Biography
(from Encyclopedia Britannica)
Sylvia Plath, pseudonym Victoria Lucas, (born October 27, 1932, Boston, Massachusetts, U.S.—died February 11, 1963, London, England), American poet whose best-known works, such as the poems “Daddy” and “Lady Lazarus” and the novel The Bell Jar, starkly express a sense of alienation and self-destruction closely tied to her personal experiences and, by extension, the situation of women in mid-20th-century America.
Plath published her first poem at age eight. She entered and won many literary contests, and, while still in high school, she sold her first poem to The Christian Science Monitor and her first short story to Seventeen magazine. She entered Smith College on a scholarship in 1951 and was a cowinner of the Mademoiselle magazine fiction contest in 1952. At Smith Plath achieved considerable artistic, academic, and social success, but she also suffered from severe depression, attempted suicide, and underwent a period of psychiatric hospitalization. She graduated from Smith with highest honours in 1955 and went on to Newnham College in Cambridge, England, on a Fulbright fellowship. In 1956 she married the English poet Ted Hughes; they had two children. The couple separated in 1962, after Hughes’s affair with another woman.
During 1957–58 Plath was an instructor in English at Smith College. In 1960, shortly after she returned to England with Hughes, her first collection of poems appeared as The Colossus, which received good reviews. Her novel, The Bell Jar, was published in London in 1963 under the pseudonym Victoria Lucas. Strongly autobiographical, the book describes the mental breakdown and eventual recovery of a young college girl and parallels Plath’s own breakdown and hospitalization in 1953.
During her last three years Plath abandoned the restraints and conventions that had bound much of her early work. She wrote with great speed, producing poems of stark self-revelation and confession. The anxiety, confusion, and doubt that haunted her were transmuted into verses of great power and pathos borne on flashes of incisive wit. Her poem “Daddy” and several others explore her conflicted relationship with her father, Otto Plath, who died when she was age eight. In 1963, after this burst of productivity, she took her own life.
Mirror
I am silver and exact. I have no preconceptions.
Whatever I see, I swallow immediately.
Just as it is, unmisted by love or dislike
I am not cruel, only truthful –
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is a part of my heart. But it flickers.
Faces and darkness separate us over and over.
Now I am a lake. A woman bends over me.
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.
Daddy
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.