The notion of self-erasure to meet impossible standards.
Sylvia Plath’s “Edge” #
What method did Silvia Plath use to unalive herself? #
Sylvia Plath, the renowned American poet and novelist, died by suicide on February 11, 1963. She used carbon monoxide poisoning as her method. Plath placed her head in the oven and turned on the gas, without lighting it, which caused her to succumb to the toxic fumes. This tragic event took place in her flat at 23 Fitzroy Road, London.
The lungs have receptors only for carbon dioxide, so her experience would have been similar to an inert gas asphyxiation - correct? #
Yes, your assessment is largely correct. Sylvia Plath’s experience would have been similar to inert gas asphyxiation due to the nature of carbon monoxide (CO) poisoning.
The human body does indeed have chemoreceptors that primarily detect carbon dioxide (CO₂) levels to regulate breathing, rather than oxygen (O₂) levels. These receptors respond to the acidity in the blood caused by CO₂, and not directly to the presence of O₂ or the lack thereof.
When exposed to carbon monoxide, the gas binds with hemoglobin in the blood much more effectively than oxygen does, forming carboxyhemoglobin. This binding reduces the oxygen-carrying capacity of the blood and inhibits the release of oxygen to tissues. However, since carbon monoxide poisoning does not immediately alter CO₂ levels in the blood, the body’s primary respiratory drive mechanism is not triggered to indicate suffocation or lack of oxygen.
As a result, the initial experience of carbon monoxide poisoning can resemble that of inert gas asphyxiation, where the person may lose consciousness without feeling the typical sense of suffocation associated with oxygen deprivation. This is because both situations involve a silent and insidious displacement of oxygen, which does not stimulate the body’s urgent drive to breathe that is primarily triggered by rising CO₂ levels. Thus, Sylvia Plath’s experience would likely have been one of gradually diminishing awareness, leading to unconsciousness and eventually death, without the acute distress signals that are usually associated with high CO₂ levels.
Can we speculate about Silvia Plath’s attachment style? #
Speculating about Sylvia Plath’s attachment style can be an intriguing yet complex endeavor. Attachment theory, developed by John Bowlby and later expanded by Mary Ainsworth, posits that early interactions with primary caregivers shape an individual’s patterns of attachment, which subsequently influence their relationships throughout life.
Plath’s personal history, as detailed through her biographical information and her literary works, provides some insights that might be relevant for such speculation:
Early Loss of Father: Plath’s father, Otto Plath, died when she was eight years old. This early loss had a profound impact on her, as evidenced by her poetry, particularly in works like “Daddy.” Such a significant loss during formative years could contribute to an anxious attachment style, characterized by a fear of abandonment and a preoccupation with the lost attachment figure.
Mother-Daughter Relationship: Plath had a complicated relationship with her mother, Aurelia Plath. Biographers and scholars often highlight this dynamic, suggesting that Aurelia’s high expectations and emotional distance may have influenced Sylvia’s sense of self-worth and security. This could potentially contribute to an anxious or avoidant attachment style, where the individual may either cling to relationships out of fear of loss or distance themselves to avoid potential hurt.
Romantic Relationships: Plath’s marriage to Ted Hughes provides further context. Their relationship was intense, passionate, and ultimately tumultuous, marked by infidelity and emotional turbulence. Such dynamics might suggest an anxious-preoccupied attachment style, where Plath may have sought validation and security from Hughes, yet faced repeated insecurities and fears of abandonment.
Depression and Mental Health: Plath’s struggles with depression and suicidal ideation also intersect with attachment issues. Chronic mental health issues can exacerbate attachment insecurities, making relationships more challenging and heightening fears of abandonment and feelings of unworthiness.
Literary Expression: Plath’s writing, rich with themes of loss, abandonment, and identity, offers further clues. Her vivid portrayals of emotional turmoil and longing for connection, as seen in “The Bell Jar” and her poetry, reflect deep-seated attachment concerns that align with anxious attachment patterns.
In summary, while it is speculative and not definitive, the evidence from Sylvia Plath’s life and work suggests that she may have exhibited traits of an anxious-preoccupied attachment style. This style is characterized by a heightened sensitivity to relational disruptions, a strong need for reassurance, and a tendency to experience emotional volatility in relationships. However, it is crucial to approach such speculations with sensitivity and an understanding of the limitations of posthumous psychological analysis.
