Line-by-Line Analysis of the Poem Lady Lazarus by Sylvia Plath
“Lady Lazarus” is named after the biblical figure Lazarus, resurrected by Jesus four days after his death. In the poem, the speaker metaphorically dies and resurrects herself, a process she suggests has happened multiple times.
This is often interpreted as a reflection of Plath’s experiences with suicide attempts and her struggle with mental health.
I have done it again.
One year in every ten
I manage it—
I have done it again.
This line sets the tone for the poem and hints at a recurring event. It also refers to her repeated attempts at suicide.
The “it” is deliberately ambiguous, but as the poem continues, it becomes clear that she’s referring to metaphorical self-destruction and resurrection, akin to the biblical Lazarus, who was resurrected from the dead.
One year in every ten
This line suggests that the event mentioned in the previous line happens periodically, specifically every ten years.
I manage it—
The word “manage” implies that the speaker has some control over this, treating it almost like an accomplishment. This line and the previous two establish the poem’s theme of resurrection and cyclical rebirth.
A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot
walking miracle
This phrase describes the poem’s speaker, who has survived multiple suicide attempts and seems to have returned to life after each one.
The speaker identifies as Lady Lazarus and compares herself to the biblical Lazarus. Lady Lazarus has experienced death and has been resurrected. Still, unlike Lazarus, she has been brought back to life multiple times, becoming a spectacle to those around her.
my skin
Bright as a Nazi lampshade,
Nazi [Nah-tsee]
The term “Nazi” refers to a member of the National Socialist German Workers’ Party. It is the political party that existed in Germany from 1920 to 1945.
The Nazi Party, led by Adolf Hitler, was a far-right, fascist political movement that promoted nationalism, anti-Semitism, and totalitarianism. The Nazis came to power in Germany in 1933.
The Nazi regime enacted policies causing the persecution and murder of millions during the Holocaust and WWII. Victims included Jews, Roma, gays, disabled individuals, and dissidents. The term “Nazi” often represents the regime and its ideology.
lampshade
The metaphor also has a dark and disturbing connotation. During the Holocaust, some Nazi concentration camps were known to have made lampshades out of the skin of murdered prisoners.
The symbolic use of the lampshade in the poem may be seen as the objectification and commodification of individuals, especially women, in society. She compares her skin to a “Nazi lampshade,” also referencing the horrors of the Holocaust.
A paperweight,
My face a featureless, fine
Jew linen.
A paperweight,
There are also gruesome accounts of how different parts of the numerous dead bodies of Jews cruelly tortured to death were used to make objects like paperweights.
The reference to “Jew linen” and the “paperweight” in the context of the Holocaust alludes to the horrifying fact that some Nazis made household items from the skin of Jewish victims.
My face a featureless, fine
Jew linen.
It is a powerful image, touching on themes of dehumanization and the Holocaust. The term “Jew linen” likely refers to the precious belongings of Jewish people, including fine linens, stolen during the Holocaust.
By comparing her face to “featureless, fine / Jew linen,” she suggests that she, like the victims of the Holocaust, has been stripped of her identity and humanity.
Using these objects in the poem emphasizes the dehumanization and objectification of the speaker’s suffering. It parallels her pain and the unspeakable horrors of the Holocaust.
Peel off the napkin
O my enemy.
Do I terrify?—
Peel off the napkin
In this line, a “napkin” symbolises a cover or veil hiding something. The speaker invites the addressed “enemy” to uncover, or “peel off”, this napkin.
This could be a metaphor for revealing the raw, unfiltered truth about her emotional and mental state, which she usually keeps hidden beneath a facade. Peeling suggests a degree of difficulty or resistance, implying that this revelation is not an easy process.
O my enemy.
This phrase signifies a confrontation with her “enemy”. In the poem’s context, this “enemy” represents several things – it could symbolize societal expectations, the people who hurt her, her inner demons, or even her mental illness (depression).
Do I terrify?
This question, directed at her “enemy”, is a powerful assertion of her resilience and strength. She’s asking if her reality – the intense emotional pain, her constant cycle of death and rebirth, her ability to confront her suffering – instils fear in her enemy.
It’s almost a challenge, confronting the enemy with her ability to endure and rise from her ashes.
The nose, the eye pits, the full set of teeth?
The sour breath
Will vanish in a day.
The nose, the eye pits, the full set of teeth?
These horrible images are followed by the image of the woman’s dead body covered in a napkin, a corpse that can terrify the viewers by revealing The nose, the eye pits, and the full set of teeth. It is possible to see in the image of peeling off the ‘napkin’ the further idea of stripping the body of its skin.
