartbeats. By comparing these sounds, the author emphasizes the fear that the protagonist feels as he approaches the sultan and builds up the scene’s suspense.

“On and on they went, through a second gate, through an inner court, through yet another gate. Agba shuddered as each gate closed behind him. It was like the sharp crackling sound that comes with lightning. But no rumble of thunder followed. Only a stillness. It weighed on Agba’s head, on his shoulders. It made breathing difficult.”

The repetition of “On and on” and the word “gate” convey the massive scale of the sultan’s precincts. The simile comparing the sound of the gate closing to the “sharp crackling sound that comes with lightning” contributes to the scene’s tense mood and expresses Agba’s dread of standing before the infamously ruthless ruler.

“And at that precise moment four bagpipers and four tomtom players tore the morning stillness to shreds. The palace gates were flung open and Sultan Mulai Ismael himself came riding toward them. He swayed on his horse like a ship at sea, and in his wake trailed an enormous following—the parasol holder, the fly-flickers, the groom, the spur-men, and slaves and foot soldiers without number. There was a flurry of movement along the walls. A thousand guards stood at attention. A thousand spears, like so many serpents’ tongues, were thrust into the air. A thousand throats shouted above the drums and the bagpipes, ‘May Allah bless the life of our Sultan!’”

The cacophonous auditory imagery in this passage, such as the music of the “four bagpipers and four tomtom players,” and the repetition of the word “thousand” underline the pomp and splendor of the sultan’s arrival. The fact that the sultan himself sees Agba and Sham off gives their mission a sense of grandeur and importance, making their tepid reception in Europe all the more ironic.

“The King was about the same age as the horseboys, but there the likeness stopped. He wore high polished boots and golden spurs, and his breeches and coat were of velvet. The horseboys were barelegged, and the insides of their legs were covered with blue-green welts made by their stirrup straps on the long overland ride. And their bodies were wrapped in coarse, hooded cloaks.”

Henry juxtaposes Louis XV with the stableboys through visual imagery, such as “golden spurs” and “blue-green welts,” and tactile imagery, such as “velvet” and “coarse.” These contrasting descriptions reveal that, although cultural differences inform factors like their attire, the key difference between the young monarch and the Moroccan stableboys is the circumstances of their birth. This contributes to the author’s examination of class and culture. The welts on the boys’ legs act as embodied symbols of adversity, showing how displacement leaves literal marks on their bodies in contrast to the king’s protective luxury.

“Without Agba, Sham was mischief itself. He waited until the cart was groaning with vegetables and fish and fowl and the live pig. Then suddenly he became forked lightning. In and out among the market stalls he streaked. He overturned the cart, spewing chickens, herrings, eggs, the frightened pig, and an amazed cook high into the air!”

The metaphors comparing Sham to “mischief itself” and “forked lightning” express the horse’s defiant personality and incredible speed. Although this scene in which the spirited horse causes chaos for the head cook is humorous, it leads to trouble for Agba and Sham. This is a recurring pattern in the story and reflects Sham’s symbolic markings, which indicate that he is destined for both greatness and misfortune. The scene’s humor masks its darker implications, since Sham’s spirit and speed continually create situations that endanger his and Agba’s security, highlighting the double-edged nature of defiance.

“This beaten creature could not be Sham. It was only the size that brought up his memory. There was no wheat ear on his chest. Or…could it be hidden by the collar of his harness? There was no white spot on his off hind heel. Or…could it be crusted with mud?”

Throughout the novel, Henry uses parallel structure to give the narration an elegant tone, as seen in the final four sentences of this passage. The references to Sham’s distinctive markings and the ellipses indicate the moment that Agba begins to realize that he’s found his missing horse. Details like the phrase “crusted with mud” indicate the neglect and abuse that have rendered the beloved horse nearly unrecognizable, connecting to the novel’s thematic examination of adversity. This moment develops Perseverance Through Displacement and Adversity, because Sham’s near unrecognizability testifies to neglect that must be overcome.

“Agba followed the cart past a big inn, past a theater of marionettes, past houses with gabled roofs that stared down at him with their triangular eyes, then down squalid old streets and narrow passages. Clop, clop. Clop, clop Clop, clop. Once the horse stumbled and Agba could hear the loud curses of the driver.”

