cwl much ado about nothing power point

8/13/2019 CWL Much ado about nothing power point

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DECLARATION

I, Geethu Krishnan.P hereby declare that the project entitled

CONFESSIONAIS! IN S"#IA PA$%&S POE$'"S sub(itted to !ahat(a

Gandhi )ni*ersity in partial +ul+ill(ent o+ the reuire(ent +or the -eree o+ /achelor

o+ Arts in Enlish and iterature is a 0or1 done in the depart(ent o+ Enlish durin

23345 2362 under the uidance o+ -r.. Anjana San1ar .S, -epart(ent o+ Enlish, Sree

Sana1ara Collee, Kalady, and that it has not +or(ed the basis +or the a0ard o+ any

other -eree or -iplo(a.

Kalady Geethu Krishnan. P


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CERTIFICATE

I, Geethu Krishnan.P hereby declare that the project entitled

CONFESSIONAIS! IN S"#IA PA$%&S POE$'"S sub(itted to !ahat(a

Gandhi )ni*ersity in partial +ul+ill(ent o+ the reuire(ent +or the -eree o+ /achelor

o+ Arts in Enlish anuae and iterature is bona +ide 0or1 done by Geethu

Krishnan. P in the depart(ent o+ Enlish Sree Sana1ara Collee, Kalady, under (y

super*ision and that it has not been pre*iously sub(itted +or the A0ard o+ any -eree

or -iplo(a.

Prof. S.K. Usha, Dr. Anjana Sanar .S,

!ea" of the "e#art$ent of En%&ish, Su#er'isin% Le(turer,

Sree Sanara Co&&e%e, Sree Sanara Co&&e%e,

Ka&a"). Ka&a").


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ACKNO*LEDGE+ENT

I hereby ac1no0lede (y sincere ratitude to (y uide -r.Anjana San1ar

-epart(ent o+ Enlish, +or the constant encourae(ent and uidance pro*ided by her

0hich enabled (e to co(plete the dissertation.

I ta1e this opportunity to e7tend (y than1s to the Principal -r. !.K.

'a(achandran +or i*in (e a chance to co(plete the /.A. Course. I than1 Pro+. S.K.

)sha, %ead o+ the -epart(ent, and all the other sta++ (e(bers +or all the support

i*en.

!y sincere than1s are due to the ibrary sta++ +or their ser*ice and to (y

+riends +or their +riendly ad*ice and constant encourae(ent.

et (e than1 (y dear parents, 0ithout 0hose lo*e and encourae(ent, this

project 0ould not ha*e been possible.

Abo*e all, I than1 God Al(ihty +or his his blessins 0hich enabled (e to

+inish this dissertation.


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C!APTER -

INTRODUCTION

Con+essional poetry e(phasi8es the inti(ate, and so(eti(es un+latterin,

in+or(ation about details o+ the poet&s personal li+e, such as in poe(s about (ental

illness, se7uality, and despondence. $he con+essionalist label 0as applied to a nu(ber

o+ poets o+ the 6493&s and 64:3 s. ;ohn /erry(an, Allen Ginsber, 'obert o0ell,

Syl*ia Plath, $hedore 'oeth1e and Anne Se7ton ha*e all been called


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@ho is a con+essional poet $o bein 0ith, 0e could set hi( Bher in relation

to other poets. In +act, 0hat any poets con+essional or non5 con+essional, does is

si(ply this stand in a certain relationship to people, nature and the sacred and

present that relationship in a (anner considered . one is te(pted to say that the asy((etric

(ode is conenial to the con+essional poet not only on the strenth o+ such a bein the

predo(inant one in con+or(ity 0ith the culture it sprin +ro( but also the ourds that

it is apt to e7press a +ractured psyche.

Apart +ro( the poetic (anner the con+essional ele(ents asserts it sel+ in the

1ind o+ relationship a reticulated in poe( unli1e the sacred oriented poe(s or the

people oriented ones li1e lo*e poe(s or 0ar poetry or court poetry or social satires or

historical ballads and so on or nature oriented poe(s that usually o by the na(e o+

pastorals and eorics a typical con+essional poe( is sel+ oriented. In this its

co(panion is ro(antic poetry. %o0e*er a con+essional poe( is distinuishable +ro(

ro(antic counterpart. $hrouh the spea1er personal in both *arieties e7presses his her

relationship to the 0orld o+ people or nature throuh the (ediu( o+ the sel+ the 1ind


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o+ relationship e7pressed is not . $he sa(e in the both cases. In the ro(antic

uni*erse the 1inship 0ith people and nature is basically healthy ho0e*er strained

0here as in the con+essional uni*erse it is al0ays sic1 and riddled 0ith uilt 0hich

(a1es the e7pression con+essional. Goin by this e7ploration it should be possible to

li(it the con+essional (ode to poetry e7pressin such a relationship as described

abo*e rather than to any sel+5re*el arty *erse. All the reat con+essional poets o+ the

6493&s and 64:3&s ha*e at one ti(e or the other su++ered (ental brea1 do0ns

Syl*ia Plath D64H25 :H 0as 1no0n +airly 0ell in literally circles as a 0o(an

o+ reat talent and althouh t0o o+ her 0or1s, The colossusand theBell jar0ere

published durin her li+eti(e, she recei*ed only a lu1e0ar( reception +ro( critics.

@hat really trans+or(ed her into literary celebrity 0as the e*ent o+ her death at her

o0n hands in February 64:H. $he publication o+ so(e o+ her poe(s a +e0 days a+ter

her death (ade readers and critics sit up 0ith shoc1. $he poe(s 0ere astonishinly

undocile and dealt 0ith death and despair.

$hey celebrated the cult o+ (urder and suicide. $here 0as in the(, a sense o+

thrill and e7ultation at bloodshed 0hat beca(e e*ident at once 0as the brutal po0er

and destructi*e +orce they carried. $he neatly5cra+ted poe(s o+ The colossuspaled

into insini+icance be+ore the *iolent intensity o+ the poe(s that continued to be

published posthu(ously. $his 0as the beinnin o+ Plath&s rehabilitation as a poet

and the e(erence o+ =a pheno(enon o+ serious conte(porary literature>.

