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Sylvia plath

            Sylvia Plath, a complex poet, a complex mind. The life of Sylvia Plath began on October 27, 1932 and was abruptly ended on February 11, 1963. During this short thirty years, many great works were produced that provide a window into one fragile mind. Years of mental instability acted as a catalyst for the production of many of Plath's most famous works. Although it is still difficult to analyze Plath's mind, its products are still being cherished and praised. Plath published many works in her lifetime, yet her most famous works which include The Bell Jar, Ariel, "Crossing the Water", Letters Home, and Johnny Panic and The Bible of Dreams were all published after her death (Bloom 163). Plath's work as well as her memories continue to live on long after her passing. In the mayhem that was Plath's mind three major themes emerge: death, conflict, and personal experiences. These themes give Plath the inspiration to create much of her work. By keeping these themes in mind and trying to comprehend them the reader can get an in-depth look into the jumbled thoughts and struggles that reside in Plath. The poetry of Sylvia Plath contains various themes that stem from the author's mind.
             The first theme that emerges when one tries to comprehend the chaos in Sylvia Plath's mind is death. Plath seems to be almost fascinated with death. She writes about it in a way that most authors could never capture. She is able to do this because share a great awareness and intimacy with death. Plath writes of it as if it were a well-known friend. Her elegant use of words makes the reader feels as if the icy breath of death is upon their neck. Plath writes:.
             An ill wind is stalking.
             While evil stars whir .
             And all the gold apples.
             Go bad to the core.
             . . . . . . . . . . . . . . . .
             Through closets of copses.
             Tall skeletons walk.
             While nightshade and nettles .
             Tangle the track.
             . . . . . . . . . . . . . .

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