Abstract
Repeated object loss drove Sylvia Plath to create, and what she created were her greatest, and best-known poems, collected in the book Ariel. Yet the compulsion to create alternated with the compulsion to destroy. Her suicidal impulses were as intense as her poetic impulses (see Bach, 1985, on the "Marquis de Sade"). How these two contrasting impulses counter-balanced each other, until self-destruction took the lead, is the story of Sylvia Plath. What remains with us is the puzzle of her despair. This puzzle can only be pieced together by looking at the internal object relations of the father-daughter bond, which germinated like a ghost and spector within Sylvia Plath's soul.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
