Decomposition Analysis - Literary devices and Poetic devices

Decomposition

By Zulfikar Ghose

I have a picture I took in Bombay
of a beggar asleep on the pavement:
grey‑haired, wearing shorts and a dirty shirt,
his shadow thrown aside like a blanket.

His arms and legs could be cracks in the stone,
routes for the ants’ journeys, the flies’ descents,
brain‑washed by the sun into exhaustion,
he lies veined into stone, a fossil man.

Behind him there is a crowd passingly
bemused by a pavement trickster and quite
indifferent to this very common sight
of an old man asleep on the pavement.

I thought it then a good composition
and glibly called it “The Man in the Street,”
remarking how typical it was of
India that the man in the street lived there.

His head in the posture of one weeping
into a pillow chides me now for my
presumption at attempting to compose
art of his hunger and solitude.

Understanding “Decomposition”: A Journey of Observation and Empathy

Welcome to a fascinating exploration of Zulfikar Ghose’s powerful poem, “Decomposition.” This poem invites readers to look beyond the surface, challenging perceptions of art, observation, and human connection. It is a profound piece that encourages deep thought about how we see the world and the people within it.

Summary of “Decomposition”

At its Core: Zulfikar Ghose’s “Decomposition” is an introspective poem that meticulously examines the intricate relationship between artistic observation and genuine empathy. The poem centers on the speaker’s recollection of a photograph taken in Bombay, depicting a sleeping beggar. It evolves from a detached artistic description to a profound reckoning with the man’s suffering.
Central Idea: The poem’s central idea revolves around the unsettling awareness that artistic composition can sometimes inadvertently overshadow, or even come at the cost of, authentic human connection and compassion. The speaker’s initial labeling of the beggar as merely a subject for art, titled “The Man in the Street,” is revealed as inadequate and callous when viewed through the lens of time and reflection.
Key Takeaway: “Decomposition” serves as a meditation on the ethics of representation and the profound responsibility of the artist to transcend superficial observation. It urges an acknowledgment of the full humanity of their subjects. The poem challenges readers to consider how their own gaze shapes their understanding of the world and the individuals who inhabit it.

In-Depth Analysis of “Decomposition”

Let us delve deeper into the layers of meaning within “Decomposition,” examining how Ghose masterfully crafts his message through vivid imagery and shifting perspectives.

The Power of Initial Observation and Detachment

The poem immediately establishes a distinct distance between the observer and the observed. The speaker possesses a photograph, a captured moment already framed and objectified. The detailed description of the beggar, “grey‑haired, wearing shorts and a dirty shirt,” presents a clinical, almost scientific observation. The striking simile, “his shadow thrown aside like a blanket,” is visually evocative, yet it reinforces a sense of detachment. The beggar is initially reduced to a study of light and shadow, setting the stage for the speaker’s later remorse. The opening lines reveal that the very act of possessing a picture implies a subtle power dynamic, suggesting ownership and control over the subject.

The Beggar as Landscape: Dehumanization

The second stanza intensifies this initial detachment, employing powerful imagery that strips the beggar of his humanity. His body is likened to inanimate stone:

His arms and legs could be cracks in the stone,
routes for the ants’ journeys, the flies’ descents,
brain‑washed by the sun into exhaustion,
he lies veined into stone, a fossil man.

This language integrates the man into the urban landscape. The individual is no longer presented as a person, but rather as a feature of the pavement, almost indistinguishable from it. The imagery of insects, “routes for the ants’ journeys, the flies’ descents,” further dehumanizes him, presenting the beggar as a decaying object. The phrase “veined into stone, a fossil man” is particularly potent, suggesting a complete petrification, a profound loss of life and vitality, as if he has been rendered into an ancient artifact. This is not simply a description of physical appearance, but a symbolic stripping away of the man’s personhood.