Personification is a type of figurative language that endows non-human subjects with human characteristics. In this passage, Henry personifies the houses by saying that they “stared down at him with their triangular eyes.” The figurative language indicates that the boy has entered an unfriendly area of Paris. The onomatopoeia of the beset horse’s clopping and the auditory imagery of the wood carter’s “loud curses” add to the scene’s tension.

“As for Agba, there was a silent rapture in the way he worked. He washed Sham. He dried and smoothed his coat. He rubbed the horse’s legs with the last of the budra which he had brought from Africa. He combed Sham’s tangled tail and mane. He made cooling poultices of wet leaves and applied them with gentle fingers to all of Sham’s sores. He packed the inner walls of Sham’s hooves with mud. And he fed him three times a day with the oats he had bought with his own money.”

The anaphora created by the sentences beginning with the subject “He” adds to the tender tone of this passage describing Agba’s loving ministrations to Sham. The boy’s “silent rapture” as he tends to the ailing horse that he cherishes like his own child exemplifies the beauty of the loyalty between animals and humans. This passage illustrates The Beauty of Loyalty Between Humans and Animals, since Agba’s quiet care communicates devotion without words.

“The onlookers were pulling with him, breathing heavily, tensing their muscles as one man, straining, straining to help. But it was no use. With a low moan, Sham fell to his knees.”

Henry’s choice to use the past progressive verb tense, as in “were pulling,” draws out the scene’s suspense. The repetition of the verb “straining” and the auditory imagery of Sham’s “low moan” also contribute to the tense mood. This scene with the abusive wood carter marks an important moment for the theme of perseverance through displacement and adversity. The moment dramatizes the limits of endurance, as Sham’s fall shows how even extraordinary perseverance can collapse under relentless abuse before being renewed.

“With the coming of spring, Sham lost his starveling look. He began to appear the four-year-old that he really was. Once more his coat was burnished gold, with the course of his veins showing full and large. Under the kind mothering of Mistress Cockburn, Agba thrived, too. She filled his plate with pigeon pie and dumplings, and when she discovered that the boy had a special liking for confections, she saw to it that each day he had a goodly helping of whipped syllabub or almond cake, or perhaps an apple pasty.”

The author utilizes visual imagery, such as “burnished gold,” and gustatory imagery, such as “whipped syllabub” and “almond cake,” to show how Agba and Sham both thrive thanks to the kindness of Jethro Coke and the nurturing of Mistress Cockburn. In particular, Mistress Cockburn’s great concern for the boy’s well-being foreshadows her role in freeing him from prison and securing a position at the Earl of Godolphin’s stables.

“Like a barn swallow in flight Sham wheeled, and with a beautiful soaring motion he flew to the safety of his stall. As he dashed through the door, Benjamin Biggle was scraped off his back and into a mud puddle where he sprawled, his breeches soaked through and the wind knocked out of his body.”

The simile comparing Sham to “a barn swallow in flight” conveys Sham’s speed and grace, which is juxtaposed with the hapless Mr. Biggle’s clumsiness. The humorous scene resembles the incident with the king’s head cook, foreshadowing that this mishap will also lead to a downturn in Agba and Sham’s fortunes.

“‘The boy ain’t a bad one,’ he pleaded to the constable. ‘‘E comes from Morocco and ‘e’s gentle as a butterfly. What’s more,’ and he shook his head and pointed to his lips, ‘the boy can’t say a word.’”

The simile that describes Agba as “gentle as a butterfly” emphasizes the boy’s goodness as well as the injustice of his arrest. The passage mentions Agba’s speech disability, and this scene offers an example of how minor characters like the constable misjudge the protagonist because he is unable to speak in his own defense. The description also reveals how Agba’s speech disability shapes perception: Others reduce him to gentle harmlessness, overlooking the strength that his silence conceals.

“The stone floor of the passageway was cold and clammy. Once Agba slipped, and the constable boxed his ears sharply. Agba shook in terror. He wondered if he and Sham would ever meet again, would ever thunder across the fields again, would ever feel the wind beneath the sun.”

