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Sylvia Plath's poem "Daddy" had very dark tones and imagery including death and suicide, in addition to the Holocaust. Plath wrote about her father's death that occurred when she was eight years old and of her ongoing battle trying to free herself from her father. Plath's father, Otto Plath, had died from complications after his leg amputation.
The Munich Mannequins" is a poem by Sylvia Plath which recounts Plath's experience of insomnia on a trip to the title German city. The poem is famous for its opening line and for referring to conservative Munich as the " morgue between Paris and Rome."
“Tulips,” written on March 18, 1961, is one of Plath’s most beloved and critically acclaimed poems. It was originally published in The New Yorker in 1962. [2] Ted Hughes stated that the poem was written about a bouquet of tulips Plath received as she recovered from an appendectomy in the hospital.
"Ariel" is composed of ten three-line stanzas with an additional single line at the end, and follows an unusual slanted rhyme scheme. Literary commentator William V. Davis notes a change in tone and break of the slanted rhyme scheme in the sixth stanza which marks a shift in the theme of the poem, from being literally about a horse ride, to more of a metaphoric experience of oneness with the ...
The Bell Jar is the only novel written by the American writer and poet Sylvia Plath.Originally published under the pseudonym "Victoria Lucas" in 1963, the novel is supposedly semi-autobiographical with the names of places and people changed.
Plath uses personification in "Mad Girl's Love Song", giving the stars in the ability to "waltz" and darkness the ability to "gallop". Plath uses anaphora, repeating the pronoun "I" at the beginning of 13 of the 19 lines within the poem. The continued recurrent imagery of isolation and darkness juxtaposed with fiery and loud imagery also ...
The list below includes the poems in the US version of the collection, published by Heinemann in 1960. [1] This omits several poems from the first UK edition, published by Faber & Faber in 1967, [2] including five of the seven sections of "Poem for a Birthday", only two of which ("Flute Notes from a Reedy Pond" and "The Stones") are included in the US edition.
Other key texts of the American "confessional" school of poetry include Plath's Ariel, Berryman's The Dream Songs, and Sexton's To Bedlam and Part Way Back, though Berryman himself rejected the label "with rage and contempt": "The word doesn't mean anything. I understand the confessional to be a place where you go and talk with a priest.