'Sylvia Plath vs Ted Hughes\r'

'Sylvia Plath’s poem, ‘Whiteness I mobilise’, and Ted Hughes’s poem, ‘Sam’, are two poems which take out an experience of Plath’s when she was a student at Cambridge. She was out on her first ride when the cavalry she had hired the normally-placid Sam, bolted. Although Ted Hughes’s is describing the experience he uses insinuations passim the poem to let out his perception of his uniting with Sylvia Plath, hence infuriating, the conflict in perspective mingled with the two poems.\r\nThe ideas of ‘conflicting perspective’ suggest that the composers of the texts exhibit an even-handed, unbiased attitude to the events, personalities or situations represented. Conflicting perspectives look for the subjective truth of the individual, which are shaped by the construction of a text by a biased composer. Each person’s reading of the truth in events, personalities and situations differs, by viewing recess persp ectives an understanding of the motives and purpose of the composer is formed. Sam’ is Hughes retrospective description of an event in Plath’s life in the lead she met him and which she had represented in the poem ‘Whiteness I remember’. Hughes’ poem itself contains what can be understand as conflicting perspectives of her personality and when read in conjunction with Whiteness I remember reveals enkindle similarities and differences. Hughes seems to accept Plath’s account of the event ‘I can live Your incredulity, your certainty that this was it’ and he does pose closely to her description of her experiences during the horse’s precipitant flight to the stable.\r\nHowever, the repetition of ‘You deep in thought(p) your stirrups’, ‘You lost your reins, you lost your seat’, trustfulness to depict Plath as a terrified victim unable to control or take responsibility for the consequences of her own actions. In blood Plath’s poem suggests she was exhilarated by the vivify and risk and identified with what she represents as the horses’ rebellion against the ‘ monotony’ of suburbia.\r\nIn contrast Hughes accuses her of glamorising her loss of control. ‘It was grab his lie with and adore him or free fall’. erstwhile again the reader is arguably left with the persuasion that Hughes is still identifying with Sam and suggesting there are parallels amid her relationship with him and the horse. As the stanza continues Hughes builds the momentum and pace with a series of commas as punctuation and an enjambment.\r\nThe choice of verb in ‘You slewed under his neck, an upside down jockey with nothing between you and the cataract of macadam’ creates an image of Plath unable to take note a balance and in imminent danger of being smashed into the road by the horses hooves at high speed. The alliteration and the metaphor of the ‘horribly nasty swift river’ in full flood combine with the’ propeller terror of his front legs’ and the onomatopoeia of ‘clangour of the constrict shoes’ to transform the horse into an engine of destruction.\r\n'