Sylvia   Path

 

Life

Sylvia Plath was born on the 27October  1932 in Jamaica Plain, Massachusetts (a

 

historic neighborhood in Boston) to Aurelia Schober Plath, a first-generation American

 

of Austrian descent, and Otto Emile Plath, an emigrant from Grabow, Germany and a

 

professor at Boston University. Otto's specialty was entomology, and he was a noted

 

authority on bees. Aurelia was approximately twenty-one years younger than her

 

husband.

 

Plath's early childhood was spent in Winthrop, Massachusetts. The Plath family moved

 

to Winthrop in 1936 during the Great Depression. Plath's mother, Aurelia, had grown up

 

there, and her maternal grandparents, the Schobers, lived on Point Shirley, a section of

 

the small town. It was here that Plath had her first poem published, in the Boston

 

Herald’s

 

children's section, when she was eight years old. Otto Plath died on November 5, 1940,

 

a week and a half after Plath's eighth birthday, of complications following the

 

amputation of a leg due to diabetes. Otto Plath ultimately died of diabetes mellitus,

 

which at that time was a very treatable disease. Otto Plath however, did not receive

 

proper treatment due to a wrongful personal diagnosis. Otto fell ill shortly after the

 

death of a close friend due to lung cancer. Comparing the similarities between his

 

friends' symptoms and his own, Otto was convinced that he too was ill with lung cancer,

 

and did not seek treatment until the illness had progressed too far. Aurelia Plath then

 

moved her children and her parents to 26 Elmwood Road,Wellesley, Massachusetts in

 

1942.

 

In her junior year at Smith College, Plath made the first of her suicide attempts by

 

crawling under her house and taking an overdose of sleeping pills. She later included

 

details of her attempted suicide in the autobiographical novel, The Bell Jar. After her

 

suicide attempt, Plath was briefly committed to a mental institution, McLean Hospital;

 

her stay there was paid for by Olive Higgins Prouty, who had also funded the

 

scholarship at Smith of which Plath was the recipient. Plath seemed to make an

 

acceptable recovery and graduated from Smith with honors in 1955. She obtained a

 

Fulbright scholarship to Cambridge University where she continued actively writing

 

poetry, occasionally publishing her work in the student newspaper Varsity. It was at

 

Cambridge that she met English poet Ted Hughes. They were married on June 16, 1956.

 

Plath and Hughes spent from July 1957 to October 1959 living and working in the

 

United States, where Plath taught at Smith. They then moved to Boston where Plath sat

 

in on seminars given by Robert Lowell. Also attending Lowell's seminars was .Anne Saxton. At this

 

time, Plath and Hughes also met, for the first time, W. S. Merwin, who admired their

 

work and was to remain a lifelong friend.

 

Upon learning that Plath was pregnant, the couple moved back to the United Kingdom.

 

Plath and Hughes lived in London for a while on Chalcot Square near the Primrose Hill

 

area of Regent's Park, and then settled in the small market town of North Tawton in

 

Devon. While there, Plath published her first collection of poetry, The Colossus. In

 

February 1961, she suffered a miscarriage, and a number of her poems address this

 

event.

 

Soon, Plath's marriage to Hughes met with many difficulties (particularly his affair with

 

Assia Wevill), and they separated. She returned to London with their children, Frieda

 

and Nicholas, and rented a flat at 23 Fitzroy Road (only a few blocks from the Chalcot

 

Square apartment) in a house where W.B. Yeats once lived. Plath was pleased by this

 

fact and considered it a good omen.

 

(cf.http://en.wikipedia.org/wiki/Sylvia_Plath)

 Death

 

Plath's grave at Heptonstall church, West Yorkshire

 

Sylvia Plath took her own life on the morning of February 11, 1963. She left out bread

 

and milk and completely sealed the rooms between herself and her sleeping children

 

with "wet towels and cloths." Plath then placed her head in the oven in her kitchen

 

while the gas was turned on.

 

It has been suggested that Plath's timing and planning of this suicide attempt was too

 

precise, too coincidental, and that she had not meant to succeed in killing herself.

 

Apparently, she had previously asked Mr. Thomas, her downstairs neighbour, what time

 

he would be leaving, and a note had been placed that read "Call Dr. Horder" and listed

 

his phone number. Therefore it is argued that Plath must have turned the gas on at a

 

time when Mr. Thomas should have been waking and beginning his day. This theory

 

maintains that the gas seeped through the floor and reached Mr. Thomas and another

 

resident of the floor below for several hours. Also, an au pair girl was to arrive at nine

 

o'clock that morning to help Plath with the care of her children. Arriving promptly at

 

nine, the au pair could not get into the flat, but was eventually let in by painters, who

 

had a key to the front door.

