ࡱ> MOL'` {!bjbjLULU .:.?.?U%84,`4x%$$$$$$$$'h)%%2%$$Vw#@;$ !(|# $,H%0x%#x * *;$ *;$%%Xx%D Poppies in July by Sylvia Plath This poem was written in July 1962. By this stage, Plaths marriage to Ted Hughes was in difficulty, and Plath was suffering from a severe bout of depression. It is a typical Plath poem, in that it reveals more about the poet herself than about the subject to which the poet addresses herself. In this respect, it is another psychic landscape (mindscape). We are given an insight into the inner turmoil that plagued her. The imagery is particularly noteworthy: it is very dark, graphic and disturbing, reflecting her mindset at the time of the poems writing. It complements The Arrival of the Bee Box. The Poem Little poppies, little hell flames, Do you do no harm? You flicker. I cannot touch you. I put my hands among the flames. Nothing burns And it exhausts me to watch you Flickering like that, wrinkly and clear red, like the skin of a mouth. A mouth just bloodied. Little bloody skirts! There are fumes I cannot touch. Where are your opiates, your nauseous capsules? If I could bleed, or sleep! - If my mouth could marry a hurt like that! Or your liquors seep to me, in this glass capsule, Dulling and stilling. But colorless. Colorless. Little poppies, little hell flames, Do you do no harm? You flicker. I cannot touch you. I put my hands among the flames. Nothing burns And it exhausts me to watch you Flickering like that, wrinkly and clear red, like the skin of a mouth. A mouth just bloodied. Little bloody skirts! There are fumes I cannot touch. Where are your opiates, your nauseous capsules? If I could bleed, or sleep! - If my mouth could marry a hurt like that! Or your liquors seep to me, in this glass capsule, Dulling and stilling. But colorless. Colorless. Plath starts the poem on a seemingly positive, harmless description of the poppies, which suggests to us that this is also a positive, harmless poem. However, the poppies description changes and we see that the bright red colour of the poppies reminds the poet of the burning fires of hell, no doubt a less than positive idea for anyone that believes in them. The poet then asks a rhetorical question, inquiring as to whether or not these poppies can hurt her. This could be a reference to a contemplation of drugs, an idea explored further later in the poem. As in the first stanza, Plath begins by describing the outward appearance of the poppies. Continuing the fire metaphor, the poppies swaying in the breeze remind the poet of flames flickering, and the poet is somehow frustrated by the fact that she is unable to touch these flowers. The poet begins to show a desire to self harm, thrusting her hand among the flames to see if it burns. This is the poems first real insight into the pain Plath is feeling. Self-harm is, somehow, an unaddressed problem in society these days as many people have been desensitized towards it. But to get to the point that you feel the need to hurt yourself physically to keep you sane, to keep you linked in some way to the real world, is a terrible thing. The idea of the poets urge, or need, to injure herself is carried on throughout the poem. This experience - the poets depression and her inability to make that desperate link with real life - is mentally draining for Plath. Again, she describes the outward appearance of the flowers, this time with a simile. They are compared to the wrinkled, red skin of a mouth. The simile in the previous stanza is clarified: the poppies do not simply remind her of a mouth, but of a bloodied mouth. This violent imagery may be another hint towards her desire to self harm: she would like to feel the pain of being punched in the mouth, because it is better than feeling nothing at all. Plath uses yet another comparison - a metaphor this time - to describe the flowers. They are described as little bloody skirts. Not only does this reflect the blood and pain of previous references to self harm, but it could also refer to some form of sexual violence; yet another unpleasant image. Plaths focus changes from self-harm tendencies to the poppies narcotic properties. Continuing the idea that there is something about these flowers she cannot touch, she now states that she is unable to touch their fumes (something that nobody can actually touch). There is a sense of helplessness as the poet asks the flowers where their narcotics are. It seems as though she is contemplating drugs as a relief from her passive, stagnant life. Plath seems to be trying to decide between self-harm and drug abuse as her release, describing the harm (seemingly cutting) as bleed and the drugs as sleep. The poet wants complete oblivion, rather than the detached state she has already found herself in, and rather than full entrance to the harsh realities of life in the real world. Complex imagery is used, referring to her mouth. It is unclear whether Plath is contemplating drug use via ingestion, making a reference to the disturbing image of bloodied mouths displayed earlier in the poem, or both. The use of punctuation (specifically, exclamation marks) highlights just how desperate the poet is getting. She needs these drugs and pain, and she needs them now. Plath continues to desire drugs, talking about taking them in liquid form. We are unsure if she is talking about taking the drugs in a glass or injecting them with a syringe, or once again describing her detachment from the rest of the world, feeling as though she is enclosed in a glass bubble. Either way, Plath would welcome the total obliteration of emotions associated with opiates as her life would then, at last, have one constant, definite factor: the dulling, numbing effect of the drugs. Plath goes from talking about red poppies to something colourless. It is unclear what this short, one-line stanza means - she could be talking about the colourless opiate from poppies, or about how her life is colourless. One point is certain though: the final stanza, like all of the previous stanzas in the poem, rings with a note of desperation. There is no glimmer of hope.  Themes Struggles (failed relationship) Inspiration Exhaustion Depression (drugs) Tones Everyday speech Vile Vivid Numb Techniques Apostrophe: speaker addresses a dead or absent person, or inanimate object. Seven irregular un-rhyming two line couplets followed by a single line. Image of fire Metaphors Similes     www.engzone.weebly.com !"a { ~    3 4 5 { | ~    I J L ~  ӹh5h5OJQJ^J-h5h50JOJQJ^JfHq )h5h5OJQJ^JfHq h4>*OJQJmH sH h46OJQJmH sH h4OJQJmH sH hVlB*OJQJmH phsH h4B*OJQJmH phsH 1"} ~ K L M N O P Q R S T U V $Ifgd5U!z!    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