The Full Text of “The Shot”
The Full Text of “The Shot”
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“The Shot” Introduction
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"The Shot" appears in Ted Hughes's 1998 collection Birthday Letters, which focuses on his relationship with the American poet Sylvia Plath. Hughes and Plath had an infamously tumultuous relationship and were married but separated at the time of Plath's death by suicide in 1963. The poem examines Plath's intense relationship with her father, Otto, and its impact on her perception and treatment of other men. Using an extended metaphor, the poem compares Plath to a bullet and suggests that Otto's untimely death during Plath's childhood pulled the "trigger" that shot his daughter down a destructive life path—the ultimate aim of which was a reunion, in her death, with the powerful, "godlike" father she lost. "The Shot" explores themes of family trauma, obsessive love, fate, and masculinity.
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“The Shot” Summary
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Addressing his former wife directly, Hughes says that Sylvia Plath needed godlike figures to worship and love, so she created them herself. The intensity of Plath's romantic passion transformed unremarkable, athletic young men into powerful, divine figures. Indeed, she seemed to have been born to seek out and find a godlike figure. Hughes compares Plath to a bullet in a gun that her father pointed toward God. Otto's death was the event that pulled the trigger on this metaphorical gun, shooting Plath off.
Plath's entire existence was contained within that gunshot (i.e., the moment of her father's death). She barrelled through her social and academic life with all the speed and power of an unstoppable bullet. The men she chose to love were destroyed when she hit them, too human to survive her intense devotion. They were immaterial and impermanent, nothing but obstacles on her flight path. Yet even through tear-soaked tissues and weekly panic attacks, beneath various hairstyles, behind what seemed like interruptions to her bullet-like trajectory through life, she remained steady and true. She was solid, a silver bullet wrapped in gold and tipped with nickel. She moved toward her target with perfect aim, as if through empty space. Even the scar on her cheek, which looked like she'd grazed her face against concrete, worked like a groove on the inside of a rifle's barrel to keep her steady on her course.
Until finally, her real target stood behind Hughes: her father, the god holding the gun that shot Plath through life. Because Hughes was indefinite and hazy, it took him a while to realize he had been hit by Plath's bullet-like passion, or that she had shot straight through him to lodge herself, with her death, in the heart of her father.
Hughes wonders if perhaps a traditional spiritual healer could have halted her bullet-like trajectory, catching her mid-flight and tossing her from one hand to the other until she was calm and happy, without the desire to find and worship a godlike paternal figure.
Hughes himself only managed to grasp at pieces of her: her hair, ring, watch, nightgown.
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“The Shot” Themes
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Obsessive Love and Self-Destruction
In "The Shot," Ted Hughes speaks directly to his former wife Sylvia Plath, who died by suicide in 1963. The poem examines how Plath's intense—and, in the speaker's mind, obsessive—relationship with her father impacted her relationships with other men. The poem claims that Plath turned "ordinary" men into gods in the absence of her father, who died when she was eight. In other words, she pursued her lovers with an intensity bordering on religious devotion. The poem argues that this hunger for someone to "worship" was intensely destructive for Plath's lovers and, ultimately, for Plath herself.
Some background context is helpful here: Plath alternately idolized and resented her domineering father, Otto, who was a colossal presence in his daughter's life. His death proved immensely traumatic for the young Plath, who would spend much of her adulthood grappling with her feelings toward Otto. "Your Daddy had been aiming you at God / When his death touched the trigger," Hughes writes. This is an allusion to Plath's famous poem "Daddy," in which she compares her father to a tyrannical god and admits her own attempts to recreate their toxic dynamic by marrying Hughes, whom she presents as another overbearing man.
In "The Shot," however, Hughes asserts that Plath essentially sought to turn him into such a figure. He writes that Otto's death pulled the metaphorical trigger that shot Plath through life like a bullet, aimed at a god-like paternal presence who could fill the gap her father left behind. That is, Plath addressed the loss of her father by making the lovers caught in her path almost divine through the intensity of her "infatuation," or romantic obsession. She built these men up, the poem argues, allowing them to dominate her mind and life as gods would, even though they were nothing of the sort.
