Alicante Lullaby by Sylvia Plath Structure and Form

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.

The structure and form of “Alicante Lullaby” by Sylvia Plath contribute significantly to the overall impact of the poem. Plath employs a unique structure that enhances the vivid and dynamic portrayal of Alicante, utilizing concise yet expressive language.

1. Stanza Structure: The poem is divided into three stanzas, each capturing a distinct aspect of the city. The stanzas are of equal length, containing seven lines each. This consistent structure contributes to a sense of balance and order in the poem. The regularity of the stanzas also mirrors the rhythmic movements and sounds described in the verses.

2. Line Length and Meter: The lines in each stanza vary in length, contributing to the dynamic flow of the poem. Plath uses both short and longer lines to create a sense of movement and visual interest. While there isn’t a strict meter, the poem exhibits a loose trochaic tetrameter, a rhythmic pattern with alternating stressed and unstressed syllables. This rhythmic variation aligns with the lively and unpredictable nature of Alicante.

3. Rhyme Scheme: The poem does not adhere to a traditional rhyme scheme. Instead, Plath employs a free verse style, allowing her to focus on the vivid imagery and sounds without the constraints of a regular rhyme pattern. This choice contributes to the natural and spontaneous feel of the poem, mirroring the bustling and diverse scenes of Alicante.

4. Imagery and Descriptions: Plath’s use of vivid and descriptive language creates a rich tapestry of images. The poem vividly captures the essence of Alicante by describing the movement of barrels, the colors of trolleys, the sounds of loudspeakers, and the vibrant scenes in the city. The poet uses simple yet powerful words to paint a detailed picture, making it easy for readers to visualize the lively scenes.

5. Personification: A notable aspect of the poem is the personification of the amalgamation of sounds as the “O Cacophony, goddess of jazz and of quarrels.” This personification adds a playful and imaginative layer to the poem. It also contributes to the overall structure by introducing a central theme or character that ties together the various sounds of the city.

6. Tone and Shifts: The poem begins with a lively and playful tone as it describes the bustling streets of Alicante. As it progresses, there is a shift in tone when the poet addresses the “O Cacophony, goddess.” This shift adds depth to the structure, introducing a more contemplative and introspective element towards the end of the poem.

In conclusion, the structure and form of “Alicante Lullaby” contribute to the poem’s overall effectiveness in conveying the lively and dynamic atmosphere of Alicante. Plath’s deliberate choices in stanza structure, line length, and use of free verse allow her to capture the essence of the city while maintaining a sense of balance and rhythm. The personification and shifts in tone add layers to the structure, creating a compelling and immersive reading experience.