"Lady Lazarus," the last of the October poems, presents Plath as the victim with her aggression turned towards "her male victimizer (33)." Lady Lazarus arises from Herr Doktor's ovens as a new being, her own incarnation, "the victim taking on the powers of the victimizers and drumming herself into uses that are her own" (33). Linda Bundtzen also sees the poem as "an allegory about the woman artist's struggle for autonomy. The female creature of a male artist-god is asserting independent creative powers" (33). Plath confronts Herr Doktor:

And I eat men like air. (Plath 246-247)

Lady Lazarus after her psychic death became stronger than her creator: " Male- female antagonism ends with the woman defiantly asserting power over her body and releasing its energies for her own ends" (Bundtzen 233). While the outcome of the poem is positive, "Plath turns on h

The most positive transformation poem is "Ariel" because the rebirthing process is consummated without harming another party. "Ariel" "represents one pole of Sylvia Plath's poetic vision; the opposite, the mode of angst" (Perloff 117). The Ariel poems such as "Lady Lazarus" and "Fever 103" involve taking over the old useless body and making it superior.

In "Ariel," "The child's cry / Melts in the wall," forgotten in the flight that takes her to revelation" (Bundtzen 255). In "Lady Lazarus" one gender emerges superior, whereas in "Ariel" the genders do not matter for poetry does not have "a sexual prerogative" (Bundtzen 255). In "Getting There" and "Cut," there are no images of carnage, nor is there a war motif, rather just the shedding of "Dead hands, dead stringencies, " things that prevented her transformation.

In "Ariel" she is possessed by and in possession of the instant when the word is incarnated, when the world becomes a vision of energy unfettered by mortal substance, and in Plath's development as a poet, freed from the carnal sting. She is, in this moment, the presiding genius of her own body (Bundtzen 256). "Ariel" has themes similar to those poems mentioned in this essay, such as in "Lady Lazarus," where creative energy is not exclusively the property of the male of the species.

The many allusions to the Holocaust are not uncommon in the Ariel poems, according to A. Alvarez. Dying and rebirth themes were "necessary to her development, given her queer conception of the adult as a survivor, an imaginary Jew from the concentration camps of the mind" (197).

I cannot undo myself, and the train is steaming. (Plath 248)

Some common words found in the essay are:
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Approximate Word count = 1215
Approximate Pages = 5 (250 words per page double spaced)