Adrapes
Compare how the theme ‘passion’ is expressed by the poets Larkin and Plath
Passion is an integral theme demonstrated in several poems by Sylvia Plath and Philip Larkin through their conscience use of literary devices which are explored in a number of auxiliary themes. The variety in techniques used, in addition to their differing attitudes towards the subjects of their poems express dissimilar versions of passion; there is a contrast in the levels of passion displayed: In Larkin’s poetry, a deficiency in passion demonstrated frequently by his submissive, detached tone in relation to women, specifically through his continuous use of negative lexis. Within his poetry contains an enduring theme of his adverse attitude towards his opposite gender, alongside his inept approach to relating with them. Plath’s poetry on the other hand, holds a unique degree of angst; her tone is almost one of resilience in the respect of her determination for suicide. She expresses herself through her poetry with a harsh, personal, very honest communication concerning her subject matter; of which tend to consist repeatedly of her father, husband and battle with depression; these agonies within her life influence the effective, deeply sad, passionate poetry. Past experiences are the mother of the feelings represented and passion is something that is woven within Plath’s poetry naturally, accidently, and equivalent to Larkin, it is not necessarily through a positive approach. The passion or lack of it, displayed by the two poets is suggested to be influenced by their views on women, the past, and relationships.
Prior to Sylvia Plath’s suicide in 1963, she wrote the poem ‘Munich Mannequins’; ironically as the structure of the poem incorporates the theme of death deliberately. Within the poem, lexis is used to represent her passion for the rights of women and how she believes they are continuously mistreated subsequent as to how they are perceived as objects by men. The title ‘Munich
Passion is an integral theme demonstrated in several poems by Sylvia Plath and Philip Larkin through their conscience use of literary devices which are explored in a number of auxiliary themes. The variety in techniques used, in addition to their differing attitudes towards the subjects of their poems express dissimilar versions of passion; there is a contrast in the levels of passion displayed: In Larkin’s poetry, a deficiency in passion demonstrated frequently by his submissive, detached tone in relation to women, specifically through his continuous use of negative lexis. Within his poetry contains an enduring theme of his adverse attitude towards his opposite gender, alongside his inept approach to relating with them. Plath’s poetry on the other hand, holds a unique degree of angst; her tone is almost one of resilience in the respect of her determination for suicide. She expresses herself through her poetry with a harsh, personal, very honest communication concerning her subject matter; of which tend to consist repeatedly of her father, husband and battle with depression; these agonies within her life influence the effective, deeply sad, passionate poetry. Past experiences are the mother of the feelings represented and passion is something that is woven within Plath’s poetry naturally, accidently, and equivalent to Larkin, it is not necessarily through a positive approach. The passion or lack of it, displayed by the two poets is suggested to be influenced by their views on women, the past, and relationships.
Prior to Sylvia Plath’s suicide in 1963, she wrote the poem ‘Munich Mannequins’; ironically as the structure of the poem incorporates the theme of death deliberately. Within the poem, lexis is used to represent her passion for the rights of women and how she believes they are continuously mistreated subsequent as to how they are perceived as objects by men. The title ‘Munich