Comparison of Theme & Literary Devices

The next stanza, however, seems utterly eerie if we understand the narrator as the give of this neonate sis:

Our voices echo, magnifying your arrival. New statue.

In a drafty museum, your nakedness

Shadows our rubber eraser. We stand fatten blankly as walls (Plath lns. 4-6).

This sounds to a greater extent same(p) the arrival of an extraterrestrial from outer space then a frustrate from the uterus of a puzzle. Comparing the baby to a statue in a drafty museum, a naked statue somehow holy terrorening the safety of the viewers, who are reduced to the role of walls. We have the grit that the grown-ups, in particular the get under one's skin/poet, are helpless in the face of such a strange creature as a newborn baby baby. And the next stanza emphasizes the alienation the mother/poet feels: "I'm no more your mother/ Than the cloud that distills a mirror to reflect its own thudding/ Effacement at the wind's hand" (Plath 7-9). Not only do we receive the image of a mother alienated from her newborn child, we also receive the clear impression at a time again that the mother feels threatened by the baby, in danger of be "effaced" by its strange power.

The images of alienation and the voice of discoverful fear, redden dread, continue. The baby has "moth-breath" and wakes the mother who hears a " farther sea" in her ear (Plath 10;12). "One cry" from the baby brings the mother stumbling from her bed, with the image of a slave or maid be summoned by her master. While the mother is compared to a

The voice in Plath's rime is either depressed or frightened, or both. She sees death and alienation in newborn life sentence, and cannot fall in emotionally in any way with her baby. The images she uses---watch, statue, shadows, walls, mirror, moth, a far sea, a cat, dull stars, balloons---are all cold and hardly fascinate to the joy one would expect a new mother to be experiencing. The title is clearly meant to be ironic. We read that title, " sunup Song," prepare ourselves for a light and happy poem, and are move to find a portrait of a mother who seems to feel she has given birth to something of a monster. Is the mother the monster, or the baby?

Daylight comes, the stars fade, and the baby tries its "handful of notes;/ The clear vowels rise like balloons" (Plath 17-18). Are we to take this reference to balloons as a scar that perhaps the mother is beginning to relax into the idea of cosmos a mother, that she is beginning to see the joy and playfulness in the arrival and presence of her newborn baby? Or does it once again call to mind the fact that the baby's new life is shadowed by death, for a rising balloon must(prenominal) fall soon, just as a ticking watch must soon run down.

cow, the baby is compared to a cat, accent the sense that the baby is by far the being more at ease with itself, more in control.

In Kinnell's poem, on the other hand, there is no sense of guardedness, no sense of carefulness, no sense of any danger or threat whatsoever. To the contrary, the form, style, word choice and voice all combine to find a sense of carefree abandon. Of course, in reality the poet has roughly likely taken great care and time to have his words in creating the poem. However, the impression the reader has---especially reading the poem immediately after reading Plath's---is that the overriding impulse stinkpot the poem is one of complete freedom without thought or care as to how the poem might impress or not impress the reader.

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