Examine close reading of Sylvia Plath’s poems “Lady Lazarus” and “Daddy” with critical perspectives and textual references in association with the thesis statement that “Lady Lazarus” and “Daddy” both rebel coercion confinement of patriarchy and misogyny.
(Image of Sylvia Plath, young white woman with brown hair and eyes, yellow v-neck sweater, red lipstick and a headband)
Examine close reading of Sylvia Plath’s poems “Lady Lazarus” and “Daddy” with critical perspectives and textual references in association with the thesis statement that “Lady Lazarus” and “Daddy” both rebel coercion and confinement of patriarchy and misogyny.
Sylvia Plath’s “Lady Lazarus” and “Daddy” are conical works of transcendentalist American feminism posthumously anthologized in the poetry collection Ariel in 1965. American poetesses’ egotistical individuality and romanticist fantasy of selfhood quest crusading the forces of sublimity is universally foreshadowed by the phenomenal poems. Gloom and doom, dark humour and black humour engender the motifs of revenge and memory through mythologization, poeticization, psychologization, romanticization and/or fantasization in these quasi-confessional and quasi autobiographical elegies.
“Lady Lazarus” is a vindication of the temptation of fate as implied in the poetical rhetorics: “Herr God, Herr Lucifer”/ “Beware/ Beware”. Epiphanic voice of the romanticist egomaniacal heroine of femininity is reflected in the biblical figuration of the transformative poetess. The resurrectionist figuration is an avenging phoenix that transcends the contemporary recalcitrant barriers of race, class, ethnicity, gender, nationality and culture[al] stereotyp[ical]es expectations of the hackneyed microcosm. This overarching feminist emancipation salvages herself by historicizing in the hyperbolic figurative tropes foreshadowing: “Out of the ash/ I rise with my red hair/ And I eat men like air.” Etherealism and surrealism surmounts in the reincarnation and resurrection impresarios of “Lady Lazarus”.
On the contrary, “Daddy” was merely the first jet of flames from a literary dragon, who in the last years of her life breathed a burning river of bale across the literary landscape. “Daddy” is a subversive indictment of overarching feminism harbouring cantankerousness and obstreperousness against patriarchal dominance. “Daddy, daddy, you bastard. I’m through…” is the culmination of a matriarchal feminist stance of the woman poet in accord with the second and third wave of feminism epochs. American poetess Sylvia Plath’s invocation of fascism and nazism is entwined in the impresario that she envisions witnessing renderings of holocaust Nazi cremation of the extermination in concentration camps and the associated violence and trauma of survivialhood. This documentary testament bears antisemitism as projected by the figurative tropes: “my skin/bright as a Nazi lampshade” and “my face…/… Jewish linen”.
Quintessential poetry of the grotesquery of suffering and vulnerability are starkly evident in both the poems. In comparison, both of these poems are embodiments of empowered femininity through canonical works of women writing. “Lady Lazarus” fictional character and poetic personae reawakens and resurrects the graveyard tombed femininity in avenging the suicidal despair—-”It’s a theatrical comeback in broadway” echoes and resonates the revenge fantasy of impulsive and ironwilled “Lady Lazarus’s” femininity—a noteworthy exploration of second and third wave feminism. In contrast, “Daddy” disempowers patriarchal subjectivity of the object of male gaze, which views womanhood and femininity as commodities of objectification and fetishization.
“And a head in the freakish Atlantic/ Where it pours bean-green over blue/ In the waters of the beautiful Nauset”. Elegiac diatribe imperils the fatherly figure’s imperious and domineering spirits: closure of relationship; association to racism of antisemitism: furtherance to the testament of burgeoning and full fledged feminist movements. In a nutshell, “Daddy” is a melodramatic treasure hunt of communion of torture, trauma, massacre, sacrifical martyrdom and survivalist victimhood. Cultural appropriation of the imaginary Plathian canonical homeland casts a role as the subversive counter cultural feminine speaking back to the dominant masculinist authoritarianism and hegemony. Moreover, obituary and elegy of the electra complex critiquing the fascist vampiric perpetrator’s predatoriness as morbidly entrenched within the masculinist domain. Perceptive subjectivity of being deported to the Holocaust concentration camp is envisioned and foretold by the metaphors of apocalyptic gloom and doom as embodied by the wretchedness and viciousness of fathers and husbands in general. Despite the heritage of the dictatorial regime and patriarchal misogyny, “Every woman adores a fascist” … “And get back, back, back to you.”
