Sylvia Plath: Index to Themes and Motifs

Sylvia Plath

Index to Themes and Motifs

All numbers for poems from the following collection:

Plath, Sylvia. The Collected Poems. Ed. Ted Hughes. New York: Harper Perennial, 2008.

Skip Fox and Kimberly Southwick-Thompson

Alienation from Nature/Natural Orders: “Channel Crossing,” 7; “Mussel Hunter at Rock Harbor,” 77; “Incommunicado,” 81; “Child’s Park Stones,” 82; “Green Rock, Winthrop Bay,” 87; “The Burnt-Out Spa,” 120; “Wuthering Heights,” 148; “Tulips,” 142; “Finisterre,” 150; “The Moon and the Yew Tree,” 153; “Three Women”: Second Voice, 157; “The Bee Meeting,” 176. (see also Detachment/Estrangement from Family)

Animals: “Winter Landscape with Rooks,” 2; “Pursuit,” 3; “Prospect,” 8; “Ode for Ted,” 10; “Faun,” 17; “The Goring,” 32; “Spider,” 34; “Rhyme,” 36; “Ella Mason and Her Eleven Cats,” 41; “Black Rook in Rainy Weather,” 44; “Sow,” 47; “Whiteness I Remember,” 84; “The Eye-Mote,” 93; “Watercolor of Grantchester Meadows,” 96; “A Winter Ship,” 97; “Suicide off Egg Rock,” 100; “Metaphors,” 102; “Magnolia Shoals,” 109; “Yaddo: The Grand Manor,” 111; “Medallion,” 112; “The Manor Garden,” 113; “Private Ground,” 118; “Poem for a Birthday”: ‘Dark House,’ 119.2; “Poem for a Birthday”: ‘The Beast,’ 119.4; “Poem for a Birthday”: ‘Flute Notes from a Reedy Pond,’ 119.5; “You’re,” 122; “Stillborn,” 124; “Sleep in the Mojave Desert,” 126; “Zoo Keeper’s Wife,” 136; “Three Women”: Third Voice, 157; “Pheasant,” 162; “The Rabbit Catcher,” 164; “Burning the Letters,” 171; “The Courage of Shutting-Up,” 175; “A Secret,” 181; “Lesbos,” 186; “Ariel,” 194; “Nick and the Candlestick,” 196; “Totem,” 215; “Gigolo,” 218. (see also Bees)

Animal Tales: “Wreath for a Bridal,” 29; “The Shrike,” 26; Snakecharmer,” 64; “Mussel Hunter at Rock Harbor,” 77; “Frog Autumn,” 79; “Incommunicado,” 81; “Owl,” 83; “Goatsucker,” 95; “Blue Moles,” 114; “Gulliver,” 202; “Years,” 206. (see also Fairy Tales/Mythology/Folk Tales)

Art/Creativity: “Conversations Among the Ruins,” 1; “The Tale of a Tub,” 5; “Soliloquy of a Solipsist,” 20; “The Goring,” 32; “Rhyme,” 36; “The Lady and the Earthenware Head,” 54; “The Disquieting Muses,” 60; “Ouija,” 62; “On the Decline of Oracles,” 63; “Snakecharmer,” 64; “Virgin in a Tree,” 66; “Perseus: The Triumph of Wit Over Suffering,” 67; “Battle-Scene from the Comic Operatic Fantasy The Seafarer,” 68; “Yadwigha, on a Red Couch, Among Lilies,” 69; “The Ghost’s Leavetaking,” 73; “Sculptor,” 74; “Poems, Potatoes,” 90; “Watercolor of Grantchester Meadows,” 96; “Two Views of a Cadaver Room,” 99; “Magnolia Shoals,” 109; “Yaddo: The Grand Manor,” 111; “Stillborn,” 124; “Kindness,” 220. (see also Writer’s Block)

Audience: “Aftermath,” 98; “Lesbos,” 186; “Lady Lazarus,” 198; “Eavesdropper,” 212.

