Alicante Lullaby by Sylvia Plath Line by Line Explanation

In Alicante they bowl the barrels

The opening line sets the scene in Alicante, a city in Spain. The use of “bowl” suggests a casual and lively motion of barrels.

Bumblingly over the nubs of the cobbles

The barrels are described as moving clumsily or awkwardly over the uneven surfaces of the cobblestone streets.

Past the yellow-paella eateries,

The poem introduces the vibrant and colorful yellow-paella eateries, emphasizing the distinctive cuisine associated with the region.

Below the ramshackle back-alley balconies,

The description of ramshackle back-alley balconies suggests a less polished and perhaps more authentic or lived-in aspect of the city.

While the cocks and hens

The poem introduces the presence of chickens (cocks and hens), adding a touch of liveliness and natural, uncontrolled movement.

In the roofgardens

The chickens are situated in roofgardens, highlighting a vertical dimension to the cityscape and adding an element of surprise or unconventional scenery.

Scuttle repose with crowns and cackles.

The chickens are described as scuttling, disrupting their repose (rest), and making crowns and cackles, adding a playful and animated quality to the scene.

Kumquat-colored trolleys ding as they trundle

The poem shifts to describing kumquat-colored trolleys, suggesting bright orange hues. The use of “ding” captures the sound they make, and “trundle” conveys their movement.

Passengers under an indigo fizzle

The trolleys transport passengers under an indigo (deep blue) fizzle, likely referring to an electric or lively atmosphere.

Needling spumily down from the wires:

The imagery suggests a sparkling or effervescent quality in the atmosphere, with the idea of energy descending from overhead wires.

Alongside the sibliant narhor the lovers

Introduces a sibliant narhor (a hissing sound), suggesting another layer of auditory stimulation. The mention of lovers adds a romantic dimension.

Hear loudspeakers boom

The lovers hear the booming sound of loudspeakers, emphasizing the prevalence of sound in the city.

From each neon-lit palm

Neon-lit palms likely refer to illuminated trees or structures, contributing to the lively and bright atmosphere of Alicante.

Rumbas and sambas no ear-flaps can muffle.

The types of music mentioned, rumbas and sambas, are lively and energetic. The idea that ear-flaps can’t muffle them suggests the pervasive and unavoidable nature of the music.

O Cacophony, goddess of jazz and of quarrels,

The poem personifies the cacophony of sounds as a goddess, giving it a divine and chaotic quality. The goddess is associated with jazz and quarrels, further emphasizing the diverse soundscape.

Crack-throated mistress of bagpipes and cymbals,

The goddess is characterized with a “crack-throated” voice, connecting her to various musical instruments like bagpipes and cymbals, intensifying the chaotic imagery.

Let be your con brios, your capricciosos,

The poet appeals to the goddess, asking her to allow the various musical elements, expressed through musical terms like “con brios” and “capricciosos,” to exist harmoniously.

Crescendos, cadenzas, prestos and pretissimos,

The poet lists musical terms, emphasizing the complexity and variety of sounds that make up the cacophony.

My head on the pillow

The poem takes a more personal turn, focusing on the poet’s experience.

(Piano, pianissimo)

The mention of dynamic markings in music (“piano, pianissimo”) indicates a desire for a softer and more tranquil state.

Lullayed by susurrous lyres and viols.

The poet expresses a wish to be lulled to sleep by the soothing sounds of lyres and viols, contrasting with the earlier cacophony. “Susurrous” suggests a gentle, murmuring quality.