It is fair to say that no group of poems since Dylan Thomas's Deaths and Entrances has had as vivid and disturbing an impact on English critics and readers as has Ariel. Sylvia Plath's last poems have already passed into legend as both representative of our present tone of emotional life and unique in their implacable, harsh brilliance. Those among the young who read new poetry will know 'Daddy', 'Lady Lazarus', and 'Death & Co.' almost by heart, and reference to Sylvia Plath is constant where poetry and the conditions of its present existence are discussed. (p. 211)
To those who knew her and to the greatly enlarged circle who were electrified by her last poems and sudden death, she had come to signify the specific honesties and risks of the poet's condition. Her personal style, and the price in private harrowing she so obviously paid to achieve the intensity and candour of her principal poems, have taken on their own dramatic authority.
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