The poem is a portrait of mannequins in snow-drifted shop windows who represent artificial women whose perfection in beauty is accompanied by sterility and barrenness, "Unloosing their moons, month after month, to no purpose." Pamela Annas writes, "For Sylvia Plath, stasis and perfection are always associated with sterility" (137), and we see this metaphor prominent in "The Munich Mannequins".
There are other among Plath's poems that do not seem to be so directly personal to her own life, that help to fill in the tile-blanks of the literary mosaic which form a picture of Plath as a willing and even wanting wife and then mother.
After working for Mademoiselle as a guest editor in New York, which inspired parts of her acclaimed novel The Bell Jar, Plath “tried to kill herself by taking sleeping pills” (Sylvia Plath, Biography).
Such statistics qualify the idea that the 1950s and early 1960s were heavily influenced by idea of marital gender roles, as women were getting married younger, than ever before and working significantly less than men.
The Applicant from her poetry book, Ariel, published in 1965, two years posthumously, is a poem by Plath in which she defines societies objectification of women in marriage.
Sylvia Plath's poetry remains some of the most beloved and acclaimed work of the 20th century, challenging its readers with the complexity of its allusions, metaphors, and images, as well as startling and disrupting readers with the force of its insight, self-awareness, and psychological penetration.
Sylvia Plath doesn't only relate her poem to the Holocaust. She relates her poem to many different things. She changes throughout the poem so various types of audiences can relate the her and how she feels tortured. She relates her poem to the Bible, to the Holocaust, to medical view points, she also relates her poem to things that were most likely lying on the desk while she wrote the poem. The readers just need to analyze her poem deeper to understand that.
Feminist fans of Plath often agree that her suicide is very plausibly “a repudiation of the expectations placed upon women in the early 1960’s” (Sylvia Plath, The Poetry Foundation).
In theselast poems it is as if some deeper, powerful self has grabbedcontrol; death is given a cruel physical allure and psychic painbecomes almost tactile. On February 11, 1963, Sylvia Plath killed herselfwith cooking gas at the age of 30.
Sylvia Plath: Poems study guide contains a biography of poet Sylvia Plath, literature essays, quiz questions, major themes, characters, and a full summary and analysis of select poems.
After a period of recovery involvingelectroshock and psychotherapy Sylvia resumed her pursuit of academicand literary success, graduating from Smith in 1955 and winning aFulbright scholarship to study at Cambridge, England. In 1956 she married the English poet,and in 1960, when shewas 28, her first book, The Colossus, was published in England.
Sylvia Plath: Poems essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Sylvia Plath's poetry.
Taking its point of departure in the academic research she conducted for her undergraduate thesis, The Magic Mirror: A Study of the Double in Two of Dostoevskys Novels, this paper explores the theme of the divided self in the poetry of Sylvia Plath.
This poem has intrigued me since I first read as a teenager in high school in the snowy mountains of Western Massachusetts. I do feel that a great deal of it is autobiographical but it also has inspiration from disparate sources. None of us is that simple that one experience or one feeling defines us completely, and the same is true of Sylvia Plath. There was so much more to her than her suicide attempts; there was so much more to her than being married to Ted Hughes; there was so much more to her than being a mother; there was so much more to her than being a poet - and I think that that is what those last two lines indicate - that in her world, in her lifetime, it was okay, even normal, expected for a man to have multiple facets of his character, but a woman was, to the public, one dimensional, and she was not - and in fact she has risen, to overcome that dominate male perpetuation of what a woman is in her lifetime, because she goes on after her lifetime. A brilliant piece of poetry that I intend to use with my students out here in male dominated Saudi Arabia!
It discusses the argument put forth by Judith Kroll in her study, Chapters in a Mythology: The Poetry of Sylvia Plath, that Plaths use of this theme is based not on mental illness or psychoanalysis, but rather on folk-tale, literature and myth.
To fill it and willing
To bring teacups and roll away headaches
And do whatever you tell it.
Will you marry it?
It is guaranteed
To thumb shut your eyes at the end
And dissolve of sorrow.
We make new stock from the salt.
I notice that you are stark naked
How about this suit –
“The Applicant, Sylvia Plath”
After the speaker has clarified that the subject has no physical imperfections she goes on to offer the woman into marriage (Iowa Review, 104-115).