There is no shortage of media encouraging adolescents to ‘be themselves’, promoting self-worth regardless as to what others think. While many may be fed this message throughout music and film, rarely ever is it conveyed to actually have a lasting effect on one’s personal views quite like Sylvia Plath’s “Initiation”. Although formulaic, Plath’s uniquely optimistic short story warns against an obsession with belonging, and explores the importance of individuality through the protagonist Millicent Arnold’s gradual character development, from a self-conscious teenage girl to a stronger and more confident individual. In order to express the importance of the theme, Plath first introduces the reader to the protagonist, the insecure and vulnerable …show more content…
This realization stems from a number of events that occur throughout the story, but Plath’s usage of symbolism with the heather birds encapsulates this idea in the best manner possible. Millicent’s first chronological encounter with the heather birds is with a man at the back of a bus, the setting for one of the aforementioned trials. When asked by Millicent what he had for breakfast, he simply replies with "Heather birds' eyebrows”, heather birds being creatures that “live on the mythological moors and fly about all day long, singing wild and sweet in the sun…” (Plath something). Her reaction to this is a fit of laughter and a newly found comradeship that overpowers her fears of “the remainder of the humiliating tasks put upon her during the initiation process, because she truly does not mind being an “other.”” (Yasoni something). This disconnect from the sorority only continues to grow through the story until the end where she compares the sparrows she observes to the heatherbirds. Her description of the sparrows, “ pale gray-brown birds in a flock, one like the other, all exactly alike” (Plath a page) is a representation of the sorority girls, a herd of characters who do not care for freedom, individuality or any form of expression that deviates from their standards. This is contrasted with her description of the heather birds, “Swooping carefree over the moors, they would go singing and crying out across the great spaces … strong and proud in their freedom and their sometime loneliness” (another quote please). The man and the heather birds allow Millicent to accept her differences and the differences of others in order to be a happy and free being. This final development provides an optimistic conclusion to the story, where Millicent is no longer held back by her
The birds are the major symbolic images from the very beginning of the novel: "A green and yellow parrot, which hung in a cage outside the door, kept repeating over and over: `Allez vous-en! Allez vous-en! Sapristi! That's all right!'" (Chopin pp3) In The Awakening, caged birds represent Edna's entrapment. She is caged as a wife and mother; she is never expected to actually be able to think and make decisions for herself. The caged birds also symbolize the entrapment of Victorian women in general since their movements are limited by the rules of the society that they live in. Just like Edna the parrot cannot communicate its feelings because the parrot speaks in "a language which nobody [understands]" (Chopin pp3). Edna’s feelings are incomprehensible to the members of Creole society. Chopin uses wild birds and the idea of flight to symbolize freedom. Edna experiences a vision while Mademoiselle Reisz is playing piano and this vision includes the wild birds and flight. "When she heard it there came before her imagination the figure of a man standing beside a desolate rock on the seashore. He was naked. His attitude was one of hopeless resignation as he looked toward a distant bird winging its flight away from him." (Chopin pp26-27) Here Edna is showing her intense desire for freedom, a desire to escape from her roles as a wife and mother, and also from her husband Léonce. Léonce oppresses Edna by restricting her to a social cage. Edna thus begins to express her desire for complete independence through her move to the pigeon house "because it's so small and looks like a pige...
Sylvia Plath was born on October 27, 1932 in Boston, Massachusetts. Her parents were Otto and Aurelia Plath. Plath's father, Otto, immigrated to America from Germany when he was just sixteen years old. He wanted to study ministry at the Northwestern College, which was a small Lutheran school. According to his wife, Aurelia, Otto changed his ambitions because he didn't feel a true "calling" for the ministry. He received a master of the arts from Washington University, and the doctor of science from Harvard. After that, in 1928, he became a biology professor at Boston University. Sylvia's mother, Aurelia, taught German and English at Brookline High School until January of 1932, when she married Otto. She quit teaching because Otto wanted her to be a homemaker. Otto and Aurelia settled in Winthrop, a town near Boston, where Sylvia spent most of her early childhood. Aurelia's immigrant parents from Australia also lived in this town.
The tile of the poem “Bird” is simple and leads the reader smoothly into the body of the poem, which is contained in a single stanza of twenty lines. Laux immediately begins to describe a red-breasted bird trying to break into her home. She writes, “She tests a low branch, violet blossoms/swaying beside her” and it is interesting to note that Laux refers to the bird as being female (Laux 212). This is the first clue that the bird is a symbol for someone, or a group of people (women). The use of a bird in poetry often signifies freedom, and Laux’s use of the female bird implies female freedom and independence. She follows with an interesting image of the bird’s “beak and breast/held back, claws raking at the pan” and this conjures a mental picture of a bird who is flying not head first into a window, but almost holding herself back even as she flies forward (Laux 212). This makes the bird seem stubborn, and follows with the theme of the independent female.
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.
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.
