125:. According to Plath's biographer Heather Clark, as a child Plath was proud of her German heritage, but this began to shift during World War II, when she began feeling shame about her ethnicity. According to Clark, "Sylvia understood from a young age that the German identity she shared with her father was somehow dangerous—a secret source of shame".
159:
The scholar Tegan Jane
Schetrumpf also makes connections to the Holocaust, stating that "Plath compares the merchandise of a miracle-performing saint to the remnants of Holocaust victims to emphasize that she is a relic of death, as postmodernist readers are relics of the Holocaust" Plath biographer
88:
According to scholar Parvin
Ghasemi, Lady Lazarus is written in "light verse containing the intense desire to die and be born; it is a poem of personal pain, suffering, and revenge". Light verse, in this context, refers to a Plathian style of writing. Ghasemi addresses this, by quoting English poet
49:
which was published in 1965, two years after her death by suicide. This poem is commonly used as an example of her writing style. It is considered one of Plath's best poems and has been subject to a plethora of literary criticism since its publication. It is commonly interpreted as an expression of
93:
when he states, "her trick is to tell this horror story in a verse form as insistently jaunty and ritualistic as a nursery rhyme". Writer Eileen M. Aird has said of Plath's writing style, "t is clear that Sylvia Plath's description of 'Daddy' and 'Lady
Lazarus' as 'light verse' is descriptive of a
176:
in
October 1962, her version included a line after line 12 of the published version, "Do I terrify?" The recorded version goes on, "Yes, yes, Herr Professor, it is I. Can you deny?" Another line of "I think I may be Japanese" follows line 33 of the published poem, "I may be skin and bone."
81:, Plath's poetry is confessional due to the way that she uses psychological shame and vulnerability, centers herself as the speaker, and represents the civilization she is living in. Her husband, the poet
156:
These stanzas address the deadliness of the
Holocaust in general, Ghasemi writes, and more particularly the burning of dead bodies that occurred in the crematoriums at the concentration camps.
193:
and the myth of the phoenix. By the end of the poem, the speaker has transformed into a firebird, effectively marking her rebirth, which some critics liken to a demonic transformation.
189:. The speaker describes her attempts at committing suicide not as failures, but as successful resurrections, like those described in the tales of the biblical character
168:
When compared to early manuscripts and the audio recording, the published version omits several lines of verse. When Plath recorded this poem for the
761:
160:
Clark has argued that Plath uses
Holocaust imagery to designate a clear moral binary, while also distancing herself from her Germanness.
867:
853:
133:
The poem makes several references to the
Holocaust through imagery such as "Bright as a Nazi lampshade" and in the last two stanzas:
709:
963:
953:
659:
617:
529:
369:
860:
678:
640:
594:
943:
609:
807:
702:
632:
814:
958:
782:
606:
American Dreams and Nazi
Nightmares: Early Holocaust Consciousness and Liberal America, 1957–1965
586:
28:
747:
695:
490:
458:
393:
789:
20:
459:"Diminished but Never Dismissed: The Confessional Poetry of Sylvia Plath and Bruce Beaver"
8:
948:
922:
186:
71:
504:
302:
915:
821:
486:
439:
318:
283:
190:
102:
Plath describes the speaker's oppression with the use of allusions and images invoking
674:
655:
636:
613:
590:
535:
525:
478:
431:
375:
365:
322:
275:
241:
470:
314:
303:"?Poem for a birthday? to ?Three women?: development in the poetry of Sylvia Plath"
231:
85:, has characterized her poems as having strong autobiographical elements, as well.
70:"Lady Lazarus" and Sylvia Plath's poetry catalog falls under the literary genre of
94:
mode which contrives a highly sophisticated blend of the ironic and the violent".
896:
474:
78:
775:
861:
Johnny Panic and the Bible of Dreams: Short
Stories, Prose, and Diary Excerpts
539:
379:
937:
908:
890:
754:
482:
435:
326:
279:
245:
44:
236:
219:
846:
828:
740:
733:
718:
115:
107:
103:
39:
443:
419:
287:
263:
902:
884:
122:
90:
82:
671:
The Art of Dying: Suicide in the Works of Kate Chopin and Sylvia Plath
519:
359:
111:
687:
521:
Red comet : the short life and blazing art of Sylvia Plath
173:
59:
19:
This article is about the Plath poem. For the 2008 novel, see
652:
Sylvia Plath's "Lady
Lazarus" – Cultural and Social Context
361:
Red comet: The Short Life and Blazing Art of Sylvia Plath
220:"Sylvia Plath and Confessional Poetry: A Reconsideration"
169:
420:"Violence, Rage, and Self-Hurt in Sylvia Plath's Poetry"
264:"Violence, Rage, and Self-Hurt in Sylvia Plath's Poetry"
185:
The poem alludes to the mythological bird called the
97:
517:
357:
935:
213:
211:
558:
338:
336:
121:Plath was the daughter of a German immigrant,
703:
762:Two Lovers and a Beachcomber by the Real Sea
208:
180:
333:
77:According to the American poet and critic,
710:
696:
456:
235:
583:Sylvia Plath and the Theatre of Mourning
546:
50:Plath's suicidal attempts and thoughts.
