What Were They Like? summary, Analysis, Form and Languages and Questions

What Were They Like? (Denise Levertov)

About the poet

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โ€“ Denise Levertov was an American poet, but she was born in 1927 in Ilford, Essex

โ€“ Levertovโ€™s father was Russian, and she considered herself to be โ€œpart Jewish, German, English and Welshโ€, which caused her to be confused about her identity.

โ€“ She was a civilian nurse during the Blitz and met and married an American after the War. She moved to America and became a citizen in 1955.

โ€“ Her father was Jewish but converted to Christianity and Levertov always felt that her culture and religion were important parts of her identity. She converted to Christianity in 1984.

โ€“ She died in 1997.

Summary

Underneath all of this, however, is the poetโ€™s voice. Levertov writes her poem with a sense of sadness. Loss, regret and even anger also run subtly throughout the poem.

Themes of the Poem

The effects of the war in Vietnam is a key theme of the poem. A number of unifying ideas or themes run through the poem. Different readers may attach more or less significance to each of these themes, depending upon how they view the poem.

Cultural identity: the poem concerns itself with the culture of the Vietnamese people, following the Vietnam War.Culture: different aspects of a culture are explored in the various questions and responses โ€“ art, literature, music, language, religion, technology. โ€˜It is not remembered.โ€™ This repeated phrase in the second section of the poem emphasises that many aspects of the Vietnamese culture have been lost or forgotten.

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War: the poem looks at the impact of violence and conflict on the people of Vietnam.War: the poet explores the effects of war (specifically the Vietnam war) on a nation and its people. โ€˜When bombs smashed those mirrors/ There was time only to scream.โ€™ The harsh realities of war are exposed by the image of bombs being dropped into the paddy fields and the sound of people dying.

Anger: the calm responses of the responder seem to be at odds with the rage that might naturally be felt at what has taken place. The anger is suppressed. โ€˜Sir, laughter is bitter to the burned mouth.โ€™ The poetโ€™s underlying anger at what has taken place is made clear by the horrifying image and the alliteration (series of words that have the same first consonant sound) of โ€˜bitterโ€™ and โ€˜burnedโ€™.

Injustice: Levertov was opposed to the Vietnam War and uses a question and answer format to highlight what she considered crimes.

Form, structure and language

The poem is written in a highly individual form as two blocks of free verse.
The first block contains six questions and the second six responses. The poem can therefore be read in sequence or by moving from each question to each answer. Try both methods to see what effect this has on your interpretation. The poem concludes with a final twist when the person giving the responses asks a rhetorical question โ€“ โ€˜Who can say?โ€™ โ€“ which the original questioner does not answer. Also of significance is the pause/gap between the two blocks, perhaps indicating the more thoughtful nature of the responder who considers answers before giving them. This contrasts with the hurried and possibly ill-considered questioning in the first block.

The vocabulary of the first block is relatively straightforward and simple. All the questions are in the past tense suggesting that the Vietnamese culture no longer exists.

By contrast, the second section makes use of metaphor (โ€˜their light hearts turned to stoneโ€™), comparison (โ€˜their singing resembled/ the flight of moths in moonlightโ€™), contrast (the bones used for making jewellery and the burned bones of the people), alliteration (โ€˜moths in moonlightโ€™) and other literary devices. This makes the responder appear more considered and cultured. It also allows the beauty of the country and its culture to be expressed. The answers are in a mixture of the past and present tense which highlights the sense of confusion caused by the war.

The final statement โ€“ โ€˜It is silent nowโ€™ โ€“ is firmly in the present and highlights not only the war ending but also the cultural silence which has followed as a result. It also precedes an actual silence as the poem ends and the reader is left to consider their personal reaction.

Audrey T. Rodgers criticism

In โ€œWhat Were They Like?โ€ the poem rests upon a dialogue between an innocentโ€”the questionerโ€”and the speaker who โ€œknowsโ€ all:

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1. Did the people of Viet Nam

use lanterns of stone?

2. Did they hold ceremonies

to reverence the opening of buds?

3. Were they inclined to quiet laughter?

4. Did they use bone and ivory,

jade and silver, for ornament?

5. Did they distinguish between speaking and singing?

There were few metaphoric overtones in this first part; Levertov is dealing with the โ€œfactsโ€ of Vietnamese life. The responses comprise the remainder of the poem. The โ€œanswersโ€ ironically pick up the language of the questions, and the perversions of wartime are revealed in the โ€œdistortionsโ€ of a once-revered way of life. What emerges from the answers is the summation of warโ€™s inevitable outcome expressed as metaphors: โ€œhearts turned to stone,โ€ children killed, bones charred, bombs smashing mirrors so that โ€œthere was time only to scream,โ€โ€”the destruction of the human spirit. The final stanzaโ€”the final answerโ€”strikes a poignant note as an echo of the past haunts the present:

There is an echo yet

of their speech which was like a song.

