The Epitaph in Form of a Ballad which Villon Made for Himself and his Comrades, Expecting to be Hanged along with Them. Sylvia Plath was one of the most dynamic and admired poets of the 20th century. By the time she took her life at the age of 30, Plath already had a following in the. Furk.net is your personal secure storage that fetches media files and lets you stream them immediately You can use it to stream video or listen to your music from PC. Presents THE RUSSELL HOUSE SERIES Prose and Poetry and the Music Series sponsored by the Center for the Arts Support for this series is provided by: the English.
By the time she took her life at the age of 3. Plath already had a following in the literary community.
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In the ensuing years her work attracted the attention of a multitude of readers, who saw in her singular verse an attempt to catalogue despair, violent emotion, and obsession with death. In the New York Times Book Review, Joyce Carol Oates described Plath as “one of the most celebrated and controversial of postwar poets writing in English.” Intensely autobiographical, Plath’s poems explore her own mental anguish, her troubled marriage to fellow poet Ted Hughes, her unresolved conflicts with her parents, and her own vision of herself.
On the World Socialist Web site, Margaret Rees observed, “Whether Plath wrote about nature, or about the social restrictions on individuals, she stripped away the polite veneer. She let her writing express elemental forces and primeval fears. In doing so, she laid bare the contradictions that tore apart appearance and hinted at some of the tensions hovering just beneath the surface of the American way of life in the post war period.” Oates put it more simply when she wrote that Plath’s best- known poems, “many of them written during the final, turbulent weeks of her life, read as if they’ve been chiseled, with a fine surgical instrument, out of arctic ice.”In the New York Times Book Review, former American Poet Laureate Robert Pinsky declared, “Thrashing, hyperactive, perpetually accelerated, the poems of Sylvia Plath catch the feeling of a profligate, hurt imagination, throwing off images and phrases with the energy of a runaway horse or a machine with its throttle stuck wide open.
All the violence in her work returns to that violence of imagination, a frenzied brilliance and conviction.” Pinsky further stated that Plath “suffered the airless egocentrism of one in love with an ideal self.” Denis Donoghue made a similar observation, also in the New York Times Book Review: “Plath’s early poems, many of them, offered themselves for sacrifice, transmuting agony, . At her brutal best—and Plath is a brutal poet—she taps a source of power that transforms her poetic voice into a raving avenger of womanhood and innocence.”Born in 1. Boston, Plath was the daughter of a German immigrant college professor, Otto Plath, and one of his students, Aurelia Schober. The poet’s early years were spent near the seashore, but her life changed abruptly when her father died in 1.
Some of her most vivid poems, including the well- known “Daddy,” concern her troubled relationship with her authoritarian father and her feelings of betrayal when he died. Financial circumstances forced the Plath family to move to Wellesley, Massachusetts, where Aurelia Plath taught advanced secretarial studies at Boston University.
Sylvia Plath was a gifted student who had won numerous awards and had published stories and poetry in national magazines while still in her teens. She attended Smith College on scholarship and continued to excel, winning a Mademoiselle fiction contest one year and garnering a prestigious guest editorship of the magazine the following summer.
It was during her undergraduate years that Plath began to suffer the symptoms of severe depression that would ultimately lead to her death. In one of her journal entries, dated June 2. It is as if my life were magically run by two electric currents: joyous positive and despairing negative—whichever is running at the moment dominates my life, floods it.” This is an eloquent description of bipolar disorder, also known as manic depression, a very serious illness for which no genuinely effective medications were available during Plath’s lifetime. In August of 1. 95. Plath attempted suicide by swallowing sleeping pills.
She survived the attempt and was hospitalized, receiving treatment with electro- shock therapy. Her experiences of breakdown and recovery were later turned into fiction for her only published novel, The Bell Jar.
Having made a recovery, Plath returned to Smith for her degree. She earned a Fulbright grant to study at Cambridge University in England, and it was there that she met poet Ted Hughes. The two were married in 1. Plath published two major works during her lifetime, The Bell Jar and a poetry volume titled The Colossus. Both received warm reviews.
However, the end of her marriage in 1. Plath with two young children to care for and, after an intense burst of creativity that produced the poems in Ariel, she committed suicide by inhaling gas from a kitchen oven. Timothy Materer wrote in the Dictionary of Literary Biography, “The critical reactions to both The Bell Jar and Ariel were inevitably influenced by the manner of Plath’s death at 3. Hardly known outside poetry circles during her lifetime, Plath became in death more than she might have imagined. Donoghue, for one, stated, “I can’t recall feeling, in 1.