)n+ortunately, at the so(e ti(e, a (yth bean to ro0 around the li+e and

poetry o+ Plath, both bein considerably 0arped by the ro(antic notions o+ re*ie0ers

and critics. $he (yth (a1in process reached its cli(a7 0ith the publication o+

Arielher projected second *olu(e o+ poetry, slihtly altered by $ed %uhes, her


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husband. -urin the +e0 (onths a+ter the publication o+ Ariel, di*erent critical

*ie0s 0ere 0ell e7pressed. %er poetry 0as dee(ed to be =Suicidal> =con+essional>

=e7tre(ist>, =(ystical> and so +orth. !uch o+ the criticis( o+ the period 0as

repetiti*e, and (ost re*ie0ers uilty o+ usin cliches. $he result 0as that Plath

beco(e a cult +iure 0ithArielassu(in a pi*otal and all her 0ritin seen in relation

to it. Opinions about The colossus0ere re*ised in the liht o+ this ne0 *olu(e. In

646, 0hen Crossing the waterand Winter Trees0ere published, they too ca(e to be

interpreted 0ith re+erence to Plath&s achie*e(ent inAirel, Plath ca(e to be loo1ed

upon not so (uch as a =person> or =Poetess> but as a =classical heroine> +or darin to

0rite the 1ind o+ poetry that appeared inAriel.

-olin out her poetry in such s(all doses did little justice to the poet as a

co(prehensi*e *ie0 o+ her 0or1 could not be obtained. One had to 0ait +or another

decade be+ore %uhes brouht out the collected poemsand The journalso+ Plath. $he

+or(er i*es us all the poe(s Plath 0rote a+ter 649: and a selection o+ +i+ty pre5 649:

poe(s, the latter is a hea*in edited account o+ the her strules 0ith li+e and literary

creati*ity.

!ost o+ the boo1 5 lenth studies on Plath that appeared durin the se*enties

and early part o+ the eihties are deli(itin, speci+ic approaches to her poetry, +ittin

it into riid sche(es. A ood (any poe(s that don&t +it into the sche(e are lossed

o*er. !oreo*er, +or the (ost part, their pal(ary (aterial is dra0n +ro( The colossus,

Ariel, Crossing the waterand winter Trees, but they ha*e not had access to her early

poetry and The Journals. It is no0 possible to trace the ro0th o+ Plath both as a

person and as a poet. %er poetry is an act o+ sel+ re*elation but it is done obliuely.

In +act, only 0hen one studies her 0or1 in conjunction 0ith the letters she 0rote to


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her (other and the entries she (ade her ;ournals does one et a co(plete picture o+

the person and the poet. In the case o+ Plath her 0or1 is ine7tricably associated 0ith

her li+e.

Syl*ia Plath considered 0ritin a 0ay o+ li+e, an e7pression o+ bein ali*e?

0ritin 0as at once an e7pression o+ her personality and a preser*ation o+ sanity.

Creati*ity is thus directly related to her inner li+e and is loo1ed upon as a +actor

nourishin her e(otional and intellectual 0ell5 bein. %er li+e and 0or1 are sy(biotic

and her stories and poe(s (ar1 the *arious sinposts 0hich punctuated her li+e. $his

(utual dependence bet0een li+e and art lasted all throuh her career. A close study o+

her 0or1s clearly indicates that the pressures o+ 0ritin in+luenced her li+e style

considerably. %er poetry is an atte(pt to synthesi8e li+e and art. Poetry, the

destructi*e +orces o+ li+e are countered by the creati*e +orces o+ art. It helped her

retain a hold o*er hersel+, especially durin periods o+ depression and e(otional and

spiritual tur(oil. %er +rustrations and an7ieties into poetry 0as a recurrin +eature o+

her li+e and ca(e to +ruition in herArielpoe(s. $he +act that poetry held bac1 the

suicidal co(pulsions that tor(ented her a+ter her separation +or( $ed %uhes is

e*ident +ro( her co((ents. $he con+lict bet0een the practical concerns o+ li*in and

art continued all her li+e.

!any o+ Plath&s his poe(s, 0hen read in conjunction 0ith her bioraphical

in+or(ation, betray the e(otional concerns e7perienced by her at the ti(e o+ their

co(position. $he auto bioraphical ele(ent al0ays intruded and Syl*ia 0as

disconcertinly a0are o+ it. $his incapacity to (o*e out o+ the sel+ is +urther stressed

0hen she tal1s about her stories. She +ound it di++icult to 0rite about the =real 0orld

its ani(als, people and landscapes> 0ithout at the sa(e ti(e relatin these to her


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inner i(pulses. E*erythin outside hersel+ 0as lin1ed to her *isions and perceptions.

Syl*ia Plath is the the(e o+ her poetry and +iction. /ut it is not straiht autobioraphy

her 0or1 is an orderin and re5orderin o+ the chaos o+ e7perience. She 0as at once

true to her e7perience and true to her art. %er desire =to per+ect techniues o+

e7pression bean 0ith *erbal (anipulation o+ e7ternal e*ents and objects. $hus

(astery o+ 0ords and their use 0as the +irst step to0ards cra+t ainin control o*er

e7perience. She spent her ti(e circlin 0ords in the thesaurus. @ords 0ere souht

a+ter not only +or their subtle shades o+ (eanin but also +or their e++ects. She

re(ar1ed once that she chose +or a reason, each selected a+ter (uch care+ul thouht.

-eath especially death by 0ater, is a recurrent idea in the poetry o+ Plath and it

is +irst hinted at in the early poe(s. Syl*ia Plath, one is te(pted to belie*e, had an

insiht into her o0n psyche and 0as uite a0are o+ the daners lur1in there and that

is the reason 0hy so (any o+ her poe( deal 0ith death. Introspection, her +a*ourite

(ethod o+ co(position, in*ariable led to the perception o+ disasters 0ithin. In

=Ad(onitions> +or instance, she 0arns =ne*er try to 1no0 (ore than you should.B For

deadly secrets stri1e 0hen understood>. $his sense o+ +ear, despair and death, lihtly

touched upon in the apprenticeship period poe(s, ained in intensity and e(phasis as

she (atured into +ull5 +leded poet. For a (ore (eanin+ul and +uller understandin

o+ the poetry o+ Plath one (ust (a1e a chronoloical study o+ it, +ocusin attention on

her strules 0ith li+e and cra+t. A ood (any the(es are co((on, but at e*ery stae

her cra+t reisters an i(pro*e(ent and conseuently the inner e7perience +inds as

richer and (ore *aried e7pression.

$he proress o+ Plath as a poet can be seen in +our staes (ar1ed by a de+inite

de*elop(ent in her authentic *oice =Each stae (a1es her acutely conscious o+ the


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ains (ade and the shortco(in that need to be o*erco(e. $he proress o+ Plath as a

poet can also be seen in ter(s o+ bondae and +reedo(. In the act o+ retunin aain

and aain to certain the(es to 0hich she see(s to be held in thrall and in the act o+

ainin (astery o*er her cra+t, she e7periences liberation. $he sa*ae +reedo( o+

e7pression 0hich (ar1s her later 0or1 is the result o+ the close and +astidious concern

she la*ished on ha early cra+ts(anship. $he traic *ision o+ li+e is only tentati*ely

present in the early poe(s because o+ her uncertain control o*er poetic +or(, or too

(uch concern 0ith it. All her li+e Plath tried to resol*e the con+lict 0ean the 0orthless

truth.


