What He Thought Analysis - Literary devices and Poetic devices

Welcome, aspiring poets and curious minds, to an exploration of Heather McHugh’s profound poem, “What He Thought.” This remarkable piece invites us to reconsider our understanding of poetry, moving beyond mere words to the powerful, often unspoken truths that shape our world. Prepare to delve into a narrative that begins with a journey to Italy and culminates in a revelation about the very essence of creative expression and intellectual courage.

What He Thought

By Heather McHugh

for Fabio Doplicher

We were supposed to do a job in Italy
and, full of our feeling for ourselves (our sense of being Poets from America) we went
from Rome to Fano, met the mayor, mulled a couple matters over (what’s a cheap date, they asked us; what’s flat drink). Among Italian literati we could recognize our counterparts:
the academic, the apologist, the arrogant, the amorous, the brazen and the glib—and there was one administrator (the conservative), in a suit of regulation gray, who like a good tour guide with measured pace and uninflected tone narrated sights and histories while the hired van hauled us past.
Of all, he was the most political and least poetic, so it seemed. Our last few days in Rome (when all but three of the New World Bards had flown) I found a book of poems this unprepossessing one had written: it was there in the pensione room, a room he’d recommended, where it must have been abandoned by the German visitor (was there a bus of them?) to whom he had inscribed and dated it a month before.
I couldn’t read Italian, so I put the book back into the wardrobe’s dark. We last Americans were due to leave tomorrow. For our parting evening then our host chose a family restaurant, and there we sat and chatted, sat and chewed, till, sensible it was our last big chance to be poetic, make our mark, one of us asked “What’s poetry?”

“Is it the fruits and vegetables and marketplace of Campo dei Fiori, or the statue there?” Because I was the glib one, I identified the answer instantly, I didn’t have to think—“The truth is both, it’s both,” I blurted out. That was easy. What followed taught me something about difficulty, for our underestimated host spoke out, all of a sudden, with a rising passion, and he said:

The statue represents Giordano Bruno, who was burned in the Campo dei Fiori in Florence for his heretical ideas that the universe does not revolve around humanity. He believed that God is not a fixed center but is present in all things. His crime was his belief that the universe does not revolve around the human being. If God is not the soul itself, He is the soul of the soul of the world. Such was his heresy. The day they brought him forth to die, they feared he might incite the crowd, for the man was famous for his eloquence. So his captors placed upon his face an iron mask, in which he could not speak. That’s how they burned him. That is how he died: without a word, in front of everyone.

And poetry, (we’d all put down our forks by now, to listen to the man in gray; he went on softly)—poetry is what he thought, but did not say.

Understanding “What He Thought”: Summary and Central Idea

“What He Thought” by Heather McHugh, a celebrated American poet, first graced the literary world in her 1994 collection, Hinge and Sign. This compelling narrative poem takes readers on a journey from the superficiality of literary posturing to a profound understanding of poetry’s true nature. It masterfully intertwines personal observation with historical tragedy, culminating in a powerful definition of artistic expression.

The poem begins with the speaker, one of several American poets, on a professional trip to Italy. Initially, the group is absorbed in their self-importance, observing the local Italian literati with a somewhat cynical eye. Among these figures, an unassuming administrator, described as “the conservative” in a “suit of regulation gray,” appears to be the most “political and least poetic.” His measured demeanor and uninflected tone lead the American poets to underestimate his depth.

As the trip nears its end, and most of the American poets have departed, the speaker makes a surprising discovery: a book of poems written by this very administrator, found in the recommended pensione room. Despite the inability to read Italian, this discovery hints at a hidden artistic life. The poem builds to a climactic final dinner where, in a moment of self-conscious poetic ambition, one of the Americans poses the grand question: “What’s poetry?” The speaker, identifying as “the glib one,” offers a quick, seemingly clever answer. However, it is the previously underestimated Italian host who then delivers a passionate, detailed account of Giordano Bruno, a philosopher burned at the stake in the Campo dei Fiori for his “heretical ideas” about the universe. Bruno’s captors silenced him with an iron mask, preventing him from speaking his final thoughts. The host’s story culminates in the breathtaking revelation that poetry is not merely spoken words, but “what he thought, but did not say.”

The central idea of “What He Thought” is that true poetry resides in the profound, often unspoken thoughts, beliefs, and truths that exist beneath the surface of language and conventional expression. It champions the idea that the most powerful forms of communication are those that transcend verbal articulation, embodying intellectual courage and the enduring spirit of human thought, even when suppressed. The poem challenges readers to look beyond superficial appearances and conventional definitions to find the deeper currents of meaning and artistic truth.

In-Depth Analysis of “What He Thought”

Heather McHugh’s “What He Thought” is a rich tapestry of narrative, character study, and philosophical inquiry. Its brilliance lies in its ability to transform a seemingly mundane travelogue into a profound meditation on art, freedom, and the human spirit.

