Thursday, August 29, 2019
Sylvia Plath vs Ted Hughes
Sylvia PlathÃ¢â¬â¢s poem, Ã¢â¬ËWhiteness I RememberÃ¢â¬â¢, and Ted HughesÃ¢â¬â¢s poem, Ã¢â¬ËSamÃ¢â¬â¢, are two poems which describe an experience of PlathÃ¢â¬â¢s when she was a student at Cambridge. She was out on her first ride when the horse she had hired the normally-placid Sam, bolted. Although Ted HughesÃ¢â¬â¢s is describing the experience he uses insinuations throughout the poem to let out his perception of his marriage with Sylvia Plath, hence infuriating, the conflict in perspective between the two poems. The ideas of Ã¢â¬Ëconflicting perspectiveÃ¢â¬â¢ suggest that the composers of the texts present an even-handed, unbiased attitude to the events, personalities or situations represented. Conflicting perspectives explore the subjective truth of the individual, which are shaped by the construction of a text by a biased composer. Each personÃ¢â¬â¢s version of the truth in events, personalities and situations differs, by viewing separate perspectives an understanding of the motives and purpose of the composer is formed. SamÃ¢â¬â¢ is Hughes retrospective interpretation of an event in PlathÃ¢â¬â¢s life before she met him and which she had represented in the poem Ã¢â¬ËWhiteness I rememberÃ¢â¬â¢. HughesÃ¢â¬â¢ poem itself contains what can be interpreted as conflicting perspectives of her personality and when read in conjunction with Whiteness I remember reveals interesting similarities and differences. Hughes seems to accept PlathÃ¢â¬â¢s account of the event Ã¢â¬ËI can liv e Your incredulity, your certainty that this was itÃ¢â¬â¢ and he does adhere closely to her description of her experiences during the horseÃ¢â¬â¢s headlong flight to the stable. However, the repetition of Ã¢â¬ËYou lost your stirrupsÃ¢â¬â¢, Ã¢â¬ËYou lost your reins, you lost your seatÃ¢â¬â¢, combine to depict Plath as a terrified victim unable to control or take responsibility for the consequences of her own actions. In contrast PlathÃ¢â¬â¢s poem suggests she was exhilarated by the speed and danger and identified with what she represents as the horsesÃ¢â¬â¢ rebellion against the Ã¢â¬ËhumdrumÃ¢â¬â¢ of suburbia. In contrast Hughes accuses her of glamorising her loss of control. Ã¢â¬ËIt was grab his neck and adore him or free fallÃ¢â¬â¢. Once again the reader is arguably left with the impression that Hughes is still identifying with Sam and suggesting there are parallels between her relationship with him and the horse. As the stanza continues Hughes builds the momentum and pace with a series of commas as punctuation and an enjambment. The choice of verb in Ã¢â¬ËYou slewed under his neck, an upside down jockey with nothing between you and the cataract of macadamÃ¢â¬â¢ creates an image of Plath unable to maintain a balance and in imminent danger of being smashed into the road by the horses hooves at high speed. The alliteration and the metaphor of the Ã¢â¬Ëhorribly hard swift riverÃ¢â¬â¢ in full flood combine with theÃ¢â¬â¢ propeller terror of his front legsÃ¢â¬â¢ and the onomatopoeia of Ã¢â¬Ëclangour of the iron shoesÃ¢â¬â¢ to transform the horse into an engine of destruction.