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C!APTER

CONTENT

One o+ the +e0 poe(s Plath sa*ed +ro( this period is =Tulips0ritten in

!arch, 64:6, about so(e +lo0ers she had recei*ed 0hen she 0as in the hospital

reco*erin +ro( her appendecto(y. Actually the +lo0er are only the occasion +or a

re(ar1able psycholoical journey into and out o+ anesthesia the =nu(bness> the nurse

brin her in =briht needles>. $he poe( traces the staes by 0hich the hospital patient

sic1&s reluctantly into as anaestheti8ed =peace+ulness>, and eually reluctantly co(es

out o+ it, throuh repeatin and re*ersin the i(aery o+ the +irst +our stan8as in the

i(aery o+ the last +our so that the poe( (o*es in to and out +ro( a central stan8a

0ith unusual sy((etry.

$he =too e7citable> tulips and their e7plosions in the +irst stan8a are 0hat the

patient a0a1es to +inally in the last stan8a 0here she clai(s that the tulips =should be

behind bars li1e danerous ani(als>. In the +irst, she has i*en her na(e and day5

clothes a0ay? In the last she reclai(s hersel+. =I a( a0are o+ (y heart> In the second

stan8a, as she releuishes hersel+ to the nurses that =pass and pass> she is propped up

=i1e an eye bet0een t0o 0hite lids>? co(in bac1 to li+e in the penulti(ate stan8a,

she (o*es throuh the sa(e stae 0here the tulips interrupt the air =co(in and

oin> and =concentrate> her attention. $he nurses tendin in the third stan8a is

(atched by the tulips 0atchin in the se*enth. $he sensation that her possessions

=sin1 out o+ siht and the 0ater 0ent o*er (y head> just be+ore she succu(bs to the

anesthesia in the +ourth stan8a is re*ersed in the si7th 0hen a0a1in she +eels that the


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tulips =see( to +loat, throuh they 0eih (e do0ni>, =A do8enred lead sin1ers round

(y nec1>.

I+ the supersensiti*e (ind case turn tulips in to e7plosions, It can also re*erse

the process and turn danerous ani(als in to bloo(in hearts. $he control o+ =tulips>,

the (atchin o+ stan8as, the correspondences de*eloped bet0een the e7ternal object

and states o+ consciousness. !ar1s a ne0 stae in Plath&s de*elop(ent. %er earlier

e++orts to train her *ision out0ard, to0ard the landscape, and to concentrate on

realistic details, as 0ell as her *ery early apprenticeship in set +or(s co(bine 0ith the

yaddo e7ercises in spontaneous associati*e creation to prepare her +inal poe(s, o+

0hich =$ulips> 0as the +irst e7a(ple. In tulips> she de*elops a ne0 persona.

$houh she is neither the public persona o+ Plath&s (oor 0al1er or seaside *isitor nor

the intensely pri*ate and +ra(ented identity o+ ne*er surrealistic (editation, this

spea1er shares ualities o+ both. She is clearly in a hospital, respondin to nurses,

needles, +lo0ers? but she is just as clearly enaed in an internal dra(a, reactin to a

0ild i(ainati*e acti*ity. $he tension bet0een outer and inner i(ae is (aintained

by a tre(endous artistic and psycholoical control.

In this poe( Plath re*eals 0hat she (eant 0hen she said that the (anipulati*e

(ind (ust control its (ost terri+yin e7periences. $he spea1er here, responsi*e to

inner and outer co(pulsions. Is able to hand her situation. As the inner tensions

intensi+ied in the last (onths o+ her o0n li1e, Plath 0as +orced to create a persona

(uch (ore riid than the spea1er o+ Tulips.At this point ho0e*er, riidity is 0hat

she siorns

As Plath turned into her later period in a poe( =Tulipsthe spea1er o+ her

poe( see(s to 0elco(e the loss o+ control that had harried the inso(nias. As she


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oes into the hospital in this poe(, she clai(s to be learnin peace+ulness and she

heard hersel+ i+ o*er to the hospital attendants to be propped up and tended to. $he

nurses brin her nu(bness in =briht needles>, and as she succu(bs to the anesthesia,

she clai(s that she only 0anted to be utterly e(pty. %o0e*er, she does not rest in that

attitude *ery lon be+ore she co(es out o+ the operatin roo( and its anestheti8ed

state and beins reluctantly to con+ront her pain. %er +irst response is to co(plain that

tulips hurt her, 0atch her, that they eat up her o7yen. /ut 0hen the spea1er clai(s a

correspondence bet0een the tulips redness and her o0n 0ound, her (anipulati*e

(inds beins to +unction aain, +irst in neati*e 0ays tor(entin itsel+ by

objecti+yin its pain. $hen, in a brie+ but alar(in re*ersal the spea1er associates the

tulips not only 0ith the pain but 0ith the heart so that the outside threat and po0er are

not only o*erco(e but subsu(ed. /ecause the spea1er her has so e7aerated her

o0n e(ptiness and the tulips *iolence and *itality, she (ust then accept in hersel+ the

attributes she has cast onto the tulips 0hich no0 return to her. $he heart bloo(s.

%ere, +or once, the (anipulati*e (ind 0or1s it o0n cure. I+ the super sensiti*e (ind

case turn tulips in to e7plosions, it can also re*erse the process and turn danerous

ani(al into bloo(in hearts. @hat it cannot do, despite the spea1er&s clai( is accept

utter e(ptiness. It cannot re+use to be e7cited by the +lo0ers that it does not 0ant.

=$ulips> is an unusual poe( in plant&s 0or1 not because it de(onstrates ho0

the (ind (ay enerate hyperboles to torture itsel+ D0hich is a co((on stratey o+

Plath&s poe(s but because it sho0s ho0 this enerati*e +aculty (ay ha*e a positi*e

as 0ell as neati*e +unction =$ulips> is not a cheer+ul poe(, but it does (o*e +ro(

cold to 0ar(th, +ro( nu(bness to lo*e +or( e(pty 0hiteness to *i*id redness, a

process (anipulated by the associati*e i(aination. $he spea1er hersel+ see(s

surprised by her o0n i+ts and ends the poe( on a tentati*e note, (o*in to0ard the


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+ara0ay country o+ health. -espite this possibly hope+ul endin ho0e*er the boded o+

the poe( de(onstrates the 0ay in 0hich the (ind (ay intensi+y its pain by

objecti+yin it.

