“Daddy” by Sylvia Plath
You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.

Daddy, I have had to kill you.
You died before I had time——
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal

And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend

Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gipsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You——

Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.

You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.
And I said I do, I do.
So daddy, I’m finally through.
The black telephone’s off at the root,
The voices just can’t worm through.

If I’ve killed one man, I’ve killed two——
The vampire who said he was you
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There’s a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I’m through. — Sylvia Plath, “Daddy” from Collected Poems : : ( No breach of copyright intended : For Educational Purposes in a limited readership.) : :

Daddy’. One of Sylvia Plath’s most famous poems, ‘Daddy’ controversially links the father in the poem to a Nazi officer, and references the Holocaust a dark, surreal, and, at times, painful allegory that uses metaphor and other devices to carry the idea of a female victim finally freeing herself from her father. In Plath’s own words : :

“Here is a poem spoken by a girl with an Electra complex. Her father died while she thought he was God. Her case is complicated by the fact that her father was also a Nazi and her mother very possibly Jewish. In the daughter the two strains marry and paralyze each other—she has to act out the awful little allegory once over before she is free of it.”

“Daddy” was written on October 12th, 1962, a month after Plath had separated from her husband and moved—with their two small children—from their home in Devon to an apartment in London. Four months later, Plath was dead, but she wrote some of her best poems during that turbulent period. Plath feels a sense of relief at his departure from her life. She explores the reasons behind this feeling in the lines of this poem. The Statements about her parents not accurate but were introduced to enhance the narrator’s poignancy visualising allegory and emotional , sometimes painful metaphors. There is a conversation about the oppressive relationship of daughter and her father. So , ‘ Freedom from Oppression and Captivity ‘ alongside “Life And Death” are the main THEME of the poem “Daddy” : : : : The poem itself is cryptic, a widely anthologized poem in American literature,and its implications, as well as thematic concerns, have been reviewed academically, with many differing conclusions. Plath wrote about anger, including macabre humor, and resistance in “Daddy.” Yet at the same time, she contrasted those dark subject matters with themes of joy, in hand with a deeper understanding of the numerous hindering functions of women. “Daddy” included humour and realistic matters, later on known as ” October Poems” composed of Plath’s anger as a woman who felt oppressed by her parents’ expectations of her, society’s hindering roles in place for women, and by her ex-husband’s unfaithfulness. Plath’s anger had been voiced in her later poems including “Lady Lazarus” and “Daddy.” , Published posthumously in the collection “Ariel” : : : : Plath wrote the poem in quintains with irregular meter and irregular rhyme. The rhyming words all end with an “oo” vowel sound (like the words “through,” “you,” “blue,” “do,” and “shoe”).

Interpreted “Daddy” in both biographical and psychoanalytic terms : : For instance, critic Robert Phillips wrote, “Finally the one way [Plath] was to achieve relief, to become an independent Self, was to kill her father’s memory, which, in ‘Daddy,’ she does by a metaphorical murder. Making him a Nazi and herself a Jew, she dramatizes the war in her soul. . . From its opening image onward, that of the father as an “old shoe” in which the daughter has lived for thirty years—an explicitly phallic image, according to the writings of Freud—the sexual pull and tug is manifest, as is the degree of Plath’s mental suffering, supported by references to Dachau, Auschwitz, and Belsen.” Similarly ,Guinevara A. Nance and Judith P. Jones writes : : “[Plath] accentuates linguistically the speaker’s reliving of her childhood. Using the heavy cadences of nursery rhyme and baby words such as ‘chuffing,’ ‘achoo,’ and ‘gobbledygoo,’ she employs a technical device similar to Joyce’s in A Portrait of the Artist as a Young Man, where the child’s simple perspective is reflected through language.”

Rudolph Glitz argues the poem as a “break-up letter” . In some verses of the poem, Glitz mentions “Daddy” addresses another person aside from Plath and her father. The line, “the vampire who said he was you” referencing Plath’s estranged husband, Ted Hughes. Plath wrote “I do, I do” in and the “seven years” the vampire had drunk Plath’s blood. Plath was married to Ted Hughes for seven years. In the very last lines of the poem, the vampire figure merges with Plath’s father, “Daddy.” Plath also writes before this merge, the “black phone” has been disconnected so that the “voices” could not “worm through,” which Glitz also connects to Plath’s discovery of Hughes’s affair when Plath answered a telephone call from Hughes’s lover.

Lisa Narbeshuber’s essay,“The Poetics of Torture: The Spectacle of Sylvia Plath’s Poetry” displayed how several of Plath’s most famous poems, including “Daddy,” portrayed the female figure in opposition to male authority. Narbeshuber argued the objectified female form had been previously displayed was now confronting and renouncing the oppressive and social as well as cultural norms that dehumanized women. . The rebellious speaker in “Daddy” made the invisible visible and the private-public. Plath dramatized her imprisonment and fantasized about defeating her tormentors through the means of killing them. Plath identified with the persecuted Jews, the marginalized and the hidden, as her body had been stolen from her and divided into articles belonging to the Nazis to do as they wished with them. With that said, Narbeshuber argued Plath had been trying to assume herself and not succumb to the stress that was imposed on the female body.

