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the Munich Mannequins

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by

Yousef Masry

on 9 February 2014

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Transcript of the Munich Mannequins

The Munich Mannequins
Citations
usir.salford.ac.uk/1692/1/sylviaplathessay(edit).pdf

www.sylviaplath.de/plath/annas.html

www.humanities360.com/index.php/poetry-analysis-the-munich-mannequins-by-sylvia-plath-7171/
Setting
winter:
settings of winter, which like previous poems, have imaged winter as a time of rest preceding rebirth

however due to the setting being inside the city, winter has more sinister or creepy connotations it suggests death rather than hibernation.
Metaphors
“where the yew trees blow like hydras”
the yew trees substitute the fallopian tubes (connecting the baby to the mother in the uterus), as well as not blowing like themselves, but like hydras, which are the creature with many snake heads that grow back when cut off.

“morgue between Paris and Rome”
describes the postwar state of Munich since it was in between these two cities when the war was going on and seemed like a morgue due to the numerous deaths.


Symbolism
"where the yew trees blow like hydras
The tree of life and the tree of life"

symbolizing the 2 cords connecting mother to fetus

"Unloosing their moons to no purpose"
symbolizes the monthly menstruation cycle
Irony
"The blood flood is the flood of love"

2 meanings:
blood flood referring to death/wound
blood from mother to child is full of love and sacrifice
Main Idea
Written while experiencing insomnia on her trip to Munich

"perfection is terrible". perfection takes the form of a mechanical, yet a ethereal (extremely delicate and light in a way that seems too perfect in this world) oppresion, which is silently corrupting living ideas with dead ones.

the tone is cold and oppressive
she starts out with "terrible" and ends with "voicelessness"


Background Knowledge

Written a bit over a month before death

Published by Ted Hughes 2 years after death

Found in the book 'Arial'

consists of 13 couplets and begins and ends with a single lined stanza


The Munich Mannequins
presented by Yousef Al Masry, Tarek Al Bulbul, and Motaz Shaheen
Full transcript