@hat ta1es place in =Tulipsin a pri*ate (editation Dand perhaps the pri*acy

account +or the (inds pliancy is i*en (uch (ore +erocious treat(ent in the public

per+or(ances o+ Path&s late poe(s. It is in +act the sense o+ bein on public display

that calls +orth the rae o+ the spea1ers in these late poe(s. Forced to per+or(, they

de*elop elaborate rituals. $heir (anipulati*e po0ers beco(e a curse not a cure. In

The tourthe spea1er, cauht =in slippers and housedress 0ith no lipstic1>, reets

0ith (oc1 hospitality her (aiden aunt 0ho 0ants =to be sho0n about> =-o step in to

the hall>, =yes, yes, this is (y address. Not a patch on your place. I uess>. Instead o+

re+usin to beco(e a *icti( o+ the aunt&s (eddleso(e curiosity, the spea1er readily

assents to it. A+ter apoloi8in +or the (ess, she leads her aunt riht in to it, sho0in

her the +rost 5 bo7 that bites, the +urnace that e7ploded, the sin1 that ate =se*en (aids

and a plu(ber> 0ith (oc1 concern, she 0arns the aunt, =O I shouldn&t put (y +iner

in that>, =O I shouldn&t dip (y han1ie in, it hurts>. =I a( bitter I&( a*erse She as1s

droppin +or a second her polite (as1 but resu(in it i((ediately in her re+rain,

=$oddle on ho(e to tea no0>. $he spea1er (anipulates the aunt&s curiosity, turnin it

bac1 on itsel+ by (aintainin a tone o+ insistent courtesy and +orced inti(acy that

desined to jeerinly protect the aunt +ro( bra8en e7hibition o+ the open house o+

horrors. She appears to contrast her o0n dreary do(estic appliances to her aunt&s

e7otic possessions? but actually her (achines are =0ild>, she says and in a di++erent

0ay unli1e her aunts ta(ed decorations. %o0e*er, 0hen she calls hersel+ =creepy 5

Creepy> she see(s to ha*e assu(ed her aunts ec1o5 li1e ualities. $he stainess o+

this spea1er, her insistent rhy(in, e7cla(atory sentences, italici8ed 0ords, all


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pro*ide not only a rotesue re+lection o+ the aunt&s alar( but also suest a 1ind o+

hysterical control. $he spea1er&s ability to (anipulate the aunt&s alar(, but also

suest a 1ind o+ hysterical control. $he spea1er&s ability to (anipulate the aunt is

(atched by a (ore sinister ability to (anipulate her o0n horrors, to locate the( in

+urnace and sto*e, and there to i*e the( a separate identity. $he poet 0ho +elt that

the intellient (ind (ust (anipulate its (ost terri+yin e7periences also 1ne0 that the

deraned (ind could operate in such a0ay as to hold o++ its terror, separate itsel+ +ro(

the aony it su++ered, and the spea1er here e7e(pli+ies that process. @hen at the end

she 0arns the aunt not to trip o*er the nurse5 (id 0i+e 0ho =can brin the dead to

li+e>, she points to the source o+ her (isery, the creati*e principle that has itsel+

assu(ed and objecti*e identity and beca(e part o+ the (ess. $he (id 0i+e, li1e a

poet, deli*ers li+e 0ith =0ily +iners>, and she has +act been *ery achie*e in

endo0in dead, household appliances 0ith a li*ely i+ destructi*e enery? but no0 she

too has been cast out.

In this spea1er 0ho can not only caricature her aunt 0ith the =specs> ad +lat

hat> but also her o0n creepiness as 0ell as her =a0+ully nice> creati*e +aculties, Plath

presents a da(nin portrait o+ the too in*enti*e (ind that e7ults in sel+ 5 laceration It

is not uite accurate to say that this spea1er is una0are o+ her o0n strateies because

she supre(ely sel+ conscious? but she is trapped by the(. @here others ha*e been

de*oured or repelled, she li*es on, neither despairin nor shoc1ed but chared 0ith a

hysterical enery that she deploys +inally aainst hersel+. %er nurse 5(id5 0i+e is

eyeless. She too can only see hersel+ no0 as others see her. %er ability to (anipulate

her o0n su++erin is a sub*ersion o+ the poet&s creati*e po0ers? it beco(es a (eans o+

holdin o++ rather than e7plorin her situation


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A uite di++erent (anipulator is the spea1er in =$he Applicant> 0ho appears

to be a co(ic +iure re*elin in her (achinations. )nli1e the 0o(an in =$he $our>

she see(s to spea1 +or others not +or hersel+. She starts out 0ith the characteristic

uestion o+ the con*ention 5 lo*in 0o(an, =First, are you our sort o+ person> 0hat

interest her, she re*eals is not 0hat 0e (iht e7pect +ro( so(eone 0ho 0ould as1

that uestion, the social ualities o+ her (arriae applicant, but rather her physical

parts. =Our sort o+ person> has no lass eyes, +alse teeth, rubber breasts, stitches to

sho0 so(ethin&s (issin. Once ha*in assured hersel+ on that score, she presents

her applicant&s hand in (arriae, pro(isin not only the traditional series that it 0ill

=brin teacups and roll a0ay headaches> but that at the end it 0ill e*en =dissol*e o+

sorro0> $hen, as i+ this =uaranteed> e(otion (iht be too (uch +or the (an, she

con+ides, =0e (a1e ne0 stoc1 +ro( the salt>. =Such econo(y, such e++iciency, this

(arriae bro1er see(s to cluc1. $he 0o(an =0illin> =to do 0hate*er you tell it> can

be easily recycled. Ne7t the spea1er turns to the (an 0ho li1e the 0o(an is =star1

na1ed>. Instead o+ puttin hi( throuh the sa(e e7a(ination o+ parts she uic1ly

o++ers hi( a 0eddin suit, =/lac1 and sta++>? that he can reuse as a +uneral shroud.

She adopts the +a(iliar tone o+ tailor that shades into that o+ the (ortician. Suddenly

the suit, the irl, the deadly con*entional o+ (arriae are all one, li1e a to(b, eually

=0ater proo+, shatter proo+, proo+B Aainst +ire and bo(bs throuh the roo+ =$he

sub*ersi*e e7cess o+ her pro(ises here is hastily passed o*er as her sales pitch

continues =No0 your head, e7cuse (e, is e(pty. I ha*e the tic1et +or that. Co(e

here, s0eetie out o+ the closet =0hat she presents is =A li*in doll> 0hose *alue 0ill

increase 0ith each anni*ersary, paper at +irst but sil*er in 29 years and old at 93

years.