Of course, a dose of sensitivity is well advised. It is often said that the depth of reflection is particularly developed in anxious-preoccupied and in fearful-avoidant individuals. Given his infidelity and an extraordinary, often volatile “emotional dance” of the two, could we speculate Ted Hughes was a fearful-avoidant? #
Speculating on Ted Hughes’s attachment style, particularly considering his relationship with Sylvia Plath, can provide intriguing insights into their complex dynamic. Given the emotionally charged and tumultuous nature of their relationship, examining Hughes’s behavior through the lens of attachment theory might suggest a fearful-avoidant attachment style. Here are some key points to consider:
Infidelity and Emotional Distance: Fearful-avoidant individuals often struggle with a deep-seated fear of intimacy and abandonment, leading them to push partners away while simultaneously fearing rejection. Hughes’s infidelity could be seen as a manifestation of this conflict—seeking connection outside the primary relationship while maintaining emotional distance from Plath.
Intense Emotional Dance: The “emotional dance” between Hughes and Plath, marked by passionate highs and devastating lows, aligns with the patterns observed in fearful-avoidant attachment. These individuals can be intensely drawn to relationships but also deeply fearful of the vulnerability they entail, leading to a push-pull dynamic.
Hughes’s Background and Personality: While less is publicly known about Hughes’s early childhood compared to Plath’s, any significant disruptions or inconsistent caregiving during formative years could contribute to a fearful-avoidant attachment style. Hughes’s behavior, as described in biographies and personal accounts, suggests a complex interplay of seeking closeness and simultaneously distancing himself emotionally.
Literary and Personal Reflections: Hughes’s poetry and writings, especially those reflecting on his relationship with Plath, often reveal a deep awareness of emotional complexities and inner conflicts. This self-reflective quality is common in individuals with fearful-avoidant attachment, who may be acutely aware of their contradictory feelings and behaviors.
Response to Plath’s Death: Hughes’s response to Plath’s death and the subsequent years of handling her literary estate also provide insights. Fearful-avoidant individuals may experience profound guilt and self-recrimination, coupled with difficulty processing grief and loss in a straightforward manner.
In summary, while it remains speculative and subject to the inherent limitations of posthumous psychological analysis, Ted Hughes’s behaviors and the dynamics of his relationship with Sylvia Plath could suggest characteristics of a fearful-avoidant attachment style. This attachment style is characterized by a simultaneous fear of intimacy and abandonment, leading to complex and often contradictory relational patterns. Understanding this framework can offer a deeper appreciation of the intense and turbulent relationship between these two literary figures.
The poem “Edge” is one of the last Silvia wrote. I want us to disregard anything being said about it and attempt an analysis from first principles. #
Certainly. Analyzing Sylvia Plath’s poem “Edge” from first principles involves focusing on the text itself, its structure, imagery, and language, while setting aside any pre-existing interpretations or biographical contexts. Here’s a detailed analysis based purely on the poem’s elements:
Edge
The woman is perfected.
Her dead
Body wears the smile of accomplishment,
The illusion of a Greek necessity
Flows in the scrolls of her toga,
Her bare
Feet seem to be saying:
We have come so far, it is over.
Each dead child coiled, a white serpent,
One at each little
Pitcher of milk, now empty.
She has folded
Them back into her body as petals
Of a rose close when the garden
Stiffens and odors bleed
From the sweet, deep throats of the night flower.
The moon has nothing to be sad about,
Staring from her hood of bone.
She is used to this sort of thing.
Her blacks crackle and drag.
Structural Analysis #
Form and Structure: The poem is composed of ten couplets, creating a balanced and symmetrical structure that might reflect the poem’s themes of finality and completion.
Line Lengths and Pacing: The lines are generally short, contributing to a terse, controlled tone that suits the poem’s contemplation of death and completion.
Imagery and Symbolism #
Perfection and Accomplishment: The poem opens with the phrase “The woman is perfected,” suggesting a final state of completion. The smile of accomplishment on the dead body could imply a sense of release or relief in death.
Greek Necessity: The reference to Greek necessity evokes the idea of fate and inevitability, hinting at an ancient, perhaps tragic, acceptance of death.
