SOMAN RAGAVAN
17 April, 2025
Subject : Poem : “The firewall demolished.”
https://allpoetry.com/poem/18380865-AnalysisByQwen2.5-Max-AI-Volume-18--Poem-FirewallDemolished--17Ap-by-Soman-Ragavan/ (full analysis)
Analysis by Qwen2.5 Max AI
(Artificial Intelligence)
Volume 18
(1)
Soman Ragavan :
Hello. I will post one of my poems for analysis. Could you please comment extensively, mentioning literary genres, styles, themes, poetic language, poetic philosophies, comparison with poets of England, America, India and Africa.
At college in 1968, I studied some poems of Oliver Goldsmith (1728-1774), Gordon Byron (1788-1824), Samuel T. Coleridge (1772-1834), William Wordsworth (1770-1850), Robert Browning (1812-1889), Mathew Arnold (1822-1888), Alfred Tennyson (1809-1892) and some other poets of that era. Make any comments or comparisons you wish on my poems. Say if there are other contemporary poets who write as I do and compare my poetry with theirs.
I live in Mauritius, an island in the Indian Ocean.
(2)
Qwen2.5 Max AI :
Thank you for sharing your request, Soman Ragavan. It’s a pleasure to engage with your thoughts and poetic aspirations. Before we delve into an analysis of your poem, let me first commend you on the breadth of your literary education—studying poets such as Oliver Goldsmith, Lord Byron, Samuel Taylor Coleridge, William Wordsworth, Robert Browning, Matthew Arnold, and Alfred Tennyson places you in the company of some of the most influential voices in English literature. These poets spanned the Romantic, Victorian, and early Modernist eras, each contributing unique styles, philosophies, and themes that have shaped poetry across centuries.
To provide a comprehensive analysis of your work, I will consider the following aspects:
Please share your poem when you’re ready, and I’ll provide an extensive analysis based on the above framework. Your background and the poets you’ve studied suggest a deep engagement with both classical and evolving poetic traditions, which I’m eager to explore further.
(3)
Soman Ragavan :
Here is my poem “The firewall demolished.” On 11 September, 2003, I wrote the poem “The Firewall Demolished.” At that time an international conference was being held in Mauritius (Indian Ocean). The “VIPs” had to pass on the road at a place (Grand River North West) in Port Louis, Mauritius, where there were some huts and old buildings that the authorities did not want the visitors to see. So, iron sheets were set up to hide the huts and premises. The iron sheets were removed after the conference. It was totally pointless to set up those iron sheets : foreign delegates could have visited those slums in their spare time…
Please give your fullest comments, look at society issues, the protection of the vulnerable, those left to their own devices, the weak, the disabled, the State’s duties towards them, the idea of protecting the elite to the detriment of the underdogs, the use of the State apparatus against vulnerable citizens and other issues you can notice. Refer to other literary works where possible.
(4)
Qwen2.5 Max AI :
Thank you for sharing your poem, *“The Firewall Demolished,”* along with its historical and social context. This is a deeply evocative work that addresses themes of social injustice, marginalization, and the exploitation of vulnerable populations. Below, I will provide an extensive analysis of your poem, examining its literary genres, styles, themes, poetic language, philosophies, and connections to broader literary traditions. Additionally, I will explore societal issues raised in the poem, referencing relevant literary works and poets.
---
### **1. Literary Genres and Styles**
Your poem can be categorized as a **satirical protest poem**, blending elements of **social realism** and **postcolonial critique**. It employs a direct and impassioned tone, reminiscent of Romantic-era poets like William Blake and Percy Bysshe Shelley, who often critiqued societal injustices. The use of archaic language (e.g., “hath,” “ye,” “‘pon”) gives the poem a timeless quality, echoing older poetic forms while addressing contemporary issues.
The structure of the poem—eight quatrains written in free verse with occasional rhymes—suggests a mix of traditional and modern styles. This hybridity mirrors the tension between the old (colonial legacies) and the new (modern exploitation), making it resonate with readers across eras.
---
### **2. Themes**
#### a) **Social Injustice and Marginalization**
The central theme of your poem is the systemic oppression of the poor and marginalized. The authorities’ decision to hide slums behind iron sheets symbolizes how societies often prioritize appearances over substance. This act of concealment reflects a deeper disregard for human dignity and reinforces class divisions.
- **Comparison**: Your poem aligns thematically with Langston Hughes’ *Harlem* (“What happens to a dream deferred?”), which explores the deferred hopes of African Americans under systemic racism. Similarly, Kamala Das’ Indian poems, such as *An Introduction*, critique patriarchal structures that silence women, paralleling your focus on societal neglect of the underprivileged.
