Showing 1 - 2 of 2 annotations associated with Hughes, Ted
- Belling, Catherine
This poem is one in a series written by Ted Hughes, addressing his wife, the American poet Sylvia Plath, who committed suicide in 1963. Here, the speaker recalls a time when he and his wife were living in Spain, and she became ill: "You lay helpless and a little bit crazy / With the fever." For Plath, the illness seems intolerable. She whispers, "Help me" to her husband, "crie[s] out for America," and sobs "I am going to die." He takes care of her, feeling as if he is "a nursemaid" or "suddenly mother." He cooks soup and spoon feeds her.
What worries him, though, is her reaction to being ill. He wonders whether she's exaggerating, and fears that if she treats a fever as if it were "the most impossible / Of all horrible things," then how will she be "when things get really bad"? He feels himself withdraw his sympathy for her, but then he recognizes what he calls "the overload"--a bluntedness which he likens to "the callous / That eases overwhelmed doctors."
The end of the poem is ambiguous: both he and his wife are overloaded; where her response is (hyper?) sensitivity, his is anesthesia. He continues to feed her the soup. (67 lines)
- Belling, Catherine
This poem is one in a series written by Ted Hughes, addressing his wife, Sylvia Plath, who committed suicide in 1963. After her first suicide attempt, and before she met Hughes, Plath was given electroconvulsive therapy (ECT) for depression (see Plath's novel The Bell Jar for her own description of this). In this poem, Hughes contemplates the mechanics and symbolism of what seems so brutal and elemental a treatment.
He focuses on the fragility and beauty of her body--"Your temples, where the hair crowded in, / Were the tender place"--and then makes us imagine the effect of electrodes there, in ever more shocking images: "They crashed / The thunderbolt into your skull," "They dropped you / A rigid bit of bent wire / Across the Boston City grid." He then suggests that there is a link between this treatment and the kind of poet she became: her "voice" was scarred and "over-exposed / Like an x-ray," and when her words returned they were distorted and vulnerable, "Faces reversed from the light / Holding in their entrails." (38 lines)