“Lady Lazarus” and “Daddy” voices puritanical spirits of protest against rigidified and terroristic visions of male power and masculinist authority. These poems canonize themselves as transgressive dialects transforming invisibility to visibility and private as public.
Further Reading, References, Endnotes and Podcasts
Stripped Cover Lit Lady Lazarus by Sylvia Plath Poetry Discussion: Summary, Analysis, Interpretation, Review
A Lecture on Sylvia Plath’s “Lady Lazarus” and “Daddy” John Pistelli
American Literature | Sylvia Plath: analysis of “Daddy” | Poem analysis Ad Maiora
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Lady Lazarus by Sylvia Plath in 8 minutes Simon Andrew
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Daddy by Silvia Plath Simon Andrew 1.23K subscribers
Review – Lady Lazarus (Sylvia Plath) – Patron Poem
Stripped Cover Lit
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Sylvia Plath, Cliffs Notes on American Poets of the 20th Century Mary Ellen Snodgrass, M.A. University of North Carolina, Greensboro, Lincoln, Nebraska, pp. 211-217, 2000.
“Daddy” Jacqueline Rose, Bloom’s Modern Critical Views: Sylvia Plath (2007), Bloom’s Literary Criticism, pp. 38-51
Chapter Title: Plath’s Bodily Ego Restaging the Sublime, Book Title: Women Poets and the American Sublime, Joanne Feit Diehl, Indiana University Press (1990) pp. 1-32
Produced By Vincent Turner, Developed By Robert Sacchi, 115 pages. Phase: Pre-production/Development, Budget Estimation: $23,000-314,000. Pitch deck and budget list available, please email synchchaos@gmail.com if interested.
Charles Griffin, a philosophy professor, is challenged by Adam, one of his students, over his unruly behaviour while lecturing. Though Charles is unhappy lecturing by the books, Adam’s challenge becomes the inspiration behind his nascent philosophy.
First of all, an announcement from contributor Chimezie Ihekuna, who is seeking an investor/executive producer for the project, One Man’s Deep Words. It is set in the US.
Produced By Vincent Turner, Developed By Robert Sacchi, 115 pages. Phase: Pre-production/Development, Budget Estimation: $23,000-314,000. Pitch deck and budget list available, please email synchchaos@gmail.com if interested.
Charles Griffin, a philosophy professor, is challenged by Adam, one of his students, over his unruly behaviour while lecturing. Though Charles is unhappy lecturing by the books, Adam’s challenge becomes the inspiration behind his nascent philosophy.
The first issue of 2025 presents a Lazy Susan of Ideas. This phrase comes from Desiree Richter, author of The Presence of Absence, about the accidental death of her young son and her journey out of rigid religious fundamentalism, out recently from the University of New Orleans Press.
In a recent interview on the podcast I Was a Teenage Fundamentalist, Richter describes reading a wide variety of books in her time of grief and being exposed to a whole “lazy Susan of ideas.”
This month’s contributors present a whole turntable of thoughts as well. Some, like Richter’s, are in response to personal or larger griefs, while others are philosophical or introspective or academic or celebratory.
Jack Mellender travels on a lyrical romp through many decades of wild living in California. Shahnoza Ochildiyeva celebrates her educational and personal accomplishments. Ashraful Kabir conveys the journey of self-discovery with a metaphor of a boat ride as Abeera Mizra renders personal awakenings through determined verse and Nick Gunter laments that a person doesn’t recognize his capacity to change. Shukurillayeva Lazzatoy Shamshodovna outlines some pathways towards building new and positive habits while Robiya Ismailjonova brings a spiritual perspective to her call for moral accountability and repentance.