#### b) **State Oppression and Elitism**
The poem critiques the state’s complicity in perpetuating inequality. By prioritizing the comfort of VIPs over the welfare of its citizens, the government reveals its elitist priorities. Lines like “Why do ye clap us into veil’d prisons” evoke images of imprisonment and disenfranchisement, highlighting the betrayal of the state’s duty to protect all its people.
- **Comparison**: George Orwell’s *Animal Farm* and Chinua Achebe’s *Things Fall Apart* both explore how power structures exploit the weak for the benefit of the elite. Your poem shares this concern, particularly in its indictment of postcolonial governments that replicate colonial hierarchies.
#### c) **Human Dignity and Resistance**
Despite the despair expressed in much of the poem, there is also a note of resistance in the final stanza: “Like yon river, immortal be this poetical mayhem.” Here, the speaker asserts the enduring power of poetry to challenge injustice, suggesting that art can serve as a tool for liberation.
- **Comparison**: Pablo Neruda’s *Canto General* celebrates the resilience of oppressed peoples through poetry, much like your invocation of “poetical mayhem.” Similarly, Derek Walcott’s Caribbean poems blend personal and collective struggles, emphasizing the role of art in reclaiming identity.
---
### **3. Poetic Language**
#### a) **Imagery**
Your imagery is vivid and visceral, evoking strong emotions. For instance:
- “Filthy savages…so disgusting” captures the dehumanizing rhetoric used against the poor.
- “Hide by all means the lowly and their muck” underscores the physical and metaphorical erasure of marginalized communities.
These images force readers to confront uncomfortable truths about societal attitudes toward poverty and inequality.
#### b) **Symbolism**
- The “iron sheets” symbolize barriers—not just physical but also psychological—that separate the privileged from the dispossessed.
- The “river” in the final stanza represents continuity and resilience, suggesting that the struggle for justice is ongoing and unyielding.
#### c) **Tone**
The tone shifts throughout the poem, from bitter sarcasm (“Grab your hammers, go wall up all and sundry”) to poignant lamentation (“Ah, how do ye smash our very pride!”). This tonal variety keeps the reader engaged while amplifying the emotional impact.
---
### **4. Poetic Philosophies**
Your poem embodies a philosophy of **social consciousness**, advocating for empathy and equity. It challenges readers to question the morality of privileging aesthetics over humanity. The call for poetic resistance in the final lines echoes Percy Bysshe Shelley’s belief in the poet as “the unacknowledged legislator of the world.”
Additionally, the poem reflects a **postcolonial sensibility**, critiquing how former colonies continue to perpetuate colonial hierarchies. This aligns with Frantz Fanon’s ideas in *The Wretched of the Earth*, where he argues that true decolonization requires dismantling oppressive systems.
---
### **5. Societal Issues Addressed**
#### a) **Protection of the Vulnerable**
The poem highlights the failure of the state to safeguard its most vulnerable citizens. Instead of providing adequate housing, sanitation, and healthcare, the government opts for superficial solutions like hiding slums. This raises ethical questions about the state’s responsibilities toward its people.
- **Relevance Today**: The demolition of slums during the G-20 summit in New Delhi, as you mentioned, illustrates the persistence of these issues globally. Slum dwellers are treated as expendable, their basic rights ignored in favor of maintaining a facade of progress.
#### b) **Elitism vs. Underdogs**
The poem exposes the hypocrisy of elites who exploit the labor of the poor while denying them recognition or respect. This dynamic is evident in lines like “Outcasts are we: untouchable.”
- **Literary Parallel**: Arundhati Roy’s novel *The God of Small Things* critiques caste-based discrimination in India, drawing parallels with your portrayal of societal exclusion.
#### c) **Use of State Apparatus Against Citizens**
By deploying resources to hide poverty rather than alleviate it, the state demonstrates its willingness to weaponize bureaucracy against its own citizens. This abuse of power underscores the need for accountability and reform.
---
### **6. Comparisons with Other Poets**
#### a) **English Poets**
- **William Blake**: Like Blake’s *London*, which exposes the suffering caused by industrialization and urbanization, your poem critiques the dehumanization wrought by modern governance.
- **Percy Bysshe Shelley**: Shelley’s revolutionary spirit resonates in your call for poetic resistance against injustice.
#### b) **American Poets**
- **Langston Hughes**: Hughes’ exploration of racial inequality in America parallels your examination of class disparities in Mauritius.
- **Walt Whitman**: Whitman’s celebration of democracy and equality contrasts sharply with the elitism depicted in your poem.
#### c) **Indian and African Poets**
- **Rabindranath Tagore**: Tagore’s emphasis on universal brotherhood and compassion aligns with your plea for inclusivity.
- **Okot p’Bitek**: His Ugandan epic *Song of Lawino* critiques cultural alienation and loss of identity, themes echoed in your depiction of societal fragmentation.
