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Literary devices in sylvia plath's daddy
Symbolism in daddy poem
Symbolismsymbolism of the poem daddy by Sylvia plath
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The figurative language in the poem “Daddy” by Sylvia Plath can be used to discover a deeper significant of the poem. By using figurative language throughout the poem such as symbolism, imagery, and wordplay, Plath reveals hidden messages about her relationship with her father. Plath uses symbols of Nazis, vampires, size, and communication to help reveal a message about her dad.
In Plath’s poem she frequently uses figurative language about Nazis and the Holocaust. Plath depicts herself as a victim by saying she is like a Jew, and her father is like a Nazi. Plath uses a train engine as a metaphor for her father speaking the German Language, and also to depict herself as a victimized Jew being taken away to a concentration camp. Plath states “And the language obscene / An engine, and engine / Chuffing me off like a Jew” (Plath 30-32). This shows the subtle metaphor of the train engine being her father speaking the German language and how she feels she is a prisoner. Plath uses other subtle metaphor that connect her father discreetly to the Nazis when she uses German words such as “Luftwaffe” (42) which is the German air force, and “Panzer-man” (45) who were the men who manned the German tanks. Another example of Plath using figurative language to depict her father as a Nazi can be found when she uses an allusion to Hitler’s mustache and the blue eyes of Aryans. “And your neat moustache / And your Aryan eyes, bright blue” (Plath 43-44). The use of this allusion gives the father the image of Hitler himself and helps build the metaphor of her father as a Nazi. Towards the end of the poem Plath begins to be more blunt in depicting her dad as a Nazi. She uses the metaphor of her father not being like God, but rather lik...
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...voices just can’t worm through” (Plath 68-70) A metaphor compares the telephone to a plant, and the plant has been cut off at the root and therefor the communication has been cut off. The roots are almost a metaphorical telephone line growing on her father’s grave, but now they are cut off and no longer available for communication. We can see the struggle Plath is having in wanting so desperately to tell her father something but never having the chance to say it.
By analyzing Plath’s use of figurative language we can see a much deeper significance to her poem. We see how she depicted her father as a suffocating monster through figurative language. We also get deeper insight into the type of relationship, or rather lack of relationship between the two.
Works Cited
Plath, Sylvia. The Collected Poems. Ed. Ted Hughes. NewYork: Harper Perennial, 1972.
Specifically, both the context of the poem and Plath’s life. In “Daddy” Plath displays what is called an Electra complex. The Electra complex is similar to the Oedipus complex where the daughter feels an unyielding sense of affection towards her father. In the book “The Norton Introduction to Literature” by Kelly J. Mays, it goes more into detail about the Electra complex where despite Electra having a “tyrannical” father, “Electra persists in loving her deeply flawed father long after he is dead” (1100). In order to translate this complex into her writing, Plath chose to compare her flawed father to a well-known tyrannical force. By using this comparison we get a sense of what her relationship with her father was like. The Electra complex is also apparent throughout the poem, where in the beginning we see how her younger self associated her father with this god-like figure and despite the obvious fear Plath had for him through the line “I have always been scared of you,” (41) she wanted to end her life in order to “get back” to him (59). Supporting the notion that Plath did have an Electra complex with her father at least throughout her childhood.
The first two stanzas, lines 1-10, tell the readers that Plath, for thirty years, has been afraid of her father, so scared that she dares not to “breathe or Achoo.” She has been living in fear, although she announces that he’s already dead. It is obvious that she believes that her father continues to control her life from the grave. She says that she “has had to kill” him, but he’s already dead, indicating her initial promise to forget him. She calls him a “bag full of God,” telling us that she considers her father a very strong, omnipotent being, someone who is superior in her eyes.
In American society, the common stereotype is that the father has the role of the dominant figure in the household. Sylvia Plath and Sharon Olds may come across as two seemingly different poets, however, they are really quite similar, especially in their driving forces behind their writing styles in poetry. The lives of Plath and Olds are both expressive of the realities of a father-dominated family, in which both of these poets lost their fathers at a young age. This is significant because both poets have faced a similar traumatic event that has had everlasting effects on their adult womanhood, which is reflected in their writings. For both these woman, their accesses to father-daughter relationships were denied based on life circumstances. Ironically, their fathers were their muses for writing and are what made them the women they are today.
Plath never got over the loss of her father and her failed marriage to well known poet Ted Hughes. She wrote, "Me, I never knew the love of a father, the love of a steady blood-related man after the age of eight .... I hated men because they didn't stay around and love me like a father" (cited in Hughes & McCullough, 1982, pp. 266267). In an article, Jon Rosenblatt describes her poetry by saying “Whether the poems take place inside a house or in the countryside, the identical metaphorical relationships are established between a vulnerable speaker and a destructive environment.” By the end of “Daddy” the speaker comes off as a force to be reckoned with and her message is final
Sylvia Plath’s jarring poem ‘Daddy’, is not only the exploration of her bitter and tumultuous relationship with her father, husband and perhaps the male species in general but is also a strong expression of resentment against the oppression of women by men and the violence and tyranny men can and have been held accountable for. Within the piece, the speaker creates a figurative image of her father by using metaphors to describe her relationship with him: “Not God but a Swastika” , he is a “… brute” , even likening him to leader of the Nazi Party; Adolf Hitler: “A man in black with a Meinkampf look .” Overall, the text is a telling recount of her hatred towards her father and her husband of “Seven years” and the tolling affect it has had on
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).
