Critical Analysis When Sylvia Plath wrote this unconventional poem of hers on Februaryshe had given birth to her daughter Frieda. The mother love is strangely absent in the beginning of the poem. But the mother does move from a strange alienation to a kind of instinctive sweeping emotion, when she lives with the child for some time and when the child happens to breathe and cry; this probably happens after the intense labor pain is over, so that the mother could feel the love.
Analysis Of Phenomenal Woman Stanza By Stanza Stanza 1 It's interesting to note that the people this phenomenal woman wants to address initially are pretty women.
The reason why is soon revealed - the speaker is plain looking herself, she's not cute or slender or fashionable in shape, but inside she knows she has those pretty women asking questions that are difficult to answer.
Already the speaker has a secret and although she can't reveal all, she can tell the pretty ones about her own physical attributes. It's to do with the reach, span, stride and curl - what is within her grasp, the full extent of her womanhood, the decisive way she gets about, the allure of her smile.
The pretty ones can't quite believe what they hear but make no mistake, this is the speaker's one and only truth. Stanza 2 Next up are the men who are instinctively drawn to the phenomenal woman, some even start to worship her, or else cannot sustain a standing position so overcome are they.
There's a sort of spell cast over these males who act as honey bees around the hive.
There is chemistry at work here and the reason why the men are all a buzz? It's the fire, flash, swing and joy - the passionate heat as she looks at them, the gleaming white set behind the smile, the sensuality and sexuality, the enthusiasm of the dance.
Despite not being what society thinks she should be - ideally beautiful - the phenomenal woman can attract the opposite sex to her simply by entering a room.
Further Analysis Stanza 3 Concentrating on the male of the species again, the speaker perceives that even they can't put their finger on just why they're so attracted by this phenomenal woman.
They can ogle all they want, but this female's secret is hidden inside, it ain't visible on the exterior.
It's in the arch, sun, ride and grace - the way the spine is strong yet beautifully shaped, the power of a smile, life-affirming, the way her bosom is carried, comfortably, the smooth ease with which she manages life. Could it be the men are looking for something that cannot be identified with the senses?
Could this be the phenomenal woman's spirit, her essence, her inner being? Stanza 4 In a direct appeal to the reader, the speaker lays it on the line and attempts to clarify all that has gone on in the previous three stanzas.
She can hold her head high because of what she is: It's the click, bend, palm and need - the way she is full of energy and verve, the way she lets her hair fall naturally, her open and honest approach to life, the way her compassionate nature is a necessary thing.
The phenomenal woman's humility and respect for other's space, her dignity and inner strength mean she doesn't have to advertise her qualities or be brash and popular. Her essence, her well being, goes far deeper.
There are four stanzas. Rhyme If you read it carefully, the rhymes definitely make a difference to the overall sound and feel of the poem, especially in the first six or seven lines of each stanza.
And at the end of each.
For example, just note the full end rhymes: Rhythm and Meter There is a varied meter metre in UK in this poem, a mix of trochee and iamb with anapaest.
And others have trochaic followed by iambic: Still others are iambic preceding anapaestic: This variable rhythm, together with contrasting short and long vowels, make this a particularly interesting poem to read out loud and to listen to.
Repetition Perhaps the most striking device Angelou uses is to repeat a pattern, found in each stanza, which helps reinforce the message and brings familiarity for the reader, much like with the lyrics of a song. You know this is the ego speaking, making everyone aware of the attributes on show.
And immediately following this is the repeated mantra-like four line list of physical traits that go to make up the total woman. The final four lines also drive home the idea that this woman is special, unbelievable and her presence cannot be denied.
The poem becomes an anthem for the personal 'me'. Metaphor In the second stanza, the men who fall on their knees then swarm in the manner of honey bees at the hive. So the woman is seen as a sort of Queen bee, or she is the sweetness the bees need, the males busy seeking her attention.Sylvia Plath was born in Boston, Massachusetts, in She was an intelligent child who had her first poem published when she was only eight.
She displayed a marked degree of sensitivity but sought perfection in all that she did. Sylvia Plath with her children, Frieda and Nicholas Hughes. “Morning Song” is Sylvia Plath’s tribute to her newborn daughter, Frieda.
Composed early in when the baby was eight months old, it expresses the ambivalence of new motherhood – the joy, the optimism, the wistfulness, the uncertainty.
Sep 15, · Mary's Song by Sylvia Plath- ideas about how this poem is interconnect with metaphor and symbolism?
How is the author doing this and why? I know about the connection with the bible, Mary and the holocaust but am just looking for some in-depth analysis of how Plath is creating and using this metaphor leslutinsduphoenix.com: Resolved. Hello Poetry is a poetry community that raises money by advertising to passing readers like yourself.
The Collected Poems by Sylvia Plath k. Mad Girl's Love Song. Sylvia Plath. Morning Song. Sylvia Plath. Morning Song. Love set you going like a fat gold watch.
When Sylvia Plath wrote this unconventional poem of hers on February , she had given birth to her daughter Frieda. The mother love is strangely absent in the beginning of the poem. read poems by this poet. Sylvia Plath was born on October 27, , in Boston, Massachusetts.
Her mother, Aurelia Schober, was a master’s student at Boston University when she met Plath’s father, Otto Plath, who was her professor.