Within the poetry of Hughes and Plath, the theme of human relationships is treated in various and diverse ways. Plath's work details relationships, such as the parent-child relationship, using powerful and complex imagery, while Hughes conveys the theme using relatively simpler, but more metaphorical language. Both poets appear to provide a complex view of relationships, and while many may view their depiction as "bleak and disturbing", there are certainly readings that may argue against this view. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Firstly, “Morning Song,” a poem that illustrates the surreal time for parents after the birth of a new baby, definitely portrays the ambivalent relationship between parent and child. The poem was written shortly after the birth of Plath's firstborn, Frieda, so it could be read biographically; However, in many of Plath's poems, characters are used to convey her opinions on different aspects of life, so although it is a confessional poem, the emotions are likely to be exaggerated. At first reading, the relationship may seem disconnected and distant, but as with all of Plath's poetry, the symbolic and cryptic metaphorical language conveys deeper implications of the relationship. The poem's title, "Morning Song," probably doesn't seem to indicate any surprising negativity regarding the relationship; on the contrary, both words seem to immediately evoke joyful, or even celebratory, connotations. The time period “morning” could perhaps metaphorically allude to the idea of ​​beginning: the beginning of an entire life for the child and the beginning of a different life for the new parents. Many readers would automatically connect the idea of ​​a new beginning to the idea of ​​hope and the great possibility of happiness. Following this interpretation, the word "song" evidently encompasses the idea of ​​celebration and jubilation, and could be seen as representing a welcome for the child. Alternatively, it could be interpreted that the title alludes to the crying of the newborn: if this were the case, it does not seem to represent it in a particularly negative way. The comparison between a cry and a song certainly seems to suggest amazement or admiration on the part of the parent rather than anxiety or discomfort. However, perhaps a more bleak interpretation of the title could be given if “morning” were read as simultaneously suggesting the homophonic word “mourning.” If so, it could be seen as involving a metaphorical death of the parents: their old lives fade away, while the birth of the child changes them completely. While this idea can be seen as a negative representation of the relationship, it is only a single, probably tenuous interpretation: First, the title provides the reader with a light and hopeful first insight into the poem, far from being disturbing . However, within the poem itself many instances seem to present a more negative and bleak depiction of the relationship. More pointedly, the speaker states, “I am no more your mother / Than is the cloud that distills a mirror to reflect its own slow / Erasure.” Certainly this seems to indicate the mother's reluctance to accept her new responsibility, her attempt to distance herself from the child, almost a refusal. By using such an abstract metaphor to describe their relationship, the sense of alienation is further reinforced. The speaker's comparison of herself to a "cloud" that "distills a mirror" could be read as the mother's process of takingcare of her own son, who Plath sees as a "mirror" of her mother. The child grows as the "mirror" is further "distilled" by the care and education of the parents. However, the way the mother sees her child, a mirror image of herself when she was younger, does nothing but "reflect" and highlight her "slow erasure". In other words, as the child grows, he only points out to the mother his "erasure", how he is becoming more and more insignificant, essentially fading away in old age, like condensation fading as the mirror becomes clearer. If interpreted this way, one could see that the mother is very worried about starting this new life with her son, seeing it as something that will only bring pain and disappointment, highlighting her own mortality and insignificance. Interestingly, Plath's comparison of herself to a "cloud" is seen frequently in other poems, for example "Little Escape" - it often highlights both a sense of darkness or confusion, and the idea that she is a victim, particularly due to the white, pure color of the cloud. The phrase "I am no longer your mother" alone is likely to shock the reader and provide a disturbing insight into this relationship: with the implication that the mother is neglectful or indifferent, one might feel that this actually provides a "disturbing portrait" At the moment of the writing of this article, many critics have adopted a feminist perspective on Plath's poetry: the character's reluctance to accept her role as mother may have been seen as indicative of the excessive pressure placed on women to enter into a life of