Matthies, Gesa (2016). The Lady in the Book – Sylvia Plath, portraits. France. Archived from the original on September 14, 2018 . Retrieved September 13, 2018.

Crossing the Water is full of perfectly realised works. Its most striking impression is of a front-rank artist in the process of discovering her true power. Such is Plath's control that the book possesses a singularity and certainty which should make it as celebrated as The Colossus or Ariel. [74] is reviewed between 08.30 to 16.30 Monday to Friday. We're experiencing a high volume of enquiries so it may take us

A 1965 review of Ariel by Sylvia Plath

Ariel" depicts a woman riding her horse in the countryside, at the very break of dawn. It details the ecstasy and personal transformation that occurs through the experience.

Rose, Jacqueline (February 1, 1998). "The happy couple". The Guardian. London. Archived from the original on March 12, 2017. Thomas, David N. (2008). Fatal Neglect: Who Killed Dylan Thomas?. Bridgend: Seren. ISBN 978-1-85411-480-8. That menace carries over into the next bit of description (of the noise) and shift, though another image, into wry helplessness (“I am not Caesar”); at which point a sense of proportion reasserts itself: “They can die … I am the am the owner.” Her achievement raises issues concerning the value of literature and its relation to life. The last poem suggests that words are dubious allies in the struggle to maintain a sense of reality. They are solid and fixed and resonant, abut as circumstances alter, they become emptied of meaning. a b c d e "Sylvia Plath". Academy of American Poets. February 4, 2014. Archived from the original on February 4, 2017.Wadsworth, F. B.; Vasseur, J.; Damby, D. E. (2017). "Evolution of vocabulary in the poetry of Sylvia Plath". Digital Scholarship in the Humanities. 32 (3): 660–671. Axelrod, Steven Gould. (1992). Sylvia Plath: The Wound and the Cure of Words. Baltimore, Maryland: Johns Hopkins University. ISBN 0-8018-4374-X. The Blood Jet Is Poetry". Time. June 10, 1966. Archived from the original on March 10, 2015 . Retrieved July 9, 2010. Book review, Ariel. Ariel is the name of the spirit in Shakespeare’s play, The Tempest. Ariel’s story is significant in terms of his imprisonment by Prospero and subsequent release, and his supernatural abilities and insights. These factors are important when interpreting the poem. Drugs a 'key factor' in Plath's suicide, claimed Hughes | Books | The Guardian". theguardian.com . Retrieved July 16, 2023.

This stanza, she argues, outlines her pre-dawn poetry writing, for in the poem these actions take place before the sun has risen, and because she is interpreting Plath's poetic "undressing" as an erotic metaphor for her undressing the structure to which she adhered before Ariel and The Colossus. [3] This is seemingly further supported by another critic who argues that by "unpeeling" these dead "stringencies" she is taking off the Latinate diction which she had previously characterized much of her oeuvre of poetry, [3] which some have argued as an earlier attempt to define herself a poetic identity. [3] Thus, in this stanza she begins to undress her poetry, and then, as she continues, Plath begins to reach her climax, and undergo a sort of poetic orgasm in the next lines: [3] Kibler, James E. Jr, ed. (1980). American Novelists Since World War II (A Bruccoli Clark Layman Book). Dictionary of Literary Biography. Vol.6 (2nded.). Detroit: Gale. ISBN 0-8103-0908-4. Bonhams: Plath (Sylvia) Three Women. A Monologue for Three Voices..." www.bonhams.com. Archived from the original on January 22, 2019 . Retrieved January 21, 2019. Ferretter, Luke (2009). Sylvia Plath's Fiction: A Critical Study (1sted.). Edinburgh University Press. doi: 10.3366/edinburgh/9780748625093.001.0001. ISBN 978-0-7486-2509-3. JSTOR 10.3366/j.ctt1r25c0.

Poetry in Extremis — an analysis of Ariel

a b c d e f Cooper, Brian (June 2003). "Sylvia Plath and the depression continuum". J R Soc Med. 96 (6): 296–301. doi: 10.1177/014107680309600613. PMC 539515. PMID 12782699. The last of the is a traditional usage, the other two subjective and personal. Such associations and identifications when they occur are almost always oblique and contribute to the enigmatic texture of the poetry. Both Lowell and Sexton encouraged Plath to write from her experience and she did so. She openly discussed her depression with Lowell and her suicide attempts with Sexton, who led her to write from a more female perspective. Plath began to consider herself as a more serious, focused poet and short story writer. [5] At this time Plath and Hughes first met the poet W.S. Merwin, who admired their work and was to remain a lifelong friend. [26] Plath resumed psychoanalytic treatment in December, working with Ruth Beuscher. [5] Chalcot Square, near Primrose Hill in London, Plath and Hughes' home from 1959