The sour breath
Will vanish in a day.
The phrase “sour breath” may refer to the smell of decay or death associated with the grave.
The speaker suggests that this smell will dissipate over time as her body regenerates.
Soon, soon the flesh
The grave cave ate will be
At home on me
These lines suggest that the speaker’s pain and trauma are temporary and that she will eventually overcome them.
the flesh
The grave cave ate
The phrase “the flesh / The grave cave ate” is a powerful image of the body being consumed by the earth, but the speaker suggests that even this process of decay and destruction will ultimately be overcome.
The phrase “grave cave” is a metaphor for the tomb or burial place where the speaker’s body will eventually rest, and the word “ate” implies that death is a consuming force.
At home on me
By saying that the grave will be “at home” for her, the speaker suggests that death is a natural and inevitable part of life and that she is not afraid of it.
The line “At home on me” suggests that the speaker’s body will be restored to its rightful place, and she will be whole again.
It refers to the speaker’s acceptance of death. The line suggests that the speaker has already experienced death and has been consumed by it, but she will rise again from the ashes like a phoenix.
Phoenix
In Greek mythology, the Phoenix is a legendary bird that rises from its ashes. From the ashes, a new Phoenix would reborn. The Phoenix is often associated with resurrection and immortality.
And I a smiling woman.
I am only thirty.
And like the cat I have nine times to die.
smiling woman.
However, she also desires to be “a smiling woman,” suggesting she wants to overcome her pain and trauma.
I have nine times to die.
The comparison to a cat with “nine times to die” suggests that she will continue to face near-death experiences but that she will continue to survive.
This is Number Three.
What a trash
To annihilate each decade.
These lines continue from Sylvia Plath’s poem “Lady Lazarus,” in which the speaker discusses her suicide attempts and the cyclical nature of her struggles with mental health.
This is Number Three.
This line reveals that the current attempt the speaker is referring to is the third time she has experienced this.
What a trash
The word “trash” here refers to the destructive nature of the speaker’s actions and the waste it brings to her life. The speaker acknowledges the negative consequences of her actions but seems unable to break free from the cycle.
To annihilate each decade.
This line also connects back to the “One year in every ten0” line from earlier in the poem. The word “annihilate” shows destruction. The phrase “each decade” indicates a recurring pattern of self-destruction over time. Repeating this process every ten years emphasizes the idea of a cyclical struggle that the speaker cannot escape.
What a million filaments.
The peanut-crunching crowd
Shoves in to see
a million filaments
Filaments are fine threads or fibres. This line could be interpreted in a few ways. It might be best understood as an analogy for the many threads of attention or curiosity drawn towards the speaker. The “million filaments” could represent the intensity of public scrutiny and interest that she feels directed towards her.
The peanut-crunching crowd
Shoves in to see
These lines depict a crowd of spectators gathering to witness something, portrayed here as casually eating peanuts, a typical snack at spectacles like circuses or sports events. The term “peanut-crunching crowd” gives a sense of them being detached.
The crowd is consuming her suffering as entertainment. The fact that they’re “shoving in” implies eagerness or a lack of respect for personal boundaries.
In Sylvia Plath’s poem “Lady Lazarus,” the phrase “peanut-crunching crowd” refers to the voyeuristic audience who watch the speaker’s metaphorical resurrection as entertainment.
The poem uses this imagery to critique how society often treats the personal pain of individuals, particularly women, as a source of amusement or fascination.
Them unwrap me hand and foot—
The big strip tease.
Gentlemen, ladies
These are my hands
My knees.
I may be skin and bone,
Them unwrap me hand and foot—
The big strip tease.
This line suggests the speaker’s metaphorical unveiling or exposure before the crowd. It likens her emotional exposure and the unveiling of her true, suffering self to a “big strip tease”, a spectacle for others to watch, underlining the theme of voyeurism.
Gentlemen, ladies
These are my hands
My knees.
These lines further emphasize the exposure and spectacle. By addressing the crowd directly as “Gentlemen, ladies”, the speaker continues the performance theme, making her pain and suffering a show for their entertainment.
She points out her “hands” and “knees”, exposing the physical parts of herself, adding to the raw vulnerability of the scene.
The final lines can also be interpreted differently as she asserts her identity and humanity, declaring, “These are my hands / My knees.” She refuses to be objectified and commodified.
I may be skin and bone,
This line could be interpreted in a couple of ways. It might describe her physical state, suggesting that she’s been reduced to just “skin and bone”, indicative of extreme suffering.
Figuratively, it could express the speaker’s feeling of being stripped bare, emotionally and psychologically, in front of the voyeuristic crowd.
