EXPLORING PLETHORA OF FEMININE EXPERIENCES AND IMAGISTIC PATTERN IN SYLVIA PLATH’S 'TULIPS' (Pages 101-109) by Dr. Rajani Sharma* and Dr. Shakuntala Kunwar** in THE ENGLISH RESEARCH EXPRESS / ISSN:2321-1164 (Online); 2347-2642 (Print)

The present paper aims at exploring the plethora of feminine experiences through the recurrent pattern of imagery in Sylvia Plath’s most famous poem “Tulip.” The critical assessment of the paper is divided into different segments. The first part of the paper deals with the introduction of Sylvia Plath’s status among women American poets. The next part is devoted to the exploration of the psyche-cape of the poetic persona with the imagery and setting of the hospital where she is lying on her bed. The subtle usage of the floral imagery of tulips is central one around which all the images revolve and to which all are interlinked from the beginning till the very end. The poet has employed colour imagery meticulously embedded with myriads of feminine experiences from claustrophobic feminine self to her resentment towards it to break the shackles of patriarchal ‘isms’he present paper aims at exploring the plethora of feminine experiences through the recurrent pattern of imagery in Sylvia Plath’s most famous poem “Tulip.” The critical assessment of the paper is divided into different segments. The first part of the paper deals with the introduction of Sylvia Plath’s status among women American poets. The next part is devoted to the exploration of the psyche-cape of the poetic persona with the imagery and setting of the hospital where she is lying on her bed. The subtle usage of the floral imagery of tulips is central one around which all the images revolve and to which all are interlinked from the beginning till the very end. The poet has employed colour imagery meticulously embedded with myriads of feminine experiences from claustrophobic feminine self to her resentment towards it to break the shackles of patriarchal ‘isms’Keywords: Feminine, feminism, imagery, psychescape, and Patriarchy.