The poem “Phenomenal Woman” by Maya Angelou honors femininity through embracing the multiple interpretations of its title. The speaker confidently proclaims their individuality as a liberated woman, embodying exceptional qualities and undeniably being extraordinary.
Maya Angelou urges readers to contemplate the essence of true attractiveness, value, and appreciation in a woman. In typical terms, “Phenomenal” encompasses all that can be perceived through the senses – sight, hearing, touch, taste, and smell. However, Angelou delves further into the extraordinary and superior attributes that encompass being “Phenomenal,” including intangible qualities like a soul, mind, and temperament. Throughout history, women have dedicated considerable time to enhancing their physical appearances.
However, the Phenomenal Woman, with her innate authenticity, surpasses her doll-like counterparts in liveliness and sensuality. Men, though, are perplexed by her ability to charm because they have lost touch with the true essence of a woman. The Phenomenal Woman effortlessly showcases her enigmatic nature, free from relying on conventional tactics like glamour, flirtation, tantrums, or fickleness to captivate men.
The enigma and authenticity of her remain profound, especially as both men and women fail to comprehend her exceptional, inherent energy. The response of men towards this extraordinary woman is beyond ordinary – they swarm around her like bees around a honeycomb. Men are overwhelmingly captivated by her charm. She effortlessly conquers their hearts.
She is cool – a black English word to describe someone who is perfect, proud, and in charge of herself. The physical charm of a phenomenal woman expresses a completely different female temperament. The fire in her eyes represents passion, while the flash of her teeth symbolizes primitive and even savage energy. The swing of her waist and the movements of her feet suggest the joyful rhythms of a jungle dance.
Characteristics of a Phenomenal Woman: The final line of the poem focuses on the world. It emphasizes that a phenomenal woman cannot be defeated and is not subservient to anyone. She does not have to be provocative, seek attention, or engage in polemics.
Shouting, jumping, and protesting loudly are unnecessary for her as a phenomenal woman. She simply exists, being in complete control of herself unlike insecure women who constantly worry about their appearance. In conclusion, Angelou states that above all, a phenomenal woman is self-defining.
The central theme of the poem is the repetition of the phrase “I say.” By expressing her own thoughts and rejecting others’ definitions of her, the speaker asserts her existence. Maya Angelou’s “Phenomenal Woman” is a powerful work of art that delves into often overlooked subjects, reflecting Angelou’s tendency to explore unexplored territories in her writing.
The poem depicts a woman’s love for herself, despite not being traditionally beautiful. The language and tone of the poem suggest that the speaker has endured abuse. However, rather than feeling ashamed or blaming herself, she has found strength and hope in her experiences of torture and neglect.
The scholarly essay by Kelly Holland Cecil examines the central ideas of the poem and highlights Angelou’s sources of inspiration and the recurring patterns present in her poetry. Cecil observes that Angelou often draws upon personal experiences and history in her work, utilizing strong, sometimes jazzy rhythms to convey themes that resonate with the life experiences of many African Americans, such as discrimination, exploitation, and reliance on welfare. Additionally, Angelou explores social issues and challenges from a black perspective in some of her poems, although these issues are not exclusive to the black community. Upon conducting my own analysis, I also found that Maya Angelou predominantly writes from her own experiences, a characteristic that is exemplified in this particular poem.
Although she experienced ongoing discrimination as an African American woman, she also felt insecure about her physical appearance. However, as she matured, she successfully conquered this dissatisfaction by embracing a newfound sense of self-worth. It is important to note that Angelou unfortunately endured sexual abuse during her childhood.
After disclosing the tragic event to her family, the man’s death ensued, which led her to remain silent for five years. During this period, she believed that her words were directly responsible for his demise. This prolonged silence has brought about a realization of the immense power and potential that words possess, as highlighted in this poem. Despite enduring childhood abuse, she has blossomed into a proficient woman.
According to Lyman B. Hagen, the persona in this poem is a strong, confident woman who is easily matched to the author herself. Kelly Cecil notes that Angelou is an imposing woman, standing at least six feet tall.
According to the poem, she possesses a strong personality and an influential presence. The poem strongly reflects her pride in herself, regardless of others’ opinions. Each stanza in the poem follows a repetitive pattern. Angelou begins each stanza by describing how others react when they notice this woman.