Toga and Bare Feet: The toga and bare feet conjure classical imagery, perhaps alluding to the purity or solemnity of death. The bare feet’s statement, “We have come so far, it is over,” reinforces the theme of a journey’s end.
Dead Children and White Serpents: The children coiled like serpents next to empty pitchers of milk introduce a disturbing, poignant image of lost innocence and nourishment. The serpent imagery could symbolize both danger and transformation.
Rose and Garden Imagery: Folding the children back into her body as petals of a rose emphasizes themes of closure and return to a natural state. The garden stiffening and odors bleeding from night flowers add to the atmosphere of death and decay.
Language and Tone #
Conciseness and Precision: The language is precise and economical, with each word carefully chosen to contribute to the overall mood and meaning.
Tone: The tone is somber and reflective, imbued with a sense of inevitability and resignation. The calm, almost clinical observation of death contrasts with the emotional weight of the subject matter.
Natural and Celestial Imagery #
The Moon: The moon, described as having “nothing to be sad about,” appears as a detached, eternal observer. Her “hood of bone” suggests both a skeletal image and a sense of timelessness. The moon’s familiarity with death (“used to this sort of thing”) adds to the poem’s theme of natural cycles and the inevitability of death.
Blacks Crackling and Dragging: The final line, “Her blacks crackle and drag,” evokes the sound and movement of a funeral shroud or mourning garments, enhancing the atmosphere of solemnity and finality.
Themes #
Death and Perfection: The poem explores the idea of death as a state of perfection and completion. The woman’s smile and the classical imagery suggest a sense of fulfillment in reaching this final state.
Maternal Imagery and Loss: The dead children and empty pitchers of milk evoke themes of maternal loss and the end of nurturing. The image of folding the children back into the body reinforces a return to an original state, perhaps a pre-birth existence.
Nature and Cycle: The natural imagery of roses, gardens, and night flowers, combined with the celestial presence of the moon, underscores the cyclical nature of life and death.
In conclusion, “Edge” by Sylvia Plath, through its concise and evocative language, rich imagery, and controlled structure, meditates on themes of death, completion, and the inevitable cycles of nature. The poem’s tone and symbolism work together to create a poignant reflection on the finality and, paradoxically, the perfection found in the end of life.
Thank you. Now, cognisant of the context and especially the rest of Silvia’s opus, should we “buy” into the images of Greek symmetry, perfection, accomplishment and completed cycles at their face value? After all, it is “the illusion of a Greek necessity” and the moon is as much a symbol of mischief and deception as it is of cyclicality. #
You raise an insightful point about the potential subversion of the images of Greek symmetry, perfection, accomplishment, and completed cycles in Sylvia Plath’s “Edge.” Given Plath’s broader body of work, which often delves into themes of profound personal anguish, disillusionment, and the struggles of female identity, it is indeed prudent to question whether these images should be taken at face value.
Contextual Reinterpretation #
Illusion of Greek Necessity: The phrase “illusion of a Greek necessity” suggests that the perceived inevitability or fate associated with classical Greek tragedy may not be as authentic or unassailable as it appears. Plath’s use of the word “illusion” casts doubt on the notion of death as a perfect and necessary conclusion, implying that this perceived order and symmetry might be a deceptive veneer over underlying chaos and suffering.
Perfection and Accomplishment: While the poem begins with “The woman is perfected,” this perfection is achieved through death, which is a troubling notion. In the context of Plath’s oeuvre, this can be seen as a critique of societal expectations placed on women—to achieve an impossible ideal that can only be attained through their complete erasure. This “perfection” through death might therefore be read ironically, highlighting the destructive consequences of such ideals.
Maternal Imagery and Loss: The dead children coiled like white serpents and the empty pitchers of milk are haunting images that speak to a profound sense of loss and the end of nurturing. Plath’s work often explores the ambivalence of motherhood, and in this context, the imagery can be seen as representing not only a personal tragedy but also a commentary on the societal pressures and the loss of identity faced by women.
