“Decomposition” by Zulfikar Ghose: A Critical Analysis

Introduction: “Decomposition” by Zulfikar Ghose

“Decomposition” by Zulfikar Ghose, first appeared in the collection The Loss of India (1964), is thought-provoking poem that explores the themes of decay, identity, and the contrast between reality and perception. Set against the bustling yet desolate streets of India, Ghose uses powerful imagery to illustrate the stark divide between the romanticized visions of the country and the harsh, sometimes ignored realities of life within it. The poem paints the image of a beggar, decomposing in a symbolic sense, as he embodies not only physical destitution but also the neglect and apathy of society. The stark, unembellished description challenges the reader to confront these uncomfortable truths, while Ghose’s careful choice of words and his portrayal of the beggar serves to criticize superficial representations of poverty. Through “Decomposition,” Ghose ultimately raises questions about human empathy, social indifference, and the often ignored layers of society’s most vulnerable members.

Text: “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.

Annotations: “Decomposition” by Zulfikar Ghose

Line	Annotation
1. I have a picture I took in Bombay	Structure: Personal pronoun “I” introduces a reflective, first-person narrative. Context: Bombay (now Mumbai), India, sets the geographical and socio-economic background.
2. of a beggar asleep on the pavement:	Imagery: “Beggar asleep” evokes an image of vulnerability and poverty. Contrast: Sleep suggests peace, juxtaposed with the harshness of “pavement.” Social Commentary: Highlights ignored poverty.
3. grey-haired, wearing shorts and a dirty shirt,	Imagery: Description of appearance (gray hair, dirty shirt) suggests age and poverty. Alliteration: “Shirt” and “shorts” emphasize the visual details.
4. his shadow thrown aside like a blanket.	Simile: Shadow compared to a blanket, indicating both the insignificance and solace of his shadow. Symbolism: Shadow as a part of the self, yet casually discarded.
5. His arms and legs could be cracks in the stone,	Metaphor: The beggar’s limbs are likened to cracks, suggesting disintegration and blending into the urban landscape. Personification: Treats the human body as part of the setting.
6. routes for the ants’ journeys, the flies’ descents,	Imagery: Vivid depiction of nature (ants, flies) engaging with the beggar as if he were part of the landscape. Irony: Reflects societal neglect, where even insects engage more actively with him than people.
7. Brain-washed by the sun into exhaustion,	Personification/Metaphor: The sun “brain-washing” him suggests a forced acceptance of despair, hinting at oppressive heat and harsh living conditions. Sound Device: Soft “s” sounds evoke a sense of exhaustion.
8. he lies veined into stone, a fossil man.	Metaphor: “Veined into stone” links the beggar to a fossil, symbolizing neglect and permanence in decay. Imagery: Suggests he has become a part of the urban environment.
9. Behind him there is a crowd passingly	Contrast: The “crowd” represents society, indifferent to the individual’s plight. Irony: They pass by, unaware or unconcerned about the beggar.
10. bemused by a pavement trickster and quite	Juxtaposition: Beggar’s plight versus trickster’s entertainment, underscoring society’s indifference to suffering. Irony: Amusement overshadows empathy.
11. indifferent to this very common sight	Social Critique: Highlights apathy toward poverty, with “very common sight” indicating normalized suffering. Tone: Detached, reflecting how normalized poverty is overlooked.
12. of an old man asleep on the pavement.	Repetition: “Asleep on the pavement” emphasizes neglect. Image Reinforcement: Continues the visual of human neglect merging with the environment.
13. I thought it then a good composition	Tone Shift: Self-reflective, acknowledging his artistic objectification. Irony: Self-critical admission of turning suffering into art.
14. and glibly called it “The Man in the Street,”	Irony: “Glibly” signals his detachment and insensitivity in naming the photo. Metaphor: “Man in the Street” has dual meaning — the ignored or marginalized individual.
15. remarking how typical it was of	Reflection: Ghose critiques his own generalization of poverty. Irony/Self-Critique: Shows realization of superficial judgment.
16. India that the man in the street lived there.	Irony/Satire: Comment on poverty as a “typical” feature of India, questioning the normalization of suffering. Social Critique: Highlights societal indifference.
17. His head in the posture of one weeping	Imagery/Pathos: Description evokes pity, with the beggar’s posture suggesting deep sorrow. Personification: Body language communicates emotion, evoking empathy.
18. into a pillow chides me now for my	Metaphor/Personification: The imagined “pillow” intensifies the emotional isolation of the beggar. Tone Shift: “Chides me” signals regret and self-critique.
19. presumption at attempting to compose	Self-critique: Acknowledges his error in seeing the beggar as mere “composition.” Tone: Introspective, indicating guilt.
20. art of his hunger and solitude.	Metaphor: “Art of his hunger” underscores the exploitation of suffering for aesthetic purposes. Theme: Final line addresses themes of poverty, solitude, and ethical reflection on representation.

