The third post in this series shared an earnest celebration of nature’s boundless beauty. Now we shift from Wordsworth in early nineteenth-century England to America’s Plath in the mid-twentieth century. As summer ends and the harvest season looms, my fourth feature in this series of nature verse by famous poets examines a far from Romantic attitude toward nature’s evident abundance.
The Poet: Sylvia Plath’s confessional poetry operates with turbulent incisiveness that often deftly exposes the true nature of life, poetry, relationships, and death, consistently with an intense gaze through the lens and at the subject of self. This biographical article at the Poetry Foundation website draws upon many literary voices observant of her life, work and legacy to demonstrate poet-human Plath as an invigorating, tragic, and ultimately fascinating figure.
Style and Subject: Although written in the midst of her struggles with mental health like most of her poems, “Blackberrying” is one of her more docile ventures into nature both experienced and hoped for. Plath selects details that speak to a clash, or perhaps a dance, between the not-so-charming wild and an even more dulling civilization. In the process, she shares her half-hearted, reluctant, and doubtful anticipation of encountering a grand natural scene.
Story: The narrative arc of the poem reveals a perspective teetering on the fence–or blackberry alley–between hope and despair, in which the speaker tries to shield herself from imminent disappointment by lowering her gaze and her expectations.
Form: The poem’s free verse with irregular but predominantly long lines conveys the speaker’s vacillating emotional journey as she describes her forward movement among the blackberries.
The Poem: Excerpts of the 27-line poem “Blackberrying” by Sylvia Plath (1961):
Lines 1-7: Nobody in the lane, and nothing, nothing but blackberries, Blackberries on either side, though on the right mainly, A blackberry alley, going down in hooks, and a sea Somewhere at the end of it, heaving. Blackberries Big as the ball of my thumb, and dumb as eyes Ebon in the hedges, fat With blue-red juices. These they squander on my fingers. Lines 14-16: The high, green meadows are glowing, as if lit from within. I come to one bush of berries so ripe it is a bush of flies, Hanging their bluegreen bellies and their wing panes in a Chinese screen. Lines 20-22: From between two hills a sudden wind funnels at me, Slapping its phantom laundry in my face. These hills are too green and sweet to have tasted salt. . . .
To read the entire poem, go here.
Theme: Whatever the subject or setting (this one is probably the English coast), common threads in Plath’s work are the circumlocutions of the mind and the meanderings of the heart. But the lines in “Blackberrying” are no less charming for the contradictions and ambivalence they portray. In fact, in Plath’s and other writers’ works, such tensions often add a kind of freshness that further engages the reader.
Figurative Devices: She personifies the blackberries, the flies (lines not shown), the wind, and the hills, a choice which at once signifies her human loneliness and suggests the power and value she sees in natural elements. On the flip side, Plath points out the absurdity of nature’s abundance in her description of the blackberries’ attributes–“big,” “dumb,” “fat” things that “squander” their resources.
Language and Sound: The poem’s simple diction delivers a direct but subdued tone, creating a sad mood. Alliterative phrasing (“bush of berries,” “bluegreen bellies”) and internal rhyme (“thumb” and “dumb”; “green,” “screen,” “between,” and back to “green”) then elevate the spirit by infusing the poem with wry humor and mild amusement, which I envision as the speaker’s half-smile.
Plath’s use of echoing repetition builds reader suspense (repeated words like “nothing,” “blackberries,” “bush,” and “hills”) and conveys both an insistent plea and its futility. Like a fist loudly banging on the door of a locked and empty house, she will not be let in.
Plath’s plural nouns communicate abundance, but their repeated final “z” sound also calls attention to the buzzing of flies (which also suggests death) and the hum of the speaker’s anticipation of something more.
Your turn. After reading the above excerpts or the whole poem, consider:
What else do you notice about the poem? Are there: Surprising images? Sensory details? Subtle hints of things? Stark revelations? Simile? Metaphor? Oxymoron? Other devices?
What feelings does this poem seem to express or stir in you?
Which lines or phrases make you smile or gasp or wonder?
Does the poem show its age, or is it timeless?
Since poetry is usually best read aloud, here is a series of audio recordings of Sylvia Plath reading her own poems. Although these do not include “Blackberrying,” you may still be able to hear her intense mind and emotions coming across. Listen and see!
Do you have a favorite Sylvia Plath poem? Which one?
Comments are welcome.
ICYMI: See the starting point of this series on nature poetry by famous poets here.
Would you like to recommend a sample of nature poetry for future posts? Let me know about it. I’m considering poems by W. B. Yeats, Percy Shelley, Mary Oliver, Emily Dickinson, and others, but you can help me choose!
I’ve noticed a trend of all-white, western European-descendent people in my series, so I’m also looking for nature poems by American and global Blacks (Rita Dove? Derek Walcott?), Hispanics, eastern Europeans, Middle Eastern ethnic groups (Rumi anyone?), and Asians (Indian, Chinese, Japanese–haiku is all about nature–etc.), and surely I should be able to find some Native American nature poetry, perhaps in the form of songs. Many cultures have wildlife-based creation myths.
Help dispel my ignorance!
Note: Poets writing in English or poems translated into English only, please. Thanks.