Showing posts with label American Literature. Show all posts
Showing posts with label American Literature. Show all posts

Friday, 7 April 2023

Henry David Thoreau: Civil Disobedience

                                                             Civil Disobedience


Resistance to Civil Government (Civil Disobedience) is an essay by American transcendentalist Henry David Thoreau that was first published in 1849. In it, Thoreau argues that individuals should not permit governments to overrule or atrophy their consciences, and that they have a duty to avoid allowing such acquiescence to enable the government to make them the agents of injustice. Thoreau was motivated in part by his disgust with slavery and the Mexican–American War.

In 1848, Thoreau gave lectures at the Concord Lyceum entitled "The Rights and Duties of the Individual in relation to Government." This formed the basis for his essay, which was first published under the title Resistance to Civil Government in 1849 in an anthology called Æsthetic Papers. The latter title distinguished Thoreau's program from that of the "non-resistants" (anarcho-pacifists) who were expressing similar views. Resistance also served as part of Thoreau's metaphor comparing the government to a machine: when the machine was producing injustice, it was the duty of conscientious citizens to be "a counter friction" (i.e., a resistance) "to stop the machine." 

In 1866, four years after Thoreau's death, the essay was reprinted in a collection of Thoreau's work (A Yankee in Canada, with Anti-Slavery and Reform Papers) under the title Civil Disobedience. Today, the essay also appears under the title On the Duty of Civil Disobedience, perhaps to contrast it with William Paley's Of the Duty of Civil Obedience to which Thoreau was in part responding. For instance, the 1960 New American Library Signet Classics edition of Walden included a version with this title. On Civil Disobedience is another common title.

The word civil has several definitions. The one that is intended in this case is "relating to citizens and their interrelations with one another or with the state", and so civil disobedience means "disobedience to the state". Sometimes people assume that civil in this case means "observing accepted social forms; polite" which would make civil disobedience something like polite, orderly disobedience. Although this is an acceptable dictionary definition of the word civil, it is not what is intended here. This misinterpretation is one reason the essay is sometimes considered to be an argument for pacifism or for exclusively nonviolent resistance. For instance, Mahatma Gandhi used this interpretation to suggest an equivalence between Thoreau's civil disobedience and his own satyagraha

Background: The slavery crisis inflamed New England in the 1840s and 1850s. The environment became especially tense after the Fugitive Slave Act of 1850. A lifelong abolitionist, Thoreau delivered an impassioned speech which would later become Civil Disobedience in 1848, just months after leaving Walden Pond. The speech dealt with slavery, but at the same time excoriated American imperialism, particularly the Mexican–American War. 

Summary: Thoreau asserts that because governments are typically more harmful than helpful, they therefore cannot be justified. Democracy is no cure for this, as majorities simply by virtue of being majorities do not also gain the virtues of wisdom and justice. The judgment of an individual's conscience is not necessarily inferior to the decisions of a political body or majority, and so "it is not desirable to cultivate a respect for the law, so much as for the right. The only obligation which I have a right to assume is to do at any time what I think right... Law never made men a whit more just; and, by means of their respect for it, even the well-disposed are daily made the agents of injustice.". He adds, "I cannot for an instant recognize as my government [that] which is the slave's government also."

The government, according to Thoreau, is not just a little corrupt or unjust in the course of doing its otherwise-important work, but in fact the government is primarily an agent of corruption and injustice. Because of this, it is "not too soon for honest men to rebel and revolutionize."

Political philosophers have counseled caution about revolution because the upheaval of revolution typically causes a lot of expense and suffering. Thoreau contends that such a cost/benefit analysis is inappropriate when the government is actively facilitating an injustice as extreme as slavery. Such a fundamental immorality justifies any difficulty or expense to bring to an end. "This people must cease to hold slaves, and to make war on Mexico, though it cost them their existence as a people."

Thoreau tells his audience that they cannot blame this problem solely on pro-slavery Southern politicians, but must put the blame on those in, for instance, Massachusetts, "who are more interested in commerce and agriculture than they are in humanity, and are not prepared to do justice to the slave and to Mexico, cost what it may... There are thousands who are in opinion opposed to slavery and to the war, who yet in effect do nothing to put an end to them."[9] (See also: Thoreau's Slavery in Massachusetts which also advances this argument.)

He exhorts people not to just wait passively for an opportunity to vote for justice, because voting for justice is as ineffective as wishing for justice; what you need to do is to actually be just. This is not to say that you have an obligation to devote your life to fighting for justice, but you do have an obligation not to commit injustice and not to give injustice your practical support.

Paying taxes is one way in which otherwise well-meaning people collaborate in injustice. People who proclaim that the war in Mexico is wrong and that it is wrong to enforce slavery contradict themselves if they fund both things by paying taxes. Thoreau points out that the same people who applaud soldiers for refusing to fight an unjust war are not themselves willing to refuse to fund the government that started the war.

In a constitutional republic like the United States, people often think that the proper response to an unjust law is to try to use the political process to change the law, but to obey and respect the law until it is changed. But if the law is itself clearly unjust, and the lawmaking process is not designed to quickly obliterate such unjust laws, then Thoreau says the law deserves no respect and it should be broken. In the case of the United States, the Constitution itself enshrines the institution of slavery, and therefore falls under this condemnation. Abolitionists, in Thoreau's opinion, should completely withdraw their support of the government and stop paying taxes, even if this means courting imprisonment.

