This primitive coping mechanism brings to mind a child who makes up imaginary friends when she lacks them in reality. Another example of the speaker's childish nature was brought up by Alvarez, who pointed out the repetitive "oo" sound echoing throughout the poem, especially in lines like, "Brute heart of a brute like you" (line 50), in which the immediately harsh message is softened by the "oo" sounds. The epitome of this tenderness which is woven into the poem's word structure comes when the speaker lovingly says, "Daddy, you can lie back now" (line 75). Although it is followed by more shocking and hateful imagery, it is all the more significant, then, that the line in question is separated from this imagery by a break. Alvarez's statement that "Daddy is a love poem" (471) is not entirely true, as he based that statement on the contention that the pity in the poem was "for the person who made her suffer" (471), which would be the husband. However, he is correct in recognizing the underlying tenderness and love that exists beneath the obvious surface layers of resentment and animosity.
When exactly does the husband begin affecting the situation? Kroll claims that he doesn't appear until very late in the poem: "And then I knew what to do./ I made a model of you" (lines 63-64). In taking a closer look at earlier stanzas, though, it becomes apparent that Hughes makes his entrance much sooner. "I have always been scared of you" (line 41). The significance of the word "you" being in italics lies in the fact that the meaning of the word has shifted, from her father to her husband, Ted Hughes, the man she tried to replace her daddy with, the aforementioned "model." Unfortunately, this attempt to deal with her father's death backfired when it turned out that Hughes was, in Plath's eyes, an authoritative figure that Plath repeatedly compares to a Nazi and a vampire.