Literary And Poetic Devices: “Decomposition” by Zulfikar Ghose

Device	Example	Explanation
Ambiguity	“The Man in the Street”	The phrase carries dual meanings: a literal man on the street and a figurative representation of marginalized people, adding depth to Ghose’s critique of poverty and indifference.
Antithesis	“bemused by a pavement trickster and quite indifferent”	Contrasts the crowd’s amusement with the trickster and indifference to the beggar, highlighting the divide between entertainment and human suffering.
Assonance	“brain-washed by the sun into exhaustion”	The repetition of the “a” sound creates a subtle echo that adds to the sense of lethargy and weariness, reinforcing the effect of the oppressive sun.
Connotation	“decomposition”	“Decomposition” suggests physical decay, societal neglect, and the dissolution of identity, making the beggar’s situation a reflection of social breakdown.
Contrast	“His arms and legs could be cracks in the stone”	The beggar’s limbs are likened to cracks in the pavement, contrasting life with the inanimate, emphasizing his dehumanized state in the eyes of society.
Enjambment	Lines 9-10: “Behind him there is a crowd passingly / bemused”	The flow of one line into the next without punctuation mirrors the crowd’s fleeting, continuous movement, emphasizing their brief, detached notice of the beggar.
Hyperbole	“a fossil man”	Exaggerates the beggar’s decay, suggesting he has been lying there for so long that he has metaphorically become fossilized, highlighting societal indifference to his suffering.
Imagery	“grey-haired, wearing shorts and a dirty shirt”	Creates a vivid picture of the beggar’s appearance, enhancing the poem’s sense of realism and evoking empathy through physical description.
Irony	“I thought it then a good composition”	Irony in the poet’s detachment from the beggar’s suffering, reducing his plight to a “good composition,” critiques superficial approaches to art and poverty.
Juxtaposition	“the crowd” versus “the old man asleep”	Juxtaposes the bustling crowd with the solitary figure of the beggar, drawing attention to social indifference and alienation.
Metaphor	“his shadow thrown aside like a blanket”	Compares the beggar’s shadow to a discarded blanket, suggesting both insignificance and temporary comfort, symbolizing society’s casual disregard.
Paradox	“I thought it then a good composition”	The poet’s observation as an artistic moment is paradoxical, as it turns suffering into an aesthetic experience, questioning the ethics of finding beauty in hardship.
Personification	“brain-washed by the sun”	Attributing human characteristics to the sun, “brain-washing” the beggar suggests forced acceptance of suffering, emphasizing the harshness of his environment.
Repetition	“asleep on the pavement”	Repeats this phrase to emphasize the beggar’s vulnerability and neglected condition, highlighting his blending into the street and society’s lack of regard.
Rhyme	Subtle internal rhymes such as “stone” and “man”	Though largely free verse, the subtle rhyme adds structure and enhances flow, creating a subtle harmony amidst the stark themes.
Sarcasm	“remarking how typical it was of / India”	The speaker’s casual remark reflects sarcasm, criticizing the normalization of poverty as a defining feature, with a hint of critique toward the poet’s own past insensitivity.
Simile	“his shadow thrown aside like a blanket”	Compares the shadow to a blanket, evoking a sense of neglect and fragility, as if the beggar’s very essence is disposable, just as a shadow is intangible and transient.
Symbolism	“fossil man”	“Fossil man” symbolizes society’s apathy, suggesting that the beggar has become part of the city’s ignored history, preserved in decay.
Tone Shift	From detached to remorseful in the final lines	Begins with an observational, detached tone, then shifts to a regretful tone as the speaker reflects on the ethics of objectifying the beggar’s suffering, emphasizing self-critique and moral introspection.