Indifference and the Crowd

The third stanza introduces the pervasive theme of societal indifference. The crowd, depicted as “passingly bemused by a pavement trickster,” remains “quite indifferent to this very common sight of an old man asleep on the pavement.” This highlights the normalization of suffering in urban environments. The beggar is not seen as an individual in need, but as just another part of the background noise, mirroring the speaker’s initial detachment and creating a sense of collective blindness. This section is crucial, demonstrating a broader context of societal neglect and suggesting that the speaker’s initial detachment is not unique, but rather a reflection of a larger societal issue.

The Good Composition and Artistic Hubris

The fourth stanza reveals the speaker’s initial justification for taking the photograph:

I thought it then a good composition
and glibly called it “The Man in the Street,”
remarking how typical it was of
India that the man in the street lived there.

This marks a critical turning point. The speaker was motivated not by compassion or a desire to help, but by an aesthetic impulse. The glib title, “The Man in the Street,” further reinforces this superficiality, reducing the man to a symbol or an archetype rather than acknowledging his individual identity. The speaker’s remark about the scene being “typical of India” displays a sense of cultural distance and perhaps condescension. The phrase “good composition” itself is loaded, prioritizing aesthetic arrangement over human empathy.

The Weight of Remorse and Ethical Awakening

The final stanza marks a profound shift in the speaker’s perspective and understanding. The beggar’s head, even in sleep, takes on a powerful agency:

His head in the posture of one weeping
into a pillow chides me now for my
presumption at attempting to compose
art of his hunger and solitude.

This personification is powerful, as the beggar, even in sleep, appears to accuse the speaker of exploiting his suffering for artistic gain. The word “chides” suggests a moral reckoning, a gentle but firm rebuke. The speaker recognizes the “presumption” of attempting to “compose art of his hunger and solitude.” This is not a celebration of artistic creativity, but rather a profound confession of guilt. The weeping posture is particularly affecting, suggesting a deep sorrow that the speaker has unwittingly contributed to. This stanza underscores the ethical responsibility of the artist, prompting reflection on the impact of creative endeavors on the subjects depicted.

Literary and Poetic Devices in “Decomposition”

Zulfikar Ghose employs a range of literary and poetic devices to enrich the poem’s meaning and emotional impact. Understanding these tools helps unlock the poem’s full power.

Imagery and Symbolism

The poem is rich in visual imagery, creating a vivid and unsettling picture of the beggar and his surroundings. The recurring motif of stone symbolizes the dehumanization of the beggar, reducing him to an inanimate object. The image of the “fossil man” suggests a complete loss of vitality and a sense of historical neglect. The imagery evolves throughout the poem, commencing with descriptive details and gradually becoming more symbolic, reflecting the speaker’s changing perception.

Personification

The personification of the beggar’s head, which “chides” the speaker, is central to the poem’s emotional impact. It gives the beggar a voice and agency, allowing him to express his silent suffering and moral judgment. This is not simply a literary device; it represents a powerful moment of ethical confrontation, where the subject of the art confronts its creator.

Enjambment

Ghose makes effective use of enjambment, allowing lines to flow into one another and creating a sense of momentum. For instance, the transition from “I have a picture I took in Bombay
of a beggar asleep on the pavement:” demonstrates how the thought continues across the line break, drawing the reader forward and mirroring the continuous flow of observation and memory. This technique can also emphasize certain words or ideas by placing them at the beginning of a new line.

Diction and Tone

The poem’s diction is precise and carefully chosen. Words like “indifferent,” “presumption,” and “chides” contribute significantly to the poem’s somber and introspective tone. The tone shifts dramatically from initial detached observation in the early stanzas to profound remorseful self-reflection in the final stanza. The language becomes notably more emotionally charged in the final stanza, reflecting the speaker’s growing remorse and ethical awakening.

Free Verse

The poem utilizes free verse, which allows for a natural and conversational rhythm, mirroring the speaker’s internal thoughts and reflections. The absence of a traditional rhyme scheme or metrical pattern reinforces the poem’s sense of authenticity and emotional honesty. This lack of formal structure mirrors the speaker’s fragmented memories and raw emotions, contributing to the poem’s authenticity.

Key Quotes for Discussion

These lines encapsulate some of the poem’s most profound ideas and imagery: