Freedom from Male Oppression in Sylvia Plath's Daddy
Word Count includes Poem
Sylvia Plath?s poem "Daddy" describes her feelings of oppression from her childhood and conjures the struggle many women face in a male-dominated society. The conflict of this poem is male authority versus the right of a female to control her own life and be free of male domination. Plath?s conflicts begin with her father and continue into the relationship between her and her husband. This conflict is examined in lines 71-80 of "Daddy" in which Plath compares the damage her father caused to that of her husband.
The short stanzas containing powerful imagery overwhelm the readers forcing them to imagine the oppression that the speaker went through in her short life. The tone of this poem is that of an adult engulfed in outrage and who oftentimes slips into a childlike dialect; this is evident when the speaker continually uses the word "Daddy" and also repeats herself quite often. The last two stanzas of the poem, especially, portray a dismal picture of life for women who find themselves under a dominating male figure. The passage seems to show that the speaker has reached a resolution after being kept under a man?s thumb all her life.
In lines 71-80 the speaker compares her father and her husband to vampires saying how they betrayed her and drank her blood--sucking her dry of life. She tells her father to give up and be done, to lie back" (line 75) and in line 80, she says, "Daddy, daddy, you bastard,
Plath?s attitude towards men is expressed in this passage through her imagery of the villagers stamping and dancing on the dead vampire. The speaker says "If I?ve killed one man, I?ve killed two?" most likely meaning that all men are the ...
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...to die
59 And get back, back, back to you
60 I thought even the bones would do.
61 But they pulled me out of the sack,
62 And they stuck me back together with glue.
63 And then I knew what to do.
64 I made a model of you,
65 A man in black with a Meinkampf look
66 And a love of the rack and the screw.
67 And I said I do, I do.
68 So daddy, I'm finally through.
69 The black telephone's off at the root,
70 The voices just can't worm through.
71 If I've killed one man, I've killed two?
72 The vampire who said he was you
73 And drank my blood for a year,
74 Seven years, if you want to know.
75 Daddy, you can lie back now.
76 There's a stake in your fat black heart
77 And the villagers never liked you.
78 They are dancing and stamping on you.
79 They always knew it was you.
80 Daddy, daddy, you bastard, I'm through.
12 October 1962
(#183)
The readers are apt to feel confused in the contrasting ways the woman in this poem has been depicted. The lady described in the poem leads to contrasting lives during the day and night. She is a normal girl in her Cadillac in the day while in her pink Mustang she is a prostitute driving on highways in the night. In the poem the imagery of body recurs frequently as “moving in the dust” and “every time she is touched”. The reference to woman’s body could possibly be the metaphor for the derogatory ways women’s labor, especially the physical labor is represented. The contrast between day and night possibly highlights the two contrasting ways the women are represented in society.
Moses spends forty years following the instructions of God throughout Exodus. However, in Numbers, God tells him to speak to the rock and it will bring them water. Instead of speaking to the rock, he strikes it with his staff, like he did previously in Exodus. When he does not directly follow the instructions he was given, God responds by saying, “‘Because you were not faithful to me in showing forth my sanctity before the Israelites, you shall not lead this community into the land I will give them,’” (Numbers 20:12). Moses ends up being able to see the Promised Land, but never being able to set foot inside
It tends to be the trend for women who have had traumatic childhoods to be attracted to men who epitomize their emptiness felt as children. Women who have had unaffectionate or absent fathers, adulterous husbands or boyfriends, or relatives who molested them seem to become involved in relationships with men who, instead of being the opposite of the “monsters” in their lives, are the exact replicas of these ugly men. Sylvia Plath’s poem “Daddy” is a perfect example of this unfortunate trend. In this poem, she speaks directly to her dead father and her husband who has been cheating on her, as the poem so indicates.
Sylvia Plath a highly acclaimed twentieth century American poet whose writings were mostly influenced by her life experiences. Her father died shortly after her eighth birthday and her first documented attempt at suicide was in her early twenties. She was married at age twenty-three and when she discovered her husband was having an affair she left him with their two children. Her depression and the abandonment she felt as a child and as a woman is what inspires most of her works. Daddy is a major decision point where Plath decides to overcome her father’s death by telling him she will no longer allow his memory to control her.
"Daddy" is probably Plath’s most famous poem. The critic George Steiner has said that, "It is a poem by which future generations will seek to know us." He has also called it, "the Guernica of modern poetry." The violence of its imagery and tone, the references to concentration camps, torture and fascism certainly evoke Picasso’s most celebrated painting.
In Aeschylus’s, Agamemnon, there is a great possibility that the death of Agamemnon could have been prevented, had the Chorus simply listened to Cassandra’s prophecy. But the words spoken between the two parties seem to have loss it’s meaning when it fell upon the Chorus; yet, they were obviously hearing what she was saying. But while they were hearing what she had to say, they did not listen to her words. Ironically, in this story, it is the women who posses all the knowledge. But once they try to share it, the men, who later suffer the consequence, ignore them. People only listen to what they want to hear, and a woman’s word is not considered important enough to listen to.
