Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
Sylvia Plath
In an introduction written for a BBC broadcast of the poem in 1962, Plath described the poem as follows:
This poem is about the double or schizophrenic nature of death – the marmoreal coldness of Blake’s death mask, say, hand in glove with the fearful softness of worms, water and the other kataboli...
Two, of course there are two.
It seems perfectly natural now——
The one who never looks up, whose eyes are lidded
And balled¸ like Blake's.
Who exhibits
The birthmarks that are his trademark——
The scald scar of water,
The nude
Verdigris of the condor.
I am red meat. His beak
Claps sidewise: I am not his yet.
He tells me how badly I photograph.
He tells me how sweet
The babies look in their hospital
Icebox, a simple
Frill at the neck
Then the flutings of their Ionian
Death-gowns.
Then two little feet.
He does not smile or smoke.
The other does that
His hair long and plausive
Bastard
Masturbating a glitter
He wants to be loved.
I do not stir.
The frost makes a flower,
The dew makes a star,
The dead bell,
The dead bell.
Somebody's done for.