Q. Critically evaluate Bee Meeting by Sylvia Plath.
Line-by-Line Explanation of Bee Meeting
Stanza 1
Who are these people at the bridge to meet me? They are the villagers——
The rector, the midwife, the sexton, the agent for bees.
In my sleeveless summery dress, I have no protection,
And they are all gloved and covered, why did nobody tell me?
They are smiling and taking out veils tacked to ancient hats.
Who are these people at the bridge to meet me? They are the villagers——
In this opening line, the speaker questions who the people waiting for her at the bridge are. The term “villagers” refers to the residents of a village, emphasizing that the speaker feels like an outsider or is unfamiliar with these people.
The rector, the midwife, the sexton, the agent for bees.
This line introduces specific members of the village community. A “rector” is a clergyman in certain branches of the Christian church.
A “midwife” is a trained professional who assists women in childbirth. A “sexton” is a church official responsible for maintaining the church building and its grounds.
“Agent for bees” is not a common term, but it suggests someone responsible for managing or caring for bees.
In my sleeveless summery dress I have no protection,
The term “sleeveless” refers to a dress without sleeves, which implies that the speaker’s arms and shoulders are uncovered. The word “summery” suggests that the dress is suitable for summer, typically lightweight and perhaps more revealing or less protective.
This line highlights the speaker’s vulnerability and lack of protection in the context she finds herself in.
And they are all gloved and covered, why did nobody tell me?
The word “gloved” means wearing gloves. In this context, it implies that the others are dressed protectively, contrasting the speaker’s sleeveless dress.
The phrase “Why did nobody tell me?” expresses the speaker’s sense of unpreparedness and possibly a feeling of betrayal or neglect by others.
They are smiling and taking out veils tacked to ancient hats.
A “veil” protects or conceals the face, and it would be used in beekeeping to protect the face from bees. The word “tacked” here means that the veils are fastened or attached to the hats, which are described as “ancient,” indicating they are very old or traditional.
The description creates an image of a ritualistic or ceremonious preparation, contrasting with the speaker’s unprepared state.
Stanza 2
I am nude as a chicken neck; does nobody love me?
Yes, here is the secretary of Bees with her white shop smock,
Buttoning the cuffs at my wrists and the slit from my neck to my knees.
Now, I am milkweed silk; the bees will not notice.
They will not smell my fear, my fear, my fear.
I am nude as a chicken neck; does nobody love me?
In this line, the speaker compares her vulnerability and exposed state to that of a “chicken neck,” typically seen as bare and defenseless. This metaphor emphasizes her feelings of being unprotected and possibly unloved or uncared for.
The rhetorical question “Does nobody love me?” suggests a deep isolation and a longing for care or affection.
Yes, here is the secretary of Bees with her white shop smock,
The “secretary of bees” is likely a fictional or symbolic title, suggesting a knowledgeable person in charge of the bees. A “shop smock” is a protective garment worn over regular clothes, typically in work environments like workshops.
This indicates that the speaker is about to be given some form of protection, contrasting with her previously vulnerable state.
Buttoning the cuffs at my wrists and the slit from my neck to my knees.
This line describes the action of the “secretary of bees” fastening the smock on the speaker. Buttoning the cuffs at her wrists and the slit from her neck to her knees provides a detailed image of the smock being secured.
Now, I am milkweed silk; the bees will not notice.
Milkweed silk refers to the silky fibers the milkweed plant produces, which monarch butterflies often use to lay their eggs.
The comparison to “milkweed silk” suggests a transformation in the speaker’s appearance to something more natural and inconspicuous. It implies that she now blends in with her surroundings, and the bees will not perceive her as a threat or an outsider.
They will not smell my fear, my fear, my fear.
The repetition of “my fear” emphasizes the speaker’s anxiety and trepidation. Despite the physical protection she now has, the speaker is still gripped by fear. This line suggests her fear is internal and profound, going beyond the bees’ physical threat.
Stanza 3
Which is the rector now, is it that man in black?
Which is the midwife, is that her blue coat?
