Sylvia Plath’s poetry reverberates with universal female experience and anxieties; it addresses a female upbringing, pregnancy, childbirth, marriage while also critically engaging with stereotypes of femininity, often illustrating these through myth or metaphor. These feminine themes are recurrent throughout her poetry, often written about with a sense of ambivalence or fear. Putting aside Plath’s own autobiographical influences in the production of this poetry, the inclination towards darkness is a notable trend among women drawn to writing. Plath’s poetry often draws upon stereotypes, and this may reflect the toxicity of the ‘Poetess’ and stereotypic, often creatively paralysing, expectations that underpin the label. Germaine Greer notes that female poets feel pressure to “cannibalise” themselves because “unhappy women will be attracted to poetry, and that poetry will give their unhappiness permanent form in intransigent text”
While femininity may be an near-impossible concept to define, Betty Friedan’s book The Feminine Mystique, published in 1963, may provide the best cultural backdrop against Plath’s work. Like many of Plath’s poems, it focusses on the relationship between the woman and domesticity. While The Feminine Mystique will complement Plath’s domestic poetry, other feminist critical texts and her own autobiographical insight will prove useful to provide context when analysing the poems based beyond the domestic, particularly mythologised accounts such as ‘The Colossus’. Plath demonstrated an awareness of female oppression in her lifetime, and her own relationship with femininity is a contentious debate. Marianne Egeland comments that “Sylvia Plath has been presented as a martyr for poetry, for feminism, a divided modernistic self, and écriture feminine” (Egeland, 285). Some critics argue this feminist label is a post-humous insignia,
Sharon Kinoshita describes four "widely divergent assessments of the female voice in the work of Marie de France," (265). While some critics believe Marie's feminism lies inherently in her writing style, others believe Marie made strategic moves to reveal her femininity. Each differing opinion holds true in some instances, but fall apart in others. Regardless of the differences of opinion regarding Marie de France's feminism, I can agree with most critics when they say Marie is one of the most celebrated female poets of her time. Marie de France will continue to be celebrated for years as a poet who wasn't afraid to show her female voice.
Armstrong, Isobel. 'A Music of Thine Own': Women's Poetry. in: Joseph Bristow, Victorian Women Poets. Emily Bronte, Elizabeth Barrett Browning, Christina Rossetti. Basingstoke and London: Macmillan Press Limited, 1995, 32-63.
...mely carefully chosen rhetoric, she has demonstrated how women can break free of men. She has taken away the fear than many women feel when they want to stand up against the male figure in their life. When women are able to be strong, and use the power that they have always had, they are able to move mountains with that power. They can remove themselves from a man who takes advantage of them or objectifies them, and reduce them to nothing more than the coward that they are. Larcom’s poem painted a clear picture of progress that women have made against men, and how they are tackling the issues set before them. Because of Larcom and her ability to use her voice through writing to portray and strong vision of women, has empowered many others to do the same. They are able to break free from the chains of repression that so many men have restrained women by for so long.
Taboo issues have become the talk of the day in the early 1960s. Poetry, written by American female figures, begins to flourish in the mid-twentieth century. Women take the initiative to write in verse form. The reason behind a tremendous “emphasis on poetry performance” hinges on the “public role [that] poetry could play” as Kim Whitehead points out (qtd. in Crown 657). Apart from poetry written by male confessional poets, a new generation of female poets appeared under the umbrella of “Confessional poetry” including Sylvia Plath, Kamala Das, Elizabeth Bishop and Anne Sexton.
Throughout history, women have struggled with, and fought against, oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structures. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society.
Two of the most popular poets of the 19th and 20th centuries are Emily Dickinson and Sylvia Plath, respectively. These women were born nearly one hundred years apart, but their writing is strikingly similar, especially through the use of the speaker. In fact, in Sylvia Plath’s poem “Daddy”, she writes about her father and compares him to domineering figures, such as Adolf Hitler, a teacher, and a vampire; and in Emily Dickinson’s poem “She dealt her pretty words like blades—“, she talks about bullies and how they affect a person’s life—another domineering figure. Despite being born in different centuries, Emily Dickinson and Sylvia Plath are parallel in a multitude of ways, such as their choice in story, their choice for themes, and their choice of and as a narrator.