‘The woman’ of the poem has no specific identity and this helps us even further see the situation in which the woman is experiencing, the lost of one’s identity. Questions start to be raised and we wonder if Harwood uses this character to portray her views of every woman which goes into the stage of motherhood, where much sacrifice is needed one being the identity that was present in society prior to children.
Although the little girl doesn’t listen to the mother the first time she eventually listens in the end. For example, in stanzas 1-4, the little girl asks if she can go to the Freedom March not once, but twice even after her mother had already denied her the first time. These stanzas show how the daughter is a little disobedient at first, but then is able to respect her mother’s wishes. In stanzas 5 and 6, as the little girl is getting ready the mother is happy and smiling because she knows that her little girl is going to be safe, or so she thinks. By these stanzas the reader is able to tell how happy the mother was because she thought her daughter would be safe by listening to her and not going to the March. The last two stanzas, 7 and 8, show that the mother senses something is wrong, she runs to the church to find nothing, but her daughter’s shoe. At this moment she realizes that her baby is gone. These stanzas symbolize that even though her daughter listened to her she still wasn’t safe and is now dead. The Shoe symbolizes the loss the mother is going through and her loss of hope as well. This poem shows how elastic the bond between the daughter and her mother is because the daughter respected her mother’s wish by not going to the March and although the daughter is now dead her mother will always have her in her heart. By her having her
Clytemnestra has the ten years of the Trojan War to plan her revenge on Agamemnon. Upon his return Clytemnestra shows him some love. That love she showed quickly changes to rage and hatred when Clytemnestra she’s Agamemnon with his mistress Cassandra.
Plath’s work is valuable for its ability to reach today’s reader, because of its concern with the real problems of our culture. In this age of gender conflicts, broken families, and economic inequities, Plath’s forthright language speaks loudly about the anger of being both betrayed and powerless. She was hailed as literary symbol of the women’s rights movement and a feminist writer of great significance. Sylvia Plath began by creating art that imitated life, but ended when life imitated art.
When Sylvia Plath was told her father died at the tender age of nine, she bitterly said, “I’ll never speak to God again.” In her brief but indispensable writing career, Plath distinguished herself in the poetical realm with her body of work that includes but is not limited to poems, short stories, and one semi-autobiographical novel. Her legacy lives on through her dark themes laden with powerful images such as the moon and skulls, while a father-type figure acts as a significant force either as a central antagonistic power or an influential shadow looming in the background. Brooding thoughts and despondent emotion overcome the reader when faced with one of Plath’s numerous works such as “Daddy,” “The Colossus,” and “Lady Lazarus.” Sometimes straightforward in understanding, Plath’s works contain intermittently placed, unique choices in diction like “mule bray, pig-grunt” throughout her works. On February 11, 1963, Plath was found with her head placed in her kitchen oven (death by carbon monoxide), yet she continues to resonate with people to this day; is it because we are able to relate to her melancholy and heartache? Or because of our sickening-interest in her suicide and the events that led to it? Maybe it is both. Because of her father’s death at a young age, Sylvia Plath’s poems underlies a theme regarding her suicidal demise and victimization at the hands of a patriarchal society, particularly from her husband, Ted Hughes, and late father, Otto Plath.
Clytemnestra, after Agamemnon was at war for a few years, began to cheat on Agamemnon with his cousin, Aegisthus. When the two got word of Agamemnon’s return from Troy they began to plot against Agamemnon. Clytemnestra prayed to the Gods to let Agamemnon make it home because she wanted to punish him herself. Even though most of the other ships did not make it home after the storms, Agamemnon’s did. Many believe this is because of the prayer that was prayed by Clytemnestra.
There is another facet of Agamemnon’s character that plays a key role in his eventual punishment. That role is the role of Agamemnon the adulterer. Adultery plays a double role with Agamemnon. First, there is the girl Chryseis about whom Agamemnon admits to liking better than his own wife. Second, the Trojan War is about adultery. The entire war is centered on Helen’s act of adultery. Agamemnon is acting on a double standard. Adultery is the cause of the Trojan War, and is therefore bad. Yet, Agamemnon is cheating on his wife, ...
Clytemnestra’s peripeteia begins the moment Agamemnon sacrifices their daughter, Iphigenia. Heartbroken and grieving, Clytemnestra schemes, plotting vengeance for her daughter’s death. She obsessively plans her husband’s murder for so many years that it becomes a fait accompli. Clytemnestra greets his return with fa...
Comparatively, in the sixth stanza, Path, refers to death as “the grave cave” and “how soon the flesh will be at home on her”, this fragment can be the representation of how calm she feels with killing herself and the connection she feels with doing it on her own house. Plath considers death as a satisfactory, comfortable act; and it’s here where her masochistic self surfaces, it provides an insight on how well at ease she feels with death. She also uses her death as a show. She does this by changing the language to that of a