Critical Essay On The Piano Lesson

Critical Essay On The Piano Lesson-87
She uses the idea of “disquieting muses” as a metaphor for her inability to meet the societal demands expected by her mother.

She uses the idea of “disquieting muses” as a metaphor for her inability to meet the societal demands expected by her mother.

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She mentions how the contrast of the red “against fifty variants of green” (19) draws attention to the couch and Yadwigha lying upon it, making her seem even more stunning simply because she poses on something unexpected.

In the second stanza, Plath addresses the complaints of critics that Yadwigha must choose between the natural green of the jungle and “the fashionable monde of the red couch” (10).

The female snake charmer who is the focus of “The Snake Charmer” appears in the background of “The Dream,” where she is once again playing a pipe of some kind.

The environments of both paintings are also very similar: both take place in a jungle setting under the same full moon, though “The Dream” is certainly far more diverse in both plant and animal matter.

Both sets of muses are certainly disquieting, but de Chirico's are more physically disturbing, while Plath's seem to be purposefully trying to make her feel inadequate and insecure in herself.

Her inability to dance with the other children of her age or properly play the piano always disappointed these muses, even though her mother seemed to always love her.In these cases, she uses both the titles of the paintings and the titles’ connotations in order to express her own internal desires.Regardless of the way in which she uses these works of art in her poetry, it is clear that she gains inspiration from them.After all, when a person dreams at night, they do not typically include their bed in the dream.It is these very criticisms that Plath responds to nearly 50 years later.Only the last stanza of Plath's “The Disquieting Muses” properly describes the painting that inspired her.In this last stanza, she describes the muses as standing “their vigil in gowns of stone / Faces blank as the day I was born” (50-51).The tone of the poem is very against choosing one world over the other, suggesting that Plath thinks both can exist together, complementing rather than opposing each other.When Henri Rousseau first unveiled his masterpiece “The Dream” in 1910, it was immediately recognized as beautiful but was also widely misunderstood. As Rousseau once explained, “The woman on the sofa dreams that she has been transferred to this forest and she listens to the sound of the snake charmer.” Many critics simply could not understand why, if the woman is transported to the jungle via a dream, would the sofa on which she reclines appear with her.“The Snake Charmer” was first shown in 1907, bringing Rousseau much acclaim in the art world and possibly helping to shape the development of surrealism (Babb).This painting is clearly an influence on “The Dream,” which was first shown three years later.


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