Sylvia Plath Morning Song

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Sylvia Plath’s ‘Morning Song’ is one of the constituent poems of her final anthology ‘Ariel’ written before she committed suicide. The collection was composed in a seemingly manic surge coinciding with a period of anguish and rage concerning her traumatic impending divorce with her British husband and poet Ted Hughes. He left for another woman, leaving Sylvia with their two children. In her rather short poem ‘Morning Song’ Plath employs many poignant images to convey a disconcerted ambience of disillusionment concerning her maternal experience. The poem may be referred to as a confessional poem in the sense that it emphasises visceral and intimate emotions and personal details of Sylvia Plath’s life in a seemingly unflattering manner. Confessional poetry emerged in the 1950’s and 1960’s. It was affiliated with poets such as Anne Sexton, Robert Lowell, Sylvia Plath, and W.D Snodgrass. Confessional poetry is defined as poetry of the personal or “I”. A well renowned confessional poem is Sylvia Plath’s ‘Daddy’ which is addressed to her deceased father; the poem explores and refers to the holocaust in a child-like mellifluous rhythm, synthesising a nursery rhyme tone. Perhaps this conveys Plath’s grief of losing her father when she was young. First of all, the opening line of 'Morning song' “Love set you going like a fat gold watch,” introduces the concept of motherhood as the subject matter of the poem, conveying how the persona, feasibly Plath values and ‘ loves’ her child. The extent of the worth and appreciation of the child is emphasised by the simile ‘like a fat gold watch’ in the notion that the new life represents a likeness of the precious metal and how the persona’s value is similar to that of the admiration that man has for gold. Perhaps, ‘fat’ signifies the sheer size of the Child’s body and how much of a marvel it is that it was inside her for nine months
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