Under a government which imprisons any unjustly, the true place for a just man is also a prison.… where the State places those who are not with her, but against her,– the only house in a slave State in which a free man can abide with honor.… Cast your whole vote, not a strip of paper merely, but your whole influence. A minority is powerless while it conforms to the majority; it is not even a minority then; but it is irresistible when it clogs by its whole weight. If the alternative is to keep all just men in prison, or give up war and slavery, the State will not hesitate which to choose. If a thousand men were not to pay their tax bills this year, that would not be a violent and bloody measure, as it would be to pay them, and enable the State to commit violence and shed innocent blood. This is, in fact, the definition of a peaceable revolution, if any such is possible.

Because the government will retaliate, Thoreau says he prefers living simply because he therefore has less to lose. "I can afford to refuse allegiance to Massachusetts…. It costs me less in every sense to incur the penalty of disobedience to the State than it would to obey. I should feel as if I were worth less in that case."

He was briefly imprisoned for refusing to pay the poll tax, but even in jail felt freer than the people outside. He considered it an interesting experience and came out of it with a new perspective on his relationship to the government and its citizens. (He was released the next day when "someone interfered, and paid that tax.")

Thoreau said he was willing to pay the highway tax, which went to pay for something of benefit to his neighbors, but that he was opposed to taxes that went to support the government itself—even if he could not tell if his particular contribution would eventually be spent on an unjust project or a beneficial one. "I simply wish to refuse allegiance to the State, to withdraw and stand aloof from it effectually."

Because government is man-made, not an element of nature or an act of God, Thoreau hoped that its makers could be reasoned with. As governments go, he felt, the U.S. government, with all its faults, was not the worst and even had some admirable qualities. But he felt we could and should insist on better. "The progress from an absolute to a limited monarchy, from a limited monarchy to a democracy, is a progress toward a true respect for the individual.… Is a democracy, such as we know it, the last improvement possible in government? Is it not possible to take a step further towards recognizing and organizing the rights of man? There will never be a really free and enlightened State until the State comes to recognize the individual as a higher and independent power, from which all its own power and authority are derived, and treats him accordingly."

"That government is best which governs least" - "That government is best which governs not at all"

An aphorism sometimes attributed to either Thomas Jefferson or Thomas Paine, "That government is best which governs least...", was actually found in Thoreau's Civil Disobedience. Thoreau was paraphrasing the motto of The United States Magazine and Democratic Review: "The best government is that which governs least." Thoreau expanded it significantly:

I heartily accept the motto,—“That government is best which governs least;” and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which I also believe,—“That government is best which governs not at all;” and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient; but most governments are usually, and all governments are sometimes, inexpedient.

—Thoreau, Civil Disobedience

Thoreau's Civil Disobedience espouses the need to prioritize one's conscience over the dictates of laws. It criticizes American social institutions and policies, most prominently slavery and the Mexican-American War. 

Thoreau begins his essay by arguing that the government rarely proves itself useful and that it derives its power from the majority because they are the strongest group, not because they hold the most legitimate viewpoint. He contends that people's first obligation is to do what they believe is right and not to follow the law dictated by the majority. When a government is unjust, people should refuse to follow the law and distance themselves from the government in general. A person is not obligated to devote his life to eliminating evils from the world, but he is obligated not to participate in such evils. This includes not being a member of an unjust institution (like the government). Thoreau further argues that the United States fits his criteria for an unjust government, given its support of slavery and its practice of aggressive war. 

Thoreau doubts the effectiveness of reform within the government, and he argues that voting and petitioning for change achieves little. He presents his own experiences as a model for how to relate to an unjust government: In protest of slavery, Thoreau refused to pay taxes and spent a night in jail. But, more generally, he ideologically dissociated himself from the government, "washing his hands" of it and refusing to participate in his institutions. According to Thoreau, this form of protest was preferable to advocating for reform from within government; he asserts that one cannot see government for what it is when one is working within it. 

Civil Disobedience covers several topics, and Thoreau intersperses poetry and social commentary throughout. For purposes of clarity and readability, the essay has been divided into three sections here, though Thoreau himself made no such divisions. 

Henry David Thoreau (1817-1862) was a philosopher and writer best known for his attacks on American social institutions and his respect for nature and simple living. He was heavily influenced by the writer Ralph Waldo Emerson, who introduced Thoreau to the ideas of transcendentalism, a philosophy central to Thoreau's thinking and writing. In addition to Civil Disobedience (1849), Thoreau is best known for his book Walden (1854), which documents his experiences living alone on Walden Pond in Massachusetts from 1845-1847. Throughout his life, Thoreau emphasized the importance of individuality and self-reliance. He practiced civil disobedience in his own life and spent a night in jail for his refusal to pay taxes in protest of the Mexican War. (Thoreau was opposed to the practice of slavery in some of the territories involved.) It is thought that this night in jail prompted Thoreau to write Civil Disobedience. Thoreau delivered the first draft of the treatise as an oration to the Concord Lyceum in 1848, and the text was published in 1849 under the title Resistance to Civil Government. 