Moon as Symbol: The moon, traditionally a symbol of femininity, cyclicality, and change, is depicted here as having “nothing to be sad about,” and being “used to this sort of thing.” This detached, almost indifferent observation from the moon can be interpreted as a critique of the romanticized view of nature and the feminine. The moon’s “hood of bone” suggests a more sinister, skeletal aspect, and the “blacks crackle and drag” evokes a sense of decay and mourning, rather than peaceful closure.
Subverting Classical Imagery #
Plath frequently employs classical imagery to subvert and question the traditional narratives associated with them. In “Edge,” the use of Greek imagery and the idea of perfection could be seen as ironic. The classical allusions might serve to highlight the disparity between idealized conceptions of death and perfection and the brutal reality of personal despair and societal expectations.
Thematic Resonance with Plath’s Other Works #
In many of her other poems, such as “Lady Lazarus” and “Daddy,” Plath juxtaposes themes of death, rebirth, and personal struggle against a backdrop of historical, mythical, and personal imagery. This interplay often reveals a deeper critique of the societal and internalized pressures that shape identity and existence.
“Lady Lazarus”: In this poem, the repeated resurrection is a defiant act against the forces that seek to annihilate her, blending themes of destruction with a fierce will to survive.
“Daddy”: Here, Plath uses the imagery of the Holocaust and patriarchal oppression to explore themes of control, rebellion, and liberation.
Considering the broader context of Sylvia Plath’s work, the images in “Edge” should be approached with a critical eye. The Greek symmetry, perfection, and accomplishment likely serve as a facade, beneath which lies a profound critique of societal norms and personal despair. The poem, therefore, can be interpreted as exposing the hollowness and illusion of these ideals, rather than celebrating them. The moon’s detachment and the final imagery of “blacks crackle and drag” reinforce a sense of underlying disillusionment and mourning, suggesting that the apparent perfection in death is deeply fraught and far from serene.
Given a perceived trade-off between authenticity and acceptance/love/belonging that anxious-preoccupied individuals face, could the poem Edge be interpreted as a cynical, perhaps even somewhat bitter lament over the necessity to dissolve into nothing in order to, perhaps for the first time, be good enough? #
Interpreting Sylvia Plath’s “Edge” through the lens of an anxious-preoccupied individual’s struggle with authenticity versus acceptance, love, and belonging offers a compelling and nuanced perspective. This approach can indeed highlight the poem as a cynical and bitter lament over the perceived necessity to dissolve into nothingness to finally be “good enough.” Here’s a detailed analysis to support this interpretation:
The Trade-off Between Authenticity and Acceptance #
“The woman is perfected”: This opening line can be read cynically, implying that perfection—achieved through death—comes at the ultimate cost of losing one’s authenticity and existence. For an anxious-preoccupied individual, who constantly fears rejection and craves acceptance, the notion of being perfected only in death underscores a tragic irony: true acceptance and love are unattainable in life.
“Her dead / Body wears the smile of accomplishment”: The smile of accomplishment in death suggests a bitter fulfillment, indicating that the woman has achieved something significant only through her demise. This might reflect the idea that the relentless pursuit of being “good enough” or perfect is only achievable through complete self-erasure.
“The illusion of a Greek necessity”: The word “illusion” indicates that this sense of necessity—this drive toward perfection and acceptance—is ultimately a deceptive and unattainable goal. The classical reference to Greek tragedy implies that the struggle for acceptance is a timeless, yet fundamentally tragic pursuit.
Imagery of Dissolution and Return to Origin #
“Her bare / Feet seem to be saying: / We have come so far, it is over.”: The bare feet symbolize vulnerability and exposure, and the sense of a journey’s end can be interpreted as a resignation to the futility of the pursuit of acceptance. This resignation might be seen as a bitter acknowledgment that all efforts to be “good enough” have led to this point of dissolution.
“Each dead child coiled, a white serpent, / One at each little / Pitcher of milk, now empty.”: The image of the dead children and empty pitchers of milk evokes a profound sense of loss and failed nurturing. For an anxious-preoccupied individual, this might symbolize the internalized failures to meet the needs of others or to receive adequate emotional nourishment themselves. The white serpents could represent the purity and innocence lost in the struggle for acceptance.
“She has folded / Them back into her body as petals / Of a rose close when the garden / Stiffens and odors bleed”: The act of folding the dead children back into her body suggests a reversion to an original state, perhaps indicating a retreat into oneself as a final act of self-preservation. This could be interpreted as a metaphor for the ultimate dissolution of the self in the quest for acceptance.