Nathanael Johnson highlights the internal struggles of a boy as he figures out how to grow into a man. Jessica Hu illustrates the self-destructive urges that can come with moments of despair.
Linette Rabsatt’s poetry prepares us for comfort, then joggles our mind with clever contradictions. Marc Frazier’s introspective poetry probes childhood, memory, desire, mortality, and our search for meaning. Noah Berlatsky humorously explores the sometimes-vague boundaries between whimsy and reality. Mark Young’s postwoman pieces frame the world’s many random offerings as gifts to be opened and explored. Susie Gharib speaks to the stories we take from history, mythology, literature, and science. Peter Cherches’ humorous story highlights the wonder, curiosity, and humor that emerges as very different beings meet each other.
Eva Petropoulou Lianou interviews Jeanette Eureka Tiburcio, president of a women’s intellectual organization, on how her new book is a fulfillment of a childhood dream and on her wishes for the world.
Yahia Lababidi’s book What Remains to Be Said shares aphorisms and blurbs of his wisdom. Gulsora Mulikboyeva reflects on the impact of a teacher who inspired her to better write in her native Uzbek language.
Farangiz Abduvahidova outlines the life and literary works of Uzbek poetess Mohlaroyim and her importance to Uzbekistan’s literary heritage. Maftuna Bozorova honors the cultural legacy of Uzbek poet Alexander Feinberg. Aziza Burkhonova discusses various pedagogical techniques for language learning. Olimova Shahina explores creative ways to teach English. Eva Lianou Petropoulou outlines the accomplishments of Italian Naive panter Nino Camardo. Mamazoirova Rayhona regales us with poetry on the beauty of the colorful Uzbek flag. Federico Wardal interviews Dr. Ahmed Elsersawy on his renewed efforts towards cultural partnership between Egypt and the United States.
Rachida Belkacem’s bilingual poetry evokes a transcendent spiritual companionship. Gabriela Peinado Bertalmio elucidates the beauty of the love between a mother and child. Rahmiddinova Mushtariy pays tribute to her wise and caring father. Duane Vorhees explores sensual intimacy from a variety of angles and perspectives. Lan Qyqalla jumps ahead to Valentine’s Day and autumn in his metaphoric and mythical love poems. Graciela Noemi Villaverde, within intricate verse, compares her love to a sunset and to the dawn.
Kassandra Aguilera illuminates the exquisite agony of unrequited love. After losing love, Taylor Dibbert finds unexpected comfort in solitude.
Don Edwards’ poetry deals with themes of love, loss, uncertainty, and the corrosive nature of domination and control on love. David Sapp’s poems critique the ease and sexiness all too many people have given to forms of violence and domination. Daniel De Culla lampoons dictators, and those with the ambition to become such, from around the world, including the U.S. Pat Doyne mourns the recent U.S. presidential election by parodying a famous poem about a loss in baseball.
Fayowole Benjamin’s poetry laments the toll of war on civilians and families. Mesfakus Salahin reflects on how some of the world is still reeling after the two world wars of the past century. Mykyta Ryzhykh evokes wartime and unanswered calls for love. Through his tale of violation and self-defense, Bill Tope highlights the ubiquitous problem of sexual violence. Christopher Bernard explicates and excoriates the violence inherent within neoliberalism manifested through healthcare systems, showing how organizations and procedures can be more destructive than thugs on the street.
Mirta Ramirez’ piece highlights how true romantic love can inspire artistic and intellectual creativity. Abigail George expresses her poetic hopes for peace in the Middle East as Lidia Popa highlights how artistic creation and the sharing of ideas can be noble pursuits bringing people together across cultures.
Z.I. Mahmud digs out the psychological and sociological and spiritual themes embedded within Samuel Beckett’s play Waiting for Godot, the tale of two “everymen” condemned, or blessed, with eternal anticipation. Arjun Razdan probes our obligations to each other in his short story “The Misanthrope” and questions what we owe each other and the best ways to do good.
Peter J. Dellolio’s novel The Confession elucidates the psyche of a condemned man who may or may not be guilty. J.J. Campbell’s poetry emanates from the lingering effects of childhood abuse, memories particularly acute around the holidays. Jake Triola’s poetry troubles itself with the state of the world and the speaker’s perceived personal failures, yet finds solace in walking outdoors.
