To do this Plath masterfully uses imagery that creates a sense of repulsion and dread that only work to add to the general tone of the poem. Further, the crowd ultimately proves less an encouragement than a burden when they also attend the resurrection. Rosenkrantz, described the teen years as a time when ordinary levels of stress are heightened by physical, psychological, emotional, and social changes. Both suicides arise from related circumstances. Elsewhere in her work, she admired the virtuosity of the magician's unflinching girl or of the unshaking tattoo artist.
She remarks on the regular pattern of her failed suicide attempts. Plath reflects this through her multiple references to body parts separated from the whole. One of the striking aspects of Plath's late poetry is its simultaneous dependence on and abandonment of traditional forms. The doctor burns her down to ash, and then she achieves her rebirth: Out of the ash I rise with my red hair And I eat men like air. Plath experienced many losses, including abortion, miscarriage, childbirth, severe postpartum depression, divorce, and the like. Plath does not reveal the age of her second encounter with her own death, which was her first suicide attempt. Plath, however, has a way of putting delicate, beautiful words to a dark, lonely feelings.
She is obviously angry and wants revenge tremendously. I rocked shut As a seashell. Maybe you really like dark eyeliner, or maybe you blog about the cruelness of the world, maybe your parents drive you nuts, or maybe they once did. At this point, nakedness has somehow become strongly assertive, at least at one level in these poems. At times the tone is hysterically strident and demanding: The peanut-crunching crowd Shoves in to see Them unwrap me hand and foot The big strip tease. She will ultimately be able to die nine times, like a cat, and has just completed her third death. Each attempt occurred in a different decade, and she is now 30 years old.
One of the most important symbols that Plath alludes to the audience is the Phoenix. The title alludes, of course, not only to the biblical story of Lazarus but also to Prufrock's lines: 'I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all'. She is also just a good, plain, very resourceful woman. This female figure also represents the oppressed modern woman conscious of the fact that the male society will bring her back to life, because it needs to satisfy itself by oppressing the woman. They had to call and call And pick the worms off me like sticky pearls. I rocked shut As a seashell. It is tempting to read these lines as a personal myth of rebirth, a triumphant Romantic emergence of what Lynda Bundtzen calls the female 'body of imagination'.
Plath's legacy endures because her poems are awesome, tragic, completely bizarre, perverse, and heartbreaking all on their own and all at the same time. Prosopopoeia: a rhetorical figure involving the adoption of the voices of the imagined, absent dead. Chicago: University of Chicago Press, 1987. Throughout the poem, Plath not only portrays her own torment, but parodies her attempts at suicide. Was it that Plath unconsciously doubted her right to be angry and therefore had to convict her father and her husband of Hitlerian monstrosities in order to justify the anger she nonetheless felt? It's the theatrical Comeback in broad day To the same place, the same face, the same brute Amused shout: 'A miracle! While all of these object are described to be bright, beautiful, and useful, they can only be made through the pain, suffering, and dismemberment seen in the Holocaust. Plath composed the poem during her most productive and fecund creative period. Although Plath is indeed, at one level, mythologizing her personal history, the motif of suicide in 'Lady Lazarus' operates less as self-revelation than as a theatrical tour de force, a music-hall routine.
Her father died from an undiagnosed diabetes when she was eight. Stanza 11-13 This is when she realizes that she is alive, though she wishes she were still in the tomb. Lyric inwardness is 'prostituted' to the sensationalism of 'true confession'. Background Sylvia Plath is one of the most controversial writers of the 20th century. Flesh, bone, there is nothing there— A cake of soap, A wedding ring, A gold filling. Flesh, bone, there is nothing there---- A cake of soap, A wedding ring, A gold filling. Although she strives for this revenge, the struggle ultimately ends in defeat and destruction.
She completes the poem with a final comeback. This is the point at which the reader can become aware that Plath identifies not with the risen Lazarus, but with the Lazarus who is dead and has already begun the decomposition process. By describing dying as an art, she includes a spectator to both her deaths and resurrections. This is how Plath views her value to other people. Like Eliot, Plath uses clothing as a metaphor for rhetoric: the 'veil' or 'garment' of style. Plath does not simply contemplate from the spectator's point of view the horrors and the vigor of the act of undressing; now her female subject dares to make herself naked, and she does so in an attempt to make herself mighty. Her extreme control is intimately entwined with her suicidal tendencies.
For Plath, however, the woman on show, the 'female phenomenon' is a revelation of unnaturalness instead of sensuous nature, her body gruesomely refashioned into Nazi artefacts. This next decade will be different for the speaker because she plans to 'eat' the men, or doctors, so they cannot revive her next time she faces death. The end of the poem, thus understood, breaks free of defensive irony to release cathartic rage. The proliferation of intertextual ironies also affects the concluding transformation of 'Lady Lazarus' into the phoenix-like, man-eating demon, who rises 'out of the ash' with her 'red hair'. Lady Lazarus yokes together the canonical post-Romantic, symbolist tradition which culminates in 'Prufrock', and the trash culture of True Confessions, through their common concern with the fantasizing and staging of the female body: I rocked shut As a seashell.
The speaker orchestrates every aspect of her show, attempting to undermine the power an audience would normally have over her. The first eight stanzas largely describe an ugly, yet oddly compelling event. And her life was not all that rosy. I am your opus, I am your valuable The pure gold baby. As far as the poetry world goes, Sylvia Plath is a superstar. Well not quite, because, as you know by now, Plath killed herself in 1963.