The Journey from Superficiality to Profundity

The poem opens with a tone of self-awareness, almost bordering on satire, as the American poets arrive in Italy, “full of our feeling for ourselves (our sense of being Poets from America).” This initial perspective highlights a certain intellectual arrogance and a preoccupation with outward appearances. The poets categorize their Italian counterparts into predictable archetypes: “the academic, the apologist, the arrogant, the amorous, the brazen and the glib.” This categorization reflects their own superficial engagement with the literary world.

The administrator, initially dismissed as “the most political and least poetic,” serves as a foil to the American poets’ self-congratulatory attitudes. His “measured pace and uninflected tone” suggest a lack of artistic flair, reinforcing the initial misjudgment. However, the discovery of his book of poems subtly introduces the theme of hidden depths, preparing the reader for the dramatic shift in perception that follows.

The turning point arrives with the question, “What’s poetry?” The speaker’s immediate, “glib” response, “The truth is both, it’s both,” represents the easy, unexamined answers that often pass for wisdom. It is precisely this superficiality that the administrator’s subsequent narrative dismantles, leading to a moment of collective silence and profound realization: “we’d all put down our forks by now, to listen to the man in gray.”

Themes Explored in “What He Thought”

The Nature of Poetry and Art: The poem fundamentally redefines poetry. It moves from a discussion of “fruits and vegetables and marketplace” or “the statue there” to something far more intrinsic and powerful. The final lines encapsulate this redefinition:

And poetry, (we’d all put down our forks by now, to listen to the man in gray; he went on softly)—poetry is what he thought, but did not say.

This suggests that true poetry is not merely spoken or written words, but the profound, often suppressed, intellectual and emotional truths that reside within an individual. It is the essence of thought, belief, and conviction that may never find conventional expression but nonetheless shapes reality.
Freedom of Expression and Censorship: The story of Giordano Bruno is central to this theme. Bruno’s execution for his “heretical ideas” and the symbolic act of placing “an iron mask, in which he could not speak” upon his face powerfully illustrate the suppression of free thought. His silence in death, enforced by his captors, paradoxically amplifies the enduring power of his unspoken beliefs. The poem underscores the tragic consequences when voices of dissent are silenced, yet simultaneously celebrates the resilience of ideas.
Appearance Versus Reality: A significant theme is the contrast between initial perceptions and underlying truths. The administrator, initially perceived as “unprepossessing,” “most political and least poetic,” reveals himself to be a man of profound insight and passion. His “suit of regulation gray” belies a vibrant inner world, demonstrated by his own poetry and his passionate recounting of Bruno’s story. The poem teaches the importance of looking beyond superficial judgments to discover the true essence of individuals and ideas.
Intellectual Courage and Conviction: Giordano Bruno stands as a symbol of unwavering intellectual courage. His willingness to die for his beliefs, particularly his revolutionary cosmological ideas that “the universe does not revolve around humanity,” highlights the strength of conviction. His story serves as a testament to the enduring power of ideas and the bravery required to uphold them in the face of persecution.

Literary and Poetic Devices in “What He Thought”

Heather McHugh employs a range of literary and poetic devices to enrich the narrative, deepen its meaning, and engage the reader. These techniques contribute to the poem’s memorable impact.

Sound Devices

Assonance: The repetition of vowel sounds within words creates a musical quality and connects ideas.

We were supposed to do a job in Italy
and, full of our feeling for ourselves (our sense of being Poets from America) we went

The repetition of the short “e” sound in “we were” and “sense of being” creates a subtle internal rhyme, while the long “e” in “feeling” and “being” adds to the flow. Similarly, the “o” sound in “full of our feeling” contributes to the poem’s rhythm.
Alliteration: The repetition of consonant sounds at the beginning of words adds emphasis and rhythm.

the academic, the apologist, the arrogant, the amorous, the brazen and the glib

The repeated “a” sound in the list of Italian literati highlights the speaker’s quick categorization, while the “b” sound in “brazen and the glib” adds a dismissive tone. Later, the phrase “New World Bards” uses alliteration to refer to the American poets.
Consonance: The repetition of consonant sounds within or at the end of words, not necessarily at the beginning, adds texture and rhythm.

We were supposed to do a job in Italy

The repetition of the “s” sound in “supposed” and “was” and the “d” sound in “do” and “job” creates a subtle, underlying rhythm that mimics natural speech.

Figurative Language and Imagery

Imagery: The poem uses vivid sensory details to create strong visual and emotional impacts, immersing the reader in the setting and events.

“Is it the fruits and vegetables and marketplace of Campo dei Fiori, or the statue there?”