Bees: “Electra on Azalea Path,” 103; “The Beekeeper’s Daughter,” 104; “The Bee Meeting,” 176; “The Arrival of the Bee Box,” 177; “Stings,” 178; “The Swarm,” 179; “Wintering,” 180. (see also Animals)

Bell Jar Image: “In Midas’ Country,” 80; “Dark Wood, Dark Water,” 115.

Body: “Tale of a Tub,” 5; “The Ravaged Face,” 101; “Poem for a Birthday”: ‘The Stones,’ 119.7; “Face Lift,” 137; “In Plaster,” 141; “The Surgeon at 2 a.m.,” 151; “Three Women”: Second Voice, 157; “A Secret,” 181; “Cut,” 191; “Lady Lazarus,” 198; “Thalidomide,” 203; “Contusion,” 222.

Boringness/Tedium of Everyday Existence: “Street Song,” 18; “Departure,” 37; “Resolve,” 39; “The Everlasting Monday,” 48; “Night Shift,” 61; “Poem for a Birthday”: ‘The Stones,’ 119.7; “The Hanging Man,” 123; “On Deck,” 125; “Insomniac,” 144; “Lesbos,” 186; “Eavesdropper,” 212; “The Munich Mannequins,” 214. (see also Despair/Depression; Pain of Existence)

Children: “Words for a Nursery,” 59; “The Disquieting Muses,” 60; “I Want, I Want,” 89; “You’re,” 122; “Magi,” 130; “Candles,” 131; “Parliament Hill Fields,” 134; “Morning Song,” 138; “Three Women,” 157; “An Appearance,” 159; “Event, 165; “For a Fatherless Son,” 172; “A Secret,” 181; “Lesbos,” 186; “Amnesiac,” 189; “By Candlelight,” 192; “Nick and the Candlestick,” 196; “The Night Dances,” 201; “Thalidomide,” 203; “Death & Co.,” 205; “Brasilia,” 210; “Child,” 216; “Kindness,” 220; “Balloons,” 223; “Edge,” 224. (see also Motherhood/Pregnancy)

Colors: “Southern Sunrise,” 6; “Battle-Scene from the Comic Operatic Fantasy The Seafarer,” 68; “Yadwigha, on a Red Couch, Among Lilies,” 69; “Moonrise,” 78; “In Midas’ Country,” 80; “Whiteness I Remember,” 84; “Fable of the Rhododendron Stealers,” 85; “Man in Black,” 106; “In Plaster,” 141; “Tulips,” 142; “Insomniac,” 144; “The Surgeon at 2 a.m.,” 151; “Three Women”: Second Voice, 157; “Three Women”: Third Voice, 157; “Apprehensions,” 166; “The Courage of Shutting-Up,” 175; “The Bee Meeting,” 176; “Daddy,” 183; “Ariel,” 194; “Letter in November,” 204; “Years,” 206; “Balloons,” 223. (see also Darkness)

Colossus Figure: “The Queen’s Complaint,” 9; “Letter to a Purist,” 19; “Soliloquy of the Solipsist,” 20; “The Snowman on the Moor,” 45; “Perseus: The Triumph of Wit Over Suffering,” 67; “Full Fathom Five,” 75; “The Colossus,” 117; “The Burnt-Out Spa,” 120; “Daddy,” 183; “Medusa,” 184; “Lyonnesse,” 190; “Gulliver,” 202. (see also Man | Dark Figure)

Darkness: “The Beggars,” 33; “Blue Moles,” 114; “Poem for a Birthday”: ‘Dark House,’ 119.2; “Stars Over the Dordogne,” 146; “The Moon and the Yew Tree,” 153; “Crossing the Water,” 160; “Elm,” 163; “Wintering,” 180; “Sheep in Fog,” 213. (see also Colors)

