Mirror, mirror on the wall, who is the saddest of them all

 

Mirror

by Sylvia Plath

 

I am silver and exact. I have no preconceptions.

Whatever I see I swallow immediately

Just as it is, unmisted by love or dislike.

I am not cruel, only truthful ‚

The eye of a little god, four-cornered.

Most of the time I meditate on the opposite wall.

It is pink, with speckles. I have looked at it so long

I think it is part of my heart. But it flickers.

Faces and darkness separate us over and over.

 

Now I am a lake. A woman bends over me,

Searching my reaches for what she really is.

Then she turns to those liars, the candles or the moon.

I see her back, and reflect it faithfully.

She rewards me with tears and an agitation of hands.

I am important to her. She comes and goes.

Each morning it is her face that replaces the darkness.

In me she has drowned a young girl, and in me an old woman

Rises toward her day after day, like a terrible fish.

 

 

Hate to say it, but the first stanza of Sylvia Plath’s “Mirror” reminds me of a grade school creative writing assignment. You know the kind—“Write a poem from the point of view of an inanimate object like a sock or a globe.” I hate to say it because who am I to criticize a poem by the great and venerable Plath, even one of her lesser ones. This reluctance to show disrespect also stems from a personal history of undervaluing Plath’s work for reasons unflattering to myself. More on that later.

 

Still, even if I won’t sing the glories of this poem, I’ve found its punch and power. Some of it’s going to sit with me for a long while.

 

There’s a clever structure at work here. “Mirror” is a poem about a mirror in which two stanzas mirror each other. Both are nine lines each, and both present a psychological portrait of a character. The first stanza brings us to the inner life of the mirror, the second to the woman obsessed with the mirror. The mirror knows exactly what she or he is, seems self-contained and proud. The woman comes off as hysterical, crying, throwing up her hands.

 

One meditates. One agitates. One is truthful, the other enamored of liars—the candles and moonlight that present her in a softer light. The mirror focuses on what it sees, the woman on how she is seen. The woman has the formula for self-worth backwards, as mirror images always do.

 

The last lines burn. I won’t ever search out new wrinkles in the mirror without thinking of these images—

 

In me she has drowned a young girl, and in me an old woman

Rises toward her day after day, like a terrible fish.

 

Plath herself was only 28, fresh-faced and beautiful, when she wrote the poem. She couldn’t have seen anything remotely close to a terrible fish in the mirror. But being young and beautiful, she well understood the role that youth and beauty have in a woman’s sense of her own value.

 

I left the poem in a boutique dressing room where I felt disgust at how a certain pair of pants fit my behind. Silly to let that terrible fish share the mirror with me.

 

*

 

One night in my mid-twenties, my book group was discussing Plath’s only novel, the semi-autobiographical The Bell Jar.  My friend had read it in a woman’s studies class in college and was enamored of Plath as a feminist hero. I spent the evening arguing, in my bombastic and irritating way, that Plath was not a victim of patriarchy but of mental illness. This is not the story, I said, of someone who felt hemmed in by rigid gender roles, this is the story of someone who suffered from serious depression. I resented at almost a personal level the hagiography of a person I saw as a victim of biology and not of societal expectations. Of the latter I was dismissive.

 

That night I slept at my mother-in-law’s house, my husband and my father-in-law being out of town. As I lay in bed, the windowpanes rattled and rattled and I became convinced that Sylvia Plath was trying to get in the room to take revenge for my comments. l was frightened. I went to my mother-in-law’s room, woke her, and said, “I know this sounds silly, but Sylvia Plath’s ghost is haunting me. Can I sleep with you?” To her great and abiding credit, the dear woman acted not the least surprised. “Sure,” she said, pulling down the covers on the other side of the bed. I slept soundly and in the morning she didn’t mention it.

 

My fright, it seems to me now, was just leftover guilt at steamrolling over the other book club members’ opinions and not giving Plath her full due. Yes, she suffered from clinical depression, but in a different environment, less constraining for an ambitious young woman like herself, she might have survived without resorting to suicide. Whatever combination of chemistry and environment that brought on her depression, the fact is that she suffered. She suffered terribly. For me, researching the details of her biography was as penance for false judgment.

 

 

*

 

Sylvia Plath (1932-1963) was born in Boston, Massachusetts to a German entomologist and his graduate student Aurelia Schober. Plath was the oldest of two. Her father died when she was eight.

 

Plath was an excellent student with a genius level IQ. While at Smith College she was chosen to be a guest editor at Mademoiselle magazine in New York City. The experience was disillusioning. Clinical depression set in, and at age twenty-one she made her first suicide attempt. She crawled under her mother’s house with a bottle of sleeping pills, and was found two days later. She was sent to a private hospital, treated with electric and insulin shock therapy, recovered, and returned to school.

 

Plath graduated from Smith with highest honors and was granted a Fulbright scholarship to Cambridge. There she met and married poet Ted Hughes. She returned to Smith to teach, and finding that teaching made writing difficult, took a job as a receptionist while taking a writing seminar with poet Robert Lowell at night. Lowell and Anne Sexton (who took the seminar with her) encouraged her to write in the more confessional vein for which she is famous.

 

She moved back to London, had two children, a miscarriage in between. She wrote to her mother that Hughes beat her two days before the miscarriage. Hughes seems to have been a hunky, charismatic fellow but obviously no prince. After discovering he was having an affair with their tenant, Plath moved into a flat with the two children, ages two and under one. This was a period of great creativity for her but also deep depression. London had one of the coldest winters on record, the pipes in the apartment froze, the telephone didn’t work, and the kids were often sick.

 

That February she committed suicide at age 30, famously sticking her head in an oven while her children slept in the room next door. I remember at book club judging her harshly for putting her children at risk this way. Turns out she carefully taped the doors to seal the kids off from the gas, and killed herself at 4:30 a.m., a few hours before the nanny would arrive.

 

Her daughter Frieda is an artist, and her son Nicholas, a fisheries biologist. He  committed suicide by hanging in middle-age. Theirs was a difficult life. After their mother’s death, the woman their father had an affair with moved in to care for them, and six years later committed suicide in the same fashion, killing her own daughter as well.

 

My heart aches for such suffering.