 

However, in the book Giving Up: The Last Days of Sylvia Plath, Jillian Becker says

 

that, "according to Mr. Goodchild—a police officer attached to the coroner's office . . .

 

she had thrust her head far into the gas oven. 'She had really meant to die.'"

 

Plath's gravestone bears the inscription "Even amidst fierce flames the golden lotus can

 

be planted." Following her death, the gravestone was repeatedly vandalized with

 

supporters of Plath chiselling off the name "Hughes." This practice intensified following

 

the suicide in 1969 of Assia Wevill, the woman he left Plath for, which led to claims of

 

domestic violence by Hughes against Plath.

 

(cf.http://en.wikipedia.org/wiki/Sylvia_Plath#Death)

Poems

 

Plath has been criticized for her controversial allusions to the Holocaust, and is known

 

for her uncanny use of metaphor. Her work has been compared to and associated with

 

Anne Sexton, W.D. Snodgrass, and other confessional poets.

 

The poems in Ariel mark a departure from her earlier work into a more personal arena

 

of poetry. It is likely that Lowell's poetry—which is often labeled "confessional"—

 

played a part in this shift; Indeed, in an interview before her death she listed Lowell's

 

"Life Studies" as an influence. The impact of Ariel was dramatic, with its maudlin

 

descriptions of mental illness in pseudo-autobiographical poems such as "Daddy" and

 

"Lady Lazarus".

 

In 2006, a graduate student at Virginia Commonwealth University discovered a

 

previously unpublished sonnet written by Plath entitled "Ennui." The poem, composed

 

during Plath's early years at Smith College, is published in Blackbird, the online journal.

 

 

Daddy
by: Sylvia Plath

 

You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.

Daddy, I have had to kill you.
You died before I had time--
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal

And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend

Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to
Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the
Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gipsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You--

Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.

You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.
And I said I do, I do.
So daddy, I'm finally through.
The black telephone's off at the root,
The voices just can't worm through.

If I've killed one man, I've killed two--
The vampire who said he was you
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There's a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I'm through.

 

From "Ariel", 1966
 

 

"Daddy" is perhaps one of Sylvia Path’s well known works.It was written shortly

 

before her death, and published Ariel in 1965. “Daddy” can be seen  as 

 

a response to Plath's complex relationship with her father, Otto Path, who died shortly

 

before her eighth birthday as a result of undiagnosed Diabetes  Mellitus.

 

The poem  describes the true feelings of Path. She tells the reader  how  her father treated her, she uses metaphor  while doing the descriptions. . Plath compares the wars in Germany with the many conflicts in her life. She  also compares her father with the Germans.

. This poem is  influenced by the death of her father and by the divorce from her husband, about struggles in her life, that she felt was caused by

either her father or her husband. All of these struggles left her with a feeling of

 

insignificance toward men, primarily her father.

 

"Daddy" differs from the others in that it shows an attempt to change the situation. Plath

 

states: "Daddy, I have had to kill you." by this, she of course means her unhealthy

 

relationship with the memory of her father. The extent to which her father's memory

 

affected her is obvious especially from the twelfth stanza on. She states

 

 

"At twenty I tried to die

And get back, back, back to you.

I thought even the bones would do."

 

Here Plath refers to an attempted suicide by overdose on sleeping pills, stating that it

 

was an attempt to get back to her father, to be with him in death.

 

Then she continues:

 

"But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.
And I said I do, I do."



The 'man in black with a Meinkampf look' is a reference to her husband, Ted Hughes,

 

from whom

 

she had recently separated. She portrays their relationship as a manifestation of her

 

Electra Complex, that she was attracted to Hughes because he reminded her of her

 

father. In the next stanza, Plath describes the outcome of this relationship.


"If I've killed one man, I've killed two-
The vamnpire who said he was you
And drank my blood for a year,"


The two men she refers to are her father and Hughes. Killed here means that she has

 

moved on, and forgotten about them. Although from the portrayal of both of them as

 

vampires, it is obvious that this was not done easily, that Plath endured seven years of

 

marriage to this 'vampire'. But, as she says in the poem "So daddy, I'm finally through."

 

In stating this she means that she has overcome the memory of her father, and has

 

moved on.