Throughout the poem, Plath contradicts herself, saying, ‘I was seven, I knew nothing’ yet she constantly talks of the past, remembering. Her tone is very dark and imposing, she uses many images of blindness, deafness and a severe lack of communication, ‘So the deaf and dumb/signal the blind, and are ignored’. Her use of enjambment shows her feelings and pain in some places, in other places it covers up her emotional state. She talks of her father being a German, a Nazi. Whilst her father may have originated from Germany, he was in no way a Nazi, or a fascist. He was a simple man who made sausages. ‘Lopping the sausages!’ However she used this against her father, who died when she was but eight, saying that she still had night mares, ‘They color1 my sleep,’ she also brings her father’s supposed Nazism up again, ‘Red, mottled, like cut necks./There was a silence!’. Plath also talks of her father being somewhat of a general in the militia, ‘A yew hedge of orders,’ also with this image she brings back her supposed vulnerability as a child, talking as if her father was going to send her away, ‘I am guilty of nothing.’ For all her claims of being vul...
Plath writes in seven line stanzas. She uses a unique rhyme scheme that changes from in each stanza. Occasionally she isolates one line in order to annunciate its meaning. She also uses enjambment to help stress the meaning of certain lines. Plath also like to use metaphor and simile in her poem. Lines nine and ten she uses simile when she writes, “Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in”. She is stationary in her bed and almost doesn’t want to see everything anymore but she cannot hide what is going on around her.
Since she was so young she never got to work out her unsettled feelings with him. Even at age eight, she hid when he was around because she was fearful of him. When she was in his presence his strict and authoritarian figure had left an overpowering barrier between their relationship. Sadly enough by age eight Plath instead of making memories with her dad playing in the yard she resented him and wanted nothing to do with him (Kehoe). These deep-seated feelings played a major role in Plath’s poetry writings.
Plath and Sexton's lifetimes spanned a period of remarkable change in the social role of women in America, and both are obviously feminist poets caught somewhere between the submissive pasts of their mothers and the liberated futures awaiting their daughters. With few established female poets to emulate, Plath and Sexton broke new ground with their intensely personal, confessional poetry. Their anger and frustration with female subjugation, as well as their agonizing personal struggles and triumphs appear undisguised in their works, but the fact that both Sexton and Plath committed suicide inevitably colors what the reader gleans from their poems. However, although their poems, such as Plath's "Daddy" and Sexton's "Little Girl, My String Bean, My Lovely Woman," deal with the authors' private experiences, they retain elements of universality; their language cuts through a layer of individual perspective to reach a current of raw emotion common to all human, but especially female, understanding.
The overall general theme of both poems is about the author’s father. Theodore Roethke’s “My Papa’s Waltz” and Sylvia Plath’s “Daddy” may both reference their fathers, but their relationship and attitudes towards them differ immensely. “My Papa’s Waltz” features a theme of fear and love towards the father, while “Daddy” features hatred and loathing towards her father. Roethke uses imagery and diction that makes the reader feel different emotions. The imagery of a father with whiskey on his breath and battered knuckles paints a picture of a scruffy, rugged man.
Daddy was written on October 12, 1962 by Sylvia Plath, shortly before her death, and published posthumously in Ariel in 1963. Throughout the poem it could be viewed from a feminist perspective, drawing attention to the misogynistic opinions and behaviours of the time it was written. Misonogy is a person who dislikes, despises, or is strongly prejudiced against women. It can be manifested in numerous ways, including sexual discrimination, denigration of women, violence against women, and sexual objectification of women. Plath uses the reversal of gender stereotypes/roles within Daddy, which could be interpreted as an attempt to empower women.
Sylvia Plath has brought the attention of many Women’s studies supporters while being recognized as a great American poet. Most of her attention has come as a result of her tragic suicide at age thirty, but many of her poems reflect actual events throughout her life, transformed into psychoanalytical readings. One of Plath’s most renowned poems is “Daddy”. In this poem there are ideas about a woman’s relationship with men, a possible insight on aspects of Plath’s life, and possible influences from the theories of Sigmund Freud.
Plaths Poetry can be understood through the psychoanalytic model. The motifs of oral fixation, sadomasochism and the desire to return to primary narcissism are consistent throughout Plaths Poetry. Overall these motifs represent the desire to return to the state of primary narcissism and to be reunited with the incestuous love object.