The reactions to the persona are all categorized by wonderment as they question why she is so happy and what others see in her. The stanzas continue to develop the persona, describing her as a vivacious woman.
Kelly Cecil explains that Maya Angelou utilizes imagery in her descriptions in order to provide a clearer understanding of the proud and confident persona. These descriptions play a significant role in shaping the individual’s perception of herself as a beautiful woman. Notably, each stanza concludes with the repetition of the same four lines, which according to Cecil, emphasizes specific phrases in the poem.
The phrase ‘I’m a woman / Phenomenally. / Phenomenal woman, / That’s me’ serves as an example of self-affirmation and self-love. It highlights the subject’s belief in herself as an extraordinary woman. In expressing this sentiment, Angelou also conveys a subtle frustration and anger towards those who question the subject’s confidence, regardless of their gender.
Sylvia Plath’s poem depicts the arrival of her first child, diverging from her usual protest poetry but still containing profound significance. The speaker, a new mother, grapples with the anticipated emotions of motherhood. Nevertheless, Maya Angelou acknowledges and praises the woman who embraces self-love.
She has a dislike for the new-born instead of the so-called motherly love! For a while, she is unable to love the child and actually dislikes it. However, over time, there is a shift in events. The feelings of motherhood develop within her, and what she once viewed as an object now evokes deep affection in her; she perceives music and poetry in the baby’s cry. This poem depicts the emergence of the mother, as being a mother is determined by ‘motherhood’, not solely by giving birth.
The poem’s title implies the melancholic morning melody of a sorrowful lover bidding farewell to their beloved at daybreak. However, the poem transitions from this lamentation – possibly concerning the loss of personal freedom upon becoming a mother – to a more optimistic portrayal of morning as the commencement of a new phase in life. It also delves into the concept of both a new poet and a new mother being born. Towards the conclusion, there is even an allusion to the child’s own song. Sylvia Plath penned this unconventional poem in February 1961, shortly after giving birth to her daughter Frieda. Interestingly, initially absent are the customary expressions of maternal affection.
However, as the mother spends more time with the child and the child starts to breathe and cry, she goes from feeling strange and distant to experiencing a sweeping emotion. This transformation likely occurs after the intense pain of labor has passed, allowing the mother to feel love. It is important to note that “maternal feelings” do not automatically occur. Plath openly reveals her feelings of alienation and separation. In the final three stanzas, her emotional detachment shifts and she spontaneously listens to the sound of her sleeping child.
The purpose of the surreal images and comparisons is to highlight the mother’s feelings of oddity and alienation. One particular surreal image that reinforces the baby’s existence is comparing its cry to being “bald.” The strange and convoluted nature of Plath’s images serves to underscore the sense of unfamiliarity. These images are intentionally imprecise.
Within the third tercet, the poet highlights the fragile bond between mother and child, akin to that of a cloud and mirror. However, there is solace in the fact that the mother’s innate instincts eventually surface. She attentively listens to her sleeping child’s breath, comparing it to “a far sea moves in my ear,” as if she were holding a seashell to capture the ocean’s sounds. The gentle exhalation from the child’s mouth signifies something delicate yet weighty – a manifestation of fresh life and boundless possibilities.
The child comes into the human world when the speaker notices its efforts at language. The poem emphasizes that the child’s clear vowels rise like balloons. The speaker concludes that the child creates poetry through natural and instinctive human sounds filled with emotion. “Morning Song” captures how the speaker’s perception of her baby evolves, as her closeness to her child allows her to see its lively existence.
The central theme of “Morning Song” focuses on the feeling of being separated and how one overcomes it. The poem explores the awakening of material instincts and the avoidance of sentimentality when addressing the experience of becoming a mother. Plath emphasizes that motherhood is not simply achieved through childbirth.
New behavior is acquired. The mother’s existence is as fresh as the child’s existence. Even the speaker, who listens to the child’s sounds and becomes captivated, is not acting intentionally or within their own control. The mother acts on instinct: “only cry and I lose my footing from bed.
“Himemother sings to her with a ‘morning song’ and a connection is formed with the aid of language, the fundamentally human action. Another significant matter the poem tackles is: can a woman be a mother and renowned poet simultaneously? In this regard, she confronts one of the primary challenges that female poets of the twentieth century encountered. This poem provides a response to her underlying query. The jubilant conclusion announces the emergence of both a fresh vocalist on the stage and a mother proud of her child’s vocal cues and message.