No man can survive such a thing, the speaker argues, and Plath's search for a new god to serve destroyed the "mortal[s]" she chose to devote herself to. "The elect," Hughes writes, were inevitably unable to live up to her god-like father and "more or less died on impact" with Plath. Her passion tore through them, her obsessive love leaving a trail of destruction in its wake.
Toward the end of the poem, the speaker becomes a victim of Plath's furious "flightpath," or her designated course through the air. "I did not even know / I had been hit," the speaker claims, comparing Plath's impact to a gunshot wound. Here, Hughes defends himself as not another tyrant, but rather another man Plath wounded in her ferocious search for someone to worship. "You had gone clean through me," Hughes writes, emphasizing the violence of Plath's worshipful love, which penetrates the heart like "a high-velocity bullet." The men in Plath's life seem less like gods than casualties.
Yet the poem allows that Plath was a victim here too. Alluding to her struggles with mental health and eventual suicide, the poem suggests that Plath's search for a powerful male figure to adore destroyed not just her lovers, but herself as well. The speaker reveals that Plath's "real target" was never actually him, nor any of the other men she loved, but rather her "Daddy, / The god with the smoking gun." She was always shooting through life toward her father, until she could "bury [herself] at last in the heart of the god"—a reference to Plath's eventual death by suicide. If only Plath were "godless," the poem argues, she would have been "happy" and at peace. Instead, her desire to worship leads her toward destruction: having finally hit her target, she, herself, was buried.
Where this theme appears in the poem:- Lines 1-8
- Lines 15-17
- Lines 32-38
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Family Trauma
In "The Shot," Ted Hughes addresses his former wife, the poet Sylvia Plath, who died by suicide in 1963. The poem suggests that the death of Plath's father, Otto, in her childhood set her down her destructive path. Plath spent her "whole life" in search of a god-like paternal figure to love and "worship" in the absence of her father, who, in dying, had seemed to abandon her. Essentially, the poem argues that the intense trauma of losing Otto shaped the entire "trajectory" of Plath's life.
At the beginning of the poem, the speaker compares Plath to a bullet and states that her father's death "touched the trigger." In other words, the trauma of losing her father set Plath down an unalterable path, much like ammunition shot from a gun.
As the poem continues, the speaker describes how Plath tore through life with "fury" and "velocity." He mentions her "Alpha career," alluding to her intense ambition, which may have been rooted in a desire to live up to her deceased father's legacy of academic prestige. The speaker also references Plath's struggles with mental health, describing her tear-soaked tissues and "Saturday night panics." Clearly, the pain of her father’s death and her fast-paced, destructive path took a toll on her emotional and psychological well-being.
Despite these pressures and struggles, Plath hurtled forward through life "undeflected." The speaker claims that even her "cheek-scar" (a remnant of a suicide attempt Plath made in 1953) worked like a "rifling groove," or a groove within the barrel of a gun that helps a bullet steadily follow its intended course. Plath's struggles with mental health did nothing to slow her "flightpath," but rather stemmed directly from the trauma of losing her father and sped her ever faster on her destructive trajectory.
This deadly trajectory only came to an end when Plath reunited with her father in death: Plath passed "clean through" the speaker to embed herself "in the heart of the god," with "god" here being a reference to Otto. The poem thus suggests that in a sense, the unresolved trauma and pain of losing Otto led directly to Plath's own tragic death as she sought to return to that trauma's source.
Where this theme appears in the poem:- Lines 7-17
- Lines 20-25
- Lines 28-31
- Lines 39-42
- Lines 43-44
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Power, Fate, and Agency
In "The Shot," Ted Hughes examines the impact of Sylvia Plath's relationship with her deceased father, Otto, on her relationships with other men. As the speaker compares Plath's relentless search for her father within the men she loves to the "flightpath" of a "bullet," the poem emphasizes Plath's own god-like ability to deify and destroy her lovers. At the same time, however, the poem hints at Plath's ultimate powerlessness over her own life: in the speaker's portrayal, she was merely the object shot from the gun rather than the divine, masculine hand that pulled the trigger. For all her bullet-like speed and ferocity, the poem suggests, she was incapable of choosing her own path and ultimately beholden to a destiny "designed at birth."
The poem argues that Plath's efforts to worship other men in the absence of her father were largely futile, and she tore through her lovers "With the fury / of a high velocity bullet." No "mortal" man could live up to the image in her mind of Otto or withstand her passionate "infatuation," and so she continued to careen violently forward in an attempt to reach her absent, god-like father.