Death: “The Goring,” 32; “Mussel Hunter at Rock Harbor,” 77; “Moonrise,” 78; “Point Shirley,” 94; “Two Views of a Cadaver Room,” 99; “Suicide off Egg Rock,” 100; “Electra on Azalea Path,” 103; “Medallion,” 112; “The Manor Garden,” 113; “Blue Moles,” 114; “Poem for a Birthday”: ‘Witch Burning,’ 119.6; “Stillborn,” 124; “Widow,” 145; “Finisterre,” 150; “Last Words,” 152; “Three Women”: Second Voice, 157; “Elm,” 163; “The Rabbit Catcher,” 164; “Berck-Plage,” 167; “A Birthday Present,” 173; “The Detective,” 174; “The Courage of Shutting-Up,” 175; “The Bee Meeting,” 176; “Stings,” 178; “Getting There,” 200; “Death & Co.,” 205; “Mary’s Song,” 208; “Childless Woman,” 211; “Totem,” 215; “Words,” 221; “Edge,” 224.

Death Is Inevitable: “All the Dead Dears,” 55; “Words for a Nursery,” 59; “Frog Autumn,” 79; “Watercolor of Grantchester Meadows,” 96; “Two Views of a Cadaver Room,” 99; “Old Ladies’ Home,” 107; “A Life,” 132; “Among the Narcissi,” 161; “Contusion,” 222.

Death of Father: “All the Dead Dears,” 55; “On the Decline of Oracles,” 63; “Full Fathom Five,” 75; “Moonrise,” 78; “Electra on Azalea Path,” 103; “Beekeeper’s Daughter,” 104; “Man in Black,” 106; “The Colossus,” 117; “Little Fugue,” 158; “Daddy,” 183; “Getting There,” 200.

Death Wish: “Tale of a Tub,” 5; “Hardcastle Crags, 49; “Full Fathom Five,” 75; “Lorelei,” 76; “Moonrise,” 78; “Electra on Azalea Path,” 103; “Blue Moles,” 114; “The Hanging Man,” 123; “In Plaster,” 141; “Tulips,” 142; “I Am Vertical,” 143; “Three Women,” 157; “Crossing the Water,” 160; “Poppies in July,” 170; “Daddy,” 183; “Lesbos,” 186; “Amnesiac,” 189; “Ariel,” 194; “Lady Lazarus,” 198; “Getting There,” 200; “The Fearful,” 207; “Sheep in Fog,” 213; “Contusion,” 222. (see also Desire for Clean, Anesthetic Nothingness; Suicide)

Death without a Sense of Resurrection: “November Graveyard,” 43; “Black Rook in Rainy Weather,” 44; “Suicide off Egg Rock,” 100; “Last Words,” 152; “Apprehensions,” 166; “Years,” 206.

Desire for Clean, Anesthetic Nothingness: “November Graveyard,” 43; “In Plaster,” 141; “Tulips,” 142; “Insomniac,” 144; “The Surgeon at 2 a.m.,” 151; “Last Words,” 152; “Mirror,” 154; “Three Women”: Second Voice, 157; “Elm,” 163; “Poppies in July,” 170; “The Detective,” 174; “Fever 103°,” 188; “Amnesiac,” 189; “Ariel,” 194; “Getting There,” 200; “The Munich Mannequins,” 214; “Paralytic,” 217; “Edge,” 224. (see also Hibernation; Paralysis/Stasis)

Despair/Depression: “The Everlasting Monday,” 48; “Perseus: The Triumph of Wit Over Suffering,” 67; “Electra on Azalea Path,” 103; “Blue Moles,” 114; “Private Ground,” 118; “Poem for a Birthday”: ‘Who,’ 119.1; “Poem for a Birthday”: ‘Witch Burning,’ 119.6; “The Hanging Man,” 123; “On Deck,” 125; “Sleep in the Mojave Desert,” 126; “A Life,” 132; “Barren Woman,” 139; “Tulips, 142; “Insomniac,” 144; “Widow,” 145; “The Moon and the Yew Tree,” 153; “The Rabbit Catcher,” 164; “Apprehensions,” 166; “Sheep in Fog,” 213; “Child,” 216. (see also Boringness/Tedium of Everyday Existence; Mental Instability; Suicide; Pain of Existence)