The phrase implies a slow, deliberate, theatrical reveal of her inner turmoil and pain, much like a striptease performance.
The speaker suggests that her suicide attempts are not genuine attempts to end her life but rather a performance for an audience. She also implies that her audience is willing to pay a high price for a glimpse into her pain and suffering, whether through physical contact or simply observing her.
Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.
In “Lady Lazarus,” Sylvia Plath emphasizes her resilience and the continuity of her identity despite her suffering.
Nevertheless, I am the same, identical woman.
The lines “Nevertheless, I am the same, identical woman” assert that, even though her experiences may alter her physical appearance, she remains the same person inside.
The first time it happened I was ten.
It was an accident.
The speaker recounts the first time she encountered death, noting it was an accident when she was ten. This establishes her long history of suffering and familiarity with the cycle of death and rebirth.
“It” probably refers to a near-death experience or a deep encounter with suffering, as these are recurring themes in the poem.
The second time I meant
To last it out and not come back at all.
I rocked shut
As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.
The second time I meant
To last it out and not come back at all.
This suggests a deliberate suicide attempt, with the speaker expressing her desire for it to be final without any more resurrections.
I rocked shut
As a seashell.
Here, the speaker describes her state after the event, comparing herself to a seashell. “rocking shut” suggests a self-protective response to trauma, similar to how a seashell closes up to protect the organism inside.
This could symbolize emotional withdrawal or the adoption of a hardened exterior as a defence mechanism.
The metaphor “rocked shut / As a seashell” conveys the idea of closing herself off from the world, seeking solace in death.
They had to call and call
These lines continue the narrative, perhaps suggesting a period of unconsciousness or a near-death state. “They” had to persistently “call and call” to bring her back, indicating the severity of the situation.
In the phrase “They had to call and call” from “Lady Lazarus,” the speaker describes the efforts made to bring her back to life after her suicide attempt. “They” could refer to doctors, family members, or others involved in her revival.
The verb “call” may have different interpretations: it could mean they were calling her name to rouse her back to consciousness, or it could symbolize the medical efforts made to revive her.
And pick the worms off me like sticky pearls.
It is a graphic metaphor for revival or medical intervention, potentially illustrating the invasive and uncomfortable process of being brought back to life or treated.
In the line “And pick the worms off me like sticky pearls” from “Lady Lazarus,” the speaker uses a vivid and unsettling metaphor to describe the process of her resurrection after a suicide attempt. The worms represent decay and the physical aspect of death, illustrating the gruesome reality of her experience with dying.
The comparison of worms to “sticky pearls” creates a striking contrast. People typically consider pearls beautiful, valuable, and precious, while they view worms as repulsive and associate them with death and decay.
By juxtaposing these two images, Plath points out the complex and paradoxical nature of the speaker’s experiences with death and rebirth. The metaphor highlights her suffering and pain. It has shaped her identity and may hold a certain value or significance.
Dying
Is an art, like everything else.
I do it exceptionally well.
I do it so it feels like hell.
I do it so it feels real.
I guess you could say I’ve a call.
These lines from Sylvia Plath’s “Lady Lazarus” continue to explore the themes of death and resurrection, emphasizing the speaker’s skill and familiarity with dying.
Dying
Is an art, like everything else.
I do it exceptionally well.
The speaker claims that dying is an art, like any other skill or craft. By comparing dying to art, the poem elevates dying to something that requires skill, talent, and practice. The speaker asserts that she is particularly adept at this art, suggesting a sense of pride or mastery in her ability to face death repeatedly.
I do it so it feels like hell.
I do it so it feels real
In “Lady Lazarus”, Sylvia Plath describes her approach to the art of dying, indicating that she does it in a way that feels intense and visceral (like hell). The purpose is to make the experience feel authentic.
I guess you could say I’ve a call
It implies that the speaker feels a sense of purpose or destiny in her repeated experiences of death and resurrection as if she has been called upon to undergo this cycle.
It’s easy enough to do it in a cell.
It’s easy enough to do it and stay put
It’s the theatrical
In Sylvia Plath’s “Lady Lazarus,” the speaker emphasizes the theatricality of her resurrection.
In these lines from Sylvia Plath’s “Lady Lazarus,” the speaker continues to discuss the act of dying and the process of resurrection. Here, she emphasizes the ease of dying in confinement and the challenges of returning to life in a dramatic, public manner.
It’s easy enough to do it in a cell
It’s easy enough to do it and stay put.
The speaker suggests that dying can be carried out easily in isolation or confinement, such as in a cell. She implies that dying in private and remaining there is a simpler option. The act lacks judgment from others.
