Classic and Contemporary Poetry: Explained

In "Leaving Early," Sylvia Plath captures the disquieting atmosphere of a transient relationship through a setting overburdened with botanical life and floral imagery. This is no idyllic garden; it's an interior world stifling with excess, deterioration, and sensual overload. As the poem unfolds, Plath's narrator takes the reader through a critical assessment of the room, filled as it is with a jarring mix of high and low cultural references-wine-bottle lamps, velvet pillows, and fine china. The environment is a microcosm of the relationship itself, laden with complex aesthetics but also fraught with an unsettling sense of impermanence and decay.

The poem begins with a harsh declaration: "Lady, your room is lousy with flowers." This immediate confrontation reveals the narrator's discontent and discomfort within this setting, and perhaps within the relationship itself. There's an aspect of sensory overload in the room, described as a "jungle of wine-bottle lamps" and "Velvet pillows the color of blood pudding." The rich colors and materials suggest opulence, but also an air of claustrophobia and unease, a kind of domestic decadence that borders on the grotesque.

Flowers, traditionally symbols of beauty and love, become metaphors for the relationship's underlying issues. The cut flowers are personified as "Monday drunkards," aimless and slowly decaying, revealing an element of entropy. The imagery of "milky berries" bowing down like a "local constellation" towards "mobs of eyeballs" adds a disturbing, almost voyeuristic, aspect to the scene. While flowers often symbolize beauty and freshness, here they stink of "armpits" and evoke the "involved maladies of autumn," transforming the classic motif into a reflection of emotional decline.

An especially vivid moment in the poem occurs with the description of the dying roses: "Their yellow corsets were ready to split. / You snored, and I heard the petals unlatch, / Tapping and ticking like nervous fingers." These lines capture the sense of mortality and anxiety that pervades the room, underscored by the poem's time setting at daybreak, a transitional period between night and day.

The last lines plunge us into the narrator's existential reflections. Questions emerge: "How did we make it up to your attic? / You handed me gin in a glass bud vase. / We slept like stones." These lines encapsulate the feeling of emotional inertia that seems to have crept into the relationship. The narrator ends up "Knee-deep in the cold swamped by flowers," overwhelmed by the very elements that should symbolize love and beauty.

"Leaving Early" stands as a poignant critique of a relationship gone astray, a liaison bogged down by emotional excesses and an almost oppressive aesthetic milieu. Plath manipulates floral imagery not to sanctify love but to scrutinize its complexities, revealing a landscape where beauty and decay coexist. Thus, the poem transforms a setting that should signify romantic culmination into a stage for existential crisis, demonstrating Plath's unique ability to subvert traditional symbols to probe the darker realms of human emotion.