Everybody is nodding a square blackhead, they are knights in visors,
Breastplates of cheesecloth knotted under the armpits.
Their smiles and their voices are changing. I am led through a beanfield.
Which is the rector now, is it that man in black?
The speaker is trying to identify the rector among the group, wondering if he is the man dressed in black. Black is traditionally associated with clergy attire, indicating the formality and solemnity often associated with religious figures.
Which is the midwife, is that her blue coat?
The speaker attempts to identify the midwife, guessing she might be wearing a blue coat. The specific mention of colors adds a visual element to the poem and helps to distinguish these characters in the scene.
Everybody is nodding a square black head, they are knights in visors,
This line uses a metaphor comparing the villagers, likely wearing protective beekeeping gear, to knights wearing visors. The “square black head” could refer to the shape of the beekeepers’ hats or veils, which might appear square and dark from a distance.
Breastplates of cheesecloth knotted under the armpits.
The speaker describes the protective clothing of the villagers as “breastplates of cheesecloth,” likening the beekeeping gear to armor.
Cheesecloth is a lightweight, gauzy fabric, and using it to describe protective gear is ironic since it is not a material typically associated with strength or protection.
Their smiles and their voices are changing. I am led through a beanfield.
In this line, the speaker notes a transformation in the villagers’ demeanor—their smiles and voices are changing, perhaps becoming more severe or focused as they proceed with their beekeeping activities.
The mention of being led through a beanfield paints a pastoral scene and signifies movement, possibly towards the beekeeping site. It also shows the speaker’s passive role in the event; she is being led, not leading.
Stanza 4
Strips of tinfoil winking like people,
Feather dusters fanning their hands in a sea of bean flowers,
Creamy bean flowers with black eyes and leaves like bored hearts.
Is it blood clots the tendrils are dragging up that string?
No, no, it is scarlet flowers that will one day be edible.
Strips of tinfoil winking like people,
In this line, the speaker describes tinfoil strips reflecting light, creating a visual effect similar to winking. The comparison of the tinfoil’s shimmer to “people” adds a human-like quality to the scene, blending the natural with the artificial.
Feather dusters fanning their hands in a sea of bean flowers,
Plath uses the image of “feather dusters” to represent the bees. Bees, with their delicate and fuzzy bodies, might be likened to dusters’ soft, feathery ends.
Feather dusters are designed to gently remove dust from surfaces without causing harm. Similarly, bees collect nectar and pollen from flowers with precision and care, ensuring the flowers are not damaged.
The phrase “their hands” within the line “Feather dusters fanning their hands in a sea of bean flowers” metaphorically refers to the bees’ wings.
The imagery of “fanning their hands” suggests the movement of the bees as they hover and work among the flowers, with “hands” poetically substituting for their wings.
Creamy bean flowers with black eyes and leaves like bored hearts.
This line continues the detailed description of the setting. The “creamy bean flowers” with “black eyes” could refer to the center parts of the flowers, possibly resembling eyes.
The comparison of leaves to “bored hearts” is a poetic way of describing their shape and perhaps their stillness or lack of activity, evoking a sense of melancholy or ennui.
Is it blood clots the tendrils are dragging up that string?
The speaker questions what she is seeing, wondering if the plant tendrils are pulling up something resembling “blood clots” along a string. The imagery of dragging up blood clots could also represent a physical or emotional struggle.
It possibly suggests the pain and effort involved in healing or dealing with past traumas. The tendrils could symbolize delicate, growing parts of oneself or one’s life trying to move past these “clots” or obstacles.
No, no, it is scarlet flowers that will one day be edible.
The speaker corrects herself, realizing she sees scarlet flowers, not blood clots. The mention that they “will one day be edible” brings a sense of hope or future utility, contrasting with the earlier unsettling imagery.
The scarlet flowers’ evolution from inedible to edible might also reflect the cycles of life and the natural world, where everything has its season and purpose.
This cycle can metaphorize human experiences, reminding us that periods of difficulty or barrenness can give way to times of abundance and fulfillment.