Plath’s death proved her life authentic or indeed that proof was required. Some critics lauded her as a confessional poet whose work “spoke the hectic, uncontrolled things our conscience needed, or thought it needed,” to quote Donoghue.
Largely on the strength of Ariel, Plath became one of the best- known female American poets of the 2. The writer A. Alvarez, writing in The Savage God, believed that with the poems in Ariel, compiled and published by Hughes, Plath made “poetry and death inseparable. The one could not exist without the other. In a curious way, the poems read as though they were written posthumously.” Robert Penn Warren called Ariel “a unique book, it scarcely seems a book at all, rather a keen, cold gust of reality as though somebody had knocked out a window pane on a brilliant night.” George Steiner wrote, “It is fair to say that no group of poems since Dylan Thomas’s Deaths and Entrances has had as vivid and disturbing an impact on English critics and readers as has Ariel. Reference to Sylvia Plath is constant where poetry and the conditions of its present existence are discussed.” Plath’s growing posthumous reputation inspired younger poets to write as she did. But, as Steiner maintained, her “desperate integrity” cannot be imitated. Or, as Peter Davison put it, “No artifice alone could have conjured up such effects.” According to Mc.
Clanahan, the poems in Ariel “are personal testaments to the loneliness and insecurity that plagued her, and the desolate images suggest her apparent fixation with self- annihilation. In Ariel, the everyday incidents of living are transformed into the horrifying psychological experiences of the poet.”In Plath’s final poems, wrote Charles Newman in his The Art of Sylvia Plath, “death is preeminent but strangely unoppressive. Perhaps it is because there is no longer dialogue, no sense of . Love and Death, all rivals, are resolved as one within the irreversibility of experience. To reverse Blake, the Heart knows as much as the Eye sees.” Alvarez believed that “the very source of . But it was, precisely, a source of living energy, of her imaginative, creative power. So, though death itself may have been a side issue, it was also an unavoidable risk in writing her kind of poem.
My own impression of the circumstances surrounding her eventual death is that she gambled, not much caring whether she won or lost; and she lost.”As a very young poet Plath experimented with the villanelle and other forms. She had been “stimulated” by such writers as D. H. Lawrence, James Joyce, Feodor Dostoevsky, Virginia Woolf, Henry James, Theodore Roethke, Emily Dickinson, and later by Robert Lowell and Anne Sexton. She has been linked with Lowell and Sexton as a member of the so- called “confessional” school of poetry. Ted Hughes noted that she shared with them a similar geographical homeland as well as “the central experience of a shattering of the self, and the labour of fitting it together again or finding a new one.”At times, Plath was able to overcome the “tension between the perceiver and the thing- in- itself by literally becoming the thing- in- itself,” wrote Newman. She said, “I think that personal experience shouldn’t be a kind of shut box and mirror- looking narcissistic experience.
I believe it should be generally relevant, to such things as Hiroshima and Dachau, and so on.” Newman explained that, “in absorbing, personalizing the socio- political catastrophes of the century, . Donoghue suggested that “the moral claims enforced by these poems now seem exorbitant,” adding, “The thrill we get from such poems is something we have no good cause to admire in ourselves.” Mc. Clanahan felt that Plath’s legacy “is one of pain, fear, and traumatic depression, born of the need to destroy the imagistic materialization of . Plath writes of the human dread of dying. Her primitive honesty and emotionalism are her strength.” Critics and scholars have continued to write about Plath, and her relationship with Hughes; a reviewer for the National Post reported that in 2.
Plath. Newman considered The Bell Jar a “testing ground” for Plath’s poems. It is, according to the critic, “one of the few American novels to treat adolescence from a mature point of view. It chronicles a nervous breakdown and consequent professional therapy in non- clinical language. And finally, it gives us one of the few sympathetic portraits of what happens to one who has genuinely feminist aspirations in our society, of a girl who refuses to be an event in anyone’s life. The three- part novel explores Esther’s unsatisfactory experiences as a student editor in Manhattan, her subsequent return to her family home, where she suffers a breakdown and attempts suicide, and her recovery with the aid of an enlightened female doctor.
One of the novel’s themes, the search for a valid personal identity, is as old as fiction itself. The other, a rebellion against conventional female roles, was slightly ahead of its time. Nancy Duvall Hargrove observed in the Dictionary of Literary Biography, “As a novel of growing up, of initiation into adulthood, .
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