Bowled Over – Ted Hughes – Analysis

Bowled Over

By kiss of death, bullet on brow,
No more life can overpower
That first infatuation, world cannot
Ever be harder or clearer or come
Closer than when it arrived there

Spinning its patched fields, churches
Trees where nightingales sang in broad daylight
And vast flaring blue skirts of sea –
Then sudden insubordination
Of boredom and sleep

When the eyes could not find their keys
Or the neck remember what mother whispered
Or the body stand to its word.

Desertion in the face of a bullet!

Buried without honours.

Ted Hughes 1930 – 1998 (fromWodwo, 1967)

Wodwo – the first release from Ted Hughes following the death of Sylvia Plath in February 1963.

Looking at this poem in the context of the personal life of TH and SP and not just the loss of first love euphoria …

S1 … well that first intense feeling of love, falling in love when young and foolish, never to come again perhaps – in short being bowled over (apt cricket words for a Yorkshire man) – and a knock-out blow as in a kiss of death or bullet on the brow … this is a reflection looking back to that feeling – and what a feeling it was – the world never harder never clearer – my immediate thoughts on that first encounter of TH with SP, reflecting back some four years after her death … would that feeling ever come again … a very hard road after the death of SP and the catering for his two children from their marriage

S2 … this is what it is all about … love sending the mind spinning – a dizzy feeling as the environment adjusts to the euphoria and nightingales sing in daylight … shows how the world changes with emotional state – but then the last two lines – insubordination, disobedience, a rebellion boredom and sleep … the coming down from the hilltop … putting into the context of his broken marriage a self-disobedience (but living with SP and her mental instability not easy)

S3 … the resultant effect of his disobedience – eyes could not find their keys – what a wonderful way of saying that he could never unlock the door to the way it was … and
the neck never able to remember – thinking of the comfort of a mother to a boy in bed who could not rest … and then in terms of words – false to the word, false to the word of love by his disobedience

S4 … desertion in the face of a bullet (love) … perhaps this maybe the way he feels … well it was his initiative when he left SP – however, he didn’t completely desert her and cared very much for her well-being and helped her find accommodation in London

S5 … Buried without honours … a sense of depression on the way things had turned out … perhaps a wish he had stayed with SP – especially after the aftermath resultant from her tragic death … love buried without honours.

Independent of the personal context of TH and SP. This poem is a look back on the common life experience of first love euphoria after the relationship has ended for whatever reason. The relationship always remains part of us in some form or other. Whether it is buried without honours or carried forward as a latent embellishment is another matter.

TH served as  UK Poet Laureate from 1984 until his death in 1998. A link to Ted Hughes on Wikipedia.

Walking Away – Cecil Day-Lewis – Comments

Walking Away

It is eighteen years ago, almost to the day –
A sunny day with leaves just turning,
The touch-lines new-ruled – since I watched you play
Your first game of football, then, like a satellite
Wrenched from its orbit, go drifting away

Behind a scatter of boys. I can see
You walking away from me towards the school
With the pathos of a half-fledged thing set free
Into a wilderness, the gait of one
Who finds no path where the path should be.

That hesitant figure, eddying away
Like a winged seed loosened from its parent stem,
Has something I never quite grasp to convey
About nature’s give-and-take – the small, the scorching
Ordeals which fire one’s irresolute clay.

I have had worse partings, but none that so
Gnaws at my mind still. Perhaps it is roughly
Saying what God alone could perfectly show –
How selfhood begins with a walking away,
And love is proved in the letting go.

Cecil Day-Lewis

Apparently this poem is dedicated to Day-Lewis’s first son, Sean, and recalls a day when he was watching Sean go in to school, reflecting back after many years.

This poem is all about moving on … leaving behind that which has been … and growing up you can never return to the way it was … whether it be childhood or not … but you have this something to take with you and carry latent as a force in your future … whether or not that childhood has been happy or not … and for those left behind as you walk away it is always a sad affair but part of life. Love must be proved in the letting go.

It is particularily hard for parents to release their off-spring when they are moving away from home. And in the same vein it is hard for those that have had strong personal bonds in a relationship when it is time to say good-bye whether or not of a permanent nature.

Rhyming in the first, third and fifth lines of each stanza. And an interesting thought in the last stanza. God gives and walks away expecting some development. How selfhood begins with a walking away – humanity standing on its own two feet so to speak but I do think it kind of needs a little direction at times even if from a far away place. Hopefully there is still some form of contact!