Themes: “Decomposition” by Zulfikar Ghose

1. Social Neglect and Indifference:
   One of the central themes of “Decomposition” is society’s apathy toward poverty and suffering. The crowd in the background is “passingly / bemused by a pavement trickster and quite indifferent” to the sight of the old beggar sleeping on the pavement, highlighting the normalized disregard for the poor and vulnerable. The casual indifference of the crowd contrasts starkly with the beggar’s plight, underscoring the frequency with which such scenes are witnessed but ignored. This societal neglect is further emphasized when the speaker remarks on how “typical it was of / India that the man in the street lived there,” suggesting that poverty is so ingrained in the landscape that it becomes invisible to most passersby.
2. Objectification and the Ethics of Art:
   Ghose explores the theme of ethical responsibility in art, particularly the dangers of objectifying human suffering for aesthetic purposes. The speaker initially views the scene as “a good composition,” calling his photograph “The Man in the Street,” an ironic title that reduces the beggar’s existence to a simple artistic concept. The poet’s later regret, where he reflects on his “presumption at attempting to compose / art of his hunger and solitude,” suggests a realization of the insensitivity inherent in commodifying another’s suffering for one’s artistic vision. This ethical introspection serves as a critique of how art and photography can exploit and dehumanize their subjects, especially those marginalized by society.
3. Isolation and Dehumanization:
   The beggar is described with language that renders him almost indistinguishable from the stone on which he lies, as his “arms and legs could be cracks in the stone,” and he is further referred to as a “fossil man.” These descriptions suggest a loss of individual identity, with the beggar blending into the urban landscape, becoming a part of it rather than a separate human presence. The imagery of his body as “routes for the ants’ journeys, the flies’ descents” emphasizes his complete isolation and degradation, where even insects interact more intimately with him than people do. The metaphor of fossilization hints at a broader societal dehumanization of the marginalized, treating them as lifeless elements of the scenery.
4. Self-Reflection and Guilt:
   In the final lines, the poem shifts to a tone of remorse and self-reflection as the poet acknowledges his own “presumption” in capturing the image of the beggar. The line “His head in the posture of one weeping / into a pillow chides me now” reflects the speaker’s growing awareness of his insensitivity and the guilt associated with reducing human suffering to a visual representation. This self-reproach serves as a moment of moral awakening, as the speaker recognizes his failure to empathize with the beggar’s humanity. The guilt underscores the poet’s realization that true understanding and compassion cannot come from objectifying others’ lives but require a deeper acknowledgment of shared humanity and dignity.

Literary Theories and “Decomposition” by Zulfikar Ghose

Literary Theory	Application to “Decomposition”	References from the Poem
Postcolonial Theory	Postcolonial theory examines the effects of colonialism on cultures and societies, particularly focusing on issues of identity, power, and representation. In “Decomposition,” Ghose critiques Western perceptions of India as exotic and impoverished.	The poet’s line, “remarking how typical it was of / India that the man in the street lived there,” reflects a Western gaze that sees poverty as a defining feature of Indian identity, reducing complex lives to stereotypes often shaped by colonial narratives and perspectives.
Marxist Theory	Marxist theory analyzes class struggles and critiques social inequalities, often highlighting the plight of the working class and marginalized individuals. Ghose’s poem highlights the neglect and dehumanization of the poor in urban spaces.	The beggar is depicted as a “very common sight,” ignored by the crowd, symbolizing the societal disregard for the lower class. The speaker’s superficial “composition” of the beggar for aesthetic purposes critiques capitalist societies’ exploitation of poverty for profit.
Ethical Criticism	Ethical criticism focuses on the moral responsibilities of both the creator and the audience in representing real human suffering. Ghose questions the ethics of using poverty as an artistic subject and the audience’s detachment from it.	The speaker’s later remorse, “presumption at attempting to compose / art of his hunger and solitude,” demonstrates a moment of ethical reflection, questioning the morality of aestheticizing suffering and recognizing the beggar’s humanity beyond artistic objectification.

