Classic and Contemporary Poetry: Explained

"Kindness" by Sylvia Plath presents an unconventional take on the theme of kindness, depicting it as an almost tangible presence that permeates the domestic sphere. The poem stands apart from Plath's frequently darker works, offering instead a glimpse into a softer, more nurturing aspect of existence. In a voice that wavers between sincerity and irony, Plath conjures up the domestic divinity "Dame Kindness," anthropomorphizing this abstract quality into a figure who appears both comforting and, subtly, menacing.

The poem opens with the vivid imagery of "blue and red jewels of her rings" smoking "in the windows," immediately imbuing the concept of kindness with a sense of wealth and opulence. This material richness contrasts with the more traditional understanding of kindness as a simple, unadorned virtue. Here, kindness is grand, almost royal, and it holds the power to shape the environment - "the mirrors / Are filling with smiles."

Yet, even as she paints a comforting scene, Plath introduces jarring elements that undermine the ostensible simplicity of kindness. For instance, when discussing the authenticity of emotion, the speaker notes that a "rabbit's cry may be wilder / But it has no soul," contrasting the guttural cry of an animal with the poignant, soulful cry of a human child. This is a loaded comparison, forcing the reader to contemplate the complex emotions that color human experience, emotions that a mere rabbit's cry could never convey.

Moreover, Plath's speaker mentions that "Sugar can cure everything, so Kindness says," emphasizing an almost saccharine, over-simplified notion of kindness that seems to be a quick fix for life's problems. The phrase "sugar is a necessary fluid" introduces an almost medical tone to the discussion, further complicating the reader's perception of kindness. Is it really a cure-all, or is it merely a temporary salve, a "poultice" for deeper, unaddressed issues?

Toward the end of the poem, we witness "Kindness, kindness / Sweetly picking up pieces!" The exclamation mark suggests either genuine appreciation or ironic detachment, leaving the reader questioning the authenticity of the speaker's sentiment. "My Japanese silks, desperate butterflies," may be cherished possessions or fragile aspects of the self, now vulnerable to being "pinned" and "anesthetized," hinting at the potential for kindness to also immobilize or disempower.

The concluding lines deliver a cup of tea "wreathed in steam" alongside a jarring image: "The blood jet is poetry, / There is no stopping it." Suddenly, kindness is juxtaposed against a surge of unstoppable emotion or creative force, symbolized by the "blood jet." The cup of tea and "two children, two roses" feel almost inadequate in the face of such visceral energy.

"Kindness" navigates the layered complexities of its eponymous theme, showing it as both nurturing and potentially stifling, both genuine and perhaps insincere. Through Plath's nuanced portrayal, kindness becomes not just a simple virtue, but a multifaceted force that can both heal and harm, both elevate and constrain.

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