868:Superman and Paula Brown's New Snowsuit
629:The Cambridge Companion to Sylvia Plath
518:Clark, Heather L. (28 September 2021).
417:
358:Clark, Heather L. (28 September 2021).
261:
62:stanzas, and is written in free verse.
936:
854:Letters Home: Correspondence 1950–1963
691:
217:
353:
351:
300:
257:
255:
128:
58:The poem is divided in twenty-eight
13:
319:10.1111/j.1467-8705.1979.tb01735.x
14:
975:
348:
252:
717:
580:
564:
98:German identity and World War II
669:Suiter Gentry, Deborah (2006).
610:University Press of New England
603:
581:Britzolakis, Christina (1999).
511:
505:"BBC - Arts - Poetry: Out Loud"
457:Schetrumpf, Tegan Jane (2015).
342:
497:
450:
411:
394:"Lady Lazarus by Sylvia Plath"
386:
301:Aird, Eileen (December 1979).
294:
137:Herr God, Herr Lucifer
1:
218:Uroff, M. D. (January 1977).
196:
110:. It is known as one of her "
964:Phoenixes in popular culture
954:Poems published posthumously
808:The Colossus and Other Poems
604:Fermaglich, Kirsten (2007).
491:10.13110/antipodes.29.1.0117
475:10.13110/antipodes.29.1.0117
163:
53:
7:
668:
649:
552:
10:
980:
633:Cambridge University Press
18:
877:
838:
799:
725:
626:
181:References to the phoenix
42:, originally included in
418:Ghasemi, Parvin (2008).
262:Ghasemi, Parvin (2008).
149:I rise with my red hair
65:
587:Oxford University Press
237:10.17077/0021-065x.2172
152:And I eat men like air.
38:" is a poem written by
944:Poetry by Sylvia Plath
154:
29:Lady Lazarus (Mad Men)
748:The Munich Mannequins
650:Runkel, Anne (2009).
135:
118:" and "Mary's Song".
783:Mad Girl's Love Song
553:Suiter Gentry (2006)
114:poems", along with "
21:Lady Lazarus (novel)
16:Poem by Sylvia Plath
923:Sylvia Plath effect
72:Confessional poetry
822:Crossing the Water
800:Poetry collections
565:Britzolakis (1999)
307:Critical Quarterly
931:
930:
661:978-3-640-32902-1
627:Gill, Jo (2006).
619:978-1-58465-549-7
531:978-0-307-95126-7
398:Poetry Foundation
371:978-0-307-95126-7
343:Fermaglich (2007)
129:Holocaust imagery
971:
839:Prose and novels
712:
705:
698:
689:
688:
684:
665:
646:
623:
600:
568:
562:
556:
550:
544:
543:
515:
509:
508:
501:
495:
494:
454:
448:
447:
415:
409:
408:
406:
405:
390:
384:
383:
355:
346:
340:
331:
330:
298:
292:
291:
259:
250:
249:
239:
215:
979:
978:
974:
973:
972:
970:
969:
968:
934:
933:
932:
927:
897:Nicholas Hughes
873:
834:
795:
721:
716:
681:
662:
654:. GRIN Verlag.
643:
620:
597:
572:
571:
563:
559:
551:
547:
532:
524:. p. 806.
516:
512:
503:
502:
498:
455:
451:
416:
412:
403:
401:
392:
391:
387:
372:
356:
349:
341:
334:
299:
295:
260:
253:
224:The Iowa Review
216:
209:
199:
183:
166:
146:Out of the ash
131:
100:
79:Macha Rosenthal
68:
56:
32:
17:
12:
11:
5:
977:
967:
966:
961:
959:American poems
956:
951:
946:
929:
928:
926:
925:
920:
912:
906:
900:
894:
888:
881:
879:
875:
874:
872:
871:
864:
857:
850:
842:
840:
836:
835:
833:
832:
825:
818:
811:
803:
801:
797:
796:
794:
793:
786:
779:
772:
765:
758:
751:
744:
737:
729:
727:
723:
722:
715:
714:
707:
700:
692:
686:
685:
679:
673:. Peter Lang.
666:
660:
647:
641:
624:
618:
601:
595:
577:
576:
570:
569:
557:
545:
530:
510:
496:
469:(1): 117–127.
449:
430:(3): 284–303.
410:
385:
370:
347:
332:
293:
251:
230:(1): 104–115.