The two major issues being debated in the United States during Thoreau's life were slavery and the Mexican-American War. Both issues play a prominent part in Thoreau's essay. By the late 1840s, slavery had driven a wedge in American society, with a growing number of Northerners expressing anti-slavery sentiments. In the 1850s, the country became even more polarized, and the introduction of slavery-friendly laws such as the Fugitive Slave Law , prompted many abolitionists to protest the government's actions via various forms of civil disobedience. (Slavery was only to come to an end a generation later when the abolitionist North would win the Civil War (1861-1865), Abraham Lincoln's Emancipation Proclamation would free all slaves in Confederate territory; eventually, the 13th Amendment would ban slavery everywhere.) In addition to this domestic conflict, the Mexican-American War (1846-1848) proved a point of much contention: Precipitated by boundary disputes between the United States and Mexico, the war was ultimately fought in order to expand American territory--many Americans felt it was our "Manifest Destiny" to seize all the land we could--and as a result the United States gained much of the present American Southwest, including California, Nevada and Utah. Thoreau and other opponents of the war argued that the campaign constituted an unnecessary act of aggression and that it was pursued on the basis of arrogance rather than any philosophically justifiable reasons. 

Civil Disobedience enjoyed widespread influence, both in the United States and abroad. Most famously, the work inspired Russia's Leo Tolstoy and India's Mahatma Gandhi. Later, it lent force to the American Civil Rights Movement. 

Civil Disobedience Summary

Thoreau opens his essay with the motto "That government is best which governs least." His distrust of government stems from the tendency of the latter to be "perverted and abused" before the people can actually express their will through it. A case in point is the Mexican war (1846-1848, which extended slavery into new US territories), orchestrated by a small élite of individuals who have manipulated the government to their advantage against popular will. Government inherently lends itself to oppressive and corrupt uses since it enables a few men to impose their moral will on the majority and to profit economically from their own position of authority. Thoreau views government as a fundamental hindrance to the creative enterprise of the people it purports to represent. He cites as a prime example the regulation of trade and commerce, and its negative effect on the forces of the free market.


A man has an obligation to act according to the dictates of his conscience, even if the latter goes against majority opinion, the presiding leadership, or the laws of society. In cases where the government supports unjust or immoral laws, Thoreau's notion of service to one's country paradoxically takes the form of resistance against it. Resistance is the highest form of patriotism because it demonstrates a desire not to subvert government but to build a better one in the long term. Along these lines, Thoreau does not advocate a wholesale rejection of government, but resistance to those specific features deemed to be unjust or immoral.

In the American tradition, men have a recognized and cherished right of revolution, from which Thoreau derives the concept of civil disobedience. A man disgraces himself by associating with a government that treats even some of its citizens unjustly, even if he is not the direct victim of its injustice. Thoreau takes issue with William Paley, an English theologian and philosopher, who argues that any movement of resistance to government must balance the enormity of the grievance to be redressed and the "probability and expense" of redressing it. It may not be convenient to resist, and the personal costs may be greater than the injustice to be remedied; however, Thoreau firmly asserts the primacy of individual conscience over collective pragmatism.

Thoreau turns to the issue of effecting change through democratic means. The position of the majority, however legitimate in the context of a democracy, is not tantamount to a moral position. Thoreau believes that the real obstacle to reform lies with those who disapprove of the measures of government while tacitly lending it their practical allegiance. At the very least, if an unjust government is not to be directly resisted, a man of true conviction should cease to lend it his indirect support in the form of taxes. Thoreau acknowledges that it is realistically impossible to deprive the government of tax dollars for the specific policies that one wishes to oppose. Still, complete payment of his taxes would be tantamount to expressing complete allegiance to the State. Thoreau calls on his fellow citizens to withdraw their support from the government of Massachusetts and risk being thrown in prison for their resistance. Forced to keep all men in prison or abolish slavery, the State would quickly exhaust its resources and choose the latter course of action. For Thoreau, out of these acts of conscience flow "a man's real manhood and immortality."

Money is a generally corrupting force because it binds men to the institutions and the government responsible for unjust practices and policies, such as the enslavement of black Americans and the pursuit of war with Mexico. Thoreau sees a paradoxically inverse relationship between money and freedom. The poor man has the greatest liberty to resist because he depends the least on the government for his own welfare and protection.

After refusing to pay the poll tax for six years, Thoreau is thrown into jail for one night. While in prison, Thoreau realizes that the only advantage of the State is "superior physical strength." Otherwise, it is completely devoid of moral or intellectual authority, and even with its brute force, cannot compel him to think a certain way.

Why submit other people to one's own moral standard? Thoreau meditates at length on this question. While seeing his neighbors as essentially well-intentioned and in some respects undeserving of any moral contempt for their apparent indifference to the State's injustice, Thoreau nonetheless concludes that he has a human relation to his neighbors, and through them, millions of other men. He does not expect his neighbors to conform to his own beliefs, nor does he endeavor to change the nature of men. On the other hand, he refuses to tolerate the status quo.