Detachment/Estrangement from Family: “Point Shirley,” 94; “Old Ladies’ Home,” 107; “Tulips,” 142; “Event,” 165; “Amnesiac,” 189; “Paralytic,” 217; “Gigolo,” 218. (see also Alienation from Nature/Natural Orders)

Distance from Childhood: “Tale of a Tub,” 5; “Dream with Clam-Diggers,” 28; “Ella Mason and Her Eleven Cats,” 41; “Battle-Scene from the Comic Operatic Fantasy The Seafarer,” 68; “Green Rock, Winthrop Bay,” 87; “The Eye-Mote,” 93; “Point Shirley,” 94; “Magi,” 130; “Candles,” 131; “The Babysitters,” 155; “Three Women”: Third Voice, 157.

Emotional Extremes/Binaries: “Miss Drake Proceeds to Supper,” 24; “Spinster,” 35; “The Snowman on the Moor,” 45; “The Great Carbuncle,” 58; “The Eye-Mote,” 93; “Tulips,” 142; “Letter in November,” 204. (see also Mental Instability)

Exaggerated Perspectives: “Soliloquy of the Solipsist,” 20 “Above the Oxbow,” 71; “Landowners,” 40; “The Eye-Mote,” 93; “Words heard, by accident, over the phone,” 169; “A Secret,” 181; “Medusa,” 184; “Stopped Dead,” 187; “Cut,” 191; “The Tour,” 193; “Totem,” 215. (see also Mental Instability)

Fairy Tale/Mythology/Folk Tale: “Tale of a Tub,” 5; “The Queen’s Complaint,” 9; “Vanity Fair,” 14; “Tinker Jack and the Tidy Wives,” 16; “Faun,” 17; “Two Sisters of Persephone,” 13; “Maudlin,” 38; “The Snowman on the Moor,” 45; “The Everlasting Monday,” 48; “The Thin People,” 50; “On the Difficulty of Conjuring,” 51; “On the Plethora of Dryads,” 52; “Natural History,” 56; “Words for a Nursery,” 59; “The Disquieting Muses,” 60; “Ouija,” 62; “Snakecharmer,” 64; “Virgin in a Tree,” 66; “Perseus: The Triumph of Wit Over Suffering,” 67; “Battle-Scene from the Comic Operatic Fantasy The Seafarer,” 68; “A Winter’s Tale,” 70; “The Ghost’s Leavetaking,” 73; “Lorelei,” 76; “In Midas’ Country,” 80; “Incommunicato,” 81; “The Death of Myth-Making,” 86; “The Times Are Tidy,” 91; “The Bull of Bendylaw,” 92; “The Eye-Mote,” 93; “Goatsucker,” 95; “Aftermath,” 98; “Electra on Azalea Path,” 103; “The Hermit at Outermost House,” 105; “The Net- Menders,” 108; “The Colossus,” 117; “Poem for a Birthday”: ‘Maenad,’ 119.3; “Magi,” 130; “Heavy Women,” 140; “Crossing the Water,” 160; “Daddy,” 183; “Medusa,” 184; “Lyonnesse,” 190; “By Candlelight,” 192; “Lady Lazarus,” 198; “Getting There,” 200; “Gulliver,” 202; “Mary’s Song,” 208; “Brasilia,” 210; “Mystic,” 219; “Edge,” 224. (see also Animal Tales)

