Many American poets writing after World War II concentrated on their own personal histories or family trees for poetic subject matter. Sylvia Plath is often linked with Anne Sexton, Robert Lowell, and John Berryman, all poets writing in postwar America, because of the self-analysis and self-reflection present in the poems. Often these writers are called “confessional poets” because they reveal their own personal obsessions, psychological quirks, or tawdry misdeeds in the poems. Plath’s “The Colossus” fits into this school of poetry because of its self-absorption and the ambivalent feelings the speaker has toward her father.
Sylvia Plath’s relationship with her father, who died when she was eight, is the subject of much of her poetry. In later poems, especially “Daddy,” she reveals astonishingly strong and disturbing feelings toward her father. She imagines herself as a Jew and her father as a Nazi and confesses that she, in some way, relishes the role: “Every woman adores a Fascist,/ The boot in the face, the brute/ Brute heart of a brute like you.” The poet seems to enjoy the need for punishment, perhaps to erase feelings of guilt about her father’s death.
“The Colossus,” an early poem, does not go quite so far in examining the psychologically disturbing relationship of father and daughter as “Daddy” does, but it does examine archetypal patterns of behavior. It is no accident that the poem’s one direct allusion...
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