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Theories on Sylvia Plath's poems
Theories on Sylvia Plath's poems
The theme of motherhood in the poetry of sylvia plath
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The poem, “Two Sisters of Persephone”, by Sylvia Plath exhibits a clear uncomplicated theme at first sight, but it then progresses into a mythological allegory as the poet reflects and discusses the role of women in the time specific to the setting of the poem. The poem written in 1956, the year Plath got married, introduces a phase in her life. Thus the poem represents two prospective paths for Plath and reveals her severe depression that she underwent as a young girl and continued throughout her adulthood. The speaker’s lack of ability to merge two personalities in this poem leads to her downfall. This is shown by the means of textual and literary devices, as well as mythological references. Plath’s background and upbringing along with Greek myths allows the reader to sense a part of Plath’s quandary whilst relating the obstacles she has undergone throughout her life to many women.
Sylvia Plath, born in October 1932, went through a great amount of depression which never receded due to her father’s death in 1940. She unsuccessfully attempted suicide at the ages of 10 and 20. However, in 1954 things seemed hopeful, with Plath obtaining a scholarship to Harvard summer school, then in 1955 with her graduation from Smith College and her attendance to Cambridge University on Fulbright fellowship. On the 16th of June in 1956 Plath was married to Ted Hughes, who was also a poet.
The poem is centred around a mythological allusion to the Greek goddess Persephone, who was the goddess of the underworld and fertility in Greek mythology. Persephone was abducted by the King of the underworld, Hades. Persephone’s mother, Demeter was broken-hearted. As a result she wandered the earth looking for her daughter. When she had heard what happened sh...
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...d critical in understanding the theme; as it also compels the reader to finish the stanza rather than pausing, hence forcing the attention of the reader directly to the next stanza. This suggest that the two conflicting personalities existing in the poem may in fact belong to one individual. It is as though the author is attempting to represent and describe two sides of a personality. Furthermore, Plath firmly obeys a specific form of seven four-line stanzas although in each stanza the position of commas and full-stops differs.
In conclusion, the poem “Two Sisters of Persephone, is a self-portrait of its author where Plath sees in herself the potential for a dry life, spinsterish life of intellect and little else, combined with the conflicting approaching concept of herself as a vital and sparkling woman made complete in motherhood, nature's most extravagant gift.
This essay is anchored on the goal of looking closer and scrutinizing the said poem. It is divided into subheadings for the discussion of the analysis of each of the poem’s stanzas.
The poem is a combination of beauty and poignancy. It is a discovery in a trajectory path of rise and fall of human values and modernity. She is a sole traveler, a traveler apart in a literary romp afresh, tracing the thinning line of time and action.
The speaker begins the poem an ethereal tone masking the violent nature of her subject matter. The poem is set in the Elysian Fields, a paradise where the souls of the heroic and virtuous were sent (cite). Through her use of the words “dreamed”, “sweet women”, “blossoms” and
In the Homeric Hymn to Demeter, Demeter’s grief is demonstrated through the concepts of divinity and humanity being symbolically contrasted with a woman’s purpose and social status as a mother or daughter. While “terrible” is a word we would expect to describe grief, “brutal” is interesting due to its violent connotations (Hymn to Demeter, 90). As a “brutal grief that seized the heart” it lends itself to a comparison with the violent seizing of Persephone, echoed here in Demeter’s emotions about her daughters’ capture, and perhaps denoting that the nature of what causes grief may be reflected in how it is felt (Hymn to Demeter, 90). The words “brutal” and “seized” also portrays grief itself as uncontrollable and forceful, even to the non-human Being described as “like four goddesses” while Demeter herself is divine and yet, unrecognisable as such seems to hark back to their youth and beauty as a divine gift, while Demeter, in her grief, appears to lose divine status (Hymn to Demeter,108, 94-95, 108).
