What Was The Connection Between The Narrator And The.Old.Man Prodigy of Rebirth in Sylvia Plath’s Ariel

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Prodigy of Rebirth in Sylvia Plath’s Ariel

I am in the middle of an ancient and uncertain and terrible world (Wagner Martin120)

In order to be proud of himself, this poet, despite living in a world of randomness and danger, bravely encounters another kind of refreshment in his life and tries to promote his self-pleasure. Desperate for real fulfillment, Sylvia Plath finds it impossible to initiate the metaphysical process that has become the catalyst for Reincarnation in many of her later Ariel poems. She as the “cauldron goddess of poetic inspiration” (Wagner Martin 114), pioneered the path of Rebirth by calling for resurrection in her new poem, Ariel. Poems with open-ended doubts drawn from within their creator are a reflection worthy of reconstruction. The search for morality in the difficult new world of the poem provides the necessary opportunity to extinguish the suppressed cry of the pain of the past. The persistence of detail makes the poem so powerful that the reader is drawn into the thoughts and feelings expressed in these compositions. In Ariel, Plath connects the idea of ​​Rebirth with motherhood and motherhood. The former personality can be an example of maternal dominance and contamination by others while the newborn is free and liberated unlike the first dependent.

Mother-to-mother conflict

Love keeps you going like a thick gold watch.

The midwife beats your feet, and the bald man cries

It took its place among things. (CP 156)

When one remembers the idea of ​​Mother, the first thing that strikes one’s attention is the selfless act of love and compassion. Knowing that Plath’s bipolar disorder and post-partum depression worsened after she became pregnant, this story can be seen as her sad thoughts on birth and pregnancy. It requires thinking that pregnancy is equivalent to losing consciousness in some way. Giving birth to a creature that absorbs one’s own blood and inherits a certain type of genetics is precisely what is called something that was fully discussed in the second chapter of this myth. In “Allegory”, Plath uses figurative language to depict the human womb. They depict an elephant as a rich pregnant woman and a watermelon as an unborn child. The difficult process of pregnancy is terrifyingly described in the proverbial poem “Parables” in nine words.

This uncontrolled outpouring of love as we discussed in the previous chapter can hinder the progress of the child in some cases when the mother strongly encourages one of the child by increasing his unfulfilled expectations and suppressed desires. In order to establish an independent personality, the child must kill the parents inside.

Women’s breasts are dirty and dry in Ariel’s poems. Her milk is the one that comes from another injection into the baby’s body by sucking. On the other hand Plath connects the idea of ​​abortion to motherhood and motherhood, when the life of an unborn child as another is taken and ended intentionally or unintentionally.

Therefore, the relationship between the parasite and the host of the Mother and the Child is two-fold in that at one time the mother lives with the child when the child is an embryo while others get food from the mother’s blood and allow the others to enter her body and at another time when the child she is hospitable and the insect-like mother feeds the child with her milk as if it were something else.

The old man is like a mother who suffers from a terrible disease and gives birth to a new child just as the new and true man can lead to death. The idea of ​​reproduction and rebirth has a strong influence on the poetry of Sylvia Plath when at the same time the concept of motherhood and masculinity, the power of parents and nature will be called into conflict. Since this birth is without any sexual and meditation and giving birth and conception is a creative right, acceptable to women’s organizations in reality, it seems that this is what Plath can bring to question and mock the creative power of the Almighty and his guilt and his guilt. determination in creating the lord of creation, man. In ‘Lady Lazarus’ she shouts:

“Out of the ashes / I rise with red hair / Eating men like air” (poem 246).

This coming out of the ashes is a myth of the last day, but he did not do this by the will and permission of his creator but only from his yen and desire. Again somewhere in ‘Lady Lazarus’, the narrator collects the parts of his body as God has sworn and confirmed in the holy book that he will do the same on the Day of Resurrection: “These are my hands / my knees. / I may be skin and bones. ,/ Still, I am the same, the same woman” (Collected Poems 245).

If mocking such a great act of rebirth and resurrection in the kangaroo cage of a poem like ‘Lady Lazarus’ is not a serious and noble act, what can you call it?

To call Plath an atheist or to think of poetry with its ugly title would be beyond the scope of this discussion and turn to theological and religious theories and principles.

Against the competition of Selves, in the previous section, he argued that the old self is the adult and the mother, but in contrast to this, one can think of the childish Self False Self and the mature image of the new Truth. What is important in this transformation is the path and stage through which one has passed and the renewal of life is a group that has a clean slate inside, removing all the dark spots of the past.

The original Self is the newly reborn Self

Ariel obviously represents Plath’s response to modern oppressors. The artist alone has the power to be advanced and thus must be fed to be reborn. The debate between them, the original and the new, can be very interesting for many critics:

Although in the early poems he often presented himself in terms of his potential for change, in the post-colossus poems he often seemed to be trapped inside a closed circle. One moves – but in a circular motion and continuously returns to the same starting point. Instead of self-love and the world, Ariel’s poems write about the self in the world. The self can change and grow, change and be born again, only if the existing world does; Personal fortune is closely related to that of the world [Italic mine] (Pamela J. Annas171)

The man faces the challenges of the world in order to define himself and be known. Obviously the self finds its certainty and meaning in the external world and its objects. Conceptually speaking, the world and nature shape the individual as pottery does clay.

The concept of Rebirthhas come in the last lines of ‘Love Letter’ in The Collected Poems by Ted Hughes to witness such a transformation within the persona:

The tree is a shining stone, without shadows.

The length of my finger grew like a mirror.

I began to bloom like a March bud:

Arm and leg, arm, leg.

From stone to cloud, so I climbed.

Now I am like God

Floating in space in y-soul-shift

As clear as a glass of ice. They are gifts. (CP147)

‘Arm and leg’ here may refer to the biblical words about the Day of Resurrection that all the limbs will be united as before. The repetition of ‘…an arm, a leg’ simply means the confirmation of the persona and the simultaneous surprise of such pleasures and Rebirth. Above and beyond that, the bottom line is that ‘an arm and a leg’ can mean something precious and expensive. This Rebirth has cost Plath ‘An arm and a leg’ for sure. They have to pay a lot of money to get such a Rebirth.

‘From the stone to the cloud, so I ascended’ shows the moral rise and exaltation of such a Rebirth. It could mean that the human spirit has joined the group of God which is traditionally believed to be in heaven and behind the clouds.

The ‘cloud’ also tends to reflect the idea of ​​fertility and fertility as the liquid clouds contain rain and bring renewal and rebirth to the universe.

‘Now I am like God’, in Greek mythology there are different symbols of God that exist in every thing, better to mention the God of wind, goddess of fire and so on. But here because of nature, man boldly likens himself to the Almighty by using bold words and thus summons the entire creation and takes it to task.

To compare himself and describe himself as ‘blooming like a spring of March’ would be to say that he is contradicting nature and Rebirth with its abilities and abilities which under the following section can be completely refuted.

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