Fantasy in Relation to Reality: “Tale of a Tub,” 5; “Dream with Clam-Diggers, 28; “On the Difficulty of Conjuring Up a Dryad,” 51; “On the Plethora of Dryads,” 52; “Ouija,” 62; “On the Decline of Oracles,” 63; “Snakecharmer,” 64; “The Ghost’s Leavetaking,” 73; “Lorelei,” 76; “Moonrise,” 78; “Incommunicado,” 81; “Green Rock, Winthrop Bay,” 87; “The Times Are Tidy,” 91; “Watercolor of Grantchester Meadows,” 96; “Man in Black,” 106; “The Sleepers,” 110; “Candles,” 131; “Whitsun,” 135; “Finisterre,” 150; “Mirror,” 154.

Female Ascendency: “Stings,” 178; “Daddy,” 183; “Stopped Dead,” 187; “Fever 103°,” 188; “Ariel,” 194; Purdah,” 197; “Lady Lazarus,” 198. (see also Renewal/Resurrection)

Hatred at Man/Lover: “The Shrike,” 26; “The Snowman on the Moor,” 45; “Three Women”: Second Voice, 157; “Three Women”: Third Voice, 157; “The Other,” 168; “Daddy,” 183; “The Jailer,” 185; “Lady Lazarus,” 198. (see also Men | Rejected; Infidelity)

Hibernation: “Electra on Azalea Path,” 103; “Poem for a Birthday”: ‘Who,’ 119.1; “Poem for a Birthday”: ‘Flute Notes from a Reedy Pond,’ 119.5; “Love Letter,” 129; “Wintering,” 180. (see also Paralysis/Stasis; Desire for Clean, Anesthetic Nothingness)

History: “Mayflower,” 46; “Natural History,” 56; “A Lesson in Vengeance,” 65; “The Swarm,” 179; “Fever 103°,” 188; “Cut,” 191; “Getting There,” 200. (see also Nazi Germany/Holocaust)

Infidelity: “The Rival,” 147; “The Other,” 168; “Words heard, by accident, over the phone,” 169; “Burning the Letters,” 171; “A Secret,” 181; “Lesbos,” 186; “The Couriers,” 199; “The Fearful,” 207; “Gigolo,” 218. (see also Hatred at Man/Lover; Romantic Relationships)

Loss of Identity: “Channel Crossing,” 7; “Hardcastle Crags,” 49; “In Plaster,” 141; “Tulips,” 142; “Poem for a Birthday”: ‘Maenad,’ 119.3; “Poem for a Birthday”: ‘The Stones,’ 119.7; “Face Lift,” 137; “Widow,” 145; “Three Women”: Second Voice, 157 “Fever 103°,” 188; “Amnesiac,” 189; “The Fearful,” 207.

Love, Destruction of: “Conversation Among the Ruins,” 1; “Dialogue Between Ghost and Priest,” 21; “Epitaph for Fire and Flower,” 30; “Ella Mason and Her Eleven Cats,” 41; “Crystal Gazer,” 42; “Snowman on the Moor,” 45; “The Other Two,” 53; “Two Views of Withens,” 57; “Two Views of a Cadaver Room,” 99; “The Rabbit Catcher,” 164; “Burning the Letters,” 171. (see also Death of Father; Narrative of Love; Pain at Man’s Absence)

Love, Pain of: “Winter Landscape with Rooks,” 2; “Epitaph for Fire and Flower,” 30; “Blue Moles,” 114; “Zoo Keeper’s Wife,” 136; “The Rival,” 147; “Event, 165; “The Other,” 168; “The Courage of Shutting-Up,” 175; “The Jailer,” 185; “Lesbos,” 186; “The Couriers,” 199. (see also Infidelity)

Man | Dark Figure: “Conversation Among the Ruins,” 1; “Pursuit,” 3; “Vanity Fair,” 14; “Ouija,” 62 “Man in Black,” 106; “Berck-Plage,” 167; “The Bee Meeting,” 176; “Daddy,” 183. (see also Colossus)

Man | Dominating Figure: “Pursuit,” 3; “The Snowman on the Moor,” 45; “The Rabbit Catcher,” 164; “Daddy,” 183; “The Jailer,” 185; “Lady Lazarus,” 198.