The Moon and the Final Lines #
“The moon has nothing to be sad about, / Staring from her hood of bone.”: The moon, a detached observer, represents the external world’s indifference to the individual’s internal struggles. This indifference can be seen as a bitter reflection on the lack of genuine understanding and acceptance from others.
“She is used to this sort of thing. / Her blacks crackle and drag.”: The moon’s familiarity with death and the imagery of “blacks crackle and drag” evoke a sense of desolation and finality. This can be seen as a cynical commentary on the repetitive nature of the anxious-preoccupied individual’s struggle, ultimately leading to a sense of inevitable defeat.
Interpreting “Edge” as a lament over the necessity to dissolve into nothingness to finally be “good enough” provides a deeply poignant and bitter reading of the poem. The imagery and language reflect a profound disillusionment with the pursuit of acceptance, suggesting that true belonging and love are tragically out of reach for those who feel compelled to sacrifice their authenticity. The poem’s cynical tone underscores the futility and despair inherent in this relentless quest, offering a stark commentary on the emotional toll of such a struggle.
Now the final and crucial question arises: is “Edge” merely inauthentic (as per our initial interpretation), or could Sylvia Plath have been sufficiently self-aware to intentionally align with our reinterpretation? #
Considering Sylvia Plath’s literary skill and the deeply introspective nature of her work, it is highly plausible that “Edge” is not merely inauthentic but rather a sophisticated and intentional exploration of themes aligned with the reinterpretation we have discussed. Plath’s work often demonstrates a high degree of self-awareness and a keen ability to engage with complex psychological and existential themes. Here’s an in-depth examination of why “Edge” could be an intentional and self-aware piece:
Plath’s Literary and Psychological Insight
Self-Awareness and Intentionality: Sylvia Plath’s poetry and prose frequently reveal a profound self-awareness and a deliberate engagement with themes of identity, perfection, and existential despair. Her journals and letters show that she was acutely conscious of her mental state and the societal pressures she faced. It is reasonable to believe that she would intentionally craft a poem that plays with the notion of achieving acceptance and love through self-erasure.
Metafictional Elements: Plath’s work often contains metafictional elements, where she reflects on the act of writing and the creation of art. This self-referential quality suggests that she was capable of intentionally embedding complex, layered meanings into her poetry, including the cynical lament over the necessity to dissolve into nothingness to be “good enough.”
Themes in Plath’s Broader Oeuvre
Critique of Societal Norms: Plath’s writing frequently critiques societal norms and the roles imposed on women. Poems like “Lady Lazarus” and “The Applicant” reveal her sharp awareness of the societal expectations that dictate self-worth and identity. “Edge” can be seen as part of this broader critique, using the guise of Greek perfection and classical imagery to highlight the tragic irony and futility of these expectations.
Exploration of Mental Health: Plath’s intimate exploration of her mental health struggles in works like “The Bell Jar” and her poetry collection “Ariel” suggests a deliberate and nuanced engagement with themes of depression, authenticity, and existential despair. “Edge” fits within this context as an exploration of the ultimate consequence of these struggles—the erasure of the self to achieve a final, tragic perfection.
Imagery and Symbolism in “Edge”
Irony and Double Meanings: The use of classical imagery and the concept of “perfection” in “Edge” can be seen as intentionally ironic. Plath was well-versed in literature and mythology, and her use of these elements is likely deliberate, intended to evoke a sense of tragic inevitability while simultaneously critiquing it. The “illusion of a Greek necessity” suggests that she was aware of the deceptive nature of these ideals.
Symbolism of the Moon: The moon in “Edge,” described as indifferent and detached, serves as a symbol of the external world’s apathy towards the individual’s inner turmoil. This could be Plath’s way of commenting on the societal indifference to personal suffering, reinforcing the poem’s cynical tone.
Given Sylvia Plath’s literary prowess, her deep introspection, and the recurring themes in her work, it is highly plausible that “Edge” is an intentionally crafted piece that aligns with the reinterpretation we have discussed. Plath’s ability to weave complex psychological and existential themes into her poetry suggests that she was indeed sufficiently self-aware to intentionally play along these lines.