Yet even as Hughes accuses Plath of leaving a trail of violent destruction in her wake, he emphasizes her lack of agency. A bullet has no momentum on its own; Hughes attributes Plath's "velocity," her vicious speed, to her father's influence. "Your Daddy, / The god with the smoking gun," Hughes writes near the end of the poem. Here, the idiom "smoking gun" places blame on Plath's father for the destruction she caused in her search for him. She is the bullet, but Otto—with his overbearing presence and traumatic, untimely death—fired the gun.
"The Shot" further implies that Plath's struggles with mental illness were another aspect of the irreversible "flightpath" upon which Otto's death set Plath. The speaker notes her "sob-sodden Kleenex" and her "Saturday night panics, / Under your hair done this way and that way," reducing Plath's clinical depression to an image of tear-soaked tissues, pairing her "panics" with the trivial image of her hairstyles, and implicitly dismissing the severity of her mental illness. Intentionally or not, the poem's male speaker minimizes Plath's struggles with mental health and, in turn, minimizes Plath's power over her own life.
Plath was always doomed, this poem ultimately suggests, and was never actually in control of her self-destructive destiny. It was as though she had "been designed at birth" to need someone to worship, fated by some outside force to pursue "a god" until it led to her grave. Indeed, the poem argues that although Plath destroyed the "mortal" men who crossed her bullet-like path, she was ultimately consumed by Otto (or, at least, by the trauma he caused): upon finally reaching her "real target," her father, Hughes says she was buried "at last in the heart of the god." This can be read as a reference to Plath's suicide, which the poem implies was both a way to get back to and back at her father (an idea Plath herself posed in her poem "Daddy").
In the poem's final stanza, the speaker blames himself for not stopping Plath's destruction. He suggests that someone else, "the right witchdoctor," perhaps, might have been able to stop Plath's fatal trajectory, healing her pain and making her "happy, quieted." Here, the poem emphasizes Plath's lack of agency once more. The speaker implies that only another masculine, divine figure—a "witchdoctor"—could alter the deadly course on which her father set her. Mortal men—and Plath herself—stood no chance against her fate.
Where this theme appears in the poem:- Lines 3-4
- Lines 7-17
- Lines 20-22
- Lines 32-34
- Lines 34-38
- Lines 39-44
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Line-by-Line Explanation & Analysis of “The Shot”
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Lines 1-6
Your worship needed ...
... god-seeker. A god-finder.In the opening line of "The Shot," Ted Hughes uses apostrophe to address his deceased wife, the American poet Sylvia Plath: "Your worship needed a god," Hughes says. Right away, the use of the second person creates a sense of intimacy between the speaker and Plath, despite the great emotional and metaphysical distance between them (Plath and Hughes experienced severe marital troubles and were separated at the time of Plath's death by suicide in 1963).
According to the poem, Plath felt the need to devote herself with near-religious fervor to a strong, masculine figure, or "a god." The phrasing of the poem's opening implies that it didn't matter all that much who this god was; she already had the "worship" and just needed a place to direct it.
Lacking an object for her devotion, Plath looked for divinity in unlikely places—among "Ordinary jocks," for example, whom the speaker claims Plath "Deified," or made god-like, through the sheer strength of her "infatuation," or romantic passion. In other words, Plath thought of and treated her lovers as though they were deities. They became all-powerful, the rulers of Plath's entire world.
The phrase "Ordinary jocks" is dismissive and hints at the speaker's disdain for these other men, whom he implies were far from god-like in reality. For a moment, then, the speaker's claim that Plath could make her lovers into gods might seem to grant Plath herself a sense of otherworldly power. After all, she's capable of transforming regular, everyday guys into divine beings—something she could presumably only do if she, herself, were divine.
However, lines 5 and 6 undermine this idea. For one thing, the speaker calls Plath's desire to worship mere "infatuation." This suggests that her passion for these men was obsessive and intense but also not as deep or meaningful as actual divine love.
The speaker then suggests that this "infatuation" was "designed at birth for a god." The word "designed" implies that Plath's tendency toward "infatuation" was in fact created by someone other than herself—likely, a masculine, all-powerful god like the one she sought in her lovers. Thus, these first few lines lay the groundwork for the poem's exploration of Plath's identity as a "god-seeker" and "god-finder" being rooted not in any real power of her own, but rather chosen or fated for her by some external force.
