The stanzas, “Not God but a swastika” and “A paperweight,

The stanzas, Not God but a swastika and A paperweight, / my face a featureless, fine / Jew linen, are perfect examples of how Sylvia Plath brings to the refs wariness the horrors of the holocaust. doll Lazarus and Daddy are consort pieces in which the poet communicates her personal pain, suffering, and attempts at self-healing. Although Sylvia Plaths metrical compositions Daddy and maam Lazarus are about different subjects, through the practice of imagery, allusion, metaphors, and similes the poet draws ones attention to the holocaust.

The poem Daddy opens with a reference to the engenders black shoe, in which the daughter persona states, In which I have lived similar a foot / For thirty years, piteous and white, / Barely daring to breathe or Achoo., which suggest feelings of submissiveness and entrapment. The poem then moves to an idealized image of the father, Marble-heavy, a bag abounding of God, suggesting to the lector that the speaker has a love-hate relationship with the father persona.

The father image is represented as a symbol of the Nazi oppression of the Jews. For example, the man at the blackboard in the jut of the actual father is transformed symbolically into the man in black a Meinkampf look. The connecting link between each of these associations is the countersignature black, which withal relates to the shoe in which the speaker has lived. The historical references pull up stakes the poet to dramatize her rebellion against the oppressive father and disown the idol turned demon in the declaration, Daddy, daddy, you bastard, Im through. Although dame Lazarus is about suicide and resurrection, the poet uses metaphors to equate her suffering with the experiences of the tortured Jews. As a result of the suicide she inflicts on herself she becomes a Jew. The humans horrors of the Nazi concentration camps and the personal horrors of fragmented identities become interchangeable.

The answer of the crowd, who push in with morbid interest to see the saved suicide, in stanzas 26 and 27, mimics the attitude of many to the revelations of the concentration camps. The poet use of similes, such as They had to call and call / and pick the worms reach me resembling sticky pearls, and I am only thirty. / And like the cat I have nine times to give, helps the reader to understand the depth of emotion the poet conveys.

Plath utilizes allusion to the bible in comparing her suicide to the victimization of the Jews, and when she later claims there is a commission for a piece of her hair or clothes and then compares her rescued self to the crucified Christ.



By comparing her recovery from a suicide attempt to the resurrection of Lazarus, she imagines herself as the center of a spectacle.

Poems like Daddy and Lady Lazarus are an intelligent play with concepts, myths, and language. Where she says, I do it so it feels like hell. / I do it so it feels real. / I guess you could say I have a call; she is making an allusion to the Bible. But unlike the beneficiary of the biblical miracle, Plaths Lady Lazarus accomplishes her own resurrection.

In both Daddy and Lady Lazarus, Plath makes references to her attempts and fascination with suicide, At twenty I tried to die / And force back back, back to you. and The second time I meant / To demise it out and not come back at all. Sylvia Plath, the American poet, committed suicide in 1963 at the age of 30. Her husband, Ted Hughes, who also was a poet, had recently left her. Daddy and Lady Lazarus she wrote in the last few months of her life. Her poems explore her relationships with her father and husband, and her belief that end is an art, like everything else. / I do it exceptionally well.

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