Despite his stance of civil disobedience on the questions of slavery and the Mexican war, Thoreau claims to have great respect and admiration for the ideals of the American government and its institutions. Thoreau goes so far as to state that his first instinct has always been conformity. Statesmen, legislators, politicians--in short, any part of the machinery of state bureaucracy--are unable to scrutinize the government that lends them their authority. Thoreau values their contributions to society, their pragmatism and their diplomacy, but feels that only someone outside of government can speak the Truth about it.

The purest sources of truth are, in Thoreau's view, the Constitution and the Bible. Not surprisingly, Thoreau holds in low esteem the entire political class, which he considers incapable of devising the most basic forms of legislation. In his last paragraph, Thoreau comes full circle to discussing the authority and reach of government, which derives from the "sanction and consent of the governed." Democracy is not the last step in the evolution of government, as there is still greater room for the State to recognize the freedom and rights of the individual. Thoreau concludes on an utopic note, saying such a State is one he has imagined "but not yet anywhere seen." 


Sylvia Plath as a Modern American Poet: Daddy and Lady Lazarus

 Sylvia Plaths as a Modern American Poet

Sylvia Plath (1932 - 1963) was a distinguished American poet. She  was one of the most dynamic and admired poets of the 20th century. Her poetry tackles diverse literary topics. She is described as “one of the most celebrated and controversial of postwar poets writing in English.”

Sylvia Plath was an American poet, novelist, and short-story writer. She is credited with advancing the genre of confessional poetry and is best known for two of her published collections, The Colossus and Other Poems (1960) and Ariel (1965), as well as The Bell Jar, a semi-autobiographical novel published shortly before her death in 1963. The Collected Poems were published in 1981, which included previously unpublished works. For this collection Plath was awarded a Pulitzer Prize in Poetry in 1982, making her the fourth to receive this honour posthumously. Consequently, her contribution to American poetry is enormous. She was one of the first poets who introduced realism technique within the context of the American poetry 

The "confessional" poets composed poems in free verse with intensely volent imagery on subjects taken from their inner emotional lives. They shared interest in, and personal encounters with, psychotherapy. Often, her work is singled out for the intense coupling of its violent or disturbed imagery and its playful use of alliteration and rhyme. 

Plath utilizes literary symbolic devices within expressionism in realistic techniques because she had been influenced by contemporary realistic poets. Being so, Plath wrote in the form of expressionism had not any concern with the state of individuals. They depended on expressionism to condemn complicated contemporary issues regarding industrialism and capitalism as products of systems not individuals. Being a realistic poet, similarly, Plath uses symbolic realistic verse and conversations in some of her poems. He faced difficult conflicts in her life and her inner self, and her suffering leads her to write poetry on the conflicts of all men in her milieu. As an autobiographical poet, Plath‘s main aim was to depict these conflicts in his poems. So that she tried to ease her inner pressures and storms, to justify herself to herself, not to the world through her writings, and from her experiences, she also tried to depict the conflicts of her age Intensely autobiographical, Plath’s poems explore her own mental anguish, her troubled marriage to fellow poet Ted Hughes, her unresolved conflicts with her parents, and her own vision of herself. 

Some of her most vivid poems, including the well-known “Daddy,” concern her troubled relationship with her authoritarian father and her feelings of betrayal when he died. Feminists portrayed Plath as a woman driven to madness by a domineering father, an unfaithful husband, and the demands that motherhood made on her genius. Some critics lauded her as a confessional poet Plath used history “to explain herself,” writing about the Nazi concentration camps as though she had been imprisoned there.

On October 27, 1932, Sylvia Plath was born 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. They were married in January of 1932. Otto taught both German and biology, with a focus on apiology, the study of bees.

In 1940, when Sylvia was eight years old, her father died as a result of complications from diabetes. He had been a strict father, and both his authoritarian attitudes and his death drastically defined her relationships and her poems—most notably in her elegiac and infamous poem, "Daddy."

Even in her youth, Plath was ambitiously driven to succeed. She kept a journal from the age of and published her poems in regional magazines and newspapers. Her first national publication was in the Christian Science Monitor in 1950, just after graduating from high school.

In 1950, Plath matriculated at Smith College. She was an exceptional student, and despite a deep depression she went through in 1953 and a subsequent suicide attempt, she managed to graduate summa cum laude in 1955.

After graduation, Plath moved to Cambridge, England, on a Fulbright Scholarship. In early 1956, she attended a party and met the English poet, Ted Hughes. Shortly thereafter, Plath and Hughes were married, on June 16, 1956.

Plath returned to Massachusetts in 1957, and began studying with Robert Lowell. Her first collection of poems, Colossus, was published in 1960 in England, and two years later in the United States. She returned to England where she gave birth to the couple's two children, Frieda and Nicholas Hughes, in 1960 and 1962, respectively.

In 1962, Ted Hughes left Plath for Assia Gutmann Wevill. That winter, in a deep depression, Plath wrote most of the poems that would comprise her most famous book, Ariel.

In 1963, Plath published a semi-autobiographical novel, The Bell Jar, under the pseudonym Victoria Lucas. Then, on February 11, 1963, during one of the worst English winters on record, Plath wrote a note to her downstairs neighbor instructing him to call the doctor, then she committed suicide using her gas oven.

