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Plath's poetry has a tendency to be more pessimistic than optimistic, although poems such as. 'Morning Song' and 'Child' reveal the power of the ephemeral ...
Typology: Exercises
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Sylvia Plath is an iconic poet, renowned for her thought-provoking and disarmingly honest perspective on life. In exploring her own varying intense emotions and unpredictable psychological states, Plath helps us better understand the insecurities and ambivalence we all experience at some stage in our lives. These poems which universally connect with the reader in a dark but comprehensible manner convey Plath’s esoteric but somewhat elegant view on life through her poetic genius. Plath’s poetry has a tendency to be more pessimistic than optimistic, although poems such as ‘Morning Song’ and ‘Child’ reveal the power of the ephemeral positivity her children bring her. ‘Elm’ exposes the dark, disturbed, deflated world Sylvia Plath lives in through her sinister, striking and at times, shockingly provocative imagery. Plath’s iconic pessimistic and depression-fuelled poetry is perhaps best represented by ‘Elm’. The opening stanza introduces the personified elm tree addressing Plath as it were her conscience. The elm tree arrogantly greets her with ‘I know the bottom, she says. I know it with my great tap root. It is what you fear. I do not fear it: I have been there’. I felt the elm was addressing Plath in an omniscient manner, essentially articulating her pain and emptiness, explaining how it will inevitably worsen. This arresting image shows the sinister outlook Plath has not only on life but herself. The elm tree maintains this authoritative tone throughout, taunting Plath about the elusive nature of love, ‘love is a shadow. How you lie and cry after it. Listen: these are its hooves: it has gone off, like a horse’. The elm offers no reassurance, twisting the proverbial knife at a time when Plath’s marriage was falling apart. The elm tree furthers this torture by reminding Plath of her mediocrity, focusing on her faults and failures, ‘these are the isolate, slow
faults that kill, that kill, that kill’. This threat closes the poem in a shocking but thought- provoking manner as no resolution is offered to the seemingly perpetual suffering. ‘Mirror’, much like ‘Elm’ is driven by Plath’s intense emotional state. In this poem, the mirror is personified and plays a very similar role to the elm tree. The mirror acts like a conscience to Plath, adopting an omniscient, yet brutally honest tone: ‘I am silver and exact, I have no preconceptions’. The mirror insists its judgement is completely unbiased, ‘unmisted by love or dislike’. Plath was known for her beauty and one might think that this poem may possess some positive connotations. Alternatively, the mirror makes Plath aware of the impermanence of beauty. ‘Faces and darkness separate us over and over’. This image alludes to the passage of time and its inevitable impact on Plath’s beauty. ‘In me she has drowned a young girl, and in me an old woman rises towards her day after day, like a terrible fish’. A powerfully provocative closing image likens old age to a monster living in the depths within. Ultimately, ‘Mirror’ exposes Plath’s realisation that her beauty will fade away over time and, perhaps, with this the people in her life. This poem is, for me, quite poignant as I feel it marks a point in Plath’s life where she is completely overwhelmed by her emotions and could represent the beginning of the end for her. ‘Morning Song’ reveals a refreshing change in Plath’s poetic perspective. The poem is directed towards her first-born child. Plath’s emotional state appears relatively stable in this poem as we see her maternal side shine through. The opening line of ‘Morning Song’ brings an unprecedented optimism to Plath’s verse, ‘love set you going like a fat gold watch’. Plath is reminiscent of her child’s beginning, revealing that they were conceived in love and their birth was a precious memory in her life. She continues to speak fondly of the child and how careful she was to make sure she was a good mother, but as Plath begins to speak of herself it is in self-deprecating and abrupt sentences, ‘one cry and I stumble from bed cow-heavy and floral’. In such a dominantly positive poem, Plath uses such a self-loathing image to describe herself, underscoring a sad reality: although she is alert to protect her baby, she fails to mask
‘Mirror’ and ‘Elm’ show her at her worst, just as ‘Morning Song’ and ‘Child’ reveal her at her best. My study of Sylvia Plath’s poetry has risen great awareness in me of day to day life and has proved thoroughly enjoyable and rewarding.