Restored Music: Sylvia Plath’s ‘Ariel’

Restored Music : Sylvia Plath’s ‘Ariel’

The first edition of Ariel was published by Faber and Faber in 1965. I am not going to trawl the pit of controversy over the Hughes selection, it has been done. The arguments and counter-arguments are known to mostly all lovers of Plaths writing. I will point the general reader to Google and to the initial discussion by Hughes in The Collected Plath, the Winter Pollen set of essays and the foreword to the first edition of Ariel, for that information.

The Restored Edition Ariel was published in 2004, with a foreword discussion by Frieda HughesThe full title of the edition is, The Restored Edition, Ariel. A Facsimile of Plath’s Manuscript, Reinstating her Original Selection and Arrangement .

This means that the MSS that Plath had left containing the interleaved and co-dependent set of themes has been restored to its original music.

This may be difficult for someone who is not a writer of poetry to understand , but strangely enough Hughes encapsulated the process perfectly in his essays when he alluded to Plath’s process of creation as hermetically sealed. A book of poetry is not necessarily themed but unified in the interrelationship of the poems, their internal music, and the alchemy of words. Sometimes a poem is related intimately to another through a strange labyrinthine undercurrent of word and energy which may not be visible to the critic or academic.

As Frieda Hughes points out in her foreword, the two words love and spring  form the first and last word of the Restored Edition, in the Poems , Morning Song and Wintering. This symbolises the internal music of Sylvia Plath’s volume and indeed the inter-relationship of every internal sound, chosen word and inter-leaved theme. It is restored because the binder was retained , treasured and read by the family and her children.

39 years might be a time to wait for that restoration of music to its meaning, but interestingly it was always preserved intact, which readers of literature are aware does not always happen historically with words that enlighten, provoke or hurt..

from Morning Song, by Sylvia Plath.

(first verse)

‘ Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.’

from Wintering , by Sylvia Plath.

(last verse)

‘Will the hive survive, will the gladiolas
Succeed in banking their fires
To enter another year?
What will they taste of, the Christmas roses?
The bees are flying, they taste the spring.’

EDIT : I am adding in here as the final link a YouTube of Sylvia Plath reading  Daddy

UBUWEB and ‘Homad’ , Ethnopoetics and Translation

UBUWEB and Pierre Joris‘ , ‘Homad’

Poethead has always been about books, indeed the idea initially was to share lots of women poets who have gone out of print or are not easily obtainable (save online through Amazon and such places).

The blog came about as a result of an small bequest of books that Marianne Agren Mc Elroy’s daughter had given me as a gift. Marianne was a  translator and an artist. Her art books went to students of the visual and her poetry books which included Mirjam Tuominen, Bagryana, Nagy and others , Moore, Ursu, found their way from a small cardboard container to me (along with some press clippings of Marianne’s translations ).

Comes Somebody by Nelly Sachs, trans, Agren Mc Elroy is on the PH site.

I had added to the site some early edits of Plath (along with the re-print Of Ariel , edited by Frieda Hughes and small collections of poems from my own library which include the really hard to get and immensely popular Simone Weil, Irish language women poets and the odd male poet too !!

Another resource (or set thereof) has been online, I read Pierre Joris translations (not frequently enough) – his ‘Nomadics’ and ‘Homad’ sites are amazing for those interested in translation (aramaic/arabic) and UBUWEB. I am adding the links here to those two sites , along with an exhortation : Read and read lots .

Everyone has their own influences, be it the spoken or written word. I deliberately search for visually intense symbolism in the written word , and find it readily in Ethnopoetics.

A lot of online translations can be weak , so those with a strong interest in the poetry should seek out good translations which are coming from a collaborative base (if at all possible). The dissemination of literature through new media resources should be as protected in terms of the author’s meaning using the established conventions and with regard to the intellectual property rights of the authors. There are reams of discussion online about the issue and some discussion on digitisation on Poethead. PEN international has pages on Translation and linguistic rights which I will put in comments.

UBUWEB Ethnopoetics
Homad

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