It was reported their singing resembled

the flight of moths in moonlight.

Who can say? It is silent now.

One might question the format of the poemโ€”a pseudo-journalistic and deliberately cold approach to the catastrophe of Vietnam (so effectively emphasized by the repetition of โ€œIt is not rememberedโ€), but the device is reminiscent of the reportage of the Vietnam War in interviews on television. Equally absent from this poem is the presence of metaphor and symbol in the earlier part of the poemโ€”something we have come to associate with Levertovโ€™s later poetry. True, there is a value in the poemโ€™s โ€œunderstatementโ€ and lack of intensity that is present in โ€œLife at War,โ€ but the horror and the tragic waste of civilization are present here. The final stanza offers an added dimension of recollected beauty in the image of the flight of moths. One is struck by the reportorial voice of the first six questions contrasted with the graphic images and the poignancy of the final lines. After her visit to Hanoi, as we shall see, there is a subtle shift in tone that reinforces this note of empathy. The silence that closes the poem is juxtaposed to the โ€œecho,โ€ which echoes in our minds. This is a poem not of anger but of anguish.

โ€œEnquiry,โ€ one of โ€œTwo Variations,โ€ presents us with another perspectiveโ€”that of a Vietnamese woman who watches the atrocities of war in silence. The omniscient speaker, whom I assume to be a mother, addresses the โ€œkillers,โ€ those who carry on the โ€œscheduledโ€ destructive business of war and yet sleep at night. The first poem closes with the ominousness of the lidless eyes watching and the reminder that โ€œShe will outlast you.โ€ The form of the poemโ€”the short lines, sharp images, juxtapositions of burning flesh, writhing, dying children and lidless eyes with the eating, sleeping, buying, selling killersโ€”creates the tone of bitterness. There is no hope here, save that the woman will outlive the killers. And there is little solace from that observation. Here, Levertov allows herself the temptation to preach to the killersโ€”a tone that flaws the first part of the poem. But in โ€œThe Seeing,โ€ the power of the suffering victims is reminder enough of the inhumanity of killing children indiscriminately. In this poem, Levertov reaches the nadir of despair. The toneโ€”not the themeโ€”will change in later poems, but the sheer horror of seeing what war wreaks upon the innocentโ€”women and childrenโ€”can not be assuaged.

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The mother โ€œseesโ€ even with โ€œhands over my eyesโ€ the living and the dead; ironically, the dead are โ€œas if aliveโ€ and the living as if dead. Death comes from the skies releasing โ€œwet fire, the rain that gave / my eyes their vigilance.โ€ There is no overt emotionalism in the poem, but the fragmented images, the terse lines, the act of โ€œseeingโ€ give emotional weight to the poem. Mere survival itself seems a pyrrhic victory.

Levertov has been censured as โ€œhysterical,โ€ over-emotional, lacking control and order which she so highly prizes. There is anger but not โ€œhysteriaโ€ in the poems in Life at War. Yet, the immediacy of the Vietnam War in these poems cannot be dismissed, and the sharp visual images capture the violence and the human indifference to the ravishment of the human body and soul. The images of burned human flesh, lidless eyes, babies nursing at dry breasts, and charred bones are the realities of Vietnam, and the tone fo the โ€œLife at Warโ€ poems, while at times bitter, incredulous, poignant, or despairing, is always controlled. The order that Levertov assumes is the antithesis of the horrors she describesโ€”in vivid image collages, in rhetorical structures (such as โ€œWhat Were They Like?โ€) in measured rhythms and repetitions. That order, for Levertov, is to be the underpinning of her poetry, to be sought and found, as she reaffirms again and again.

Language, form and structure in points

โ€“ The poem uses a question and answer format to explore the effects of war on Vietnamese culture

โ€“ There is natural imager (buds/blossom/rice) to highlight how the Vietnamese people lived in harmony with nature

โ€“ The juxtaposition of nature and conflict

(killed/burned/charred/smashed) highlights the impact of war on civilians

โ€“ References to singing and silence show how the Vietnamese people have experienced a loss of innocence following the war

Key quotations:

โ€œDidโ€/โ€Wereโ€/โ€Hadโ€ โ€“ the questions are asked in past tense, suggesting that the culture of Vietnam no longer exists

โ€œquiet laughterโ€ โ€“ suggestions of the Vietnamese people living a peaceful and unobtrusive existence

โ€œIt is not rememberedโ€ โ€“ no one exists who can answer this question โ€“ everyone has been killed in the conflict

โ€œburned mouthโ€ โ€“ literally, laughter would hurt someone with burns. Metaphorically, there is nothing to laugh about now that the country has been destroyed

โ€œSilentโ€ โ€“ ends on a serious/poignant note

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