Poppies in July

1. Poppies in July • This poem deals with Plath’s inner mental state during the breakup of her marriage to Ted Hughes, it expresses her longing to escape from the dreadful depression she was experiencing. The poem needs to be understood, however in the overall context of Plath’s life-long struggle with mental illnes. • She considers two avenues of escape….pain and drug-induced oblivion. • The red poppies are associated with fire and blood. • They also produce opium, a powerful drug known for its narcotic effects. • The poem is full of disturbing images and references to pain, violence and blood. • We could summarize Plath’s longing in this poem as follows…’if only I could fade away, to just not be anymore’ – or – ‘if I could just feel something, anything!’ To experience the intensity of life or to experience nothing at all.

2. The text 1 - 3 • She addresses the poppies, they are “little”. We don’t expect them to suddenly be called “hell flames”. And the strange question associating them with harm or danger. So, an unusual, arresting opening introducing the mood of darkness to follow. So, an immediate contrast between the niceness of the title and the actual content. • Fire imagery continues. The poppies are like flames. Note the absence of sensation when she puts her “hand among the flames”. The point is that she feels nothing – a metaphor for interior numbness. • 3rd couplet refers to her exhaustion with life. The poppies may be understood as a metaphor for life. She is drained by the whole process of coping, managing, existing. Note how she “watches” the poppies, as though she’s disconnected from them (from life). Note also the simile where she compares the poppies to the “skin of a mouth”.

3. The text 4 - 6 • A shocking image of a bloodied mouth. This suggests violence. Another startling image follows…”little bloody skirts!”. • Different commentators say different things here • This may be a reference to her recent miscarriage • It may have a connection with the sexual relationship between her husband and his mistress, Assia Weevil. • Either way, it’s disturbing. Note the “!” for emphasis. • In the 5th couplet she refers to the opiates (“fumes”)produced by poppies. Interesting that she “cannot reach” them. The escape and comfort they might bring are out of her reach. The “nauseous capsules” may well be a reference to her attempted suicide by sleeping pills earlier in life (see the link at the end). • The thought expressed in the 6th couplet continues into the 7th. Plath expresses her need in terms of opposites….to bleed or to sleep….Violent intensity…or unconsciousness. She wants to escape the torment of her present condition, the terrible numbness expressed earlier, either by experiencing pain or nothing at all.

4. Conclusion • The 7th couplet is a continuation of the thought begun in the 6th. The 6th refers to the desire to feel pain as a response to the terrible emptiness/numbness of her depression. At least this way she would be feeling something! • The 7th considers a drug induced state of nothingness as a response, possibly even a wish for death. • The “liquors” represents the anesthetising properties of drugs. • She wants them to “seep” to her, so she can escape from life. • But the structure of the thought in 6 and 7 makes it clear that even this option seems inaccessible. • Note too the sense of claustrophobia suggested by the reference of Plath being inside a specemin jar. It’s as though she wants the drugs to somehow seep into the liquid surrounding her in the bell jar. This would render her unconscious • So, combined suggestions of death (the specemin jar) and annihilation or ceasing to be (the “liquors”). • “Dulling and stilling” refers to the gradual ebbing away of life.

5. Conclusion • The final line is in contrast to the bright red of the opening. • Plath associated Red with dynamic life forces, creative forces, even violent, painful forces. She is numb, unable to feel. • And so, “colourless” as a solution to this represents the absence of life in all its modes. Placing this line at the end and repeating the word emphasises how much she wishes for this release.

6. Points to note • A very interesting, short, readable discussion on this poem is available here at http://www.sylviaplathforum.com/poppies.html • Long vowel sounds in the opening line alert us to the fact of her question “do you do no harm?”. • Assonance in “bleed or sleep” focuses our attention on the centrality of these two options for her in the poem. • Note the alliteration in the next line, “my mouth…marry” • More alliteration… “seep to me”.

7. Final points • Lots of complex and disturbing imagery • The poppies – red – little hell flames…putting her hand among the flames…like the skin of a mouth…a bloodied mouth…little bloodied skirts…the glass capsule…colourless – colourles. • A deeply personal poem written during the breakup of her marriage with Ted Hughes…the voice is of a woman in deep distress. • A dark, despairing mood. • A series of 7 unrhymed couplets with a final single line arranged into brief statements and questions.