Stanza 5
Now they are giving me a fashionable white straw Italian hat
And a black veil that molds to my face, they are making me one of them.
They are leading me to the shorn grove, the circle of hives.
Is it the hawthorn that smells so sick?
The barren body of hawthorn etherizing its children.
Now they are giving me a fashionable white straw Italian hat.
This line depicts a shift in the speaker’s integration into the group. She is given a “fashionable white straw Italian hat,” which could be part of the beekeeping attire.
And a black veil that molds to my face, they are making me one of them.
The black veil suggests a close fit that obscures her features. This action of being dressed in the same gear as the others symbolizes her assimilation into the group, losing her identity and becoming “one of them.”
They are leading me to the shorn grove, the circle of hives.
The speaker is being led to a specific location for beekeeping, described as a “shorn grove” with a “circle of hives.”
A “shorn grove” suggests a place where the trees or vegetation have been cut back, creating an open area for the hives. The circle formation of the hives gives a sense of order and ritual to the setting.
Is it the hawthorn that smells so sick?
The speaker is questioning the source of a sickly smell, wondering if it comes from the hawthorn, a shrub or small tree that often has sharp thorns and is common in hedgerows.
The barren body of hawthorn, etherizing its children
The phrase “barren body of hawthorn” suggests that the hawthorn is lifeless or unproductive, contrasting with its usual flowering state.
“Etherizing its children” is a striking phrase; ether is an anesthetic, so this could metaphorically suggest that the hawthorn is numbing or dulling the vitality of its surroundings, including its “children.”
This line adds a sense of eeriness and hints at a loss of vitality or natural vibrancy in the environment.
Stanza 6
Is it some operation that is taking place?
It is the surgeon my neighbors are waiting for,
This apparition in a green helmet,
Shining gloves and a white suit.
Is it the butcher, the grocer, the postman, someone I know?
“Is it some operation that is taking place?”
In this line, the speaker wonders if the gathering of villagers is for some operation, using a term typically associated with medical procedures. Using “operation” could imply that something significant, possibly invasive, or life-changing is about to occur.
It is the surgeon my neighbors are waiting for,
The speaker refers to someone as “the surgeon,” which continues the medical analogy. There is no actual surgeon in beekeeping, but this metaphorical language might imply that the task at hand requires precision and care, akin to a surgical procedure.
This apparition in a green helmet,
Shining gloves and a white suit
The word “apparition” gives a ghostly, almost otherworldly feel to the description of the person the speaker is observing. A “green helmet” could be part of the beekeeping attire.
The description of “shining gloves and a white suit” further contributes to the clinical, surgical imagery. It suggests cleanliness and precision and is reminiscent of a medical professional’s attire.
Is it the butcher, the grocer, the postman, someone I know?
Here, the speaker tries to reconcile the strange, almost surreal scene with her everyday reality. She wonders if the person in the beekeeping gear could be someone familiar with daily life, like the butcher, grocer, or postman.
Stanza 7
I cannot run; I am rooted, and the gorse hurts me
With its yellow purses, its spiky armory.
I could not run without having to run forever.
The white hive is snug as a virgin,
Sealing off her brood cells, her honey, and quietly humming.
I cannot run; I am rooted, and the gorse hurts me.
In this line, the speaker feels trapped or immobilized, suggesting a deep sense of helplessness or inevitability. The mention of “gorse” hurting her, a spiky, thorny plant, symbolizes her pain or discomfort in her current circumstances.
With its yellow purses, its spiky armory.
The gorse is described with “yellow purses,” referring to its yellow flowers, and “spiky armory,” emphasizing its thorny, protective nature.
I could not run without having to run forever.
This line conveys a feeling of inescapability, suggesting that any attempt to escape her current situation would lead to a never-ending flight. It reflects a sense of inevitability and entrapment.
The white hive is snug as a virgin,
The hive is personified and compared to a virgin, implying purity, seclusion, and perhaps untouched potential. Describing the hive as “snug” suggests it is secure and comfortable, symbolizing a place of safety or sanctuary.