Critical Questions about “Decomposition” by Zulfikar Ghose

1. How does Ghose use imagery to reflect the beggar’s connection to his environment?
   Ghose employs vivid imagery to blur the lines between the beggar and his urban surroundings, suggesting a deeper connection between his plight and the city itself. Describing the beggar’s arms and legs as “cracks in the stone” and calling him a “fossil man” likens him to the pavement on which he lies, indicating that he has almost merged into the environment through neglect and disuse. This fusion of human and stone conveys a sense of permanence in his suffering, as if he has become an inanimate part of the city’s landscape. The use of insects — “routes for the ants’ journeys, the flies’ descents” — furthers the notion of dehumanization, showing how he is more a part of the ignored street than an individual deserving attention.
2. What is the significance of the title “Decomposition” in relation to the poem’s themes?
   The title “Decomposition” encapsulates both the physical and societal decay that the poem explores. It suggests not only the physical state of the beggar as he appears almost fossilized on the pavement but also the moral decay of society, which passively observes such suffering without intervention. The speaker’s initial impulse to call the photograph “The Man in the Street” highlights the detachment with which society observes poverty, objectifying the beggar as part of a scene rather than as an individual in need. The decomposition is thus both literal, as the beggar seems to deteriorate in plain sight, and metaphorical, representing the breakdown of social empathy and responsibility.
3. How does the poem critique the ethics of art and representation?
   Ghose’s poem critically examines the ethics of turning human suffering into art, highlighting the dangers of aestheticizing poverty. The speaker initially finds the scene “a good composition” and casually names it “The Man in the Street,” a title that reveals his superficial approach. However, the poem takes a reflective turn when the speaker feels that the beggar’s posture “chides me now for my / presumption at attempting to compose / art of his hunger and solitude.” This line expresses a realization of his own insensitivity and the moral failure inherent in capturing suffering for mere aesthetic pleasure. The speaker’s guilt reflects Ghose’s broader critique of how art can sometimes exploit human hardship without genuine empathy or understanding.
4. In what ways does the poem address social neglect and individual responsibility?
   “Decomposition” calls attention to the indifference of both society at large and individuals toward the plight of the impoverished. The poem depicts a “crowd passingly / bemused by a pavement trickster” yet “quite indifferent” to the beggar’s existence, underscoring society’s tendency to overlook those who suffer in plain sight. The speaker’s own initial reaction of seeing the beggar as part of an artful “composition” reflects the detachment and objectification that individuals often apply to social issues. The speaker’s later regret suggests a self-critique, challenging readers to question their own responsibilities in the face of societal neglect. This introspection invites readers to consider their role in either perpetuating or alleviating the indifference surrounding marginalized individuals.

Literary Works Similar to “Decomposition” by Zulfikar Ghose

1. “A Supermarket in California” by Allen Ginsberg
   This poem critiques modern societal values and consumerism, similar to Ghose’s exploration of social neglect and indifference to marginalized individuals.
2. “London” by William Blake
   Blake’s poem addresses urban poverty and the suffering of city dwellers, reflecting a similar tone of social critique and empathy for the overlooked individuals of society.
3. “The Man with the Hoe” by Edwin Markham
   Markham’s poem portrays the plight and dehumanization of laborers, resonating with Ghose’s depiction of the beggar as a “fossil man,” representing the oppressed and neglected.
4. “The Shield of Achilles” by W.H. Auden
   Auden’s poem contrasts idealized images with harsh realities, much like Ghose’s juxtaposition of artistic composition with real human suffering.
5. “Those Winter Sundays” by Robert Hayden
   Hayden’s poem reflects on unnoticed labor and familial sacrifice, drawing parallels with Ghose’s theme of unacknowledged hardship and societal indifference.