17/29

It (iht be arued that =The Applicantdoes not properly belon to those

poe(s in 0hich Plath e7poses the (inds (anipulation o+ terri+yin e7periences. A+ter

all (arriae and especially the (arriae contracted here is a con*entional

arrane(ent 0hich should not a++ect the +ears or passions or e(otions o+ either the

(an or the 0o(an. In addition, the spea1er here appears, sa+ely re(o*ed +ro( the

situation she directs. $hese +acts, ho0e*er, do not e7plain the tone o+ the poe( 0hich

co(es throuh in the instant re+rain =@ill you (arry it> $his spea1er 0ho has =the

tic1et> +or e*ery thin see(s despite her all 1no0in and consolin co(ic pose,

*ery an7ious to ha*e uestions ans0ered. Aain, as in the other poe(s 0e ha*e

discussed the nature o+ the spea1er in The Applicantdeser*es (ore attention than it

has recei*ed 0hat she says is ob*ious enouh, but 0hy does she say it I ha*e called

her a 0o(en althouh her se7 is no0here identi+ied partly because o+ her lanuae

and partly because o+ her clai( that her applicant can se0, coo1 and =tal1, tal1, tal1>

Dno (an I belie*e 0ould ha*e considered that last +eature a sellin point but chie+ly

because she see(s to be e7tre(ely concerned +or the success+ul outco(e o+ her

applicant. She is li1e the applicant hersel+ 0illin to (a1e any clai( and to accede to

any de(ands in order to stri1e a barain. %ers is a pose o+ course, but it is the pose o+

the co(pliant 0o(an. i1e the patient in Tulips0ho accepts the i+t o+ +lo0ers

that tor(ent her and the niece in The Tour0ho responds to her aunt&s detested

*isit, the spea1er here insists on participatin in a situation the de(ands o+ 0hich she

+inds abhorrent. %er only recourse +or dealin 0ith it is a (ode at 0hich she is

particularly s1illed, burlesue. "et behind the scorn and the sco++in is another

+eelin, so(ethin li1e hysteria that e7presses itsel+ in her repeated uestion. She

see(s trapped by the se7ual stereo types she parodies. $he *entrilouis( o+ this poe(

hides the +act that this is an internal debate. $he se7ual +ear that has dri*en the


18/29

=s0eetie> in to the closet and the boy to his last resort also propels the (anipulation

o+ this shre0d i+ too areeable 0o(an. %ere aain is the controllin (ind usin its

po0ers to co(part(entali8e rather than e7plore its situation

$he relationship bet0een poet and spea1er in t0o other late poe(s, Lad

La!arusand "addis so(e0hat (ore co(plicated because these poe(s do call

upon speci+ic incidents in Plath&s bioraphy, her suicide atte(pts and her +ather&s

death. "et too associate the poet 0ith the spea1er directly, as (any critics ha*e done

does not account +or the +act that plant e(ploys here as be+ore the techniues o+

caricature, hyper bole, and parody that ser*e both to distance the spea1er +or( the

poet and at the sa(e ti(e to project onto the spea1er a sub*ersi*e *ariety o+ the

poet&s o0n strateies. In Lad La!arusthe nature o+ the spea1er is peculiar and

de+ies our ordinary notions o+ so(eone prone to atte(pt suicide. Suicide is not a

joyous act, and yet there is so(ethin o+ triu(ph in the spea1er&s assertion that she

has done it aain. $he person reco*erin +ro( a suicide atte(pt, as this spea1er says

she is cannot possibly be so con+ident at the *ery (o(ent o+ her reco*ery that her

sour breath 0ill *anish in a day and that she 0ill soon be a s(ilin 0o(an. Nor

could she ha*e the presence o+ (ind to characteri8e those 0ho surround her as a

=peanut crunchin cro0d> and her rescuers as ene(ies. And +inally it see(s

psycholoically i(possible +or the suicide *icti( to ha*e the enery to rise at all.

Aainst other people, (uch less to threaten to =eat (en li1e air>. $he person 0ho

spea1s here does so not to e7plore her situation but to control it. She is +irst o+ all a

per+or(er and althouh she adopts (any di++erent roles, she is chie+ly re(ar1able +or

her control not only o+ hersel+ but o+ the e++ects she 0ishes to 0or1 on those 0ho

surround her. She spea1s o+ hersel+ in hyperboles callin hersel+ a =0al1in (iracle>

boastin that she has =nine ti(es to die> e7clai(in that dyin is an art she does


19/29

=e7ceptional 0ell> assertin that =the theatrical B co(ebac1 in broad day> 1noc1s her

out. %er treat(ent o+ suicide in such buoyant ter(s a(ounts to a parody o+ her o0n

act. @hen she co(pares her suicide to the *icti(i8ation o+ the ;e0s and later on

0hen she clai(s there is a chare +or a piece o+ her hair or clothes and thus co(pares

her rescued sel+ to the cruci+ied Christ or (artyred saint, she is enain in sel+

parody. She e(ploys these techniues partly to de+y the cro0d 0ith its

=bruteBa(used shout B =A (iracle J> and partly to taunt her rescuers. =%err -o1tor>

%err Ene(y>0ho reard her as their =opus>. She is neither a (iracle nor an opus,

and she +ends o++ those 0ho 0ould reard her in this 0ay. /ut the techniues ha*e

another +unction as 0ell? they display the e7tent to 0hich she can objecti+y hersel+,

rituali8e her +ears, (anipulate her o0n terror. %er e7tre(e control in +act is

inti(ately ent0ined 0ith her suicidal tendencies. $he suicide is her o0n *icti(, Can

control her o0n +ate. I+ she is not to succu(b to this desire she (ust enae in the

elaborate ritual 0hich oes on all the ti(e in the (ind o+ the 0ould be suicide by

0hich she allays her persistent 0ish to destroy hersel+. %er act is the only (eans o+

dealin 0ith a situation she cannot +ace. %er control is not sane but hysterical. @hen

the spea1er assures the cro0d that she is =the sa(e identical 0o(an> a+ter her rescue

she is in +act tellin the( her in(ost +ear that she could and probably 0ill do it aain.

@hat the cro0d ta1es +or a return to health, the spea1er sees as a return to the

perilous conditions that ha*e dri*en her three ti(es to suicide. /y (a1in a spectacle

out o+ hersel+ and by locatin the *icti(i8er outside hersel+ in the doctor and the

cro0d, she is castin out her terrors so that she case controls the(. @hen she says at

the end that she 0ill rise and cat (en li1e air she is projectin her destruction

out0ard. $hat last stan8a o+ de+iance is in +act as e++ort o+ the (id to triu(ph o*er

terror, to rise and not to succu(b to its o0n *icti(i8ation.