Plath’s poetry is often associated with the Confessional movement, and compared to poets such as her teacher, Robert Lowell, and fellow student Anne Sexton. Often, her work is singled out for the intense coupling of its violent or disturbed imagery and its playful use of alliteration and rhyme.

Although only Colossus was published while she was alive, Plath was a prolific poet, and in addition to Ariel, Hughes published three other volumes of her work posthumously, including The Collected Poems, which was the recipient of the 1982 Pulitzer Prize. She was the first poet to win a Pulitzer Prize after death.


Daddy by Sylvia Plath

You do not do, you do not do   

Any more, black shoe

In which I have lived like a foot   

For thirty years, poor and white,   

Barely daring to breathe or Achoo.


Daddy, I have had to kill you.   

You died before I had time——

Marble-heavy, a bag full of God,   

Ghastly statue with one gray toe   

Big as a Frisco seal


And a head in the freakish Atlantic   

Where it pours bean green over blue   

In the waters off beautiful Nauset.   

I used to pray to recover you.

Ach, du.


In the German tongue, in the Polish town   

Scraped flat by the roller

Of wars, wars, wars.

But the name of the town is common.   

My Polack friend


Says there are a dozen or two.   

So I never could tell where you   

Put your foot, your root,

I never could talk to you.

The tongue stuck in my jaw.


It stuck in a barb wire snare.   

Ich, ich, ich, ich,

I could hardly speak.

I thought every German was you.   

And the language obscene


An engine, an engine

Chuffing me off like a Jew.

A Jew to Dachau, Auschwitz, Belsen.   

I began to talk like a Jew.

I think I may well be a Jew.


The snows of the Tyrol, the clear beer of Vienna   

Are not very pure or true.

With my gipsy ancestress and my weird luck   

And my Taroc pack and my Taroc pack

I may be a bit of a Jew.


I have always been scared of you,

With your Luftwaffe, your gobbledygoo.   

And your neat mustache

And your Aryan eye, bright blue.

Panzer-man, panzer-man, O You——


Not God but a swastika

So black no sky could squeak through.   

Every woman adores a Fascist,   

The boot in the face, the brute   

Brute heart of a brute like you.


You stand at the blackboard, daddy,   

In the picture I have of you,

A cleft in your chin instead of your foot   

But no less a devil for that, no not   

Any less the black man who


Bit my pretty red heart in two.

I was ten when they buried you.   

At twenty I tried to die

And get back, back, back to you.

I thought even the bones would do.


But they pulled me out of the sack,   

And they stuck me together with glue.   

And then I knew what to do.

I made a model of you,

A man in black with a Meinkampf look


And a love of the rack and the screw.   

And I said I do, I do.

So daddy, I’m finally through.

The black telephone’s off at the root,   

The voices just can’t worm through.


If I’ve killed one man, I’ve killed two——

The vampire who said he was you   

And drank my blood for a year,

Seven years, if you want to know.

Daddy, you can lie back now.


There’s a stake in your fat black heart   

And the villagers never liked you.

They are dancing and stamping on you.   

They always knew it was you.

Daddy, daddy, you bastard, I’m through.


Daddy Summary

The speaker creates a figurative image of her father, using many different metaphors to describe her relationship with him. He's like a black shoe that she's had to live in; like a statue that stretches across the United States; like God; like a Nazi; like a Swastika; and, finally, like a vampire. The speaker, faced with her father as a giant and evil Nazi, takes the part of a Jew and a victim.

Yet, with this poem, the speaker gets her revenge, claiming that she's killed both her father and the man she made as a model of her father – her husband. This poem shows her struggle to declare that, no matter how terrible her father was and how much he remains in her mind, she is now through with him.

"Daddy," comprised of sixteen five-line stanzas, is a brutal and venomous poem commonly understood to be about Plath's deceased father, Otto Plath.

The speaker begins by saying that he "does not do anymore," and that she feels like she has been a foot living in a black shoe for thirty years, too timid to either breathe or sneeze. She insists that she needed to kill him (she refers to him as "Daddy"), but that he died before she had time. She describes him as heavy, like a "bag full of God," resembling a statue with one big gray toe and its head submerged in the Atlantic Ocean. She remembers how she at one time prayed for his return from death, and gives a German utterance of grief (which translates literally to "Oh, you").

She knows he comes from a Polish town that was overrun by "wars, wars, wars," but one of her Polack friends has told her that there are several towns of that name. Therefore, she cannot uncover his hometown, where he put his "foot" and "root."

She also discusses how she could never find a way to talk to him. Even before she could speak, she thought every German was him, and found the German language "obscene." In fact, she felt so distinct from him that she believed herself a Jew being removed to a concentration camp. She started to talk like a Jew and to feel like a Jew in several different ways. She wonders in fact, whether she might actually be a Jew, because of her similarity to a gypsy. To further emphasize her fear and distance, she describes him as the Luftwaffe, with a neat mustache and a bright blue Aryan eye. She calls him a "Panzer-man," and says he is less like God then like the black swastika through which nothing can pass. In her mind, "Every woman adores a Fascist," and the "boot in the face" that comes with such a man.