Men | Rejected: “Spinster,” 35; “Wintering,” 180; “The Munich Mannequins,” 214. (see also Hatred at Man/Lover)

Mental Instability: “Miss Drake Proceeds to Supper,” 24; “November Graveyard,” 43; “The Ravaged Face,” 101; “The Hanging Man,” 123; “Poem for a Birthday”: ‘Maenad,’ 119.3 “Poem for a Birthday”: ‘Witch Burning,’ 119.6; “The Zoo Keeper’s Wife,” 136; “In Plaster,” 141; “Tulips,” 142; “Three Women”: Second Voice, 157; “Elm,” 163; “Apprehensions,” 166; “Daddy,” 183; “Thalidomide,” 203. (see also Despair/Depression; Emotional Extremes/Binaries)

Mirrors/Replicas: “Landowners,” 40; “The Other Two,” 53; “The Lady and the Earthenware Head,” 54; “Lorelei,” 76; “In Midas’ Country,” 80; “The Burnt-Out Spa,” 120; “Face Lift,” 137; “In Plaster,” 141; “Mirror,” 154; “Three Women”: Second Voice, 157; “The Courage of Shutting-Up,” 175; Purdah,” 197.

Motherhood/Pregnancy: “I Want, I Want,” 89; “Metaphors,” 102; “Poem for a Birthday”: ‘Who,’ 119.1; “Poem for a Birthday”: ‘Dark House,’ 119.2; “Poem for a Birthday”: ‘Maenad,’ 119.3; “You’re,” 122; “Candles,” 131; “Parliament Hill Fields,” 134; “Morning Song,” 138; “Barren Woman,” 139; “Heavy Women,” 140; “An Appearance,” 159; “Three Women,” 157; “For a Fatherless Son,” 172; “The Detective,” 174; “By Candlelight,” 192; “Nick and the Candlestick,” 196; “Lesbos,” 186; “Stopped Dead,” 187; “Amnesiac,” 189; “The Night Dances,” 201; “Thalidomide,” 203; “The Fearful,” 207; “Mary’s Song,” 208; “Brasilia,” 210; “Child,” 216; “Kindness,” 220; “Childless Woman,” 211; “The Munich Mannequins,” 214; “Balloons,” 223; “Edge,” 224. (see also Children; Woman’s Plight/Treatment of Women)

Muteness/Babel: “Street Song,” 18; “Monologue at 3 a.m.,” 23; “Hardcastle Crags,” 49; “On the Plethora of Dryads,” 52; “Incommunicado,” 80; “The Colossus,” 117; “Little Fugue,” 158; “Elm,” 163; “Words heard, by accident, over the phone,” 169; “Burning the Letters,” 171; “The Courage of Shutting-Up,” 175; “The Arrival of the Bee Box,” 177; “Daddy,” 183; “The Couriers,” 199; “The Munich Mannequins,” 214.

Narrative of Love: “Bucolics,” 4; “Vanity Fair,” 14; “Epigraph for Fire and Flower,” 30; “Crystal Gazer,” 42; “The Other Two,” 53. (see also Romantic Relationships; Love, Destruction of)

Nazi Germany/Holocaust: “Daddy,” 183; “Lady Lazarus,” 198; “Getting There,” 200; “Mary’s Song,” 208. (see also History)

Pain at Man’s Absence: “The Queen’s Complaint,” 9; “Street Song,” 18; “Monologue at 3 a.m.,” 23; “The Shrike,” 26; “The Beekeeper’s Daughter,” 104; “Widow,” 145; “For a Fatherless Son,” 172; “Stings,” 178; Purdah,” 197. (see also Infidelity; Love, Destruction of)