20/29

$he spea1ers tone is hysterical, triu(phant, and de+iant. Only once does she

drop this tone to ad(it the despair that underlies it 0hen she says =@hat a trash B to

annihilate each decade>. Other0ise she (aintains her riid sel+ control in accents

that rane +ro( +ren8ied aiety to spite+ul threats. Althouh her situation is (uch

(ore e7tre(e than those social occasions o+ Tulips The Tour, The Applicantit

is li1e the( not o+ her o0n (a1in. She has been rescued 0hen she 0anted to die.

%er response is per*erse she does not 0elco(e her rescuers. Nor does she e7a(ine

the condition that +orced her death 0ish? instead she accepts her +ate and presents

hersel+ as in co(plete control. $he e++ort o+ her act 0hich co(es throuh in her tone

is intense yet necessary because 0ithout it she 0ould ha*e to +ace the +act that she is

not in control. %er per+or(ance is a de+ense aainst utter desolation. %ere aain is

the (ind (anipulatin its o0n terrors. Plath 0as no straner to this (ethod, as 0e

ha*e said be+ore but 0hile she 0or1s here 0ith a parallel bet0een hysterical control

and creati*e control she presents the +irst as a (ad re+lection o+ the second. Lad

La!arus dra0s o+ Plath&s o0n suicide atte(pt, the poe( tells us little (ore than a

ne0s paper account o+ the actual e*ent. It is not a personal con+ession. @hat it does

re*eal is Plath&s understandin o+ the 0ay the suicidal person thin1s.

"addis an e*en (ore co(plicated treat(ent o+ the sa(e process. $he

poe( opens 0ith the dauhter&s assertion that =you do not do, you do not do>. /ut i+

"add0ill not do neither 0ill he not do and 0e +ind this spea1er in the characteristic

Plath trap, +orcin hersel+ to deal 0ith a situation she +inds unacceptable. "addis

not so (uch as account o+ a true li+e situation as a de(onstration o+ the (ind

con+rontin its o0n su++erin and tryin to control that by 0hich it +eels controlled.

$he si(plistic insistent rhyth( is one +ro( o+ control that by 0hich it +eels

controlled. $he si(plistic, insistent rhyth( is one +ro( o+ control, that obsessi*e


21/29

rhy(in and repeated short phrases are others, (eans by 0hich she atte(pts to

char( and hold o++ the e*il spirits. /ut the spea1er is e*en (ore cra+ty than this

technical e7pertise de(onstrates she is s1illed at i(ae 5 (a1in li1e a poet and she

can (anipulate her i(aes 0ith e7tre(es +acility. $he I(ae the(sel*es are

i(portant +or 0hat they tell us o+ her sense o+ bein *icti(i8ed and *icti(i8er but

(ore sini+icant, $han the actual i(ae is the s0i+t ease 0ith she case turn it to

*icious uses. For e7a(ple, She starts out i(ainin hersel+ as a prisoner li*in li1e a

+oot in the blac1 shoe o+ her +ather then she casts her +ather in her o0n role and he

beco(es =one rey toeB /i as a +irsco seal> and then uic1ly she loo1in +or his

+oot, his root. Ne7t he re*erts to his oriinal boot identity, and she is the one 0ith

=$he boot in the +ace>. And i((ediately he retunes 0ith =A cle+t in your chin

instead o+ your +oot>. At the end, she sees the *illaers sta(pin on hi(. $hus she

(o*es +ro( booted to booter as her +ather re*erse the direction. $he (ind that 0or1s

in this 0ay is nihters loical nor psychotically penetratin? it is si(ply e7tre(ely

adept at julin i(aes. In +act, the spea1er is cauht in her o0n strateies. She can

control her terrors by +orcin the( in to i(aes, but she see(s to ha*e no

understandin o+ the con+usion her 0ild i(ae (a1in betrays. @hen she

identi+ies hersel+ as a +oot, she suests that she is trapped, but 0hen she calls her

+ather a +oot the associations brea1 do0n. In the sa(e 0ay. @hen she caricatures her

+ather as a Fascist and hersel+ as a ;e0, she de*elops associations o+ torture 0hich

are not e7actly re*ersed 0hen she re*erses the identi+ication and calls hersel+ the

1iller o+ her *a(pire +ather. $he spea1er here can cateori8e and (anipulate her

+eelins in na(e callin in rituals in i(aes but these are only techniues and her

+ren8ied use o + the( suests that they are (ethods. She e(ploys in the absence o+

any other. $he pace o+ the poe( re*eals its spea1er as one dri*en by a hysterical


22/29

need +or co(plete control. A need that ste(s +ro( the +ear that 0ithout such control

she 0ill be destroyed. %er si(ple incantatory (onoloue is the per+ect *ehicle o+

e7pression +or there orderly disordered (ind.

$he poe( "adddoes not see( to +all easily in to that cateory despite its

nonsense rhy(es and rhyth(s it&s uic1ly +lic1in i(aes. It is neither decorous nor

play+ul. On the other hands, i*es its. Subject neither is it ponderous or sole(n.

Abo*e all It o++ers no insiht in to the spea1er, no (itiatin e*idence, no

justi+ication. Plath&s classi+ication is clear perhaps only i+ 0e consider her spea1er a

periodic *ersion o+ the poet. $he spea1er (anipulates her terror in sinson lanuae

and thus deli*ers hersel+ in =liht *erse> that e(ploys its cra+t in holdin o++ its

subject +or all the +ran1ness o+ this poe( the na(e callin and bla(in the dar1

+eelin that per*ades it is unde+ined, held bac1 rather than re*ealed by the techniue.

$he poet 0ho has created this spea1er 1no0s the spea1ers strateies because they are

per*erted *ersion o+ her o0n and is the distinction bet0een the spea1er&s =liht

*erse> and the poet&s serious poe(.

Fro( her earliest (ad0o(en and hysterical *irins to the late suicides and

+ather 1illers Plath portrays characters 0hose staey per+or(ances are sub*ersions o+

creation act. Absorbed in their rituals they con+ess nothin. $hey are not an7ious to

(a1e a brea1throuh bac1 into li+e. In +act, their eneries are enaed in erectin a

barricade aainst sel+5 re*elation. Plath&s +ascination 0ith this periodic i(ae o+ the

creati*e ste(s +ro( a deep 1no0lede o+ the (achinations o+ the (ind. I+ she re*eals

hersel+ in these poe(s, she does so in the rotesue (irror o+ parody. I+ these poe(s

co(e out o+ her o0n e(otional e7periences, as she said they did they are not

uni+or(ed cries +ro( the heart. 'ather, she chose to deal 0ith her e7perience by


23/29

creatin characters 0ho could not deal 0ith theirs and throuh their rituals

de(onstrate their +ailure. $hese poe(s li1e the spea1ers in the( are superbly

controlled? but the poet behind the poe( uses her i((ense technical control to

(anipulate the tone, the rhyth( the rhy(e the pace o+ the spea1er&s lanuae in

order to re*eal truths about the spea1ers that their obsessi*e assertions deny.