When she remembers Daddy, she thinks of him standing at the blackboard, with a cleft chin instead of a cleft foot. However, this transposition does not make him a devil. Instead, he is like the black man who "Bit [her] pretty red heart in two." He died when she was ten, and she tried to join him in death when she was twenty. When that attempt failed, she was glued back together. At this point, she realized her course - she made a model of Daddy and gave him both a "Meinkampf look" and "a love of the rack and the screw." She promises him that she is "finally through;" the telephone has been taken off the hook, and the voices can no longer get through to her.

She considers that if she has killed one man, then she has in fact killed two. Comparing him to a vampire, she remembers how he drank her blood for a year, but then realizes the duration was closer to seven years. She tells him he can lie back now. There is a stake in his heart, and the villagers who despised him now celebrate his death by dancing on his corpse. She concludes by announcing, "Daddy, Daddy, you bastard, I'm through."

Analysis

"Daddy" is perhaps Sylvia Plath's best-known poem. It has elicited a variety of distinct reactions, from feminist praise of its unadulterated rage towards male dominance, to wariness at its usage of Holocaust imagery. It has been reviewed and criticized by hundreds and hundreds of scholars, and is upheld as one of the best examples of confessional poetry.

It is certainly a difficult poem for some: its violent imagery, invocation of Jewish suffering, and vitriolic tone can make it a decidedly uncomfortable reading experience. Overall, the poem relates Plath's journey of coming to terms with her father's looming figure; he died when she was eight. She casts herself as a victim and him as several figures, including a Nazi, vampire, devil, and finally, as a resurrected figure her husband, whom she has also had to kill.

Though the final lines have a triumphant tone, it is unclear whether she means she has gotten "through" to him in terms of communication, or whether she is "through" thinking about him. Plath explained the poem briefly in a BBC interview:

The poem is spoken by a girl with an Electra complex. The father died while she thought he was God. Her case is complicated by the fact that her father was also a Nazi and her mother very possibly part Jewish. In the daughter the two strains marry and paralyze each other –she has to act out the awful little allegory once over before she is free of it.

In other words, contradiction is at the heart of the poem's meaning. Neither its triumph nor its horror is to be taken as the sum total of her intention. Instead, each element is contradicted by its opposite, which explains how it shoulders so many distinct interpretations.

This sense of contradiction is also apparent in the poem's rhyme scheme and organization. It uses a sort of nursery rhyme, singsong way of speaking. There are hard sounds, short lines, and repeated rhymes (as in "Jew," "through," "do," and "you"). This establishes and reinforces her status as a childish figure in relation to her authoritative father. This relationship is also clear in the name she uses for him - "Daddy"- and in her use of "oo" sounds and a childish cadence. However, this childish rhythm also has an ironic, sinister feel, since the chant-like, primitive quality can feel almost like a curse. One critic wrote that the poem's "simplistic, insistent rhythm is one form of control, the obsessive rhyming and repeated short phrases are others, means by which she attempts to charm and hold off evil spirits." In other words, the childish aspects have a crucial, protective quality, rather than an innocent one.

"Daddy" can also be viewed as a poem about the individual trapped between herself and society. Plath weaves together patriarchal figures – a father, Nazis, a vampire, a husband – and then holds them all accountable for history's horrors. Like "The Colossus," "Daddy" imagines a larger-than-life patriarchal figure, but here the figure has a distinctly social, political aspect. Even the vampire is discussed in terms of its tyrannical sway over a village. In this interpretation, the speaker comes to understand that she must kill the father figure in order to break free of the limitations that it places upon her. In particular, these limitations can be understood as patriarchal forces that enforce a strict gender structure. It has the feel of an exorcism, an act of purification. And yet the journey is not easy. She realizes what she has to do, but it requires a sort of hysteria. In order to succeed, she must have complete control, since she fears she will be destroyed unless she totally annihilates her antagonist.

The question about the poem's confessional, autobiographical content is also worth exploring. The poem does not exactly conform to Plath's biography, and her above-cited explanation suggests it is a carefully-constructed fiction. And yet its ambivalence towards male figures does correspond to the time of its composition - she wrote it soon after learning that her husband Ted Hughes had left her for another woman. Further, the mention of a suicide attempt links the poem to her life.

However, some critics have suggested that the poem is actually an allegorical representation of her fears of creative paralysis, and her attempt to slough off the "male muse." Stephen Gould Axelrod writes that "at a basic level, 'Daddy' concerns its own violent, transgressive birth as a text, its origin in a culture that regards it as illegitimate –a judgment the speaker hurls back on the patriarch himself when she labels him a bastard." The father is perceived as an object and as a mythical figure (many of them, in fact), and never really attains any real human dimensions. It is less a person than a stifling force that puts its boot in her face to silence her. From this perspective, the poem is inspired less by Hughes or Otto than by agony over creative limitations in a male literary world. However, even this interpretation begs something of an autobiographical interpretation, since both Hughes and her father were representations of that world.

