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Plath may be indulging in self-harm here. There is nothing in the text to suggest the cut was truly accidental and she opens the poem not by announcing the injury but the thrill of it.

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First published in her posthumous volume Ariel, “Cut” is often considered one of Plath’s greatest poems. Its striking, overlapping metaphors and macabre imagery suggest psychological tensions running deeper than an ordinary response to a kitchen accident. The ‘cut’ of the title refers not only to her injured thumb, but could also signify an emotional wound or even foreshadow her future suicide — a young life cut short.

Structure
The poem is typical of Plath’s style, and comprises ten stanzas of four short, uneven lines each, in free verse. The first person narrator is the poet. There is no rhyme scheme.

Language and Imagery
The poem derives its power from the vivid and, at times, bizarre imagery. A small kitchen accident is taken by Plath into strange realms, developed and transmuted, according to most interpretations, into a prediction of her own future suicide. As usual with Plath, the writing is spare, no words wasted, dense and compressed.

See Sylvia Plath: A Critical Study, Time Kendall, Faber and Faber

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The head of the statue representing her father protrudes from the Atlantic. This depiction may suggest that his presence, for her, stretches from coast to coast over America, as it did throughout her entire life.

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Sylvia Plath was actually only eight when her father died, but ten is chosen for several reasons, partially because it is the first of a triad of major death-related incidents that occurred at ten year intervals: her father’s death, her suicide attempt at twenty, and her successful suicide at age thirty, as well as the last composition of the poems which make up Ariel, her final book of poems.

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She is ultimately unhappy.

The husband is seen as selfish because he appears to either ignore her woes or not accept the fact that something is wrong.

Virginia Woolf also makes use of exclamation – a technique seldom used in capital-L Literature – to draw specific attention that “her [Mrs. Dalloway’s] wedding ring slipped” which, given the unreliability of the narration and the unlikeliness of such an incident occurring, suggests Mrs. Dalloway no longer wants to be married.

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Milton breaks away from iambic pentameter, instead using an iamb-spondee-iamb in a three-foot line. This double break is a poetic way to indicate that Milton feels he is not up for the task ahead of him – a common invocation at the beginning of an elegy.

(Source: Open Yale Courses. )

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The first song on Vic Mensa’s successful INNANETAPE. In “Welcome To INNANET,” Vic shows listeners both his old style as well as where he’s heading.

While talking about his daily life and general lifestyle, Vic simultaneously showcases both his technical talent and his new artistic aspirations.

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Moore’s note on this line and quotation source:

Yeats: Ideas of Good and Evil (A.H. Bullen, 1903), p.182. “The limitation of his view was from the very intensity of his vision; he was a too literal realist of imagination, as others are of nature; and because he believed that the figures seen by the mind’s eye, when exalted by inspiration, were ‘eternal existences,’ symbols of divine essences, he hated every grace of style that might obscure their lineaments.”

This line is oft quoted from Moore – even though she was quoting the line from a different text. Perhaps here, Moore means someone who can be faithful to their private thoughts, feelings and flights of fancy – that is – poets should literally represent their ideas just as they come, as opposed to filling their verses with fluffy sentimentalism, trite metaphors and hollow bombast in an attempt to seem grander.

e.g.

Indeed, Mr. Kilmer.

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Sylvia Plath (October 27, 1932 – February 11, 1963) is one of the most popular poets in recent history and her life burned at a white-hot heat. Plath’s father, Otto Plath, was a German who emigrated to America and taught Entomology and German. He died while Plath was eight years old due to gangrene (stemming from diabetes) and his refusal to have treatment. Plath purportedly also nearly drowned around this time (in “Daddy” she says she tried to die at 10).

Plath went on to attend Smith College and she graduated with the highest honors. When she was rejected from the Harvard Writing Program, she attempted suicide, crawling under the floorboards and overdosing on sleeping pills. She was found about three days later and underwent psychiatric treatment, which included electroshock therapy, which essentially erases all memory for a few moments.

Sylvia Plath was given a Fullbright scholarship by a Senator who had also suffered a mental breakdown and saw Plath’s potential (Plath was already a published author at this time). She attended the Newnham College, University of Cambridge in the U.K. where she met and later married Ted Hughes.

Plath’s poetic work during her life time was often overshadowed by Ted Hughes’s and, eventually, in a burst of creativity, she composed most of her Ariel poems after her marriage with Ted Hughes had broken down. Plath had been mentally unstable all her life, had attempted suicide several times; a trajectory that led to her final suicide and death at the age of 30.

Ariel was edited and published by Ted Hughes, which caused considerable controversy because of his near-association, but the collection was extremely well received.

Plath attained a level of fame after her death that she never saw in life, but her genius is widely acknowledged and she is one of the most influential poets in recent history. Poems that have attracted most attention are : “Daddy”; “Cut”; “Tulips”; “Lady Lazurus”; “Fever 103°”; and “Nick and the Candlestick”.

It has been said that in the 1970s feminists “appropriated” Sylvia Plath’s death, attributing her suicide to mistreatment by her husband. Frieda Hughes, their daughter, has been appalled by this, as this interview explains. In terms of literary interpretation, we should beware of too many sweeping biographical assumptions. While Plath’s poetry draws on her inner emotional life, her work can stand alone and be interpreted without judgment of her personal relationship with Ted Hughes, about which, as Frieda Hughes asserts, we can know very little. It is a truism that no one can ever understand what happens in a marriage but the two people who experience it.

Plath and some of her contemporary poets wrote a style of poetry called “Confessional”, that emerged in the United States during the 1950s. It has been described as poetry “of the personal,” focusing on extreme moments of individual experience, the psyche, and personal trauma, including previously taboo matter such as mental illness, sexuality, and suicide, often set in relation to broader social themes. It is sometimes also classified as Postmodernism. Other poets of this style of poetry include John Berryman, Robert Lowell, Anne Sexton and Allen Ginsberg.

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