Sylvia Plath's Lady Lazarus : A Common Theme Of Death

Sylvia Plath’s poor mental health, which subsequently lead to her suicide on February 11th 1963, may be seen to be reflected in her novel, ‘The Bell Jar’. Death may be deemed to have a lack of meaning throughout her novel due to the casual manner in which the protagonist and narrator, Esther Greenwood, deals with death. Esther’s father passed away when she was nine years old, and she feels that his death marked the point at which she changed, resulting in her mental health becoming unstable. However, along with her mother, she ‘had never cried for [her] father’s death’ (p.159). This clearly demonstrates how Esther deals with death; it is a necessary part of life, and to Esther, as aforementioned, her mental health has caused her to view death as more desirable than ‘sitting under the same glass bell jar, stewing in [her] own sour air’ (p. 178). Moreover, Esther’s numerous attempts at suicide remind the reader that Esther believes the only ‘way out’ is death. For example, in Chapter Thirteen, Esther asks her friend Cal, how he would kill

America stands as the most prominent nation of liberty and freedom for all, yet some people still feel the reins of America’s oppressive past. Those include young African Americans and women, who feel that society places unequal expectations on them, simply based on their gender or race. Two young, American writers, Sylvia Plath and Langston Hughes especially feel this way through their works, Sylvia Plath at Seventeen and Theme for English B. Plath and Hughes employ tone, tone shift, and parallelism throughout their works to convey their message that young adults must stand up to demoralizing social expectations.

Poets, Judith Wright, Sylvia Plath and Emily Dickenson all express their views on life and death, however, do so in varying manners. Through imagery, Wright and Plath both consider life’s beginnings, however, Wright considers it to be a beautiful gift, whereas Plath views birth as an empty burden. Subsequently, through structure Dickenson and Wright each acknowledge life, expressing how in some cases it is difficult, yet in other circumstances it is celebrated. Finally, through tone, Dickenson and Plath convey their views on death, yet differ in that Plath believes it is purifying and holds a sick fascination with it, while Dickenson instead holds a unique curiosity about it. Therefore, whilst each poet recognises the journey of birth,

In her poem, “Lady Lazarus,” Sylvia Plath uses dark imagery, disturbing diction, and allusions to shameful historical happenings to create a unique and morbid tone that reflects the necessity of life and death. Although the imagery and diction and allusions are all dark and dreary, it seems that the speaker’s attitude towards death is positive. The speaker longs for death, and despises the fact the she is continually raised up out of it.

The Biblical story of Lazarus is the story of when Jesus brought Lazarus back to life four days after his death. The first line in this poem that brings up the image of the Biblical story is “a sort of walking miracle”, since the raising of Lazarus was considered a miracle of Jesus. When reading the poem for the first time, I definitely felt the dark tone along with the idea that the whole poem was related to death. As I read further in, it was obvious that this woman was speaking about her multiple suicide attempts. The speaker believes that “dying is an art”, and she says she does “it so it feels real”, insinuating that without dying, she will not feel complete or fulfilled. She says that “it’s the theatrical”, meaning she does this for attention,

Sylvia Plath cannot bear the truth and begins to cry; she constantly wants something else to make her feel good about herself, she longs to be young. “I am important to her. She comes and goes. Each morning it is her face that replaces the darkness. She goes back to the lake for answers every morning and the lake is pleased to see her. The poem ends by the lake saying “In me she has drowned a young girl, and in me an old woman rises toward her day after day, like a terrible fish.” This shows Sylvia Plath’s dislike of how old she looks. Sylvia Plath has been looking in this mirror every day for a long period of time, and she is realizing that she is getting older and she cannot do anything about it.

In the first stanza, the third-person semi-omniscient speaking voice establishes the conclusive paradigm of the poem: death by suicide. Though the death of the individual is a highly conventional type of tragic presentation, the way in which this presentation is established in the “Dirge” is. The absent function of any emotional signifiers is replaced by a parody of the numerical fluctuations of the stock market. The unnamed man’s death is never mentioned openly, and the circumstances resulting in his death are highly trivialized. Consistent with the market allusion, the reader is left to speculate exactly what sort of concrete events are occurring within in the first stanza. From the very start, the poem challenges any threnodic conventions by disassociating the “subject” of death from the human subject.

    The Ariel-period poems of Sylvia Plath demonstrate her desire for rebirth, to escape the body that was "drummed into use" by men and society. I will illustrate the different types of rebirth with examples from the Ariel poems, including "Lady Lazarus," "Fever 103," "Getting There," and "Cut."

The Poem begins with a personification of death as "kindly" (3). By doing this, the speaker introduces a portrayal on death that might have conflictions. Most of the times, death has a negative connotation. Whether it is an inevitable or tragic view, it opposes to what is seen in the poem. The speaker accepts death as a friendly invitation when the time is right, rather than something that is bound to happen. The speaker then joins immortality, personified as a passenger in a carriage. Immortality simply cannot be a passenger as it is a non-living thing. The reasoning for this could be that immortality ties together the link between the speaker and death, ultimately introducing the voyage to come. The first stanza sets a precedent of a meter to follow throughout most of the poem. The first line contains eight

Death is so unpredictable, that it comes around before we even expect it. In Emily Dickinson’s poem, “The Last Night that She Lived” the speaker is trying to cope with a woman’s death. The speaker tries to suppress her feelings, but the speaker is filled with sadness and despair. The figurative language and diction provides access into the speaker’s feelings about the woman’s death.

Sylvia Plath is said to be one the most prodigious, yet interesting, confessional poets of her time. She was an extremely vital poet of the post-World War II time period and expressed her feelings towards her father and husband through her poetry. Plath’s mental illness had a dramatic influence upon her work in which she demonstrated the hatred she had for her father specifically. The poem “Daddy” is an easily applicable example. Within this piece of work, Plath uses direct references to how she feels towards her father who was the greatest influence on her poetry. The bond, or lack of, between Sylvia Plath and her “Daddy” is commonly associated with the purpose of her poetry. Her father died when Plath was only ten years old and

Sylvia Plath’s life was one of a troubled woman. Her lack of sanity was deeply reflected in her works of writing. Her mental state was very much affected by her life experiences such as her feelings of betrayal towards her father and her instable marriage to Ted Hughes. Plath’s poetry, was a way to explore her mental anguish and share her fixation with death, due to her deathly depression. Despite Sylvia Plath’s crippling life, her poetry was constructed in such an artistic manner in which it touched the lives of many

How Sylvia Plath's Life is Reflected in the Poems Daddy, Morning Song, and Lady Lazarus

Wrapped in gaseous mystique, Sylvia Plath’s poetry has haunted enthusiastic readers since immediately after her death in February, 1963. Like her eyes, her words are sharp, apt tools which brand her message on the brains and hearts of her readers. With each reading, she initiates them forever into the shrouded, vestal clan of her own mind. How is the reader to interpret those singeing, singing words? Her work may be read as a lone monument, with no ties to the world she left behind. But in doing so, the reader merely grazes the surface of her rich poetics. Her poetry is largely autobiographical, particularly Ariel and The Bell Jar, and it is from this frame of mind that the reader interprets the work as a

Some of the dark negative emotions Sylvia Plath shares in this poem can make anyone have sympathy on her feelings. Especially, when she writes,