Sylvia Plath- I have done it again. One year in every ten I manage it— A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel off the napkin O my enemy.
On "Lady Lazarus" Robert Lady lazarus commentary She fears, in "Sheep in Fog," that her search will lead instead to a "starless and fatherless" heaven, carrying her into dark waters.
Such dark waters are the subject of "Lady Lazarus," a much-quoted poem in which Plath compares herself to that Biblical figure once resurrected by Christ and to a cat with its nine lives because she has been "resurrected" from attempted suicide three times.
The poem is also an act of revenge on the male Ego: Out of the ash I rise with my red hair And I eat men like air.
From "The Dark Tunnel: A Reading of Sylvia Plath.
In this poem a disturbing tension is established between the seriousness of the experience described and the misleadingly light form of the poem.
The vocabulary and rhythms which approximate to the colloquial simplicity of conversational speech, the frequently end-stopped lines, the repetitions which have the effect of mockingly counteracting the violence of the meaning, all establish the deliberately flippant note which this poem strives to achieve.
At times the tone is hysterically strident and demanding: These are my hands My knees. Then it modulates into a calmer irony as the persona mocks herself for her pretensions to tragedy: A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot My face a featureless, fine Jew linen.
The reaction of the crowd who push in with morbid interest to see the saved suicide mimics the attitude of many to the revelations of the concentration camps; there is a brutal insistence on the pain which many apparently manage to see with scientific detachment.
Auden never forced such grotesque material into such an insistently jaunty poem, and the anger and compassion which inform the poem are rarely found so explicitly in his work.
She takes very personal, painful material and controls and forms it with the utmost rigour into a highly wrought poem, which is partly effective because of the polar opposition between the terrible gaiety of its form and the fiercely uncompromising seriousness of its subject. It is also a poem of social criticism with a strong didactic intent, and a work of art which reveals great technical and intellectual ability.
The hysteria is intentional and effective. Her Life and Work. The peculiar nature of the speaker in "Lady Lazarus" defies ordinary notions of the suicide.
Suicide is not the joyous act she claims it to be in her triumphant assertion that she has done it again. The impulse of the speaker is the overwhelming desire to control the situation.
She is above all a performer, chiefly remarkable for her manipulation of herself as well as of the effects she wishes to have on those who surround her. Her treatment of suicide in such buoyant terms amounts to a parody of her own act. When she compares her suicide to the victimization of the Jews, and when she later claims there is a charge for a piece of her hair or clothes and thus compares her rescued self to the crucified Christ or martyred saint, she is engaging in self-parody.
The techniques have another function as well: Her extreme control is intimately entwined with her suicidal tendencies. If she is not to succumb to her desire to kill herself and thus control her own fate, she must engage in the elaborate ritual which goes on all the time in the mind of the would-be suicide by which she allays her persistent wish to destroy herself.
Her control is not sane but hysterical. When the speaker assures the crowd that she is "the same, identical woman" after her rescue, she is in fact telling them her inmost fear that she could and probably will do it again.
What the crowd takes for a return to health, the speaker sees as a return to the perilous conditions that have driven her three times to suicide.
By making a spectacle out of herself and by locating the victimizer in the doctor and the crowd, rather than in herself, she is casting out her terrors so that she can control them. When she boasts at the end that she will rise and eat men, she is projecting her destruction outward.
That last stanza of defiance is really a mental effort to triumph over terror, to rise and not to succumb to her own victimization. The poet behind the poem allows Lady Lazarus to caricature herself and thus to demonstrate the way in which the mind turns ritualistic against horror.
From Sylvia Plath and Ted Hughes. Arthur Oberg "Lady Lazarus" and "Daddy" are poems which seem written at the edge of sensibility and of imagistic technique.
They both utilize an imagery of severe disintegration and dislocation. The public horrors of the Nazi concentration camps and the personal horrors of fragmented identities become interchangeable. Men are reduced to parts of bodies and to piles of things.
The movement in each poem is at once historical and private; the confusion in these two spheres suggests the extent to which this century has often made it impossible to separate them. The barkerlike tone of "Lady Lazarus" is not accidental. As in "Daddy," the persona strips herself before the reader Sylvia Plath borrowed from a sideshow or vaudeville world the respect for virtuosity which the performer must acquire, for which the audience pays and never stops paying.
Here, in "Lady Lazarus," it is the barker and the striptease artist who consume her attention.This poem is called ‘Lady Lazarus’. The speaker is a woman who has the great and terrible gift of being reborn. The only trouble is, she has to die first.
She is the phoenix, the libertarian. Lady Lazarus which is without a doubt referring to Plath herself, as this is an example of confessional poetry; the “Lazarus” being an allusion to the biblical figure is .
An Analysis of Lady Lazarus by Sylvia Plath In Lady Lazarus, Sylvia Plath sings a song of death and rebirth. The poem features a persona, weak willed and fragile, driven to . Lady Lazarus by Sylvia Plath Prev Article Next Article Sylvia Plath titles the poem ‘Lady Lazarus’ to let her readers know that there will be references to death.
Lady Lazarus is the first novel by O. Henry Award-winning writer Andrew Foster Altschul, published by Harcourt in Drawing its title from the poem of the same name by Sylvia Plath, Lady Lazarus also deals with themes similar to the poem, namely issues of .
"Lady Lazarus" is a poem spoken by—yup, that's right—Lady Lazarus. Lady Lazarus is a figment of Plath's imagination. There never was a real Lady L, no matter how hard you Google.