Representative Quotations of “Decomposition” by Zulfikar Ghose

Quotation	Context	Theoretical Perspective
“I have a picture I took in Bombay”	The speaker reflects on a photograph they took, introducing the setting in Bombay, India, and foreshadowing the theme of detached observation.	Postcolonial Theory: Highlights the outsider’s gaze on an Indian city, questioning the ethics of this perspective.
“of a beggar asleep on the pavement”	Describes the beggar, establishing him as both the poem’s subject and an object in the speaker’s photograph.	Marxist Theory: Depicts the marginalized position of the poor, forgotten by a society structured by class.
“his shadow thrown aside like a blanket”	The beggar’s shadow is compared to a blanket, illustrating both comfort and insignificance.	Symbolic Interpretation: The shadow symbolizes the beggar’s neglected humanity, discarded like a possession.
“His arms and legs could be cracks in the stone”	Portrays the beggar as blending into the stone, symbolizing his invisibility within the urban landscape.	Existentialism: Reflects themes of dehumanization and loss of identity, reducing the beggar to an inanimate object.
“routes for the ants’ journeys, the flies’ descents”	Suggests that the beggar’s body has become part of the environment, as insects travel freely on him.	Ecocriticism: Nature interacts with the beggar, emphasizing his marginalization as part of a decaying ecosystem.
“I thought it then a good composition”	The speaker recalls initially viewing the scene as an aesthetic subject, indicating a superficial perspective.	Ethical Criticism: Examines the ethical implications of turning human suffering into “art” without empathy.
“remarking how typical it was of / India”	Reflects a stereotypical view of India’s poverty, reducing a complex reality to a generalized image.	Postcolonial Theory: Critiques the reduction of cultural identity to stereotypes, a remnant of colonial attitudes.
“fossil man”	The beggar is likened to a fossil, suggesting his static, forgotten state in society’s eyes.	Marxist Theory: Symbolizes the fossilization of the lower class, left behind by society’s progress.
“His head in the posture of one weeping”	The beggar’s posture evokes sadness, contrasting with the crowd’s indifference and the speaker’s initial detachment.	Humanism: Appeals to empathy, reminding readers of the beggar’s unexpressed sorrow and humanity.
“presumption at attempting to compose / art of his hunger”	The speaker acknowledges the insensitivity of using the beggar’s suffering as artistic material.	Ethical Criticism: Highlights the moral responsibility of artists to represent suffering with respect and dignity.

Suggested Readings: “Decomposition” by Zulfikar Ghose

1. Hashmi, Alamgir. “‘A Stylized Motif of Eagle Wings Woven’: The Selected Poems of Zulfikar Ghose.” World Literature Today, vol. 66, no. 1, 1992, pp. 66–69. JSTOR, https://doi.org/10.2307/40147860. Accessed 25 Oct. 2024.
2. Kanaganayakam, C., and Zulfikar Ghose. “Zulfikar Ghose: An Interview.” Twentieth Century Literature, vol. 32, no. 2, 1986, pp. 169–86. JSTOR, https://doi.org/10.2307/441381. Accessed 25 Oct. 2024.
3. Aldama, Frederick Luis, and Zulfikar Ghose. “Crafting against the Grain: An Interview with Zulfikar Ghose.” CEA Critic, vol. 66, no. 1, 2003, pp. 57–68. JSTOR, http://www.jstor.org/stable/44377576. Accessed 25 Oct. 2024.
4. Brouillette, Sarah. “ZULFIKAR GHOSE’S ‘THE TRIPLE MIRROR OF THE SELF’ AND COSMOPOLITAN AUTHENTICATION.” Modern Fiction Studies, vol. 53, no. 1, 2007, pp. 97–119. JSTOR, http://www.jstor.org/stable/26287076. Accessed 25 Oct. 2024.