Sealing off her brood cells, her honey, and quietly humming.
This line describes the hive’s caring activity for its young and resources, with the hive personified as a protective entity. The mention of it “quietly humming” adds a sense of calm and industriousness.
Stanza 8
Smoke rolls and scarves in the grove.
The mind of the hive thinks this is the end of everything.
Here they come, the outriders, on their hysterical elastics.
If I stand very still, they will think I am cow-parsley,
A gullible head untouched by their animosity.
Smoke rolls and scarves in the grove.
This line depicts smoke moving through the grove where the hives are located. Using “rolls and scarves” as verbs personifies the smoke, giving it a flowing, almost fabric-like quality.
This could reference using smoke in beekeeping to calm the bees, suggesting preparation for interaction with the hives.
A scarf is a fabric worn around the neck for warmth, fashion, or religious reasons. However, when used as a verb or in a descriptive metaphorical sense, as it seems in this context, “to scarf” can mean to wrap or envelop something like how a scarf would wrap around a person’s neck.
The mind of the hive thinks this is the end of everything.
Here, the hive is personified, attributed to having a “mind.” This phrase suggests that the bees collectively perceive the smoke and the ensuing activities as catastrophic. It is a poetic way of describing the bees’ instinctual panic in response to the beekeepers’ actions.
Here they come, the outriders, on their hysterical elastics.
Traditionally, outriders are horsemen who ride ahead of or beside a group to clear the way, scout, or provide protection. It describes certain bees’ behavior in protecting their hive because of the smoke.
The phrase “hysterical elastics” could metaphorically describe a movement that is not only flexible but also frantic or exaggerated in its intensity.
The elasticity suggests an ability to stretch, bounce, or rebound with great energy, while “hysterical” might imply a lack of control or an overwhelming force.
If I stand very still, they will think I am cow-parsley,
The speaker contemplates standing motionless in the hope that the bees will mistake her for cow-parsley, a type of wildflower. This idea of blending in with the surroundings suggests a desire for camouflage or a wish to avoid confrontation with the bees.
It reflects a passive defense strategy, hoping to be perceived as part of the natural environment rather than a threat.
A gullible head untouched by their animosity,
The term “gullible head” about cow-parsley implies an innocent or naive appearance. The speaker hopes to appear harmless and unassuming to the bees, untouched by any hostility (“animosity”) they might show.
This line conveys a sense of vulnerability and a desire for peaceful coexistence with the natural world, even in a potentially threatening situation.
Stanza 9
Not even nodding, a personage in a hedgerow.
The villagers open the chambers, they are hunting the queen.
Is she hiding, is she eating honey? She is very clever.
She is old, old, old, she must live another year, and she knows it.
While in their finger joint cells the new virgins,
Not even nodding, a personage in a hedgerow.
In this line, the speaker continues the thought from the previous lines, emphasizing her attempt to remain completely still (“Not even nodding”) to avoid attracting the bees’ attention.
The term “personage” suggests a figure of importance or distinction. However, it is used ironically here as she tries to be inconspicuous within a hedgerow, a dense row of shrubs or trees.
The villagers open the chambers, they are hunting the queen.
The action shifts to the villagers now opening the beehive chambers. Their goal is to find the queen bee, a critical part of beekeeping.
The term “hunting” implies a careful and deliberate search, highlighting the queen bee’s importance to the colony.
Is she hiding, is she eating honey? She is very clever.
The speaker speculates what the queen bee might be doing – hiding or eating honey. Describing the queen as “very clever” personifies her and attributes intelligence to her actions. It suggests she might be actively eluding the beekeepers.
She is old, old, old, she must live another year, and she knows it.
This line emphasizes the age of the queen bee and her crucial role in the hive’s survival. The repetition of “old” shows her longevity and wisdom.
The phrase “she must live another year, and she knows it” implies a sense of urgency and survival instinct in the queen bee, aware of her importance for the colony’s future.
While in their fingerjoint cells the new virgins.
The poem describes the “new virgins” in the hive, likely referring to the young virgin queen bees being raised to replace the old queen eventually.