domesticity and care of children. A woman's identity was probably extremely limited in those years, due to the clear lack of equality in such a highly patriarchal world; the poem could be seen as an expression of Plath's reluctance to remain trapped in the confines of such an identity, an identity almost defined solely by motherhood. Rebecca Warren also notes that Plath's poetry regarding motherhood is often read by feminists today as reflecting the conflict posed by individual creativity and domesticity, so perhaps the detached portrayal of the character's relationship with her son indicates a fear of losing her creative freedom, and is more complex than a simple “bleak and disturbing” rejection of the child. Furthermore, the first line of the poem probably dispels any negativity, perhaps even the first word: “love.” The speaker, addressing his new son, denotes that “Love makes you go like a big gold watch,” seemingly providing an optimistic and endearing start to the poem. Immediately, the idea of ​​"love" illuminates the poem with a kind of positivity and tenderness, implying both the love between the parents, and the love they have for the child. Furthermore, the simile of “like a big gold watch” is probably endearing, perhaps alluding to the child's healthy physical appearance, while the colorful adjective “gold,” which connotes wealth and riches, seems to convey the child as something precious and appreciated. Combined with the upbeat monosyllabic rhythm of 'fat gold watch', this opening verse certainly seems to convey a sense of adoration and joy towards the new baby. However, one could conversely argue that it actually evokes a negative portrayal of the parent-child relationship. Although the poet states that "love" is what brought the child into the world, which might seem positive, it is probably an impersonal word and distances the child from the parent, it is instead linked to an abstract concept. Perhaps this increases the sense of reluctance the mother feels to accept this child and accept his new life: insteadof connecting the child to herself and her responsibility, she relates him only to this abstract ideal. Furthermore, the idea that the child is compared to an inanimate object appears somewhat disturbing: as soon as he begins life he is immediately assimilated to something lifeless. A similar comparison also occurs later in the poem, when the child is described as a "statue." This could be interpreted as once again representing the speaker's apprehension to accept the child and acknowledge the presence of all this new life in his or her life. It might be countered that by addressing the child as “you,” the speaker conveys his acceptance of the child's existence and his existence.presence in his life, and somewhat attenuates the sense of distancing. Additionally, however, the child's being compared to a "clock" arguably presents a disturbing and unsettling image to the reader: the speaker could be interpreted to imply a stopwatch, representing the already dwindling time left in the child's life . This is undoubtedly a "dark" and pessimistic view, perhaps indicating the speaker's concerns about mortality: the child only reinforces her worries and fears of death, instead of filling her with hope for the new life created. Furthermore, the sense of alienation and distancing from the child is created in many other instances in the poem, furthering the negative and joyless portrayal of the relationship. The emotionless, synaesthetic description of the baby's "bald cry" does not evoke any sense of awe on the part of the parents upon hearing their baby for the first time, instead conveying that it is something empty, emphasizing the lack of connection between parents and child. Furthermore, Plath describes the cry taking "its place among the elements", which seems to separate the child from the human world, and instead associate it with something external and foreign. The sense of unease and discomfort that the parents seem to feel is further reinforced by the lines: 'your nakedness/Shadows our safety'. Here, it seems that the presence of this new, fragile and vulnerable child in their charge threatens their very safety: their previously structured lives have now been completely changed and, to feel comfortable again, they must adapt. The contrast between the words 'nudity' and 'safety' underlines the parents' anxiety, as it highlights the change that has occurred in their lives; their previous order and security, now tainted by the vulnerability of their situation. Furthermore, the word shadows, emphasized by enjambment, seems to convey the looming anxiety and fear that the new baby has caused the parents. However, it could also imply the emotional ambiguity that the child has caused to the parents: shadows and darkness obscure and confuse, and in this way, the sudden presence of a fragile and innocent child entrusted to their care, has left them without clarity of thought. emotion or situation. Although the sense of alienation and detachment from the child may seem to present a "dark" image of the relationship, it is undoubtedly a considerably realistic representation: the birth of a new child is undoubtedly a big change and the difficulty of adapting to the child this is certainly not a 'disturbing' idea. Likewise, parents' feeling of being less sure of having such a great new responsibility is certainly not a disturbing, nor "seedy" idea: it is simply a normal and probably temporary reaction. The parent-child relationship was also explored by Ted Hughes in his poem "The Full Moon and Little Frieda". Likewise, it seems that the relationship has been represented in an ambivalent and complex way and, once again, the poem canbe read biographically, as "Frieda" was his first daughter with Plath. Like Plath's poetry, it is written in free verse and is full of vivid, intricate imagery. First, the speaker's first reference to Frieda, "And you who listen," immediately seems to show his love and respect for his daughter. By composing the poem almost as if it were addressed completely to Frieda, through the use of the pronoun "you", it is made considerably more personal and clearly shows her close relationship with her daughter. In comparison, Plath addresses Frieda the same way in "Morning Song", and in both poems, this use of "you" seems to capture the intimacy of the parent-child relationship, through this direct address. Furthermore, this short three-word phrase is made even more distinct by Hughes' use of trailing periods, allowing Frieda's description to be strongly emphasized in her isolation. The speaker's amazement and admiration are certainly conveyed through this great attention to this singular, simple action in the present moment. In this way, the relationship is certainly not conveyed as “dark” or “disturbing”, but entirely loving and tender. Notably, the entire poem is composed in the present tense, perhaps to enliven the moment and feelings that Hughes is writing about. The majority of 'Morning Song' is equally written in the present tense, and it could be argued that the purpose of this, in both poems, is to fully communicate the intensity of the actions and emotions experienced, whilst retaining them in the immediacy of the present moment. However, later in the poem, Hughes begins to compare his daughter to various images, which presents a different element to their relationship. First, Hughes describes it as “A spider's web, taut with the touch of dew.” This could be interpreted as conveying the child's wonder and anticipation of the appearance of the full moon, as she sits "listening", "tense" with excitement over its arrival. However, an alternative reading could be that the speaker is implying his daughter's impending maturity that time will bring. The “tension” that the speaker's daughter is tied to perhaps portrays the looming inevitability of her growth and maturation into adulthood, something the speaker seems to look at with concern. He continues this theme by comparing it to “A bucket raised, still and full.” The idea of ​​a "raised bucket" perhaps conveys the beginning of her life - she is currently only "raised" - her childhood has just begun. Although a sense of stasis is created through the word 'still', this is countered by the present participle of 'brimming', which seems to suggest that the water is still moving across the surface, despite its apparent 'stillness'. This could be read as indicative of the speaker's awareness that, despite the fact that her daughter's maturity is "overflowing" and inevitable, in the present moment, her childhood and innocence are "still" and stagnant. Perhaps this is why Hughes composed the poem in the present tense, in order to consolidate and preserve his daughter's sweet childhood state. The speaker's apparent concern for her son's impending maturation may be linked to Plath's "Morning Song", and the speaker's comparison of her new baby to a "clock". In Plath's poem, by linking her son to the image of a "clock", it could be argued that Plath is also concerned about the inevitable passage of time, and therefore the inevitable aging of her son. Both poets seem troubled by the idea of ​​the inevitable progress of time and the effect it will have on their children. Similarly, in both poems the child is compared to inanimate objects. In the case of Hughes,one could argue that he compares Frieda to a solid object, a “bucket,” to convey his desire for her to be immutable and be preserved as a child forever. However, in "Morning Song", it seems that Plath tends to draw comparisons between Frieda and inanimate objects to convey the speaker's reluctance to fully accept the child. Some might consider both poets' concern with time and the inevitable maturation of their children to be in itself questionably "bleak," perhaps even morbid in the case of "Morning Song"; they might see poets as focusing solely on the negative aspects of having children, instead of simply appreciating them as they are. However, it does not seem possible to draw from this representation the belief that it is "disturbing": it is probably a natural