Classic and Contemporary Poetry: Explained

In "Yadwigha, on a Red Couch, Among Lillies," Sylvia Plath engages with the canvas of art and the world of the artist, addressing themes of representation, artistic choice, and public scrutiny. The subject, Yadwigha, is on a "baroque couch" framed by an exotic world complete with "uncaged tigers" and a "tropical moon." Critics question her placement in such an incongruous setting, yet Plath's work serves as an exploration of the persistent dualities in artistic expression-reality vs. imagination, tradition vs. originality.

At the center of the poem is the "red velvet" couch, symbolic of the civilized world, clashing against the vivid, almost virulent "green" of the natural surroundings. Critics are puzzled by this mingling of high society and untamed wilderness. They want Yadwigha to "choose," but that demand is fundamentally at odds with the essence of art, which often revels in contradiction and complexity. The critics would prefer a tamer, more recognizable representation: "They'd have had yellow silk screening the moon," a description that implies a flattening of artistic depth and character.

The poem's structure follows a Sestina form, notable for its intricate pattern of word repetition, paralleling the intricacies of the scene itself. This choice serves to underscore the complex tension between the competing elements-the "red" and the "green," the couch and the moon, the civilized and the primal. The constant rotation of these key words mimics the revolving perspective through which art can be seen and judged, always shifting, never settling.

Interestingly, Rousseau, presumably the artist Henri Rousseau, provides an answer to the critics. He tells them that Yadwigha fell into a dream on her red velvet couch and imagined herself in this lush, tropical world. But the point seems to be that the artist's vision doesn't need this kind of rationalization. In fact, Rousseau admits privately that the red couch's color so entranced him, he felt it necessary to include it, even if it made the scene less logical to a critical eye. Here, Plath seems to champion the sovereignty of the artist's imagination over the literalism and dogma of critical expectation.

The poem concludes with a striking image of Yadwigha, a woman who is a mere subject of art to the critics but is, in fact, the catalyst of the artist's inspiration. She is "feeding" Rousseau's eye "with red, such red!" under the moon amidst the grand lilies. Here, the poem circles back to its initial assertion-that art can exist in the tension between competing elements, that the lushness of imagination need not conform to logic or critical preference.

In summary, Sylvia Plath's "Yadwigha, on a Red Couch, Among Lillies" delves into the complexities of artistic representation, tackling how the critics, the public, and the artists themselves grapple with the challenging coexistence of contrasting elements in a work of art. It serves as a beautiful metaphor for the role and responsibilities of the artist-to imagine freely, to challenge norms, and to embrace complexity.