Pain of Existence: “The Eye-Mote,” 93; “Poem for a Birthday”: ‘Witch Burning,’ 119.6; “Waking in Winter,” 133. (see also Despair/Depression)

Paralysis/Stasis: “Frog Autumn,” 79; “Child’s Park Stones,” 82; “Poem for a Birthday”: ‘The Stones,’ 119.7; “In Plaster,” 141; “The Bee Meeting,” 176; “Medusa,” 184; “Years,” 206; “Paralytic,” 217. (see also Hibernation)

Plants: “Fiesta Melons,” 31; “Above the Oxbow,” 71; “Memoirs of a Spinach-Picker,” 72; “Child’s Park Stones,” 82; “Fable of the Rhododendron Stealers,” 85; “Watercolor of Grantchester Meadows,” 96; “Metaphors,” 102; “The Beekeeper’s Daughter,” 104; “The Sleepers,” 110; “Yaddo: The Grand Manor,” 111; “Poem for a Birthday”: ‘Who,’ 119.1; Mushrooms,” 121; “Leaving Early,” 128; “Tulips,” 142; “Blackberrying,” 149; “The Surgeon at 2 a.m.,” 151; “Three Women”: First Voice, 157; “Three Women”: Third Voice, 157; “Crossing the Water,” 160; “Among the Narcissi,” 161; “Poppies in July,” 170; “The Bee Meeting,” 176; “Poppies in October,” 195; “The Night Dances,” 201; “Letter in November,” 204. (see also Trees)

Psychological Landscapes: “Winter Landscape with Rooks,” 2; “Departure,” 37; “November Graveyard,” 43; “Hardcastle Crags,” 49; “Two Views of Withens,” 57; “In Midas’ Country,” 80; “Child’s Park Stones,” 82; “Watercolor of Grantchester Meadows,” 96; “A Winter Ship,” 97; “Magnolia Shoals,” 109; “The Manor Garden,” 113; “Dark Wood, Dark Water,” 115; “Private Ground,” 118; “The Burnt-Out Spa,” 120; “Sleep in the Mojave Desert,” 126; “Wuthering Heights,” 148; “Blackberrying,” 149; “Whitsun,” 135; “The Moon and the Yew Tree,” 153; “Sheep in Fog,” 213.

Psychological Narrative: “The Eye-Mote,” 93; “Suicide off Egg Rock,” 100; “Poem for a Birthday,” 119; “Parliament Hill Fields,” 134; “Three Women,” 157; “Apprehensions,” 166; “The Detective,” 174; “The Bee Meeting,” 176; “The Arrival of the Bee Box,” 177; “A Secret,” 181; “Daddy,” 183; “Lady Lazarus,” 198.

Renewal/Resurrection: “All the Dead Dears,” 55; “Full Fathom Five,” 75; “The Beekeeper’s Daughter,” 104; “Private Ground,” 118; “Poem for a Birthday”: ‘The Stones,’ 119.7; “Two Campers in Cloud Country,” 127; “Love Letter,” 129; “Face Lift,” 137; “In Plaster,” 141; “The Surgeon at 2 a.m.,” 151; “Three Women”: First Voice, 157; “Three Women”: Second Voice, 157; “Among the Narcissi,” 161; “Stings,” 178; “Lady Lazarus,” 198. (see also Female Ascendency)

Romantic Relationships: “Pursuit,” 3; “The Queen’s Complaint,” 9; “Ode for Ted,” 10; “Song for a Summer’s Day,” 12; “Wreath for a Bridal,” 29; “The Snowman on the Moor,” 45; “The Other Two,” 53; “The Sleepers,” 110; “Blue Moles,” 114; “Stillborn,” 124; “Sleep in the Mojave Desert,” 126; “Two Campers in Cloud Country,” 127; “Leaving Early,” 128; “Love Letter,” 129; “Zoo Keeper’s Wife,” 136; “Widow,” 145; “The Rival,” 147; “The Rabbit Catcher,” 164; “Event,” 165; “The Other,” 168; “The Applicant,” 182; “Daddy,” 183; “The Jailer,” 185; “Lesbos,” 186; “Kindness,” 220. (see also Dominating Male Figure; Love, Destruction of; Love, Pain of; Narrative of Love)

