The poets’ joint history provides insight into some of their more cryptic poems, for example “Plath writes of isolated, fragmentary instances that are recognizably drawn from incidents in her life with Hughes,” this could be perceived in her use of the second person singular pronoun “you” which is evident in ‘Lady Lazarus’ from stanza twenty-three (Churchwell 2001: 112). The “you” that Plath refers to could be interpreted as Hughes, “I turn and burn./ Don’t think I underestimate your great concern.” This rhyming couplet stands out in the poem which doesn’t conform to a consistent rhyme scheme, from the brazen tone of the speaker these lines could be read as sarcastic. (Lady, Lines 71/2). If it is Hughes that Plath is referring to then it is clear that her feelings...
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...ragic death, and thus the reader imprints their own idea of how Plath might have felt whilst writing her later poetry. This also applies to Hughes, after Plath’s suicide, when his poetry became raw and macabre with the birth of ‘Crow’, and though Hughes is not deemed a biographical poet in the way that Plath is, his poetry does portray his emotions just as strongly as Plath’s does. He too uses imagery and form to capture the grim violence within the collection. The reader can deduce the fragile emotional state that Hughes had to endure through a difficult period of his life through the character of ‘Crow’ within his poems. When reading the poetry that Plath produced just prior to her suicide, and then reading Hughes’s poems in crow, you can see the struggle that both poets faced within their personal lives, how their emotions during this period dictated their poetry.
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