It’s the Theatrical
It reveals that the speaker finds the resurrection process and coming back to life theatrical, meaning it is a dramatic, public, and attention-grabbing event.
This continues the earlier theme of death as an art, something that is performed. It suggests that dying (or repeatedly coming close to dying) can be seen as a dramatic performance.
Comeback in broad day
To the same place, the same face, the same brute
Amused shout:
The resurrection occurs on “broad day,” suggesting it is prominent and exposed.
The word “comeback” suggests a performer who returns to the stage after a hiatus. “Broad day” suggests that her suffering and resurrection are public and open to all.
To the same place, the same face, the same brute
These words underline the monotony and predictability of her returns. She returns to the same place and faces the same challenges (“the same brute”), suggesting a cycle of suffering she can’t escape.
It paints a picture of persistent, recurring struggles, possibly representing Plath’s battles with mental health.
These lines contrast the private act of dying and the public performance of resurrection. The speaker seems to resent the theatrical nature of her return to life, as it forces her to confront the same challenges and judgments from the people around her.
Amused shout:
This line could reflect the reactions of the people around her or society, who might view her repeated brushes with death with morbid curiosity or amusement.
It critiques how society treats personal suffering as a spectacle, adding to the themes of voyeurism and public suffering.
‘A miracle!’
That knocks me out.
There is a charge
In these lines from Sylvia Plath’s “Lady Lazarus,” the speaker reacts to the public response to her repeated resurrections and near-death experiences.
The “brute” who shouts “A miracle!” implies a lack of empathy or understanding of the speaker’s experience.
‘A miracle!’
That knocks me out.
In “Lady Lazarus,” the speaker quotes the reaction of others who witness her resurrection, exclaiming, “A miracle!” This demonstrates that the people around her are amazed by her ability to return to life.
However, it “knocks her out,” suggesting she feels disoriented.
There is a charge
This line introduces the idea that a “charge” is associated with the miracle of her resurrection, implying that the process involves a cost, consequence, and energy.
Therefore, in the broader context of the poem, this “charge” may be a metaphorical price the speaker has to pay for her repeated encounters with death and rebirth. It could be emotional, physical, or psychological.
For the eyeing of my scars, there is a charge
For the hearing of my heart—
It really goes.
In these lines from Sylvia Plath’s “Lady Lazarus,” the speaker explains the “charge” mentioned earlier in the poem, providing specific examples of the costs or consequences associated with her resurrection and the public’s fascination with her experiences.
For the eyeing of my scars, there is a charge
The speaker asserts that there is a “charge” or price for others to gaze upon the scars she bears, presumably from her near-death experiences or resurrections.
Indeed, this suggests that her suffering and trauma have become a spectacle for others to consume, and she demands a kind of compensation for the intrusion into her struggles.
For the hearing of my heart—
It really goes.
In “Lady Lazarus,” the speaker implies that there is also a “charge” or cost for others to listen to her heart, which continues to beat despite her encounters with death.
It could symbolize the intimate exposure of her raw emotions and vulnerability to others. It’s an audial metaphor complementing the visual one (“eyeing of my scars”) in the previous line.
The phrase “It really goes” reaffirms her survival against the odds. Her heart continues to beat despite her numerous brushes with death, highlighting her resilience.
And there is a charge, a very large charge
For a word or a touch
Or a bit of blood
And there is a charge, a very large charge
The speaker highlights the concept of a ‘charge’ or cost for witnessing her pain and suffering. The repetition of ‘charge’ and the addition of ‘very large’ accentuate the substantial toll or impact her trauma might have on those who engage with it. It highlights the depth and intensity of her suffering.
For a word or a touch
Or a bit of blood
The speaker suggests that even the smallest interactions or expressions of her suffering — a ‘word,’ a ‘touch,’ a ‘bit of blood’ — come with a significant ‘charge.’
These elements could represent different aspects of her experience: ‘a word’ may symbolize her thoughts or feelings, ‘a touch’ might represent physical or emotional connection, and ‘a bit of blood’ could stand for physical harm or intense emotional pain.
Or a piece of my hair or my clothes.
So, so, Herr Doktor
So, Herr Enemy.
So, so, Herr Doktor
So, Herr Enemy.
The speaker addresses two figures in these lines: “Herr Doktor” and “Herr Enemy.” The use of “Herr” (German for “Mister” or “Sir”) creates a sense of formality and distance.
“Herr Doktor” refers to a physician or psychiatrist, representing a figure of authority and potential control over the speaker.
