Analysis_of_Ariel

Ariel is the name of the highly regarded posthumous volume composed by Silvia Plath and published on her behalf by her ex-husband Ted Hughes. It is also the name of the 13th poem in the series which is regarded as one of Plath’s most complicated and ambiguous texts. The poem begins in the quiet hours of darkness before dawn. “Stasis in darkness”. The colours change from black to blue, as the morning progresses. Symbolism is used to emphasis the power of the horse before the ride and causes a climatic tone to stir with the comparison of the horse, to a lion “God lioness”. The use of the pronoun, we, emphasises that the rider and horse are one. “How we grow” Momentum is built as the imagery quickens, driven forwards by the successful enjambment “the furrow splits and passes”. The clever slur “Niger eye” further develops the imagery and builds extra speed, causing the responder to visualise the wild passion in the horse’s eyes. The effective stream of consciousness driven forwards by the alliteration of the B’s, that represent the depth of the blackberry juice, allow for a visual commentary, of the emotions she encounters and scenery flashing by. “Black sweet blood mouthfuls”. The pace is accelerated through the emotive sentence “hauls me through the air”, as though the rider has no choice but to cling for her life. The successful rhyming pattern, tying the images together. ‘Hair and air’ At this point in the poem a significant change occurs signalled by a variation in tone and technique. From this point the poem moves beyond the literal meaning into something which partakes of mystery and creates a metaphorical feeling. The responder is stuck with the image of white Godiva a woman who rode naked through her city to save its people from taxes. This powerful illustration strengthens the emotion of freedom, radiating from the ride. It is as though the protagonist is freeing herself of all worldly cares. “White Godiva, I unpeel – Dead hands, dead stringencies”. The effective use of the dash causes the responder to pause and allows for a build up of tension. The repetition of the word dead, signals the end of all physical and psychological aspects. The tension of the poem diminishes as the rider stops to feed the horse, yet a stream of consciousness, demonstrating a successful use of coup d’ oeil pressures the ride forward and in the same line, she sees the ocean. “foam to wheat, a glitter of sea’s”. A climatic tone rebuilds as a Child’s cry, symbolic of innoce is ignored, fading into the distance, with the pace ‘ the Childs cry, melts into the wall’. Through a clever metaphor combined with the singular pronoun “I” and effective alliteration she sees herself as an arrow allowing for visualisations of the of the protagonist flying through the air at high speed. The responder is hit with the highly emotive word “suicidal” and the use of a comma gives time for a split second pause, that reveals that this, is the climatic point. The poem finishes as the rider at one with the horse, ride into the sun that represents a new beginning. In conjunction with the interning literal and metaphorical meanings it is also important to understand that other interpretations exist. Some believe that a sexual connotation could be indicated that builds exponentially as the poem progresses. Beginning with slow love “stasis in darkness” and accelerated by coup d’oeil, enjambment and a clever rhyming pattern to a state of complete sexual commitment “one with the drive” where the responder is come together, as one being, with her partner. Additionally some believe that suicidal impulses could be involved with the protagonist psyching themselves up into a state of suicidal action. This idea is clearly related to the physiological context of Silvia Plath who was undoubtedly of an unstable state of mind. The rider evidently desires to rid herself of her burdens, as when, in an exuberant state of mind, she sheds her clothes, symbolic of world cares including physical ones “Godiva, I unpeel, Dead hands...” However perceived Silvia Plath writing is characterised by the depth and precision of her imagery, the calculated word choice and careful structure that leads to her poem Ariels ultimate success! - By Alexander Helms