Notably, the word "god" appears five times within the poem's first six lines. This repetition mirrors Plath's own obsessive nature (in Hughes's estimation, at least). Just as she attempted to emulate a godlike presence in man after man, the poem invokes "god" in line after line.
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Lines 7-10
Your Daddy had ...
... your whole life. -
Lines 10-15
You ricocheted ...
... Of kinetic energy. -
Lines 15-19
The elect ...
... along your flightpath. -
Lines 20-25
But inside your ...
... You were undeflected. -
Lines 26-31
You were gold-jacketed, ...
... keep you true. -
Lines 32-38
Till your real ...
... of the god. -
Lines 39-44
In my position, ...
... watch, your nightgown.
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“The Shot” Poetic Devices & Figurative Language
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Extended Metaphor
In "The Shot," Ted Hughes uses an extended metaphor to compare his deceased wife, the American poet Sylvia Plath, to a bullet. This comparison serves two major purposes.
First, it illustrates the fast-paced, focused, destructive manner in which Plath moved through life:
[...] You ricocheted
The length of your Alpha career
With the fury
Of a high-velocity bulletThe speaker refers here to Plath's academic success, which she pursued with great power and determination. When it comes to Plath's lovers, meanwhile, the bullet metaphor highlights the disastrous effects of her worshipful, obsessive "infatuation." The speaker claims that "The elect," or the men Plath chose to love, "More or less died on impact," comparing the overwhelming force of Plath's passion to the force of a gunshot that tore through her paramours.
The poem also describes obstacles to Plath's "target," or her main goal in life (reunion with her father, Otto, who died when she was a child) in terms related to gunfire: "rebounds / And the cascade of cries diminuendo." Plath's bullet-like qualities allow her to bypass these obstacles "undeflected." Like a bullet, she was solid and strong: "gold-jacketed" and "Nickel-tipped." Like a bullet, she stayed "true" to her course, always aiming toward a masculine, godlike figure who could restore or replace the father she lost.
The poem's extended metaphor also demonstrates the relationship between the loss of Plath's father and her self-destructive fate. While the poem compares Plath to a bullet, it claims Otto aimed Plath "at God" and that his death "touched the trigger," shooting Plath down her "Trajectory" through life. In other words, the trauma of Otto's death led directly to Plath's self-destructive, obsessive desire to replicate his powerful presence in her life.
In this way, the poem suggests that Plath had little control over her own destiny. Instead, her life's events were predetermined by her father's death. Later in the poem, Otto is referred to as "The god with the smoking gun," an idiom that echoes the imagery of the extended bullet metaphor while also highlighting Otto's responsibility for Plath's life course. When Plath finally meets her "real target"—her father— the speaker describes the event like a bullet entering a body:
[...] you had gone clean through me—
To bury yourself at last in the heart of the god.Here, the speaker describes how Plath metaphorically lodged herself like a bullet in Otto's heart, leading to her total consumption. In this way, the poem uses the extended metaphor to suggest that the death of Plath's father directly led to her own suicide. By pulling the metaphorical "trigger," the speaker argues, Otto's death set Plath down a path toward her own burial.
Where extended metaphor appears in the poem:- Lines 7-16
- Line 19
- Lines 23-28
- Lines 30-31
- Lines 32-34
- Lines 35-38
- Lines 40-41
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Asyndeton
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Enjambment
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Repetition
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Apostrophe
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Idiom
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"The Shot" Vocabulary
Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.
- Jocks
- Infatuation
- Deified
- Ricocheted
- Kinetic energy
- Elect
- Speculative
- Provisional
- Sodden
- Diminuendo
- Ether
- Rifling groove
- Witchdoctor
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(Location in poem: Line 3: “Ordinary jocks became gods”)
School or college athletes, particularly young men. The word is typically somewhat dismissive, and here it emphasizes just how normal the men Plath chose to worship were.
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Form, Meter, & Rhyme Scheme of “The Shot”
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Form
"The Shot" is a free verse poem and does not follow a traditional form. Instead, the poem has its own unique shape.
