Alicante Lullaby by Sylvia Plath Analysis

In Alicante they bowl the barrels
Bumblingly over the nubs of the cobbles
Past the yellow-paella eateries,
Below the ramshackle back-alley balconies,
While the cocks and hens
In the roofgardens
Scuttle repose with crowns and cackles.

Kumquat-colored trolleys ding as they trundle
Passengers under an indigo fizzle
Needling spumily down from the wires:
Alongside the sibliant narhor the lovers
Hear loudspeakers boom
From each neon-lit palm
Rumbas and sambas no ear-flaps can muffle.

O Cacophony, goddess of jazz and of quarrels,
Crack-throated mistress of bagpipes and cymbals,
Let be your con brios, your capricciosos,
Crescendos, cadenzas, prestos and pretissimos,
My head on the pillow
(Piano, pianissimo)
Lullayed by susurrous lyres and viols.

“Alicante Lullaby” by Sylvia Plath is a captivating poem that invites readers into a vibrant and sensory-rich depiction of Alicante, Spain. Through meticulous language, playful imagery, and a distinctive use of sound, the poem unfolds as a celebration of the city’s lively atmosphere while exploring themes of contrast and harmony.

The poem’s opening lines introduce the reader to the lively scene of barrels being rolled over cobblestone streets in Alicante. The term “bumblingly” sets a whimsical tone, suggesting a certain clumsiness in the movement, perhaps mirroring the vivacity of the city. The reference to yellow-paella eateries and ramshackle back-alley balconies paints a vivid picture of the city’s diverse and lively landscape. Meanwhile, the presence of cocks and hens in roofgardens adds a touch of humor and vitality.

The poet skillfully employs sound in the first stanza, with words like “scuttle,” “crowns,” and “cackles” creating a playful auditory experience. This sets the stage for the auditory exploration that follows in subsequent stanzas. The sound of kumquat-colored trolleys “dinging” as they trundle and the indigo fizzle needling spumily down from the wires contribute to a multi-sensory experience, transporting the reader into the heart of Alicante.

The juxtaposition of lively scenes continues in the second stanza with the mention of lovers hearing loudspeakers booming with rumbas and sambas. The poet crafts a vibrant auditory landscape, highlighting the coexistence of different sounds, creating a cacophony that becomes a defining feature of the poem. The inability of ear-flaps to muffle the lively music emphasizes the immersive and inescapable nature of the city’s soundscape.

The poem takes a unique turn as it personifies the amalgamation of sounds as the “O Cacophony, goddess of jazz and of quarrels.” This personification introduces a playful and fantastical element, turning the city’s sounds into a deity with a crack-throated mastery of bagpipes and cymbals. The use of musical terms like “con brios,” “capricciosos,” and “crescendos” adds a layer of sophistication, reinforcing the diverse and intricate nature of the auditory experience.

The poet’s plea to the goddess to let the sounds be, using terms like “con brios” and “pianissimo,” brings a moment of reflection. This plea suggests a desire for harmony amidst the lively chaos, emphasizing the need for balance and tranquility in the midst of a bustling city. The final lines depict the poet’s head on a pillow, lullayed by the gentle sounds of lyres and viols, bringing the poem to a serene conclusion.

In essence, “Alicante Lullaby” is a skillful exploration of the sensory and auditory richness of Alicante, using playful language and personification to convey the vibrancy and diversity of the city’s soundscape. The poem delves into the contrast between the lively cacophony and the desire for a tranquil lullaby, leaving readers with a nuanced and immersive experience of Alicante’s unique atmosphere.