“Herr Enemy” is a more general term, signifying an adversary or oppressor.
The German title (“Herr”) evokes the spectre of World War II and the Holocaust. It adds a layer of historical trauma to the poem.
The repetition of “So, so” suggests a tone of defiance or sarcasm, as if the speaker is dismissing or mocking the authority of these figures. The speaker challenges their power over her by addressing them directly and asserting the “charge” for any interaction with her.
I am your opus,
I am your valuable,
The pure gold baby
I am your opus,
An ‘opus’ is a work of art or literature, usually of significant importance or value.
I am your valuable,
The pure gold baby
In the lines, the speaker recognizes that she has become a creation, a prized possession, or a valuable object in the eyes of those who exploit her suffering. By referring to herself as an “opus” (a masterpiece), a “valuable,” and a “pure gold baby,” she acknowledges her objectification while simultaneously asserting her worth and importance.
That melts to a shriek.
I turn and burn.
Do not think I underestimate your great concern.
That melts to a shriek
As the speaker “melts to a shriek,” it reveals the extent of her suffering and torment. The use of “shriek” emphasizes the intensity and desperation of her emotional state.
I turn and burn.
The phrase “I turn and burn” creates an image of her pain consuming her. It further highlights the intensity of her anguish.
The line “Do not think I underestimate your great concern” suggests that the speaker is aware of her curiosity or fascination and does not underestimate her intentions.
The speaker directly addresses her audience, assuring them she’s not underestimating their concern for her. However, considering the poem’s broader context and themes, this line may be sarcastic or cynical.
Thus, the “great concern” might not be genuine empathy but rather morbid curiosity, fascination, or even voyeuristic entertainment.
Ash, ash—
You poke and stir.
Flesh, bone, there is nothing there—
Ash, ash—
The imagery of “Ash, ash—” symbolizes destruction’s aftermath. This also refers to Pheonix.
It implies that the speaker, much like the mythical bird, undergoes a cycle of death and rebirth—she ‘dies’ (whether metaphorically or literally), then rises again from her ashes.
You poke and stir.
Flesh, bone, there is nothing there—
This shows that the speaker’s torment has left her devoid of substance. It implies that her suffering has consumed her identity.
A cake of soap,
A wedding ring,
A gold filling.
A cake of soap
This image might reference the horrifying practice during the Holocaust, where it was rumoured that the Nazis made soap from the fat of murdered Jewish victims. This refers to atrocity, suffering, and the dehumanization experienced by the speaker.
A wedding ring
A traditional symbol of love, commitment, and marriage. However, in the context of this poem, it may suggest the loss or absence of love, a failed relationship, or even marital oppression. This line could carry personal significance given Plath’s disturbing marriage with fellow poet Ted Hughes.
A gold filling
It refers to the Holocaust, where gold fillings were often removed from the mouths of the deceased for their material value. This represents a grotesque form of exploitation, aligning with the poem’s theme of commodification of personal suffering.
Herr God, Herr Lucifer
Beware
Beware.
Herr God, Herr Lucifer
In these lines, the speaker addresses both divine and diabolical figures, “Herr God” and “Herr Lucifer.” Perhaps she emphasizes her defiance and resilience in the face of benevolent and malevolent forces.
Using the title “Herr,” the speaker again alludes to authority and power, reinforcing her challenge to these figures.
Beware
Beware
It conveys a warning. It also asserts the speaker’s strength and refusal to accept defeat by the forces that seek to control her. This shows her determination to resist and rise above her torment.
Out of the ash
I rise with my red hair
And I eat men like air.
These lines emphasize the themes of rebirth, resilience, and power in the face of adversity throughout the poem. They convey a sense of triumph and defiance as the speaker (Lady Lazarus) overcomes her struggles and rises anew from the ashes.
Out of the ash
It alludes to the mythological figure of the Phoenix, a bird reborn from its ashes after it dies. The reference suggests that Lady Lazarus, like the Phoenix, can be reborn and resurrected after experiencing death.
I rise with my red hair.
The red hair represents the fire that burns within her, fueling her spirit to rise from the ashes.
And I eat men like air
It is a powerful metaphor that conveys the speaker’s newfound sense of dominance, control, and strength.
Finally, this line suggests that she has not only survived her ordeals but has emerged stronger. She can also destroy those who have harmed or oppressed her as easily as breathing. It also challenges traditional gender roles. The speaker also asserts her power in a manner associated with male figures.
In “Lady Lazarus,” Plath uses the metaphor of the phoenix. This creature also rises from its ashes to express her resilience in the face of suffering and trauma, much like the transformation and freedom explored in “Ariel.”