Jumanazarov Zohidjon ponders the calming beauty of rain while Sayani Mukherjee celebrates a beautiful day on the green earth. O’tkir Mulikboyev pays homage to snow, trees in winter, romance, his home country, song, cheer, childhood, and the holidays. Brian Barbeito reflects on nature and his childhood on a still, snowy day. Jacques Fleury revels in a woodland dawn and the diversity and richness of the natural world. Corey Cook’s new haiku chapbook heads held low hallows a sacred moment when a cardinal bird sings in an empty church.
Isabel Gomez de Diego’s photography illuminates the glory of a city lit up at night for Christmas. Marc Frazier’s photography spotlights moments of intersection among nature, urbanity, and the human imagination. In Mahbub Alam’s piece, a couple watches a thunderstorm from indoors through a window, captivated by the effects of the wind. In contrast, Sodiqova Adolatxon’s poetic speaker gets tired of staying inside through a rainstorm and longs to go back outdoors.
Nurmurodova Gulsoda explores elements of trigonometry in her piece, reveling in the beauty of mathematics as one of the languages of nature. Jasur Mulikboyev celebrates the way a gifted chemistry teacher makes the material come alive for students. Ruxshona Toxirova presents some methods for better diagnostics and treatment for children with type 2 diabetes.
Maftuna Mehrojova outlines the need for and progress towards sustainable and green economic development in Uzbekistan. Alisher Muhtarjonov issues a strident call for people of the world to protect nature.
Eva Lianou Petropoulou encourages us to choose care and respect for others in the face of life’s personal and global struggles. Zuhra Ruzmetova celebrates the New Year and the dawning of renewed hope. Lilian Dipasupil Kunimasa reflects on the meaning of the nativity scene and on starting afresh to choose kindness and a compassionate attitude in the New Year.
Photo is of a young Central Asian woman with dark hair, brown eyes, and a gray pant suit over a white collared top speaking at a podium.
Abduvahidova Farangiz
2nd stage student of Samarkand State University named after Sharof Rashidov.
Abduxalilboyev Alisher 3rd stage student of the Tashkent University of Information Technologies named after Muhammad Al-Khorazmi. Uzbekistan.
Artistic arts found in Nadirabegim’s life path and ghazals.
Abstract: In the article, we have mentioned the life path and literary heritage of our poetess Mohlaroyim, who made a great contribution to the development of Uzbek poetry. Also, we will get acquainted with the explanation of the artistic tools used in her ghazals and the sentences that are the basis for the creation of this art.
Our talented poet Mohlaroyim, who wrote ghazals in Persian and Turkish under the pseudonyms “Komila”, “Maknuna” and “Nadira”, was born in 1792 in the family of Andijan governor Rahmonqulbi. He was not only a teacher, but also an enlightener and a statesman. In 1807, Nadira was married to Omar Khan, governor of Margilan. Nadira plays a major role in shaping the literary atmosphere in the palace. The reason is that her husband Omar Khan also created under the pseudonym Amiri. Nadira meets Uvaisi and invites him to the palace as a teacher. In 1810, Amir Olim Khan dies and Umar Khan comes to the throne. From this year, Nadira will continue her work in Kokon. Due to the tragic death of Amir Umar Khan in 1822, his son Madali Khan took over the throne. During Madali Khan’s rule, many madrasahs, mosques, caravanserais were built and served to improve the creative environment. Nadirabegim and his family were executed by Amir Nasrullah, the ruler of Bukhara Emirate in 1842.
Although the poetess did not live long, her works of about 10,000 verses were inherited. In addition to ghazals, he also penned mukhammas, rubai, and fard genres. In his ghazals, separation and grief are sincerely described and he continued the traditions of famous poets such as Navoi, Bedil, and Fuzuli. There are 19 (328 verses) ghazals under the pseudonym “Komila”, and one divan with 333 ghazals under the pseudonym “Maknuna”. Under the pseudonym “Nadira” 180 poems are collected, 136 of them are in the Uzbek language, 44 in the Tajik language. Among them, there are 11 muhammas, 2 musaddas, 1 muhammas, 1 translation, 1 table of contents and 1 statement.