Romanticism: “On the Difficulty of Conjuring Up a Dryad,” 51; “Ouija,” 62; “Candles,” 131; “Mirror,” 154. (see also Fantasy in Relation to Reality)

Spiritual Insight/Mystical Experience: “Recantation,” 25; “Crystal Gazer,” 42; “Black Rook in Rainy Weather,” 44; “On the Plethora of Dryads,” 52; “The Great Carbuncle,” 58; “On the Decline of Oracles,” 63; “Mussel Hunter at Rock Harbor,” 77; “The Moon and the Yew Tree,” 153; “Mystic,” 219. (see also Fantasy in Relation to Reality)

Suicide: “Suicide off Egg Rock,” 100; “Electra on Azalea Path,” 103; “Poem for a Birthday”: ‘Witch Burning,’ 119.6; “Poem for a Birthday”: ‘The Stones,’ 119.7; “A Birthday Present,” 173; “Lady Lazarus,” 198. (see also Death Wish; Despair/Depression)

Trees: “Southern Sunrise,” 6; “On the Difficulty of Conjuring up a Dryad,” 51; “On the Plethora of Dryads,” 52; “Virgin in a Tree,” 66; “Moonrise,” 78; “Dark Wood, Dark Water,” 115; “Polly’s Tree,” 115; “Tulips,” 142; “The Moon and the Yew Tree,” 153; “Little Fugue,” 158; “Crossing the Water,” 160; “Elm,” 163; “Winter Trees,” 209; “Words,” 221; (see also Plants)

Witches: “Vanity Fair,” 14; “Poem for a Birthday”: ‘Witch Burning,’ 119.6. (see also History)

Woman’s Plight/Treatment of Women: “Two Sisters of Persephone,” 13; “Vanity Fair,” 14; “Strumpet Song,” 15; “Tinker Jack and the Tidy Wives,” 16; “Ella Mason and Her Eleven Cats,” 41; “Spinster,” 35; “Virgin in a Tree,” 66; “Aftermath,” 98; “Old Ladies’ Home,” 107; “Poem for a Birthday”: ‘The Beast,’ 119.4; ; “Poem for a Birthday”: ‘Witch Burning,’ 119.6; “A Life,” 132; “Parliament Hill Fields,” 134; “Barren Woman,” 139; “Heavy Women,” 140; “Widow,” 145; “Mirror,” 154; “Three Women,” 157; “The Bee Meeting,” 176; “Stings,” 178; “A Secret,” 181; “The Jailer,” 185; “Lesbos,” 186; “The Tour,” 193; Purdah,” 197; “The Fearful,” 207; “Winter Trees,” 209; “Childless Woman,” 211; “Kindness,” 220. (see also Motherhood/Pregnancy)

Writer’s Block: “Rhyme,” 36; “Poems, Potatoes,” 90; “Stillborn,” 124. (see also Art/Creativity)

Details

Criticism Overview
Title Sylvia Plath: Index to Themes and Motifs Type of Content General Poet Criticism
Criticism Author Skip Fox, Kimberly Southwick-Thompson Criticism Target Sylvia Plath
Criticism Type Poet Originally Posted 08 Jun 2018
Publication Status Original Criticism Publication No Data
Printer Friendly PDF Version
Contexts No Data Tags No Data

Rate this Content

Item Type General Poet Criticism
Average Rating 0/100
Use the above slider to rate this item. You can only submit one rating per item, and your rating will be factored in to the item's popularity on our listings.

Share via Social Media