and common fear for a parent to see their child grow and change so rapidly. Indeed, Hughes' poem could even be considered touching, such is the love and tenderness shown towards his daughter, in comparing her to a "work of art". Furthermore, within Plath's poem "Little Fugue" there is a significantly different perspective on human relationships presented, particularly regarding the relationship between father and daughter and between husband and wife. Throughout the poem, using symbolic and cryptic imagery, the speaker seems to attempt to reconcile the idea of ​​her father in her mind and remember his image. This poem is largely read biographically, as Plath herself experienced the trauma of losing her father at the age of eight, and her complex relationship with his memory is reflected in many of her poems. Many may come to see Plath's depiction of relationships in this poem as "bleak" and bleak, due to the speaker's focus on her desperate attempts to communicate with her dead father and her frustration at being unable to do so . The theme of darkness runs throughout the poem, starting with the statement "The cold clouds pass." This could be interpreted as the mental haziness and obfuscation that obscures the speaker's memory of his father, as the "clouds go beyond" the "yew" – which could be seen as representative of his father, due to the its symbolism of both death and rebirth. (connecting to the idea of ​​the speaker trying to win her father back). Such vagueness of his father's image is also implicit in his description of the "unfaithfulness" of his memory, underscoring its vagueness, while the use of the exclamation mark at the end of the same line perhaps highlights his desperation and agitation. Her inability to reconcile her relationship with her dead father, or a clear idea of ​​him in her mind, is further conveyed through the obvious confusion of senses depicted throughout the poem. The speaker seems to compare her vagueness of memory to how "death and the dumb / point out the blind and are ignored", and this simile clearly highlights the frustration she felt at the inability to communicate with her father. Later in the poem, the speaker once again describes herself as “deaf,” causing the memory of her father to be nothing more than a “dark tunnel.” While “deafness” emphasizes communication difficulties, the image of the “dark tunnel” reinforces the idea that the idea of ​​his father in his mind is greatly obscured and indistinct. Furthermore, through Plath's use of synesthesia in the statement "I see your voice", the idea of ​​confusion and darkness is accentuated: such a mixing of senses in this way clearly conveys the speaker's difficulty in communicating, but the greatest inability. It could be argued that the portrait of the father-daughter relationship presented here is indeed "bleak": you can see whospeaks still struggles to accept his father's death and his desperation to communicate or regain his memory, could be seen as sad and disturbing. However, others may believe that although there is a hopeless desperation within the poem, this does not make the relationship "bleak", but purely tragic. Probably, the report presented is too complex to be immediately judged "bleak and disturbing". Despite the speaker's desire to recover his father's memory, the image we are given of him is dark and disturbing: "A hedge of orders / Gothic and barbaric, pure German." As in many other poems, "Daddy" Plath in particular seems here to infer World War II and compare her father to a Holocaust perpetrator. The image of the speaker's father as a "yew hedge" once again links to the symbolism seen at the beginning of the poem and describes him as a restrictive and controlling authority figure. Furthermore, by describing him as "barbaric," the speaker clearly conveys the cruelty and inhumanity he believes his father possesses. Perhaps this reflects Plath's resentment towards her father for being pro-Nazi at the time of the war, or her anger and frustration at this death, which could have been avoided, had he not misdiagnosed himself. The poem seems to present an extremely conflicted view of the relationship: on the one hand, the speaker describes her father as an oppressive and evil figure for whom "dead men cry", and on the other, the speaker conveys her utter desperation and fatigue. to regain a clear memory of his father, or somehow communicate with him. Therefore, it would seem simple to conclude that the representation of the relationship is “bleak”: it is evidently multi-layered, complex and confusing. However, it may seem reasonable to consider it "disturbing": it is certainly a disturbing idea that someone would be so haunted by the memory of their dead father, despite condemning him as "gothic and barbaric". The last line of the poem, “Clouds are a wedding dress, of that paleness,” may lead many to further believe that this relationship is “disturbing.” Just as the speaker seems to conclude his thoughts about his father, a different thread is woven together, presenting a different