This passage uses literary techniques to make Agba’s arrival at Newgate Jail more vivid. Tactile imagery like the “cold and clammy” stone floor and the repetition of the words “would ever” convey the boy’s fear and create an atmosphere of foreboding. The phrase “wind beneath the sun” connects the boy’s despair to the motif of divine will, suggesting that hope persists even when freedom feels remote.

“The rattle and clatter made by hooves and wheels was so great that there was no chance for conversation. Mistress Cockburn had all she could do to clutch her bonnet with one hand and her hamper with the other. Meanwhile in the Stone Hold at Newgate Jail, Agba and Grimalkin were listening to the visitors’ bell and to the sound of footsteps and chains leaving their dungeon. Finally the bell became quiet, the clanking of chains grew fainter and fainter, and their small world was sealed in silence.”

By focusing on sounds in this passage, Henry builds suspense and contrasts the environs of Mistress Cockburn and the aristocrats racing to Agba’s aid and those of the imprisoned boy himself. For example, the onomatopoeic “rattle and clatter” of the carriage creates a frenzied mood while the faint “clanking of chains” and the somber alliteration “sealed in silence” create a desolate mood in the jail. The final silence underscores Agba’s isolation, turning sound into a symbol of absence and reflecting how imprisonment erases voice and recognition.

“The ponderous bolt was rasping along its iron groove. The door was coming open. A breath of air was flowing into the cell. It smelled of lavender mingled with the fragrance of freshly baked cakes. For a few seconds the light from the corridor blinded Agba. Then his eyes went wide.”

Henry expresses Agba’s astonishment that visitors have come to see him in prison using imagery that appeals to multiple senses, including hearing (the “rasping” of the door’s bolt), sight (“the light from the corridor blinded Agba”), and smell (“the fragrance of freshly baked cakes”). The light and the pleasant fragrances create a hopeful tone, hinting that Agba’s circumstances will soon improve.

“Sham touched Agba’s cheek with his feelers, as if to make sure of him. Then an excited whicker escaped him. He lipped the boy. He swiped his cheek with a great pink tongue. He tasted the warm, salty tears. Then he neighed his happiness to the whole wide world.”

Visual imagery, such as Sham’s “great pink tongue,” and gustatory imagery, such as Agba’s “salty tears,” help to capture the tender moment in which the boy reunites with his horse after his time in Newgate Jail. The phrases “excited whicker” and “neighed his happiness to the whole wide world” use onomatopoeia to express Sham’s great joy at Agba’s return, illustrating the beauty of the loyalty between humans and animals. This reunion embodies the beauty of loyalty between humans and animals, as joy replaces suffering when boy and horse find each other.

“For one deathly still moment the two stallions faced each other. Then they charged, the noisy thudding of their bodies lost in savage screams. The grooms were benumbed, stupefied. For seconds they were unable to move. Then they all began running at once, getting in each other’s way, throwing bucketfuls of water at the furious stallions. It was useless—like trying to smother a forest fire with hearth brooms. The air crackled and ripped with the sound of flailing hooves and snorts and shrieks.”

The simile comparing the grooms’ efforts to separate Sham and Hobgoblin to “trying to smother a forest fire with hearth brooms” expresses the wild ferocity of the stallions’ battle over Lady Roxana. Auditory imagery like “snorts and shrieks” emphasize the horses’ fury and add to the scene’s suspenseful, chaotic mood.

“New-mar-ket! New-mar-ket! The word kept dangling before him like a blade in the sun. New-mar-ket! New-mar-ket! He heard it in the rhythm of the hoofbeats, in the creak of cartwheels, in the song of the cuckoo. New-mar-ket!”

Repeating the word “New-mar-ket” and breaking it up into individual syllables are stylistic choices that highlight Agba’s eagerness to see the famous racecourse. In literature, asyndeton refers to the deliberate omission of a coordinating conjunction. In the following sentence, asyndeton provides an uninterrupted flow between phrases, adding to the idea that Agba’s surroundings are united with him in his intent focus on Newmarket: “He heard it in the rhythm of the hoofbeats, in the creak of cartwheels, in the song of the cuckoo.” Additionally, the simile that likens the word ‘Newmarket’ to “a blade in the sun” contributes to the story’s suspense. The literary device offers a reminder that the fortunes of Agba, Sham, and the earl figuratively rest on the edge of a blade because they depend on the race’s outcome.