In the article, “I won, I’m Sorry”, Mariah Burton Nelson uses an anecdote in order to begin her article. Sylvia Plath’s attitude is one that is concentrated on conforming to men in order to make them feel comfortable and as the stronger sex. Burton Nelson then shifts to talk about women in sports and how these female athletes behave in order to fit into the gender roles people have become accustomed to. The anecdote is used in order to describe the way women will underscore themselves in order to fit into society’s definition of how a woman should behave.In order to frame her article, Mariah Burton Nelson uses the anecdote about the poet, Sylvia Plath, in order to demonstrate how women conform as a means to fit into gender expectations. This
For hundreds of years, women are fighting a war of inequality in the male dominated society. Heather Savigny addressed a very important question in her article, what is Feminism? By definition, “Feminism” is a moment started by women to end inequality in all fields of society. Women in the society started this protest to gain rights that were deprived by the males in the society. A feminist can be a normal person who fights against the discrimination on based on sex, age and gender. The feminist movement is very important in our society, to protect women for sexual harassment and violence. To fight this problem, and to find a possible way to end it, many great writers wrote very influential poems and stories. A very few writers who chose to
Throughout the world, there are rudimentary gender characteristics, both physical and psychological, that differentiate a man from a woman. However, some people do not associate themselves with these stereotypical characteristics. Notwithstanding the amount of progress achieved in the past few decades, gender stereotypes are still solemn. Qualities like strength, intellect and sexual deviance are usually associated with men, while qualities like irrational, emotional and insecure are more relevant to women. In Sylvia Plath’s “Daddy” and Dorothy Livesay’s “The Unquiet Bed”, each poet captures the expression of female
Marianne Moore’s most popular poem, which is also her most ambiguously titled poem, is called “Poetry.” In this poem Moore decisively strayed away from her conventional writing style of contrariety and the bizarre, but it does seem to share other characteristics of her earlier poetry. Moore’s apparent purpose in writing “Poetry” was to criticize the present social outlook on the entire idea of poetry, to come up with a universal definition of poetry and of genuine poetry, and ultimately to convince those who dislike poetry of its benefits. She attempted to present this criticism and definition by means of blatant irony, and even though she desperately wants to describe the seemingly trivial activity of poetry, she fails to provide a definition that is not caught up in the negative.
Sylvia Plath’s The Bell Jar (1971) is a thinly veiled autobiography. Having been riddled by depression herself, Plath has us follow her protagonist Esther’s journey of self-discovery in order to assert her views on the intersection of mental illness and traditional femininity. In the novel, blood serves to mark transitions in Esther’s life. Time after time, blood intersects with largely feminine milestones and the shifts in her mental health as she witnesses births, is sexually exploited, and must confront her own sexuality. Esther struggles to fit in to the narrow feminine role and views the world through a predisposition for depressive thoughts. The “traditional” era in which she exists enforces very binary gender roles and places her purity
In an essay on feminist criticism, Linda Peterson of Yale University explains how literature can "reflect and shape the attitudes that have held women back" (330). From the viewpoint of a feminist critic, "The Lady of Shalott" provides its reader with an analysis of the Victorian woman's conflict between her place in the interior, domestic role of society and her desire to break into the exterior, public sphere which generally had been the domain of men. Read as a commentary on women's roles in Victorian society, "The Lady of Shalott" may be interpreted in different ways. Thus, the speaker's commentary is ambiguous: Does he seek to reinforce the institution of patriarchal society as he "punishes" the Lady with her death for her venture into the public world of men, or does he sympathize with her yearnings for a more colorful, active life? Close reading reveals more than one possible answer to this question, but the overriding theme seems sympathetic to the Lady. By applying "the feminist critique" (Peterson 333-334) to Tennyson's famous poem, one may begin to understand how "The Lady of Shalott" not only analyzes, but actually critiques the attitudes that held women back and, in the end, makes a hopeful, less patriarchal statement about the place of women in Victorian society.
Portraying the characters rejection to conformity, American literature illustrates the distinctive following of one's own standards. From what has been analyzed previously, the authors are trying to display a message of change through the characters words and actions. Many times it is apparent that the characters are in there times of most comfort when they are acting in such that makes them their own being, stepping aside from the standards of the rest of society. Writers try to express the importance of stepping outside of that comfort zone in order to grow and develop as a human being. How will one ever know who they are if they conform to be what everyone is told to be? The biggest advocate of rejecting the norms of America is Chris McCandless.
To what extent does Carol Ann Duffy’s poem ‘Medusa’ challenge stereotypical masculine and feminine attributes?
The discourse on the status of women and their struggle for liberation in the society and in literature, however, is not new. Women’s liberation movement, popularly known as ‘feminist’ movement, started with an aim of establishing and defending equal rights and opportunities for women. Until late eighteenth century, women, whether of Europe or non-Europe, did not raise any voice to claim their rights in the society. With the publication of the British feminist writer and advocate of women’s rights, Mary Wollstonecraft’s revolutionary work A Vindication of the Rights of Woman (1792), there emerged a women’s...