The term “finger joint cells” could be a metaphor for the structure of the beehive cells, which might resemble the interlocking of fingers.
Stanza 10
Dream of a duel they will win inevitably,
A curtain of wax divided them from the bride’s flight,
The flight of the murderess into a heaven that loves her.
The villagers are moving the virgins, there will be no killing.
The old queen does not show herself, is she so ungrateful?
Dream of a duel they will win inevitably,
This line refers to the young virgin queen bees in the hive. They are depicted as dreaming of a future duel – a natural part of bee colony behavior where virgin queens may fight for dominance.
The phrase “they will win inevitably” suggests a predestined victory, a natural and inescapable part of their life cycle within the hive.
A curtain of wax divided them from the bride’s flight,
Here, the “curtain of wax” refers to the wax cells of the hive where the virgin queens are kept. “Bride flight” is an allusion to the nuptial flight, a crucial event in a bee’s life where the new queen mates with drones outside the hive.
This line vividly illustrates the transitional state of the virgin queens, separated from their crucial mating flight by the wax cells of their birth.
The flight of the murderess into a heaven that loves her.
This phrase continues to describe the nuptial flight of the new queen bee, who is somewhat dramatically referred to as a “murderess” – possibly alluding to the earlier mentioned duels for dominance among virgin queens.
The term “upflight” suggests upward movement, possibly indicating ascension or elevation. This imagery conveys a sense of movement and transition as if the subject rises above her current state or circumstances.
The villagers are moving the virgins, there will be no killing.
The action returns to the beekeepers (“the villagers”) managing the hives. They move the virgin queens to prevent duels or facilitate mating.
The statement “there will be no killing” implies they are intervening to avoid the natural but violent queen selection process typical in bee colonies.
The old queen does not show herself, is she so ungrateful?
The speaker reflects on the old queen’s absence or invisibility during this process. The rhetorical question “Is she so ungrateful?” could suggest the speaker’s expectation that the old queen should appear as a sign of acknowledgment or gratitude for the beekeepers’ efforts.
Stanza 11
I am exhausted, I am exhausted ——
Pillar of white in a blackout of knives.
I am the magician’s girl who does not flinch.
The villagers are untying their disguises and shaking hands.
Whose is that long white box in the grove? What have they accomplished? Why am I cold?
“I am exhausted, I am exhausted ——”
The repetition of “I am exhausted” emphasizes the speaker’s overwhelming fatigue, both physical and emotional. It conveys a sense of being drained by the events or the intense emotional experience she is undergoing.
This exhaustion symbolizes a more profound, existential tiredness, possibly reflecting Plath’s struggles.
Pillar of white in a blackout of knives.
The “pillar of white” could represent the speaker, perhaps in her beekeeping attire, standing out starkly against a “blackout of knives.”
The “blackout of knives” symbolizes a feeling of being surrounded by danger or hostility, or perhaps the sharpness of her internal conflicts.
I am the magician’s girl who does not flinch.
The speaker compares herself to a magician’s assistant, a figure often seen in magic tricks involving danger, like knife-throwing. By saying she “does not flinch,” she may assert her bravery in the face of danger or adversity.
This line also underscores a performance theme, suggesting that she might feel like she is playing a role in an elaborate, perhaps deceptive display.
“The villagers are untying their disguises, they are shaking hands.”
This imagery suggests that the beekeeping event is ending, and the villagers are returning to normality, removing their protective gear (“disguises”).
Shaking hands could symbolize a return to community and camaraderie after their shared, intense, collective experience.
“Whose is that long white box in the grove? What have they accomplished? Why am I cold?”
The speaker notices a “long white box” in the grove, which could symbolize a coffin, adding a sense of mystery or foreboding. This might be a reference to a part of beekeeping equipment, or it could symbolize something more ominous.
The questions “What have they accomplished? Why am I cold?” reflect her confusion and a sense of detachment or disorientation.
The coldness she feels could be literal, as in a drop in temperature, or metaphorical, suggesting emotional numbness.
