Plath - Ariel

Love set you going like a fat gold watch. The midwife slapped your footsoles, and your bald cry Took its place among the elements. Our voices echo, magnifying your arrival. New statue. In a drafty museum, your nakedness Shadows our safety. We stand round blankly as walls.

Im no more your mother Than the cloud that distils a mirror to reflect its own slow Effacement at the winds hand. All night your moth-breath Flickers among the flat pink roses. I wake to listen: A far sea moves in my ear. One cry, and I stumble from bed, cow-heavy and floral In my Victorian nightgown. Your mouth opens clean as a cats. The window square Whitens and swallows its dull stars.

And now you try Your handful of notes; The clear vowels rise like balloons.

The word of a snail on the plate of a leaf? It is not mine. Do not accept it. Acetic acid in a sealed tin? Do not accept it. It is not genuine. A ring of gold with the sun in it? Lies.

Lies and a grief. Frost on a leaf, the immaculate Cauldron talking and crackling All to itself on the top of each Of nine black Alps. A disturbance in mirrors, The sea shattering its grey one Love, love, my season.

The hills step off into whiteness. People or stars Regard me sadly, I disappoint them. The train leaves a line of breath.

O slow Horse the colour of rust, Hooves, dolorous bells All morning the Morning has been blackening, A flower left out. My bones hold a stillness, the far Fields melt my heart. They threaten To let me through to a heaven Starless and fatherless, a dark water.

First, are you our sort of a person? Do you wear A glass eye, false teeth or a crutch, A brace or a hook, Rubber breasts or a rubber crotch, Stitches to show somethings missing? No, no? Then How can we give you a thing? Stop crying. Open your hand. Empty? Empty.

Here is a hand To fill it and willing To bring teacups and roll away headaches And do whatever you tell it. Will you marry it? It is guaranteed To thumb shut your eyes at the end And dissolve of sorrow. We make new stock from the salt. I notice you are stark naked. How about this suit Black and stiff, but not a bad fit. Will you marry it? It is waterproof, shatterproof, proof Against fire and bombs through the roof.

Believe me, theyll bury you in it. Now your head, excuse me, is empty. I have the ticket for that. Come here, sweetie, out of the closet. Well, what do you think of that? Naked as paper to start But in twenty-five years shell be silver, In fifty, gold. A living doll, everywhere you look.

It can sew, it can cook, It can talk, talk, talk. It works, there is nothing wrong with it. You have a hole, its a poultice. You have an eye, its an image. My boy, its your last resort.

I have done it again.

I have done it again.

One year in every ten I manage it A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel off the napkin O my enemy. Do I terrify? The nose, the eye pits, the full set of teeth? The sour breath Will vanish in a day. Soon, soon the flesh The grave cave ate will be At home on me And I a smiling woman. I am only thirty. And like the cat I have nine times to die.

This is Number Three. What a trash To annihilate each decade. What a million filaments. The peanut-crunching crowd Shoves in to see Them unwrap me hand and foot The big strip tease. Gentlemen, ladies These are my hands My knees. I may be skin and bone, Nevertheless, I am the same, identical woman.

The first time it happened I was ten. It was an accident. The second time I meant To last it out and not come back at all. I rocked shut As a seashell. They had to call and call And pick the worms off me like sticky pearls. Dying Is an art, like everything else.

I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say Ive a call. Its easy enough to do it in a cell. Its easy enough to do it and stay put.

Its the theatrical Comeback in broad day To the same place, the same face, the same brute Amused shout: A miracle! That knocks me out. There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart It really goes. And there is a charge, a very large charge For a word or a touch Or a bit of blood Or a piece of my hair or my clothes. So, so, Herr Doktor. So, Herr Enemy. I am your opus, I am your valuable, The pure gold baby That melts to a shriek.

I turn and burn. Do not think I underestimate your great concern. Ash, ash You poke and stir. Flesh, bone, there is nothing there A cake of soap, A wedding ring, A gold filling. Herr God, Herr Lucifer Beware Beware.

The tulips are too excitable, it is winter here.

The tulips are too excitable, it is winter here.

Look how white everything is, how quiet, how snowed-in I am learning peacefulness, lying by myself quietly As the light lies on these white walls, this bed, these hands. I am nobody; I have nothing to do with explosions. I have given my name and my day-clothes up to the nurses And my history to the anaesthetist and my body to surgeons. They have propped my head between the pillow and the sheet-cuff Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in. The nurses pass and pass, they are no trouble, They pass the way gulls pass inland in their white caps, Doing things with their hands, one just the same as another, So it is impossible to tell how many there are.

My body is a pebble to them, they tend it as water Tends to the pebbles it must run over, smoothing them gently. They bring me numbness in their bright needles, they bring me sleep. Now I have lost myself I am sick of baggage My patent leather overnight case like a black pillbox, My husband and child smiling out of the family photo; Their smiles catch onto my skin, little smiling hooks. I have let things slip, a thirty-year-old cargo boat Stubbornly hanging on to my name and address. They have swabbed me clear of my loving associations. Scared and bare on the green plastic-pillowed trolley I watched my teaset, my bureaus of linen, my books Sink out of sight, and the water went over my head.

I am a nun now, I have never been so pure. I didnt want any flowers, I only wanted To lie with my hands turned up and be utterly empty. How free it is, you have no idea how free The peacefulness is so big it dazes you, And it asks nothing, a name tag, a few trinkets. It is what the dead close on, finally; I imagine them Shutting their mouths on it, like a Communion tablet. The tulips are too red in the first place, they hurt me. Even through the gift paper I could hear them breathe Lightly, through their white swaddlings, like an awful baby.

Their redness talks to my wound, it corresponds. They are subtle: they seem to float, though they weigh me down, Upsetting me with their sudden tongues and their colour, A dozen red lead sinkers round my neck. Nobody watched me before, now I am watched. The tulips turn to me, and the window behind me Where once a day the light slowly widens and slowly thins, And I see myself, flat, ridiculous, a cut-paper shadow Between the eye of the sun and the eyes of the tulips, And I have no face, I have wanted to efface myself. The vivid tulips eat my oxygen. Before they came the air was calm enough, Coming and going, breath by breath, without any fuss.

Then the tulips filled it up like a loud noise. Now the air snags and eddies round them the way a river Snags and eddies round a sunken rust-red engine. They concentrate my attention, that was happy Playing and resting without committing itself. The walls, also, seem to be warming themselves. The tulips should be behind bars like dangerous animals; They are opening like the mouth of some great African cat, And I am aware of my heart: it opens and closes Its bowl of red blooms out of sheer love of me.