The Mirror is an emblem of the objective truth in the present tense in Sylvia Plath’s “Mirror.”  It is silver to the extent of perfect reflection. Therefore it is exact and precise in its projection of image. It has no preconceptions pertaining to emotion, memory or logic. In other words, it is the best Critic. For even the best critic is biased to a certain extent. Whatever it sees is swallowed by it into its frame. As it swallows images to project, it does not tell how many will ‘digest’ this ‘swallowing’ of images. It is ‘unmisted’ literally and metaphorically, says the poetess by love or detestation. It is perfectly neutral in manifestation. It reiterates that is just truthful (objective), and not cruel.It reveals how being truthful can also prove to be detrimental. It reminds us of a quote in Gregory David Robert’s Shantaram: ”Truth is a bully we all pretend to like.”

The phrase ‘eye of a little god” reminds of Arundhati Roy’s “God of Small Things.” The word ‘eye’ may denote both vision and insight. A miniature God, it is free from emotion, reason and worldly ethics. It even has its own geometry-‘four-cornered’. Most of the time of the mirror is occupied focusing on the opposite wall (or background).The wall is pink with speckles. The mirror describes it just as one would describe a face-‘pink with freckles’. The long term association with the wall in spite of its imperfect appearance renders it dear to the mirror. Though inanimate and monotonous the inexplicable bond has made it into a part of the heart of the mirror. Nevertheless, it flickers again and again as faces and darkness do occasionally intrude. These lines reveal two things: that the mirror loves light. Secondly, though it is truthful in its duty, it does not endorse it. It rather enjoys meditating on its opposite wall with which it has developed an inexplicable intimacy. The Mirror through the metaphor emphasizes that appearances are secondary, when one develops a deep and long-term bond with someone.

The mirror declares in the second stanza that: “Now I am a lake. “

The mirror is still the same in material and function. What has now changed is the onlooker’s experience with the passage of time. Over the years, it is capable of multiple-ripple effects .Just as a person throwing a stone into the lake witnesses. It now seems to hold secrets that one cannot fathom within its depth. A woman bends over the mirror trying to discover her self. The mirror is called a lake also because, now, the woman does not trust the picture of hers, simply because she cannot bring herself to accept reality. The mirror-reflection to her is now hazed and distorted: therefore it is a ‘lake-image’. She resorts to the ‘moon’ and ‘candles’, which according to the mirror are compulsive liars. The “moon” signifies ’love’ or the person ‘loved’ The beloved will always not tell the truth so as to not hurt the loved one. The truth may be tinged by emotion in this case. ”Candle-light” refers to artificial light, or  to the camouflaging of aging(make-up and other techniques)The lady seeks refuge in these to delve into a cloud-cuckoo land regarding herself. The mirror meanwhile continues to reflect even her ‘back’ faithfully. The word ‘back’ may be utilized to imply ’shadow’ or even insignificant aspects of the person in question. Her response to the mirror is tears and agitation-sheer protest reluctant to acknowledge the truth. Though, she keeps coming back to the mirror. Therefore, she does regard the mirror. She comes right in the morning-she is the first to replace the darkness.

In me she has drowned a young girl, and in me an old woman

Rises toward her day after day, like a terrible fish.

The lady perhaps comes every now and then to the mirror to rediscover the young girl that had drowned in the mirror. Nevertheless, what arises is an old woman. The poetess utilizes the simile of a ‘terrible fish’ that is at once revolting and unpleasant to all the major sensory perceptions.

© Rukhaya MK 2010

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