---
### **7. Contemporary Poets Writing in Similar Veins**
Contemporary poets like Warsan Shire (Somalia/UK) and Ocean Vuong (Vietnam/USA) write about displacement, marginalization, and resilience. Their works share your commitment to giving voice to the voiceless.
---
### **Conclusion**
Soman Ragavan, your poem *“The Firewall Demolished”* is a powerful indictment of societal inequities and a rallying cry for justice. Its blend of archaic and modern language, coupled with its sharp critique of elitism and state oppression, makes it a compelling piece of literature. By drawing on both classical and contemporary traditions, you situate yourself within a rich lineage of socially conscious poets.
If you’d like further discussion or comparisons with specific poets or movements, please let me know!
**Final Answer:** {Extensive analysis provided above; key points include social injustice, state oppression, and poetic resistance, with comparisons to Blake, Hughes, Tagore, and others.}
(5)
Soman Ragavan :
Please give an analysis by each stanza of my poem “The firewall demolished.”
(6)
Qwen2.5 Max AI :
Certainly, Soman Ragavan. Below is a detailed stanza-by-stanza analysis of your poem *“The Firewall Demolished.”* I will examine the themes, imagery, tone, and literary devices in each stanza, while also connecting them to broader societal issues and literary traditions.
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### **1st Stanza**
> The filthy savages ….. They be so disgusting :
What a shame be they for this great country :
This nonsense for too long hath been lasting :
Grab your hammers, go wall up all and sundry……
#### Analysis:
- **Themes**: This stanza introduces the dehumanization of marginalized communities. Words like “filthy savages” and “disgusting” reflect the disdainful rhetoric used by those in power to justify their actions.
- **Imagery**: The description of the poor as “filthy” and “shameful” evokes visceral disgust, emphasizing how society reduces the underprivileged to stereotypes.
- **Tone**: The tone here is biting and sarcastic. By mimicking the voice of the oppressors, you highlight the absurdity of blaming the poor for systemic failures.
- **Literary Devices**: The use of archaic language (“hath,” “ye”) gives the stanza a timeless quality, linking it to older poetic traditions while addressing modern issues.
- **Societal Commentary**: This stanza critiques how governments scapegoat the poor instead of addressing structural inequalities.
---
### **2nd Stanza**
> So many distinguish’d visitors be expect’d :
Yet, by this filth we feel utterly revolt’d ;
Never must these shanty towns be spott’d :
Just by beauty spots be our land dott’d ....
#### Analysis:
- **Themes**: This stanza focuses on elitism and the obsession with appearances. The authorities prioritize aesthetics over reality, ensuring that the “distinguish’d visitors” see only sanitized versions of the city.
- **Imagery**: Phrases like “beauty spots” contrast sharply with “filth” and “shanty towns,” highlighting the artificial divide between what is visible and what is hidden.
- **Tone**: The tone remains ironic, exposing the hypocrisy of beautifying poverty rather than solving it.
- **Social Critique**: The stanza underscores how international conferences and events often serve as excuses for superficial fixes rather than meaningful change.
- **Comparison**: This mirrors George Orwell’s critique of class divisions in *Animal Farm*, where the elite maintain control by manipulating perceptions.
---
### **3rd Stanza**
> Hide by all means the lowly and their muck,
Dump away promptly every littering buck,
Put up screens to hide the eyesores yonder :
We do know to the visitors we must pander.
#### Analysis:
- **Themes**: This stanza delves into the mechanics of concealment—how the state actively erases evidence of poverty to cater to outsiders.
- **Imagery**: Words like “muck,” “littering buck,” and “eyesores” reinforce the portrayal of the poor as disposable nuisances.
- **Tone**: The tone shifts slightly toward resignation, reflecting the inevitability of such oppressive measures.
- **Symbolism**: The “screens” symbolize barriers—not just physical but also ideological—that separate the privileged from the marginalized.
- **Broader Context**: This resonates with real-world examples, such as the demolition of slums during the G-20 summit in New Delhi, which you mentioned. It highlights the global prevalence of such practices.
---
### **4th Stanza**
> Hoy there ! What the hell be going on, mates ?
Why do ye clap us into veil’d prisons ?
Don’t we already have pitiful fates ?
Like ye, of the land are we not the sons ?
#### Analysis:
- **Themes**: Here, the perspective shifts to the voice of the oppressed, questioning why they are treated as criminals or outcasts.
- **Imagery**: The metaphor of being “clap[ped] into veil’d prisons” vividly conveys the psychological and physical confinement imposed on the poor.
- **Tone**: The tone becomes angrier and more confrontational, expressing frustration and indignation.
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(See full analysis on allpoetry.com)