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- W2489689475 abstract "The concentration of so much criticism on the schizophrenic condition of Sylvia Plath, and the suicide to which it led, has had the effect of making her tragedy seem a merely private one. Joyce Carol Oates, however, rejects such an approach. In her view tragedy should rise to an impersonal level: ‘Tragedy is not a woman, however gifted, dragging her shadow around in a circle, or analyzing with dazzling scrupulosity the stale, boring inertia of the circle; tragedy is cultural, mysteriously enlarging the individual.’1 What matters is the tragedy, achieved or not achieved, in Sylvia Plath’s work. As a critical position this is admirable. Biographers are necessarily concerned with the personal circumstances which caused Plath to try to kill herself at the age of twenty, and then, unfortunately, to succeed in doing so at thirty; and, given the ‘confessional’ nature of her late poems especially, they, and we, are bound to be interested in the close relation between her life and work. But if the work is valuable in a literary sense, and not simply as personal documentation, it must be for the experience it re-creates. The meaning must arise from the interaction of the words and forms that continue to exist for us on the printed page. Those critics who see her as a kind of Modernist martyr, sacrificing her life to the dangerous depths within her self for the sake of extending the range of human consciousness, run the risk of demoting her poetry to the status of a clinical file, which happens to have the added merit of being an unusually clairvoyant and eloquent one." @default.
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- W2489689475 date "1985-01-01" @default.
- W2489689475 modified "2023-09-26" @default.
- W2489689475 title "Sylvia Plath: Death and the Self" @default.
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- W2489689475 doi "https://doi.org/10.1007/978-1-349-17916-9_9" @default.
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