Ariel By Sylvia Plath Essay Research Paper — страница 2

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(Bundtzen 251). Plath has once again triumphed, reborn and strong. She questions “And the men, what is let of the men” (Plath 248). She has succeeded and there are no men to be the gods. The manner in which the woman uses her body to save the people, a man could never do, because it is biologically impossible. “The woman of the poem is finally a mother-god, raising the dead, her body the divine vehicle for human salvation from history” (Bundtzen 251). The many allusions to the Holocaust are not uncommon in the Ariel poems, according to A. Alvarez. Dying and rebirth themes were “necessary to her development, given her queer conception of the adult as a survivor, an imaginary Jew from the concentration camps of the mind” (197). The most positive transformation poem is

“Ariel” because the rebirthing process is consummated without harming another party. “Ariel” “represents one pole of Sylvia Plath’s poetic vision; the opposite, the mode of angst” (Perloff 117). The Ariel poems such as “Lady Lazarus” and “Fever 103″ involve taking over the old useless body and making it superior. In “Ariel” she is possessed by and in possession of the instant when the word is incarnated, when the world becomes a vision of energy unfettered by mortal substance, and in Plath’s development as a poet, freed from the carnal sting. She is, in this moment, the presiding genius of her own body (Bundtzen 256). “Ariel” has themes similar to those poems mentioned in this essay, such as in “Lady Lazarus,” where creative energy is not

exclusively the property of the male of the species. The allusion to Shakespeare’s Ariel is the key to “Ariel”, where Ariel is neither male nor female, and neither is the “divine activity of the poet” (Bundtzen 255). “In the moments when the woman is given over to the apocalyptic fury of her muse, she is also not subject to her feminine roles” (Bundtzen 255). In contrast, in the poem “Kindness,” another Ariel poem, “Plath feels she must respond to the “child’s cry” – “What is so real as the cry of a child?” – to put her poetry aside and respond.” In “Ariel,” “The child’s cry / Melts in the wall,” forgotten in the flight that takes her to revelation” (Bundtzen 255). In “Lady Lazarus” one gender emerges superior, whereas in

“Ariel” the genders do not matter for poetry does not have “a sexual prerogative” (Bundtzen 255). In “Getting There” and “Cut,” there are no images of carnage, nor is there a war motif, rather just the shedding of “Dead hands, dead stringencies, ” things that prevented her transformation. The Ariel poems “do seem to leave no way out” except another transformation and that is perhaps what Plath thought she was doing when she killed herself, or perhaps not (Pollit 72). Plath’s genius can be fully viewed in the Ariel poems; it was not the experiences that wrote the poems but rather the “true poet” that wrote them. Sylvia achieved in poems what she thought she could not or did not achieve in life: the ability to do as she wanted, to be a mother and wife

but not constricted into a domestic hell or to be pinned down by the oppressive society which did not accept her for being a poetess. She was able to “still speak from within her “deeper self” through her writing” (Kinsey-Clinton 1). 332