Plath's usage of Holocaust imagery has inspired a plethora of critical attention. She was not Jewish but was in fact German, yet was obsessed with Jewish history and culture. Several of her poems utilize Holocaust themes and imagery, but this one features the most striking and disturbing ones. She imagines herself being taken on a train to "Dachau, Auschwitz, Belsen," and starting to talk like a Jew and feel like a Jew. She refers to her father as a "panzer-man," and notes his Aryan looks and his "Luftwaffe" brutality. One of the leading articles on this topic, written by Al Strangeways, concludes that Plath was using her poetry to understand the connection between history and myth, and to stress the voyeurism that is an implicit part of remembering. Plath had studied the Holocaust in an academic context, and felt a connection to it; she also felt like a victim, and wanted to combine the personal and public in her work to cut through the stagnant double-talk of Cold War America. She certainly uses Holocaust imagery, but does so alongside other violent myths and history, including those of Electra, vampirism, and voodoo. Strangeways writes that, "the Holocaust assumed a mythic dimension because of its extremity and the difficulty of understanding it in human terms, due to the mechanical efficiency with which it was carried out, and the inconceivably large number of victims." In other words, its shocking content is not an accident, but is rather an attempt to consider how the 20th century's great atrocity reflects and escalates a certain human quality.

Indeed, it is hard to imagine that any of Sylvia Plath's poems could leave the reader unmoved. "Daddy" is evidence of her profound talent, part of which rested in her unabashed confrontation with her personal history and the traumas of the age in which she lived. That she could write a poem that encompasses both the personal and historical is clear in "Daddy."


Lady Lazarus by Sylvia Plath

The title is an allusion to the Biblical character, Lazarus, whom Jesus raised from the dead.


I have done it again.   

One year in every ten   

I manage it——


A sort of walking miracle, my skin   

Bright as a Nazi lampshade,   

My right foot


A paperweight,

My face a featureless, fine   

Jew linen.


Peel off the napkin   

O my enemy.   

Do I terrify?——


The nose, the eye pits, the full set of teeth?   

The sour breath

Will vanish in a day.


Soon, soon the flesh

The grave cave ate will be   

At home on me


And I a smiling woman.   

I am only thirty.

And like the cat I have nine times to die.


This is Number Three.   

What a trash

To annihilate each decade.


What a million filaments.   

The peanut-crunching crowd   

Shoves in to see


Them unwrap me hand and foot——

The big strip tease.   

Gentlemen, ladies


These are my hands   

My knees.

I may be skin and bone,

Nevertheless, I am the same, identical woman.   

The first time it happened I was ten.   

It was an accident.


The second time I meant

To last it out and not come back at all.   

I rocked shut


As a seashell.

They had to call and call

And pick the worms off me like sticky pearls.


Dying

Is an art, like everything else.   

I do it exceptionally well.


I do it so it feels like hell.   

I do it so it feels real.

I guess you could say I’ve a call.


It’s easy enough to do it in a cell.

It’s easy enough to do it and stay put.  (hang about, linger on) 

It’s the theatrical (dramatic, melodramatic)


Comeback in broad day

To the same place, the same face, the same brute   

Amused shout:


‘A miracle!’

That knocks me out.   

There is a charge


For the eyeing of my scars, there is a charge   

For the hearing of my heart——

It really goes.


And there is a charge, a very large charge   

For a word or a touch   

Or a bit of blood


Or a piece of my hair or my clothes.   

So, so, Herr Doktor.   

So, Herr Enemy.


I am your opus, (composition, ouvre, work, piece)

I am your valuable,   

The pure gold baby

That melts to a shriek.   

I turn and burn.

Do not think I underestimate your great concern.


Ash, ash—

You poke and stir.

Flesh, bone, there is nothing there——


A cake of soap,   

A wedding ring,   

A gold filling.


Herr God, Herr Lucifer   

Beware

Beware.


Out of the ash

I rise with my red hair   

And I eat men like air.

Sylvia Plath, “Lady Lazarus” from Collected Poems. Copyright © 1960, 1965, 1971, 1981 by the Estate of Sylvia Plath. Editorial matter copyright © 1981 by Ted Hughes. Used by permission of HarperCollins Publishers.

Source: Collected Poems (HarperCollins Publishers Inc, 1992)

"Lady Lazarus" Summary "Lady Lazarus" is a poem commonly understood to be about suicide. It is narrated by a woman, and mostly addressed to an unspecified person. The narrator begins by saying she has "done it again." Every ten years, she manages to commit this unnamed act. She considers herself a walking miracle with bright skin, her right foot a "paperweight," and her face as fine and featureless as a "Jew linen". She addresses an unspecified enemy, asking him to peel the napkin from her face, and inquiring whether he is terrified by the features he sees there. She assures him that her "sour breath" will vanish in a day.

She is certain that her flesh will soon be restored to her face after having been sacrificed to the grave, and that she will then be a smiling, 30 year-old woman. She will ultimately be able to die nine times, like a cat, and has just completed her third death. She will die once each decade. After each death, a "peanut-crunching crowd" shoves in to see her body unwrapped. She addresses the crowd directly, showing them she remains skin and bone, unchanged from who she was before. The first death occurred when she was ten, accidentally. The second death was intentional - she did not mean to return from it. Instead, she was as "shut as a seashell" until she was called back by people who then picked the worms off her corpse. She does not specifically identify how either death occurred.

