Copyright © 1987 by the University of Chicago Press.
The most famous example is ‘Lady Lazarus’, where we see This pressure to reveal and expose oneself casts ‘confession’ in a very different light from how we have ordinarily imagined it. She is a daughter to Otto Plath and Aurelia Plath, and an older sister to Warren Plath, who is three years younger than Sylvia.
By contrast with Eliot's tentative hesitations, obliquities, and evasions of direct statement, however, Plath's poem professes to 'tell all'. The very title of the poem lays the groundwork for a semicomic historical and cultural allusiveness.
Another poet Ted Hughes, though after adultery on both sides occurred, the marriage finallyThis evokes a feeling of disturbing tension. His flashing eyes, his floating hair!' The poem moves on through reductive dismissal ("The big strip tease") to public announcement, with a blasphemous swipe at the ecce homo ("Gentlemen, ladies/These are my hands/My knees"), and comes to its single lyric moment, recalling Plath's suicide attempt in the summer before her senior year at Smith:Almost every stanza of "Lady Lazarus" picks up a new possibility for this theatrical voice, from mock movie talk ("So, so, Herr Doktor./So, Herr Enemy") to bureaucratic politeness, ("Do not think I underestimate your great concern") to witch warnings ("I rise with my red hair/And I eat men like air"). The iambic measure is dominant throughout, though Plath often overloads a line with stressed syllables or reduces a line to a single stress. The public horrors of the Nazi concentration camps and the personal horrors of fragmented identities become interchangeable. 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:The densely layered intertextual ironies at work in these lines plot the labyrinthine course of what Benjamin calls 'the sex appeal of the inorganic' through literary history. Plath derisively portrays herself as “Lady Lazarus” and many other personasThe collection of poems, Mushrooms, Daddy and Lady Lazarus by renowned poet Sylvia Plath, all detail similar values regarding the oppressive roles of women during the 50s and 60s. They both utilize an imagery of severe disintegration and dislocation. Instead, they display a wild dispersal, a centrifugal spin to further and further reaches of outrage.' The nature of loss, however, makes it a rich topic for poetic endeavors. Her best known poem, “The New Colossus” (the 1883 Statue of Liberty poem that made Lazarus a national icon), is also here, along with a selection of cultural documents that help contextualize her work in relation to contemporary debates about Jewish history, the Russian pogroms of the 1880s, the creation of a Jewish homeland in Palestine, immigration, and antisemitism. The female subject has offered here pieces of herself, she has displayed herself not in an assertive way but in a sexually provocative and seductive way, and - at the very end - she resorts to descriptions of her appearance - her red hair - but not delineations of her reality - her anger. To the same place, the same face, the same brute
The sound of the poetry, reminiscent of light verse, combines strangely with its macabre sense, rather like certain passages in "The Raven" where one feels that Poe has been demonically possessed by W. S. Gilbert ("For we cannot help agreeing that no living human being / Ever yet was blessed with seeing bird above his chamber door").In the last twenty lines of "Lady Lazarus," irony vanishes, its last glimmer coming ten lines from the end in "Do not think I underestimate your great concern." Only when the Lady undergoes total immolation of self and body does she truly emerge in a demonic form. And that zoo yowl has a feral slyness about it.From "An Intractable Metal."
Plath’s poems are usually written on a confessional note. With her skin "Bright as a Nazi lampshade," her foot "A paperweight," and her face "featureless, fine / Jew linen," Lady Lazarus puts her damage on theatrical display through her scandalous suicide artistry (244). That no consensus exists among contemporary historians over whether the Nazis made cakes of soap out of their victims (though they certainly did "manufacture" hair and skin, rings and fillings and bones) drives home the bitter irony that propels the poem, namely that imaginative approaches to the Shoah may distort, rather than safeguard, the dreadful but shredded historical record.
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