Analysis Of Plath’s “Daddy’ Analysis Of Plath’s “Daddy’ Essay, Research Paper Sylvia Plath uses her poem, Daddy, to express deep emotions toward her father? s life and death. With passionate articulation, she verbally turns over her feelings of rage, abandonment, confusion and grief. Though this work is fraught with ambiguity, a reader can infer Plath? s basic story. Her father was apparently a Nazi soldier killed in World War II while she was young. Her statements about not knowing even remotely where he was while he was in battle, the only photograph she has left of him and how she chose to marry a man that reminded her of him elude to her grief in losing her father and missing his presence. She also expresses a dark anger toward him for his political views and actions in such passages as: ? Not God but a swastika / so black no sky could squeak through? and? ? the brute / Brute heart of a brute like you.
? She goes on talk about how her poor or non-existent relationship with her father caused her to enter an unhealthy relationship. Finally, she conveys a mood of overcoming this man? s dark hold on her. She is still filled with unhealthy rage toward him but in her repeating that she is? through? and discussing having killed someone she demonstrates her feelings of self-empowerment. As Plath is using this poem as her personal forum to release her emotions, she also provides her audience with a look of her artistic style.
She creates a poem that will enthrall the reader using mediums like vague material such as stanza two (2): ? 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. ? She also uses quite a bit of repetition to emphasize her points. A repeated word tends to offer a high level of exaggeration. She does not use repeated sounds so much as words or phrases that allow the audience to almost picture a woman screaming angrily.
"Daddy," comprised of sixteen five-line stanzas, is a brutal and venomous poem commonly understood to be about Plath's deceased father, Otto Plath. The speaker begins by saying that he "does not do anymore," and that she feels like she has been a foot living in a black shoe for thirty years, too timid to either breathe or sneeze. She insists that she needed to kill him (she refers to him as " ...
She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader? s attention.
There are a few instances where imagery is used to carry out Plath? s expression. To cite a particular example that might lead a reader deduce their own ideas can be found in the last stanza: ? And the villagers never liked you. / They are dancing and stamping on you. ? This undoubtedly expresses her father? s death and burial but more importantly it states a certain humiliation she faced from everyone knowing what her father had died for, along with her own rage toward him. Another can be found in lines 24-25: ? I never could talk to you. / The tongue stuck in my jaw.
? The picture of someone being tongue-tied along with her statement in line 41: ? I have always been scared of you, ? demonstrate just that; she was fearful of her father. She also gives an image that provides the reader a view of how Plath physically viewed her father and chose a man that she states reminds her of him: ? A man in black with a Meinkampf look. ? As most victims or people with poor self-esteem, she chose to place herself in the same unpleasant life as she had had with her father by marrying a man that was just like him. She repeatedly talks of the color black expressing her dark perspective of her father and life in general. She also uses language that portrays darkness without using colors, for example in lines 71-73: ? If I? ve killed one man, I? ve killed two- The vampire who said he was you And drank my blood for a year. ? This passage eludes that she may or may not have actually killed her husband and in doing so conquered her father in a sense.
Should The Policemen be put on Trial? I personally believe that the policemen in Reserve Police Battalion 101 should be placed on trial for murder. The first chapter of the book states that Trapp explained the men what they had to do, he offered any of the older men among them to leave the mission if they decided that they did not want to carry out with it. That is what I feel is the main argument ...
Nevertheless, it demonstrates her dark perspective of her marriage in describing her husband as a vampire that continually tortured her. Plath? s work in the poem is undoubtedly bold and expressive. She uses a passion that makes her point clear even though her language may not necessarily be so obvious. She allows her readers to ride the roller coaster of battling her emotions with a freedom that suggests the piece was written for strictly personal expression; never to be read by others. The majority of the poem may certainly even be open for a variance of interpretations providing for a truly interesting work. Work Cited Plath, Sylvia.
? Daddy. ? Literature: The Evolving Canon. Eds. 2 nd ed.
Boston: Allyn and Bacon. 571-573? 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. 5 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 10 And a head in the freakish Atlantic Where it pours bean green over blue In the waters off beautiful Nau set. I used to pray to recover you.
Ach, du. 15 In 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 20 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. 25 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 30 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. 35 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. 40 I have always been scared of you, With you Luftwaffe, Your gobbledygook.
And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You-45 Not God but a swastika So black no sky could speak through. Every woman adores a Fascist, The boot in the face, the brute Brute heart of a brute like you. 50 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 no Any less the black man who 55 Bit my pretty red heart in two.
John Stauffer, in his book The Black Hearts of Men sets out to make one simple point through four men. He aims to bring to light the unified and revolutionary goals of what he describes as “the only true revolutionaries” among antebellum abolitionists. These were John Brown, Frederick Douglass, Dr. James McCune Smith, and Gerrit Smith. By describing for the first time these personalities and their ...
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. 60 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 65 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. 70.