This line evokes a vibrant, tangible scene, contrasting the sensory richness of the marketplace with the abstract question of poetry. Other examples include the “suit of regulation gray” for the administrator, which visually reinforces his perceived conventionality, and the chilling image of the “iron mask” placed on Bruno’s face.
Metaphor: The poem employs metaphor to draw comparisons between seemingly disparate things, revealing deeper meanings. The most powerful metaphor is the poem’s ultimate definition of poetry itself:

And poetry…poetry is what he thought, but did not say.

Here, poetry is not just a collection of words, but a direct metaphor for the profound, unexpressed inner world of an individual, particularly one whose voice has been silenced. The “iron mask” can also be seen as a metaphor for censorship and the suppression of intellectual freedom.
Symbolism: Objects and places in the poem carry symbolic weight, representing larger ideas.
- The Iron Mask: This is a potent symbol of censorship, the silencing of dissent, and the suppression of free expression. It represents the ultimate attempt to control thought and prevent the spread of “heretical ideas.”
- The Statue of Giordano Bruno: The statue in Campo dei Fiori symbolizes the enduring power of ideas and the remembrance of intellectual martyrs. It stands as a permanent testament to Bruno’s courage and the truths he championed, even in the face of extreme adversity.
- Campo dei Fiori: This marketplace, a place of vibrant daily life, becomes a symbolic site of both mundane existence and profound historical tragedy, where the “fruits and vegetables” coexist with the memory of a philosopher’s fiery death.

Structural and Stylistic Devices

Enjambment: This technique involves the continuation of a sentence or phrase from one line of poetry to the next without a pause or punctuation. It creates a sense of flow, momentum, and natural speech, mirroring the unfolding narrative.

We were supposed to do a job in Italy
and, full of our feeling for ourselves (our sense of being Poets from America) we went
from Rome to Fano…

The lines flow seamlessly, drawing the reader forward through the initial narrative. Later, in the description of Bruno’s death, enjambment emphasizes the tragic finality:

So his captors placed upon his face an iron mask, in which
he could not speak. That’s how they burned him. That is how he died: without a word, in front of everyone.

The break after “in which” creates a momentary suspension, highlighting the cruel irony of his enforced silence.
Diction and Tone: The poem’s language is generally accessible and conversational, reflecting the narrative style. However, the tone undergoes a significant shift. It begins with a casual, somewhat ironic, and observational tone, particularly when describing the American poets’ self-perception and their categorization of the Italian literati. This shifts dramatically to a tone of rising passion and profound solemnity when the administrator recounts Bruno’s story, culminating in a deeply contemplative and revelatory tone in the final lines.
Free Verse: “What He Thought” is written in free verse, meaning it does not adhere to a regular rhyme scheme or metrical pattern. This allows McHugh to create a natural, fluid rhythm that closely mimics spoken language and the organic unfolding of the narrative. The absence of strict formal constraints enables the poem to move effortlessly between description, dialogue, and philosophical reflection.
Stanza Structure: The poem is divided into nine stanzas of varying length. This flexible structure helps to pace the narrative, creating natural breaks for reflection and emphasizing key moments. The longer initial stanzas establish the setting and characters, while the shorter, more impactful stanzas, particularly towards the end, heighten the drama and focus attention on the administrator’s powerful revelation.

Key Quotes for Discussion

Certain lines from “What He Thought” resonate deeply, offering rich opportunities for contemplation and discussion:

“What’s poetry?”

This simple question, posed by one of the American poets, acts as the catalyst for the poem’s central revelation. It represents the initial, perhaps superficial, quest for a definition that the poem ultimately transcends.

So his captors placed upon his face an iron mask, in which he could not speak. That’s how they burned him. That is how he died: without a word, in front of everyone.

These lines powerfully convey the brutality of censorship and the tragic silencing of a brilliant mind. The image of the iron mask is unforgettable, symbolizing the ultimate suppression of free expression and the profound injustice suffered by Giordano Bruno.

And poetry, (we’d all put down our forks by now, to listen to the man in gray; he went on softly)—poetry is what he thought, but did not say.

This concluding stanza is the heart of the poem. It encapsulates the central idea, redefining poetry not as spoken or written words, but as the profound, unexpressed thoughts and truths that reside within. It is a powerful reminder that true expression often transcends the limitations of language and that the most significant messages can be found in the silence of conviction.

Conclusion

“What He Thought” by Heather McHugh is a masterful poem that challenges our preconceived notions of art, truth, and expression. Through a compelling narrative and a dramatic shift in perspective, it guides readers from the superficial to the profound, revealing that the essence of poetry lies not in outward performance or clever words, but in the deep, often unspoken convictions of the human spirit. The story of Giordano Bruno, passionately recounted by an initially underestimated host, serves as a timeless reminder of intellectual courage and the enduring power of ideas, even when silenced. This poem encourages us to listen not just to what is said, but to what is thought, for therein lies the true, resonant voice of poetry.