relationship. The last stanza itself seems to represent the speaker's attempt to reconcile and "organize" her thoughts on the subject, as she says to herself "these are my fingers, this is my baby." He seems to acclimatise to the present life, before returning to the "clouds" of his memory. Having made this “deal,” the speaker now seems to imply that her marriage has taken on the same darkness as her relationship with her father. The same "clouds" that covered the relationship with the father now cover the relationship with the husband. If read biographically, it should be noted that at the time of this writing, Plath's relationship with Hughes was beginning to crack, which may explain the confusion with which the speaker appears to view this marriage. Alternatively, the speaker might be thought to have replaced the memory of her father, the “clouds,” with that of her husband, through the metaphor of “a wedding dress.” Her marriage caused Plath to imprint Hughes on the image of her father, in order to reconcile the memory of him in her mind. In other words, it can be seen that the speaker sees her husband, in a sense, as a "substitute" for her father: in her attempts to recover and reach her father, she instead revives him in her husband. This could be linked to the image of her father as a "yew", the supposed tree of rebirth: for Plath, her father is reborn in Hughes. It is said that Hughes himself always felt as if he were in the presence of Plath's father, whichprobably contributed to the eventual collapse of his marriage to Sylvia. Evidently this relationship, for many readers, would be seen as "disturbing" and disturbing; however, such writings undoubtedly encapsulate the essence of the "confessional" genre, which many may admire as intense and courageous. Rebecca Warren notes that many of her poems detail "psychological pain", and such pain is certainly conveyed in "Little Fugue", arising from the trauma of losing her father and her desperation to win him back. Finally, many moments of Hughes' Lovesong' can be compared to 'Little Escape' in its depiction of the husband-wife relationship. Read largely biographically as a portrait of the destructive, intense, yet passionate relationship between Plath and Hughes, its aggressively sexual tenor and energetically frenetic structure certainly do not make the poem "bleak." However, many may consider the violent aspects of the poem particularly “disturbing.” Lines like “his words occupied armies,” “his laughs were assassination attempts,” and “his looks were bullets, daggers of vengeance” clearly convey that the relationship is one of ruthless antagonism and conflict. However, although this image of violence could be read negatively, and CJ Rawson's statement that "everyone knows that Ted Hughes's subject is violence" could be seen as an affirmation of his unhealthy fixation on it, even within relationships, it might be seen in a different light. . Perhaps Hughes uses violence in this poem only hyperbolically, in order to exaggerate the passion between the couple: for example, comparing the man's appearance to "bullet daggers" simply conveys the intensity and power of his gaze, not cruelty or anger. The images of violence certainly make the lines more powerful and impactful, especially when coupled with the frequent enjambement, asyndeton, and rhythmic repetition of words like "his" or "she," which provide the poem with a dynamic rhythm. Additionally, some moments in the poem cast the relationship in a more positive light, for example: "love is hard to stop." Hughes' simple language, so contrasted with Plath's complex and cryptic writing, conveys here the true depth and power of their love; however, at the same time, it could be argued that there is an underlying implication that the couple wants this love to "end". Furthermore, the last three lines of the poem arguably place the presentation of their relationship in a more positive and uplifting light, as Hughes describes the couple essentially becoming one, through their love: "In the morning they wore each other's faces" . This idea of ​​union is reflected in the poem's changing structure: the penultimate stanza is two lines, perhaps representing the two lovers, and the final stanza is one line, which could be seen as an imitation of the couple becoming one alone. . For many, this may showcase the strengths of their relationship, however, the positive outlook is diminished by the fact that their union is described as paradoxically hostile: "In their dreams their brains held each other hostage." Despite this powerful love that Hughes is conveying, it appears to be inextricably linked to the antagonism and hostility within the relationship: such a portrayal of a destructive and conflicted relationship could be seen as "bleak and disturbing" by many. However, perhaps if read as a truly hyperbolic account of the relationship, many might consider this depiction realistic, in its complexity. Certainly critical readings of Hughes' poetry have changed over the years: particularly after Plath's suicide, and the.