Critic George Steiner referred to “Daddy” as “the Guernica of modern poetry”, arguing that it “achieves the classic art of generalization, translating a private, obviously intolerable hurt into a code of plain statement, of instantaneously public images which concern us all”. Sylvia Plath herself also did not describe the poem in autobiographical terms. When she introduced the poem for a BBC radio reading shortly before her suicide, she described the piece in the third person, stating that the poem was about “a girl with an Electra complex [whose] father died while she thought he was God.

Jacqueline Shea Murphy wrote the essay, “‘This Holocaust I Walk In’: “Daddy” was an example of the fall of violent authoritative control over Plath’s body : .. . the fall of the violent control of numerous bodies throughout history : .. . various bodies as dramatized in “Daddy” portrayed the transformation of said bodies as representatives of oppression.” : : : : : : : : : : “Daddy, I have had to kill you,” said the speaker who “maybe a bit of a Jew” and whose Daddy was a Nazi. Murphy emphasized that Plath spoke of the division between either being oppressed or oppressing, being controlled or control, and being mutilated or mutilate. Murphy argued Plath was referring to the survival of the fittest while simultaneously exposing the party in power. Plath was referring to the survival of the fittest while simultaneously exposing the party in power : .. . the patriarchy’s ways of obtaining power and authority. According to Murphy, Plath emphasized the power of the oppressed, the mutilated body, as she recognized the oppressor was entirely dependent on the oppressed. The mutilated, oppressed bodies were as important and as a result become the authoritative figure to be read.

” ડેડી” : સિલ્વિયો પ્લાથ: : ભાવાર્થ , અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર સંકલન વિ જયરાજ : : : : : : : : : : : : : : : સ્ટાન્ઝા ( ૧ ) : : shoe, Achoo, માં ઉભરી રહેલા સ્વર “OO” , final death ( march ) Jews -The oppressed : : યહુદીઓ ને કોન્સેન્ટરેશન કેમ્પમાં લઈ જતી ટ્રેન 🚆 ઉપાડવાના એન્જિનના અવાજ નિર્દેશ કરે છે. બ્લેક શૂ.. ફાધર માટેનું રૂપક : metaphor છે‌: ” in which I have lived like a foot for thirty years, poor and white” : narrator : oppressed daughter છે , જેને આ બંધન તોડીને છટકી જવું છે , નાસી જવું છે , બહાર નીકળી જવું છે.

સ્ટાન્ઝા ( ૨ ) “Ghastly statue with one gray toe
Big as a Frisco seal” : વિકરાળ , ડરામણું સ્ટેટ્યુ ફાધર નું મડદાં જેવું નિસ્તેજ , ફિક્કું મૃત શરીર છે જેના પગનો અંગૂઠો ડાયાબિટીસને લીધે થયેલા ગેન્ગરિન ને લીધે gray toe ને ઓળખી બતાવ્યો છે. Frisco : સાનફ્રાન્સિસ્કોના દરિયાનો sea lion છે , જેની મોટી મહોર : seal ખરું કર્યાની ઓફિસિયલ પૂર્તિ કરી છે. મડદું દેખાવે : : “Marble heavy , bag full of God , Ghastly statue” કહ્યું છે : સખત / લાગણીહીન , મોટું ભયાવહ અને dead daddy હોય જુગુપ્સાપ્રેરક છે. : : : ::

સ્ટાન્ઝા ( ૩ ) : The statue’s head is in the freakish Atlantic, on the coast at Nauset Beach, Cape Cod : એટલાન્ટિક મહાસાગર નું પાણી “bean blue over green water” : : Across the America : લાંબો વિસ્તાર આવરી લીધો છે , જે beautiful છે પણ freakish છે : એટલે કે ફાધર નું વ્યક્તિત્વ ધૂની પ્રભાવી પણ ધાક ભર્યું છે. ” I used to pray to recover you.
Ach, du.” : છેલ્લી પંક્તિમાં Ach du : જર્મન ભાષાનો શબ્દ છે જેનો અર્થ થાય ” Oh , you ” : narrator addresses that during her father’s sickness, she even prayed that he would recover. Beautiful Nauset Beach પર ફાધર સાથે ફેમિલી સમય વીતાવતા અને તેવું જ પ્રચંડ પ્રભાવી વ્યક્તિત્વ ફાધર નું હતું જેને યાદ કરે છે.

સ્ટાન્ઝા ( ૪ ) : : જણાવે છે કે Her father came from the Polish town speaking German. “Scraped flat by roller war , war , war” જ્યાં અનેકાનેક યુદ્ધો થતા રહેતા. She learned something from her “Polack friend” : :

સ્ટાન્ઝા ( ૫ ) : ૪ થા સ્ટાન્ઝા માં અધુરી છોડી દીધેલી વાત , અહીં પૂરી કરે છે : she “could never tell where [he] put [his] foot”. where his roots are from‌? She had never asked him because she “could never talk to [him]” : : She states, “The tongue stuck in my jaw” : ધાક લાગે તેને કેવી રીતે પૂછાય !?

સ્ટાન્ઝા ( ૬ ) : : Pending visit this post again later on to enjoy the appreciation of the poem: :