In The Odyssey and Hymn to Demeter, both Penelope and Demeter love and miss their family members. When Demeter hears her daughter Persephone’s cry, “a sharp grief took hold of Demeter in
In the Hymn to Demeter, the rape of Persephone starts with her picking flowers and she comes across the hundred headed narcissus which "Gaia made grow as a trick for the blushing maiden" (HHDem. 8-9). This trick is set into motion by Zeus, but since Gaia plays the role of protecting the youngest generation, this is a foreshadowing that Persephone's ordeal will be for a good cause. Hades moves in to take Persephone when the grounds gapes open and she begins to cry aloud. Demeter hears her daughters screams but she is powerless against Hades, hence the separation of distance between them. The grief stricken Demeter goes through an experience which plays out the role of a symbolic death. this is because the relationship between the mother and daughter ends at a wedding.
In two amazing poems, both poets make allusions to the myth of Persephone. The myth of Persephone tells of her kidnap by Hades, the God of the Underworld. She is then fated to spend one-third of the year in the underworld as Hades’ bride because she consumed pomegranate seeds. This myth appears frequently as a metaphor not only in “The Pomegranate” and “The Bistro Styx,” but in many others as well. In both poems, the myth of Persephone is used to symbolize the mother-daughter relationships.
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.
Despite the male dominant society of Ancient Greece, the women in Sophocles’ play Antigone all express capabilities of powerful influence and each individually possess unique characteristics, showing both similarities and contrasts. The women in the play are a pivotal aspect that keeps the plot moving and ultimately leads to the catharsis of this tragedy. Beginning from the argument between Antigone and Ismene to Eurydice’s suicide, a male takes his own life and another loses everything he had all as a result of the acts these women part take in. The women all put their own family members above all else, but the way they go about showing that cherishment separates them amongst many other things.
Most people would define a great female protagonist as intelligent, strong minded and willing to fight for what she believes in. Both Bernarda Alba from Federico Garcia Lorca’s The House of Bernarda Alba and Medea by Euripides fit this description. One is a tyrannical mother who imposes her choices on her five daughters, the other is arguably the strongest non-Olympian woman in all of Greek mythology. If we take a closer look, we notice that these two characters have many things in common. From their positions of strength, to the masculine aspects of their personalities; from the way they deal with situations to the part they play in the deaths of their children. In this essay we will attempt to seek out their similarities, as well as discover how two playwrights, who wrote for distinct audiences millennia apart, could have created two women so alike.
Meanwhile, the only mortal woman to incur any suffering in this play is Phaedra herself, and she chooses her final fate. This theme is so obvious that Hippolytus points it out himself. “But a clever woman—that I loathe! . For Cypris engenders more mischief in the clever ones.” (Hippolytus, Lines 644-646).
Sylvia Plath suffered her entire life due to deep depression; ironically her life began ...
The poem “Mirror” gives the perspective of a mirror and how it views itself and the world, and in turn, how the world views it. Sylvia Plath conveys her interpretation of a mirror primarily through personification and metaphorical parallels. To further her explanation, she contrasts the mirror’s own perception of itself against its perception of a woman who often visits it.
In a certain period of life, growing child leaves his parents, turning his home’s safety for the uncertainty, and the life stability for hardship. Although a young person wants to have a good relationship with his parents, he also wants to be himself, and emphasize his individuality and autonomy. “Pomegranate,” a poem by Eavan Boland, draws on the Greek myth “Demeter and Persephone” to illustrates the influence of inevitable changes in human development on relationship between mother and daughter, and periodicity of human existence.
Plath’s father died early in her life leaving her with unresolved feelings, and this brought a lot of troubles later on in life. Sylvia was a great student but when she was overwhelmed with disappointments after a month in New York, she attempted suicide (“Sylvia Plath”). After receiving treatment and recovering, she returned to school and later moved to England where she met her future husband, Ted Hughes (“Sylvia Plath”). Their marriage with two children didn’t last when Ted had an affair. They separated and Ted moved in with the new woman, leaving Sylvia and their two children. Battling depression during this time, Sylvia soon ended her life. She left behind numerous writings that many might see as signs of her depression and suicide attempts.