206:
205:
204:
203:
198:
195:
182:
179:
165:
162:
130:
127:
99:
96:
67:
64:
55:
52:
15:
9:
6:
4:
3:
2:
976:
965:
962:
960:
957:
955:
952:
950:
947:
945:
942:
941:
939:
924:
921:
918:
917:
913:
910:
909:Aurelia Plath
907:
904:
901:
898:
895:
892:
891:Frieda Hughes
889:
886:
883:
882:
880:
876:
869:
865:
863:
862:
858:
856:
855:
851:
849:
848:
844:
843:
841:
837:
831:
830:
826:
824:
823:
819:
817:
816:
812:
810:
809:
805:
804:
802:
798:
791:
790:The Applicant
787:
784:
780:
777:
773:
770:
766:
763:
759:
756:
752:
749:
745:
742:
738:
735:
731:
730:
728:
724:
720:
713:
708:
706:
701:
699:
694:
693:
690:
682:
680:0-8204-2496-X
676:
672:
667:
663:
657:
653:
648:
644:
642:0-521-84496-7
638:
634:
630:
625:
621:
615:
611:
607:
602:
598:
596:0-19-818373-9
592:
588:
584:
579:
578:
574:
573:
566:
561:
554:
549:
541:
537:
533:
527:
523:
522:
514:
506:
500:
492:
488:
484:
480:
476:
472:
468:
464:
460:
453:
445:
441:
437:
433:
429:
425:
421:
414:
399:
395:
389:
381:
377:
373:
367:
363:
362:
354:
352:
344:
339:
337:
328:
324:
320:
316:
312:
308:
304:
297:
289:
285:
281:
277:
273:
269:
265:
258:
256:
247:
243:
238:
233:
229:
225:
221:
214:
212:
207:
201:
200:
194:
192:
188:
178:
175:
171:
161:
157:
153:
150:
147:
144:
141:
138:
134:
126:
124:
119:
117:
113:
109:
105:
95:
92:
86:
84:
80:
75:
73:
63:
61:
51:
48:
46:
41:
37:
30:
27:episode, see
26:
22:
914:
859:
852:
847:The Bell Jar
845:
829:Winter Trees
827:
820:
813:
806:
769:Lady Lazarus
768:
719:Sylvia Plath
670:
651:
628:
605:
582:
560:
548:
520:
513:
499:
466:
462:
452:
427:
423:
413:
402:. Retrieved
400:. 2021-10-23
397:
388:
360:
310:
306:
296:
271:
267:
227:
223:
184:
167:
158:
155:
151:
148:
145:
142:
139:
136:
132:
120:
108:Nazi Germany
104:World War II
101:
87:
76:
69:
57:
43:
40:Sylvia Plath
36:Lady Lazarus
35:
33:
24:
919:(2003 film)
424:CLA Journal
268:CLA Journal
949:1965 poems
938:Categories
903:Otto Plath
893:(daughter)
885:Ted Hughes
540:1231956674
404:2021-10-24
380:1231956674
274:(3): 292.
197:References
123:Otto Plath
91:Al Alvarez
83:Ted Hughes
23:. For the
887:(husband)
483:0893-5580
463:Antipodes
436:0007-8549
327:0011-1562
313:(4): 70.
280:0007-8549
246:0021-065X
202:Footnotes
164:Omissions
112:Holocaust
54:Structure
911:(mother)
905:(father)
567:, p. 155
444:44325429
288:44325429
143:Beware.
878:Related
575:Sources
555:, p. 78
345:, p. 14
191:Lazarus
187:phoenix
140:Beware
25:Mad Men
916:Sylvia
755:Tulips
677:
658:
639:
616:
593:
538:
528:
489:
481:
442:
434:
378:
368:
325:
286:
278:
244:
174:London
60:tercet
899:(son)
815:Ariel
776:Ennui
741:Daddy
734:Ariel
726:Poems
487:JSTOR
440:JSTOR
284:JSTOR
116:Daddy
106:–era
66:Genre
45:Ariel
675:ISBN
656:ISBN
637:ISBN
614:ISBN
591:ISBN
536:OCLC
526:ISBN
479:ISSN
432:ISSN
376:OCLC
366:ISBN
323:ISSN
276:ISSN
242:ISSN
471:doi
315:doi
232:doi
172:in
170:BBC
940::
635:.
631:.
612:.
608:.
589:.
585:.
534:.
485:.
477:.
467:29
465:.
461:.
438:.
428:51
426:.
422:.
396:.
374:.
364:.
350:^
335:^
321:.
311:21
309:.
305:.
282:.
272:51
270:.
266:.
254:^
240:.
226:.
222:.
210:^
74:.
870:"
866:"
792:"
788:"
785:"
781:"
778:"
774:"
771:"
767:"
764:"
760:"
757:"
753:"
750:"
746:"
743:"
739:"
736:"
732:"
711:e
704:t
697:v
683:.
664:.
645:.
622:.
599:.
542:.
507:.
493:.
473::
446:.
407:.
382:.
329:.
317::
290:.
248:.
234::
228:8
47:,
34:"
31:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.