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She mentions how the contrast of the red “against fifty variants of green” (19) draws attention to the couch and Yadwigha lying upon it, making her seem even more stunning simply because she poses on something unexpected.
In this description, the muses are no longer vengeful ghosts that follow and torment the young Plath, but are instead mere statues, incapable of movement or emotion.
She continues, saying “their shadows long in the setting sun / That never brightens or goes down” (52-53).
Both sets of muses are certainly disquieting, but de Chirico's are more physically disturbing, while Plath's seem to be purposefully trying to make her feel inadequate and insecure in herself.
Her inability to dance with the other children of her age or properly play the piano always disappointed these muses, even though her mother seemed to always love her.
She uses the idea of “disquieting muses” as a metaphor for her inability to meet the societal demands expected by her mother.
The muses in de Chirico's painting are three oddly put-together statues, while the ones Plath refers to are more like the ghosts of her failures that constantly follow and haunt her.From a literal standpoint, a woman on a red sofa in the jungle makes no sense, but from a non-literal view, Yadwigha on her red couch adds her own beauty to the scene, making it much more than a simple jungle setting.The point of the painting is not to make all the elements fit together in a literal sense, but to make them fit together in a way that is visually appealing and that captures the imagination, transcending all logic and common sense in the process.In these cases, she uses both the titles of the paintings and the titles’ connotations in order to express her own internal desires.Regardless of the way in which she uses these works of art in her poetry, it is clear that she gains inspiration from them.(Tate Gallery) Sylvia Plath's poem, “Snakecharmer” bears little resemblance to Henri Rousseau's painting of the same title; instead, it is as if she wrote the poem not about the painting, but about the idea of a snake charmer.For one thing, Plath describes a male snake charmer, while the one that appears in Rousseau's masterpieces is female.After all, when a person dreams at night, they do not typically include their bed in the dream.It is these very criticisms that Plath responds to nearly 50 years later.The male snake charmer also seems to be a devious character, possessing many qualities of a twisted God and creating “snaky generations: let there be snakes! The female snake charmer, on the other hand, also makes an appearance in “The Dream,” suggesting that she is fit to appear in such a heavenly setting.Finally, while Rousseau's snake charmer seems to have summoned several snakes to her side, Plath's snake charmer creates the snakes and, when he grows tired, can banish them.