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)