Cecil Day-Lewis (or Day Lewis) CBE (27 April 1904 – 22 May 1972) was an Anglo-Irish poet and the Poet Laureate of the United Kingdom from 1968 until his death in 1972. He also wrote mystery stories under the pseudonym of Nicholas Blake. He is the father of actor Daniel Day-Lewis and documentary filmmaker and television chef Tamasin Day-Lewis.

More on Cecil Day-Lewis via Wikipedia


Cut – Sylvia Plath – Analysis

For Susan O’Neill Roe

What a thrill —-
My thumb instead of an onion.
The top quite gone
Except for a sort of a hinge

Of skin,
A flap like a hat,
Dead white.
Then that red plush.

Little pilgrim,
The Indian’s axed your scalp.
Your turkey wattle
Carpet rolls

Straight from the heart.
I step on it,
Clutching my bottle
Of pink fizz.

A celebration, this is.
Out of a gap
A million soldiers run,
Redcoats, every one.

Whose side are they on?
O my
Homunculus, I am ill.
I have taken a pill to kill

The thin
Papery feeling.
Kamikaze man —

The stain on your
Gauze Ku Klux Klan
Darkens and tarnishes and when

The balled
Pulp of your heart
Confronts its small
Mill of silence

How you jump —
Trepanned veteran,
Dirty girl,
Thumb stump.

Sylvia Plath  – 24 October 1962
(1932 – 1963)

Short sharp snappy words cut to a core … appropriate construction considering the event being described … there is no time for long deliberation. She would not have had time to compose the poem at the time of the incident but it certainly provided material for her to write a poem. It was dedicated to her nanny Susan O’Neill Roe who looked after her two young children and perhaps provided the time for her to write this work.

‘Cut’ was one of many productive poems generated in October 1962 when SP lived in London after the separation with Ted Hughes and is included in her Ariel collection.

S1 … it looks like an accident when cutting an onion … but it comes as a thrill as though something exciting has happened in a dull life … or, knowing SP’s history, during a depressive state … so instead of looking on the initial experience with horror SP steps back and lets the cut open a window for exploration … the hinge indicating an escape

S2 … this is what happens as she views the cut as the first pulse of blood comes into the dead white skin … flap like a hat – nice one syllable internal rhyme

S3 … the thumb is a little pilgrim (re: American history and the scalping of missionaries by Indians) … the thumb takes on personification … a drop of blood falls on the carpet into wool and a very apt description of the red flow into wool – like a turkey wattle

S4 … perhaps SP inadvertently treads on the blood on the carpet … she might at this stage try to stop the bleeding too … her thumb becomes a bottle of ‘pink fizz’ … so there might have been quite an initial squirt … to die out as she deals with the flow by clutching on to her thumb perhaps with her other hand

S5 … SP likens the blood flow to the Redcoats (British) in the American Civil War escaping through a gap as her blood is escaping through the cut … and as she is now escaping from the drudgery of life by this event that has given her such an unexpected thrill

S6 … well, which side is the blood on … it is her blood and escaping from her … she now realises that all is not well and she has started to feel pain so takes a pill … the thumb now becomes a little man (homunculus) … some commentators have equated this reference to Ted Hughes as he has been cut-off … but like her thumb SP cannot completely cut-off TH or the flap of skin.

S7 … a thin papery feeling – apt description of the sensation as she touches the thmb … and again the male reference to a saboteur and more extreme a kamikaze – a suicide … again thoughts go to TH … whether she would like to remove TH is this fashion or alternatively whether TH has caused the cut himself by leaving her … part of her missing

S8 … it seems she has now put a gauze dressing on the thumb to stem the bleeding and that it soaked and stained the material … another male reference this time to the exclusive group the Ku Klux Klan (an extreme group that advocated white supremacy) and the gauze takes on a Russian flavour – babushka (a headscarf tied under the chin, typical of those traditionally worn by Russian women) … the thumb becomes a head wound

S9 … the flow of blood … the heart pulp … is eventually contained … the blood mill is silenced, the fizz gone … the heart equated to a mill continually circulating … and the bandage, or babushka, dirtied … and like the first stanza there is strong emotion in a jump … a jump in her thought …

S10 … the trepanned veteran (trepan – to ensnarl) … and, following my poetic fancy, – she has been caught by the TH /Assia Wevill adultery and is now a dirty girl … SP is soiled by this experience, part of herself left hanging … and then the last line – the thumb reverts to just a stump rather than any implied poetic considerations of earlier stanzas – something she just has to live with – just as she has to live with the broken relationship with TH.