Plath&s 0or1 shouldn&t be ca*alierly dis(issed, because she is one o+ the (ost

oriinal A(erican poets o+ the second hal+ o+ the century. $he +ascination 0ith the

risly bits o+ her bioraphy has caused e(phasis to +all on the poetry&s (ost heated,

personal aspect 5 and indeed its easy to i(aine ho0 lines li1e =E*ery 0o(an adores

a Fascist> repeated out o+ conte7t, uic1ly co(e to see( (ore attitudinal than

insiht+ul. /ut 0as a(on the (ost publicly a(bitious disciplined, herd 0or1in

poets o+ the century, And her 0or1 is +or the (ost part anythin but adolescent and

baldy con+essional? rather it&s a (ythic e7ca*ation o+ the unconscious. %er subject is

the crucible o+ post reliious senti(ent the strule o+ a sel+ 0ith the ele(ental +orce

around it. Plath too1 pains to in*erts her poe(s 0ith a (ythic se*erity, and in the

0ee1s be+ore she died spo1e on the //C about the need +or the (odern poet to dra0

on (yth 0hile (a1in =the (etaphor5 (oral intrinsic to the poe(, 0or1in bac1

and +orth un itsel+ not e7pressed prosaically at the close li1e the (oral o+ a +able>

unsurprisinly Syl*ia, cauht up in the poet&s loo(, +ails to consider the +act that

Plath 0as a(on the +irst really ood A(erican poets ta1e (other hood as her

subject. /y the end o+ her li+e one (iht ha*e accused her o+ 0ritin =essentially

pro*ocati*e. Anti5 boureois&, is na1ed a(bitious poe(s. In both cases it see(s to be

so(ethin about the poe(s na1ed a(bition their 0illinness to +lout boundades

and to hold up a ne0 set o+ preoccupations as *alid that displeases


24/29

%er suicidal hysteria, li1e that 0hich +inally too1 Plath hersel+ is the auish o+

a bein 0ho has reali8ed her o0n ratuitousness, =Factitious, arti+icial, sha(> 0hat

she has called her =sel+>, that uniue and coddled eo, is no (ore than a ne7us o+

donated bein a +ield o+ battle 0here the con+lictin +orces o+ her en*iron(ent, her

+a(ilial and social e7perience, clash, di*ide, and coalesce. Plath 0rote o+ the poe(

"addas =spo1en> by a irl 0ith an Electra co(ple7. %er +ather died 0hile she

thouht he 0as God. %er case is co(plicated by the +act that her +ather 0as also a

Na8i and her (other *ery possibly ;e0ish. In the dauhter the t0o strains (arry and

paraly8e each other she has to act out the a0+ul little alleory be+ore she is +ree o+ it.

=@hile the details hardly corresponds accurately to Plath&s o0n bioraphy their

sy(bolic +unction in the e(otional ecoloy o+ her 0or1 is clear.

$he i(aery o+ Plath&s poe(s under oes endless trans+or(ations, in 0hich

the lin1s ace o+ten suppressed or arbitrary sudden shi+ts o+ tac1 and e(otion lead o++

in une7pected directions. %er poetic narrati*es +or1 and proli+erate in this 0ay

because in un+oldin the i(plications o+ a seuence o+ i(aes, she unco*ers the

co(ple7 and contradictory possibilities condensed 0ithin the( the in+antile trau(as

lyin treacherously beneath the sur+ace o+ adult e7perience. $he sa(e i(ae can be

chaned 0ith uite contradictory e(otional *alencies i+ in poe(s such as "add

and Lad La!arusshe *eers close to disinteration she also pro(ises as

brea1throuh in to a resurrection 0hich sheds, the constrictin hus1s o+ the past.

Since her suicide in 64:H at the ae o+ thirty. Syl*ia Plath especially has

attracted the attention o+ 0o(en&s studies enthusiasts, 0hile at the sa(e ti(e she has

beco(e reconi8ed as a pree(inent A(erican poet. O+ten cateori8ed as

=con+essional> her poe(s are pri(arily inspired by actual e*ents in her li+e e*ent that


25/29

she trans+or(s into probin psychoanalytical studies. She e7perience disillusion(ent

0ith the co(pro(ised adult 0orld, se7ual curiosity and resultant uilt and se*eral

(ental depression.

In the years since her death Syl*ia Plath&s li+e and 0or1 has ta1en on (ythic

proportions. She has beco(e one o+ the (ost 0ell 1no0n poets o+ the 23th

century in past because o+ her traic suicide at ae H3perhaps as a result, the 0ritin

to 0hich (ost readers and critics re+er are those dealin 0ith suicide and death. $his

+ocus is un+ortunately narro0 because Plath&s 0ritins are (uch (ore +ar5 ranin in

their a(bitions and scope, lares interests in 0ould politics and in 0o(en&s issues

can be +ound throuhout Plath&s poetry and prose. -eter(inin her relationship to

+e(inis( has pro*en +ar (ore di++icult ho0e*er. $hrouh she is not an ano(aly is

this reard, Plath&s relationship to the second 0a*e o+ the 0o(en&s (o*e(ent has

been the subject o+ a reat deal o+ critical debate. @hen readin Plath&s 0ritin. It is

i(portant to resist the te(ptation to see her 0or1 in itsel+ a lon suicide note5 as the

central or only +ocus o+ her 0ritins. $o reduce her output to con+essions about her

o0n li+e 0ould be a (ista1e ho0e*er. E*en those Fa(ous poe(s that see(inly

describe her personal li+e also consider broades issues o+ enders relationships and

po0er. $houh (uch o+ her 0or1 is certainly dar1 a reat deal o+ it deals 0ith

nature child bearin and child dearin, lo*e, and se7uality.

Plath =0as in (any 0ays a *icti( o+ the +i+ties and its ideoloy o+ the +a(ily.

@o(en strulin to lead independent li*es or pursue the ideal o+ bein 0riters 0ere

under pressure to sub(ere the(sel*es 0ithin (onoa(ous (arriae and create

households straiht out o+ adies %o(e journal. Plath died just the ne0 0a*e o+

+e(inist theory bean to sur+ace 0ith the rise o+ the 0o(en&s (o*e(ent Plath dealt


26/29

0ith these contradictions in her li+e and her 0or1 to be sure. $he e7tent to 0hich she

sa0 either as see1in to i(pro*in the lot o+ 0o(en in debatable throuh. !ay ha*e

0anted clai( that Plath 0as =truly> a +e(inist but deter(inin 0hich o+ the (any

sel*es 0e see in her letters, journals, poe(s, and prose is the =true> are is as

i(possible tas1.

