The appellation of the composition “Barbie Doll” by Marge Piercy speaks of the abstraction of the absolute anatomy angel that prevails in association today. It identifies with the accepted to which the persona of the composition finds herself captivated by society, and which she aback realizes she cannot meet. The poem’s appellation underlines the irony and tragedy of the situation, as it demonstrates how little girls, in their ignorance, absorb their time arena with these acutely controllable toys. However, all the while they are inculcating a cocky angel that few bodies are able to alive up to.
When this accurate persona is told by a chic acquaintance that she has a big adenoids and big legs (line 6), allegory to her admired Barbie Doll of adolescence alone confirms the accusation. The artist utilizes the third-person anecdotal articulation as the apostle of the poem. While the apostle may accept fatigued from his/her own experiences, all affirmation credibility against the apostle and the persona’s actuality audible persons. The axial appearance is a babe who has developed up with the accepted adventures of any little girl, but who is aback befuddled into battle with herself by the animadversion of a classmate.
The poem’s anatomy is not fixed, as it appears to be in chargeless verse. One apparent aspect of the composition is that the aboriginal three stanzas all end with a animadversion on the persona’s adenoids and legs. Apart from this, the stanzas do not authenticate any austere accord of anatomy or rhyme. The delivery of the apostle indicates that he or she has had at atomic a middle- or upper-middle-classed background. The use of the byword “miniature GE stoves and band and wee lipsticks the blush of blooming candy” (lines 3-4) credibility against a adolescence accomplished with almost big-ticket toys.
The presentation of dolls (line 2) additionally gives affirmation of the apostle (and persona’s) accepting to the college amusing classes in which girls are formally “presented” to association at a assertive age. The apostle additionally betrays a aerial akin of education, with the use of such agreement as “manual dexterity” (line 9). This byword adeptness be in advertence to accomplishment on the piano—though possibly to article a bit beneath honorable, as it is mentioned forth with her “abundant animal drive” (line 9).
However, the airiness with which the apostle does accredit to animal things additionally betrays a accomplishment with words bedevilled by the accomplished and privileged. The composition reflects the activity of a accurate babe who has developed to adulthood and no best appreciates her anatomy image. It appears to be announced as a acclaim to a aggregation at a funeral, cogent the adventure of the being who is now displayed in the casket. The girl, who grew up airy and doll-loving as alternative girls, aback becomes acquainted of her disability to fit the angel of the absolute woman created by society.
She neither loves herself nor believes that anyone can, and tries to atone for this by adulatory (wheedling) others, dieting, and conceivably alike through animal promiscuity. However, the futility of all this exasperates her as “her acceptable attributes wore out like a fan belt” (lines 15-16). The acid off and alms up of her legs and adenoids (lines 17-18) may be in advertence to animal abandon with her body, while it may additionally accredit to a baleful attack that may accept led to her death.
The use of the emblematic appellation “magic of puberty” (line 5) is able in its adeptness to accommodate both changes the babe undergoes at that time. Her anatomy does arise to change magically from accustomed to animal in acknowledgment to the classmate’s description of her adenoids and legs. The byword reflects that this happens at the aforementioned time that bodies usually change “magically” from boyhood to womanhood. The apostle additionally finds a able allegory in the use of the appellation “consummation at last” (line 24).
This refers to the adaptation of the persona’s desires, as she has consistently capital to be advised appealing and now has been declared appropriately by those who appearance her in her casket. Yet, it additionally highlights the irony of the situation, as alone in afterlife are these bodies “at last” accommodating to accept her beauty. This accepting comes back it is too late. The “happy ending” (line 25) to which the apostle refers is a askance and abnormal one in which alone in afterlife (her ending) does she acquisition the accepting that she seeks. Work Cited Piercy, Marge. “Barbie Doll. ” Circles on the Water: Selected Poems of Marge Piercy. New York: Knopf, 1999.
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