The poem's 44 lines can be divided into two stanzas:
- The first 38 lines ("Your worship [...] heart of the god.") describes Sylvia Plath's bullet-like path through life. This stanza begins with the death of Plath's father, Otto, an event that pulls the metaphorical "trigger" that shoots Plath down her destructive "Trajectory." It ends when Plath reaches her "target"—reunion with her father via her own suicide. Thus, the first stanza encompasses the poem's metaphorical gunshot, from beginning to end. In this way, the stanza break marks the end of Plath's life while formally mimicking the silence after a gun goes off.
- In the second stanza, which is only six lines, the speaker shifts away from relaying the events of Plath's life and considers how they could have been altered under different circumstances. Thus, the stanza break also represents a shift as the poem turns from what was to what might have been.
Within both stanzas are several indented lines that create minor pauses in the poem's rapid forward momentum and signal slight changes in subject and tone. The indented lines in stanza 1 highlight the beginning and end of Plath's bullet-like course through life. Line 9—"In that flash"—signals a discussion of how Otto's death determined Plath's direction in life, while line 32—"Till your real target"—calls attention to Otto's influence on Plath's own death. Meanwhile, line 43 in stanza 2—"I managed"— represents the speaker's turn away from hypothetical considerations and toward acknowledging his own inability to prevent Plath's self-destruction.
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Meter
"The Shot" is written in free verse, meaning it doesn't follow a consistent meter. Meter often makes a poem sound formal and even musical, like a song, chant, or hymn. Thus, a lack of regular meter allows "The Shot" to take on an informal, conversational tone. Free verse mimics the unpredictable patterns of normal speech, which makes sense since "The Shot" is an intimate, second person address to the poet's deceased wife.
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Rhyme Scheme
Because "The Shot" is a free verse poem, it also doesn't have a rhyme scheme. This makes sense, considering that the poem is an intimate address and therefore mimics the unpredictable patterns of conversational speech. Furthermore, a strict rhyme scheme and regular meter might feel overly restrictive for a poem that describes a woman's powerful, destructive, unalterable journey. In a sense, the poem plows through the conventions of form, just as its subject plowed through obstacles on her bullet-like trajectory through life.
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“The Shot” Speaker
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"The Shot" is an autobiographical poem and its speaker is the poet himself, Ted Hughes. In "The Shot," Hughes tries to make sense of his former wife Sylvia Plath's relationship with her father, Otto, and how his death shaped the course of her life.
At the beginning of the poem, Hughes suggests that Otto's untimely death set Plath off on a bullet-like "Trajectory." Plath moved through life with passion, power, and determination, Hughes claims, the result of which was the destruction of herself and others. Hughes describes how Plath plowed through her lovers, none of whom could compare to the powerful, masculine figure she lost when Otto died. He claims that Plath's struggles with mental health did not deter her from her course but rather helped her stay "true" to her ultimate goal—reunion with (and destruction of) Otto, which she ultimately achieved by committing suicide.
By directly addressing Plath, Hughes conveys the complexity of his emotions toward her. He exhibits a sense of awe when remembering the bullet-like power with which she moved through the world, describing her as "gold-jacketed, solid silver" and "Trajectory perfect / As through ether." However, Hughes also seems critical, or perhaps fearful, of the way Plath, in his words, destroyed and discarded her lovers as though they were "mind-stuff" or "mere auras."
Towards the end of the poem, Hughes recognizes that he, too, was a mere obstacle between Plath and her "real target," Otto. He claims Plath shot "clean through" him as though he were "mist." In this way, Hughes shows how bullet-like Plath made him feel insubstantial. Indeed, he concludes the poem by lamenting his inability to stop Plath's self-destruction. He was able to grasp only at pieces of her: a nightgown, a ring, a lock of hair. Thus, while Hughes addresses Plath directly, "The Shot" largely conveys his distance from her. Compared to Otto's all-consuming, nearly divine memory, Hughes feels powerless to alter Plath's tragic course.
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“The Shot” Setting
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"The Shot" is based on the poet's memories of his deceased wife, Sylvia Plath, and his secondhand understanding of Plath's relationship with her father, Otto, whom he never met. The poem doesn't have a particular physical setting. Instead, "The Shot" describes the events of Plath's life, ranging from her father's death in 1940 to her own suicide in 1963. The poem was written many years later, and it, therefore, looks back on these events from a considerable distance. Speaking directly to Plath from the present, the speaker considers what might have been done differently to alter her tragic fate and laments his own inability to save her.