Callin Plath a +e(inist then present di++iculties. It is unli1ely that she hersel+

0ould ha*e identi+ied 0ith this land. %er strules ho0e*er 0ere clearly understood

by her to be endered and o+ten, as a result unjust. She struled to articulate the

contradictions that a 0o(an 0ho 0anted to be both de*oted 0i+e and (other and a

success+ul creati*e 0riter +aced in the late 6493&s and 64:3&s. $hat her strule ha*e

pro*ed inspirational +ascinatin and traic to subseuent enerations o+ readers is

testi(ony to the endurin rele*ance o+ her insihts and to the stunnin brilliance o+

her 0or1.

$o discuss the sel+ one should recollected and su((on up the challenin

notion o+ identity and its play o+ doubleness and duality. $he 0hole li+e as artist is

su((ari8ed in one uest that is the process throuh 0hich could +ind identity.

Al(ost ine*itable all o+ Plath&s poe( intentionally. Allude to inde+initeness o+

ender to re(o*e all identities +easible +ro( the narrator indi*iduality. $he other

Syl*ia Plath that 0as one o+ literary brea1throuh o+ t0enty century 0ould be

conceptuali8ation o+ identity concept reardin Syl*ia Plath&s o0n identity. She 0as

not only un+a(iliar 0ith this sort o+ literature +ocusin on characters and their

doubles but also a uali+ied speciali8ed enthusiastic about the so5called subject

(atter.


27/29

C!APTER / 0

CONCLUSION

Syl*ia Plath 0as seen as one o+ the (ost e7ceptional con+essional poets o+ her

ti(e. her personal and li+e e7periences pour into her paes (a1in her so popular

that she has risen to cult status a(on her readers.

Syl*ia Plath&s traic death le+t (any critics 0onderin ho0 popular Syl*ia&s

0or1 0ould ha*e been i+ she has not died so early in her career. %er 0or1 is so

o*er0hel(inly intert0ined 0ith the li+e she so pain+ully li*ed that by readin her

0or1 one beco(es into 0orld she e7isted in. in so(e circles, she is rearded as a

+e(inist supporter due the poe(s 0here it appears that she is critici8in the role that

0o(en 0here e7pected to +all into durin the ti(e she 0as 0ritin. %o0e*er the

truth is that Syl*ia openly accepted her role as a 0i+e and (other and really had not

intended that her (aterial be seen as such. $he poe(s that she 0rote shortly a+ter her

separation are +illed 0ith the aner and betrayal that she +elt to0ards ted +or ha*in

le+t her alone to care +or the children on her o0n. In Ariel, the collection she

co(pleted shortly be+ore her death, the pain that she +elt o*er the absence o+ %uhes

is uite e*ident in =+or a +atherless son> she co(es to reali8e ho0 (uch the children

0ere a++ected by their +ather not bein 0ith the(.

Syl*ia&s 0or1 brins to li+e all the e7periences and bac1round that she

attained +ro( her parents heritae. In se*eral o+ her poe(s, her parents er(an and

Austrian bac1rounds are re+lected as she uses *arious co((entaries o+ the

holocaust as she re+lects on her on suicidal pact and obsession 0ith death. In addition


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her poetry also portrays (any o+ her +eelin to0ards her +ather and his death. Otto

Plath&s relationship 0ith his children especially to0ards the end o+ his li+e 0as

(erely one o+ super*ision. %e had *ery lo0 tolerance +or youn children and his

(ain connection 0ith the( 0as based on acade(ic per+or(ance. $hus, Syl*ia 0as

al0ays tryin to obtain is appro*al by e7cellin in school. In so(e incidents, it is

apparent that she ca(e to resent his death Das in "add#because she 0as not able

to achie*e the relationship she so desperately desired to obtain +ro( hi(. She +elt

cheated +ro( bein able to et to 1no0 this (an, 0ho&s lo*e she is so desperately

cra*ed +or. In theBell jar, she uses her +ictional characters to relate 0ith her o0n

e7periences 0ith her +ather&s death and her o0n desire to join hi( in that 0orld.

It is uite apparent in her 0or1 that she had an obsession 0ith death and her

o0n (ortality and at ti(es she clai(ed =that she +elt li1e her +ather 0as tryin to

dra her do0n into the ra*e 0ith hi(> D%aya(an 22 yet, despite her o0n battles

0ith the crypt 1eeper, Syl*ia also (anaed to 0rite about the joys and sorro0s o+

e*eryday li+e. In her con+essional style she succeeds in capturin the si(ple

pleasures she obtained +ro( startin her bee 1eepin hobby to spendin su((ers by

the ocean side.

Syl*ia Plath&s poetry has recei*ed considerable attention 0ith respect to a

rane o+ the(es and critical approaches. #ariously labeled +e(inist, political, suicidal

Plath has been subject to enor(ous bioraphical scrutiny but the critical responses

a*ailable today o++er increasinly nuanced understandins o+ Plath&s 0or1. %o0e*er,

su++icient attention has not been i*en to the sini+icant pre*alence o+ places and

spaces in Plath&s poetry. @ith particular +ocus on a selection o+ poe(s +ro( the

collected poe(s, this thesis arues that the personae in the poe(s con+ront


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=in+elicitous place> and that the poe(s resonate 0ith a tension bet0een place Dhere

re+errin to a space that is deli(ited by certain *alues and space Din the sense o+ an

e7pansion 0ithout the restrictions o+ place. @hat I here re+er to as in+elicitous place

can be understood as an in*ersion o+ Gaston /achelard&s conception o+ =+elicitous

space> and accounts +or the 0ay in 0hich Plath&s poetry are (arred 0ith an7iety and

a(bi*alence as opposed to bachelor&s bene*olent protecti*e spaces. $he places and

spaces in the poe(s are dealt 0ith in relation to the notion o+ in+elicitous place, as

0ell as the sini+icance o+ 0alls and the a++inity bet0een place and poetics.

Fro( the beinnin Plath in*ested her story 0ith a 1ind o+ (ythic aura thin1

o+ the 0ay she bit %uhes on the chee1 0hen they +irst (et. And its undeniable that

in 0estern culture the poet suicide has held a strae la(our datin bac1 to the ae

o+ 'o(anticis(. $he +ascination 0ith Plath&s li1e also had political co(ponent one

o+ the 1ey leacies o+ second 0a*e +e(inis(, 0hich 0as born al(ost

si(ultaneously 0ith Plath&s death, is the idea that personal is political. So naturally

her earliest readers concerned the(sel*es 0ith her li+e.

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