She believes that "Dying / Is an art, like everything else," and that she does it very well. Each time, "it feels real," and is easy for her. What is difficult is the dramatic comeback, the return to the same place and body, occurring as it does in broad daylight before a crowd's cry of "A miracle!" She believes people should pay to view her scars, hear her heart, or receive a word, touch, blood, hair or clothes from her. In the final stanzas, she addresses the listener as "Herr Dockter" and "Herr Enemy," sneering that she is his crowning achievement, a "pure gold baby." She does not underestimate his concern, but is bothered by how he picks through her ashes. She insists there is nothing there but soap, a wedding ring, and a gold filling. She warns "Herr God, Herr Lucifer" to beware of her because she is going to rise out of the ash and "eat men like air."

Analysis "Lady Lazarus" is a complicated, dark, and brutal poem originally published in the collection Ariel. Plath composed the poem during her most productive and fecund (rich, productive) creative period. It is considered one of Plath's best poems, and has been subject to a plethora (excess) of literary criticism since its publication. It is commonly interpreted as an expression of Plath's suicidal attempts and impulses. Its tone veers between menacing (threatening) and scathing, and it has drawn attention for its use of Holocaust imagery, similar to "Daddy." The title is an allusion to the Biblical character, Lazarus, whom Jesus raised from the dead.

The standard interpretation of the poem suggests that it is about multiple suicide attempts. The details can certainly be understood in this framework. When the speaker says she "has done it again," she means she has attempted suicide for the third time, after one accidental attempt and one deliberate attempt in the past. Each attempt occurred in a different decade, and she is now 30 years old. Now that she has been pulled back to life from this most recent attempt, her "sour breath / Will vanish in a day," and her flesh will return to her bones. However, this recovery is presented as a failure, whereas the suicide attempts are presented as accomplishments - "Dying is an art" that she performs "exceptionally well." She seems to believe she will reach a perfection through escaping her body.

By describing dying as an art, she includes a spectator to both her deaths and resurrections. (concept of coming back to life after death) Because the death is a performance, it necessarily requires others. In large part, she kills herself to punish them for driving her to it. The eager "peanut-crunching crowd" is invited but criticized for its voyeuristic impulse. The crowd could certainly be understood to include the reader himself, since he reads the poem to explore her dark impulses. She assumes that her voyeurs are significantly invested - they would pay the "large charge" to see her scars and heart.

However, she imbues( influences) this impulse with a harsh criticism by comparing the crowd to the complacent Germans who stood aside while the Jews were thrown into concentration camps. Further, the crowd ultimately proves less an encouragement than a burden when they also attend the resurrection. She despises this second part of the process, and resents the presence of others at that time. Whether this creates a vicious circle, in which that resentment is partially responsible for the subsequent attempt, is implied but not explicitly stated. Critic Robert Bagg explores the speaker's contradictory feelings towards the crowd by writing that Plath "is not bound by any metaphysical belief in the self's limitations. Instead of resisting the self's antagonists she derives a tremendous thrill from throwing her imagination into the act of self-obliteration.(removal of parts as a result of disease or surgery."She can destroy her body, but her imaginative self remains a performer, always aware of the effect she has on others.

The poem can also be understood through a feminist lens, as a demonstration of the female artist's struggle for autonomy in a patriarchal society. Lynda K. Bundtzen writes that "the female creation of a male-artist god is asserting independent creative powers." From this perspective, "Lady Lazarus" is not merely a confessional poem detailing depressive feelings, but is also a statement on how the powerful male figure usurps Plath's creative powers but is defeated by her rebirth. Though Lady Lazarus knows that "Herr Doktor" will claim possession of her body and remains after forcing her suicide, she equally believes she will rise and "eat men like air." Her creative powers can be stifled momentarily, but will always return stronger.

The poem can also be understood in a larger context, as a comment on the relationship between poet and audience in a society that, as Pamela Annas claims, has separated creativity and consumption. The crowd views Lady Lazarus/the poet/Plath as an object, and therefore does not recognize her as a human being. Plath reflects this through her multiple references to body parts separated from the whole. From this interpretation, Lady Lazarus's suicide then becomes "an assertion of wholeness, an act of self-definition, and a last desperate act of contempt toward the peanut-crunching crowd." The only way she can keep herself intact is to destroy herself, and she does this rather than be turned into commodities. Though "Herr Docktor" will peruse her remains for commodities, she will not have been defeated because of her final act.

As has often been the case in Plath's poems, the Holocaust imagery has drawn much attention from critics and readers. It is quite profuse in this poem. Lady Lazarus addresses a man as "Herr Dokter," "Herr Enemy," "Herr God," and "Herr Lucifer." She describes her face as a "Nazi lampshade" and as a"Jew linen." As previously described, one effect of these allusions is to implicate (involve) the reader, make him or her complicit in passive voyeurism by comparing him or her to the Germans who ignored the Holocaust. However, they also serve to establish the horrific atmosphere than be understood as patriarchy, as a society of consumers, or as simply cruel humans. No matter how one interprets the crowd in the poem, they complicate the poem's meaning so that it is a sophisticated exploration of the responsibility we have for each other's unhappiness, rather than simply a dire, depressive suicide note.


Linguistics: Phonetics: Organs of Speech and Speech Mechanism

  Organs of Speech & Speech Mechanism Project submitted as part fulfilment of the Faculty Development program organised by Higher Educat...