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Literary and Historical Context of “The Shot”
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Literary Context
British poet Ted Hughes (1930-1998) is widely considered to be one of the most influential writers of the 20th century. Deeply inspired by the rural landscape of his childhood, many of Hughes's poems focus on the ferocious beauty of the natural world. However, in his final collection, Birthday Letters, in which "The Shot" was published in 1998, Hughes turns toward more personal subject matter.
Birthday Letters explores Hughes's infamous relationship with the American poet Sylvia Plath. The couple shared a tumultuous marriage and were separated at the time of Plath's death by suicide in 1963. Many blamed Hughes for Plath's death, suggesting that his infidelity drove her to suicide. As the executor of Plath's literary estate, Hughes also faced intense criticism for the editorial decisions he made concerning the posthumous publication of her journals, poems, and other works. Hughes declined to comment on these controversies for much of his life. Birthday Letters, published just a few months before his death, represents the most explicit, intimate perspective Hughes ever offered on a personal relationship that had taken on great literary, social, and cultural significance.
The collection, which Hughes wrote over a period of 25 years or so and revised extensively, caused a sensation upon publication. Hughes knew the poems were a departure from his other work because of their autobiographical content, calling them "so raw, so vulnerable, so unprocessed, so naive, so self-exposing and unguarded." The poems were clearly intended to bring Hughes a sense of closure, if not necessarily his readers: "I published it purely to get it off my chest and I'm indifferent to its fate," he once said.
"The Shot" also alludes and responds to Plath's famous poem, "Daddy," in which she describes the overbearing presence of her father, Otto. "The Shot" picks up on this theme and, like "Daddy," notes how Plath used suicide as a method to get back to and back at her deceased father. Both "Daddy" and "The Shot" also suggest that Plath tried to replicate her and Otto's toxic dynamic within her romantic relationships. However, while in "Daddy" Plath imagines her triumph over the powerful, masculine father figure—"Daddy, you can lie back now. // There’s a stake in your fat black heart"—in "The Shot," Hughes suggests that Plath's obsession with her father ultimately led to her own destruction: "you had gone clean through me— / To bury yourself at last in the heart of the god."
Historical Context
Ted Hughes and American poet Sylvia Plath (1932-1963) met in February 1956 in Cambridge, England, where Plath was studying on a Fulbright scholarship. The couple were married by June of that year and quickly gained attention for their literary achievements. Plath and Hughes shared several years of happy, productive marriage, during which Plath had two children, Nicholas and Frieda. The marriage soon began to break down, however, and in 1962 Hughes had an affair. The couple's subsequent separation severely impacted Plath's emotional and psychological well-being and, after years of battling clinical depression, she died by suicide in 1963.
In addition to exploring Plath's romantic history, "The Shot" examines Plath's relationship with her father, Otto, a German immigrant who worked as an entomologist and professor of German and biology at Boston University. Otto Plath died in 1940 of advanced diabetes, which he had misdiagnosed as lung cancer and for which he had refused to seek treatment. The event profoundly affected Plath, who was eight years old at the time. Indeed, while remarkably talented and ambitious, Plath dealt with severe emotional and psychological issues for much of her life. These struggles included a suicide attempt at age 20 that left a permanent scar on Plath's cheek, as referenced in line 28 of "The Shot."
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More “The Shot” Resources
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External Resources
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"Daddy" by Sylvia Plath — Read "Daddy," the famous poem by Sylvia Plath to which Ted Hughes alludes in "The Shot."
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Plath's Account of Meeting Hughes — Learn firsthand about the night Sylvia Plath met Ted Hughes in this intimate entry from Plath's journals, courtesy of the British Library.
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Sylvia Plath's Biography — Learn more about Sylvia Plath's life and work from this short biography, courtesy of the Poetry Foundation.
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Ted Hughes's Biography — Learn more about Hughes's life and work in this short biography, courtesy of the Poetry Foundation.
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An Introduction to Birthday Letters — Read more about the creation and content of Birthday Letters, the 1998 poetry collection in which "A Shot" was published, via The British Library.
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LitCharts on Other Poems by Ted Hughes
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