...he language of war. One of her last poems shows how this vision both restricted and unconstrained her expression (Magill 2225). Some of Plath’s poems, though the personal voice may be dying out, are still very personal (Magill 2226). Plath’s symbolism comes from an arrangement of misfortune. The purpose of Plath’s poems is to show a deeper pattern (Hughes 5). Plath’s narrative, The Bell Jar, remained important to most readers (“The Importance…” 2). Plath believes relationships are necessary, but destructive (Smith 6).
The first words of the book convey a parrot that spoke “a language which nobody understood”, and Edna’s husband “had the privilege of quitting [the parrot] when [it] ceased to be entertaining” (11). In the same light, Edna speaks of and wishes for a life that nobody apprehends. Her husband also possesses the moral, objectifying liberty to quiet Edna when she did not provide leisure, as one can turn off a song once it grows into a tedious nuisance. A further exemplification comes about when Old Monsieur Farival, a man, “insisted upon having [a] bird. . . consigned to regions of darkness” due to its shrieking outside (42). As a repercussion, the parrot “offered no more interruption to the entertainment” (42). The recurrence of the parrot evolves Edna’s state of stagnance as a consequence of being put to a halt by others despite her endeavor of breaking free. Ultimately, as Edna edges out towards the water to her death, a bird is depicted with “a broken wing” and is “beating the air above, reeling, fluttering, circling disabled down, down to the water” (159). This recurrence parallels the beaten bird to a suffering Edna. She has “despondency [that] came upon her there in the wakeful night” that never alleviates (159). Dejection is put to action when Edna wanders out into the water, “the shore. . . far behind her” (159). Motif of birds articulates her suicide by its association with
"Ariel" is the title poem from Sylvia Plath's controversial collection of poetry written during the last few months of her life in 1963. The traditional gender roles of 1960s America promoted a double-standard and wrongly imposed upon women the idea of a "Happy Housewife Heroine" who cherished "the receptivity and passivity implicit in (her) nature" and was "devoted to (her) own beauty and (her) ability to bear and nurture children" (Friedan, 59). Plath comments on the devastating effects of social convention on individuality, but she realizes that both sexes are affected by society's oppression of its members. She contemplates this theme throughout Ariel, especially in the "The Applicant," a critique of the emptiness of the stereotypical roles of men and women at the time.
The Cold War period allowed for new understandings into the various “Ways of Thinking”, which helped shape the societal paradigms of the era. These revelations in to the new “Ways of Thinking” is evidenced through Sylvia Plath’s poems, “Daddy”, “The Applicant” and “Morning Song”, and John F. Kennedy’s speech, “Ich Bin Ein Berliner” (1963). The composers are effectively able to reflect the “Ways of Thinking” of the period, such as the scientific, religious, philosophical and economic paradigms, in their compositions through various literary techniques.
Sylvia Plath was born October 27, 1932 in Boston Massachusetts. She was raised by her mother Aurelia Schober who married Otto Plath. Sylvia was a poet and a short story writer. She studied at Smith College in the University of Cambridge. Plath had two children, Frieda Hughes and Nicholas Hughes after marrying her husband Ted Hughes in 1956. They settled in an English country village Devon, England for a short period of time. Throughout much of her life Sylvia had suffered a great amount of depression which took a huge toll on her and her family.
Lady Lazarus repeats the struggle between Nazi and Jew which is used in Daddy, with the Nazi atrocities a background across which the amazing, self-renewing speaker strides. The speaker orchestrates every aspect of her show, attempting to undermine the power an audience would normally have over her. She controls her body, instead of being a passive object of other eyes.
Poetry is the wind for a trapped and wounded soul. A great example of a wounded soul is, Sylvia Plath. She was an immaculate poet, who expressed her personal troubles through writing. As Plath’s life smouldered into a heap of dust at the age of 30, her poetry grew and bloomed. In the years before her death, her most troubled period, Plath penned three of her most well-known poems, “Daddy”, “Lady Lazarus” and “Tulips”—all three illustrating the horrors of despair with strong, expressive literary devices. Plath, who committed suicide in 1963 at the age of 30, has been hailed ubiquitously as one of the most acclaimed and preeminent poets of the 21st century. Plath’s poetry was influenced by tragic events in her life and her prolonged battle against her deep depression and obsession with death. Plath’s personal issues made her the definition of a confessional poet. In the poems, “Daddy”, “Tulips”, and “Lady Lazarus”, Plath confesses her emotional and nervous breakdowns during her endless depression.
It [penis envy] is to be interpreted as a defensive protecting the woman from the political, economic, social, and cultural condition that is hers at the same time that it prevents from contributing effectively to the transformation of allotted fate. “Penis envy” translates woman’s resentment and jealousy at being deprived the advantages …“autonomy”, “freedom”, “power”, and so on; … it also expresses her resentment at having been largely excluded, as she has been for centuries, from political, social, and cultural responsibilities. (51)
Leenaars, A. A. & Wenckstern, S. (1998). Sylvia Plath: A protocol analysis of her last poems. Death Studies, October 1, 1998, Vol. 22, Issue 7, ISSN: 0748-1187. Retrieved May 6, 2005 from Academic Search Premier Database.