Nadira’s radiative ghazals “Vasl uyin obod mem…”, “Marhabo”, “Dahrni examinet ke te”, “Sogindim” are very popular. A number of artistic arts were also used to make the ghazals more subtle.
I improved the house, but it was destroyed by the emigration
Unfortunately, this building was destroyed.
In this verse, the art of tazad was created by means of the words prosperity and destruction. Tazad is an art created by imitating things. Seli ghamdin is used in the meaning of a flood of sorrow and was the basis for the creation of the art of Mubolaga. Exaggeration is the art of exaggerating beyond belief.
He did it until the piraham stain revealed my tongue,
I don’t have any more love hidden in my heart.
The words love, heart, and soul created the art of harmony, and the words open and hidden created contrast. Contrast is an art created by contrasting things. Proportion – Many art forms rely on the spiritual association of words in poetry. It is the poet’s use of words that are logically related to each other and require each other.
Zahida, forgive the people of love,
What happened to Sheikh San’an in Yor Bay?
This verse describes the art of talmeh. Sheikh San’an used this art by mentioning his name. Ishq, love, asceticism are the basis of the art of relationship. The art of proportion is formed from cognate words and synonyms in linguistics. Talmeh is one of the widely used art forms in classical poetry. In this, the poet summarizes his thoughts by referring to a famous story, event or work, person.
Although there was a special order of the giants,
After all, Suleiman died in a bad way.
Mor is the art of dev tazad, Sulayman is the art of talmeh.
Because the jewel of my heart is blood instead of love,
Tears dripped from my eyesThis verse uses the art of tashbeh, the gem of love – the gem of love. Allegory is one of the most productive poetic arts widely used in literature. It can be said to make it into Uzbek. In metaphor, things, signs, and actions are described by analogy and comparison. In addition, another art was involved in this very verse. It emphasizes the tears through the word necklace. This art is called metaphor. Istiora is an Arabic word that means “borrowing”. One thing is called by another name.
My figon, the collar of my son,
I am very sad, my heart, you are not aware of it.
In this verse, the word “heart” is used as an exhortation. From the fine arts, it was the basis for the art of exclamation. Nido is distinguished from other poetic arts by its ability to openly and powerfully describe the feelings and emotions of the human heart. In this case, the thought is focused on a person or an object.
If you want to repair the Kaaba,
Turn the broken heart into a prosperous one.
In this verse, the word Ka’ba is contrasted with the words talmeh and abad – ruin. In our linguistics, the words that form the art of contrast are called antonyms – words with opposite meanings.
The work of the poetess is a great heritage for us. Despite being the wife of the king, Nadirabegim did not stop her creativity. He worked to make people and people intelligent and enlightened people. He managed to unite the intellectuals of that time around him. Life at that time was a little easier. The work of the poet began to be studied during her lifetime and works dedicated to her were created. For example, “Tuhvatut-tawarikh” by Avazmuhammad Attar, “Muntahabut-tavarikh” by Hakim Khan Tora, “History of Fargana” by Ishaq Khan Tora, “Haft Gulshan” by Nadir-uzlat. We saw the poetic arts in the analysis of the poet’s ghazals and analyzed them. We will continue the analysis in our next work.
List of used literature.
1) 10th grade literature part 1. “National Encyclopedia of Uzbekistan” state scientific publication.: Tashkent – 2017
2) 6th grade literature part 2. “Spirituality”.: Tashkent – 2017.
Green
A slowly cacophonous morning
Screaming of faultless surprises
I call back at the ruinous evening
The way the sea chanters will sing
And mourn the last evening
The soil of earth soaked happiness
The numbness, the choice of green fragility
The bemoaning madness of survival of green moist
Is this a new horizon of tumultuous ocean?
I sign and beck a call of happiness
The night knows thousand epiphanies
A fireglow at the tale end
Till I lose my breathe for the sky line wine.
