10 of the Best Sylvia Plath Poems Everyone Should Read
The best poems by Sylvia Plath
Sylvia Plath (1932-63) was a prolific poet for the few years that she was active before her untimely death, by her own hand, aged just 30. But what are her greatest poems? A few titles spring to mind, but it’s not easy to reach a consensus on, say, Sylvia Plath’s top ten best poems. But we like a challenge here, so we’ve suggested ten of Plath’s finest and most famous poems, along with a little bit about each of them.
‘Lady Lazarus’. Lazarus is the man in the New Testament who is raised from the dead by Jesus. Plath gives the name a twist in this poem, one of Plath’s finest poems, by linking it to her numerous suicide attempts. ‘Lady Lazarus’ contains the famous line ‘dying is an art’, among many other haunting and memorable lines and images.
‘Daddy’. One of Sylvia Plath’s most famous poems, ‘Daddy’ controversially links the father in the poem to a Nazi officer, and references the Holocaust. Variously seen as a highly autobiographical ‘confessional’ poem and as an extremely loose fictionalised account of Plath’s own relationship to her father (an entomologist and bee-expert who died when Plath was just eight), ‘Daddy’ continues to generate much discussion amongst Plath’s readers and critics.
‘The Moon and the Yew Tree’. In this haunting poem, Plath uses the moon as a symbol for both her melancholy and for her mother, with the yew tree taking on the masculine role of her father.
‘You’re’. This poem makes far more sense when one realises that its title, ‘You’re’, also acts as the first word of each of the statements in the poem. The meaning of the poem also becomes clearer when we realise that ‘You’re’ is a poem about pregnancy and the unborn child Plath is carrying.
‘Morning Song’. Although we haven’t arranged this selection of Sylvia Plath’s best poems in any kind of chronological (much less preferential) order, it seems fitting to follow ‘You’re’, a poem about pregnancy, with ‘Morning Song’, a poem about a mother tending to her new-born child. ‘Morning Song’ is about a mother waking in the night to tend to her crying baby, and so doesn’t celebrate the beauty of the sunrise or an aesthetically pleasing landscape as seen at dawn, like some of the poems on this list. Instead, we have Plath’s speaker (based on Plath, herself a mother to a small child when she penned this poem) stumbling out of bed ‘cow-heavy and floral’ in her Victorian nightgown.
‘Poppies in October’. Although this poem gives a nod to Plath’s own suicide attempts (the last of which, of course, tragically, was successful) in its reference to a woman in an ambulance whose heart is likened to the flowering poppies, it is, first and foremost, a poem in celebration of the bright red flowers.
‘Ariel’. One of Sylvia Plath’s most widely discussed poems, ‘Ariel’ describes an early morning horse-ride towards the sun, using imagery that is loaded with significance and suggestiveness. Published in October 1962, just four months before Plath committed suicide, ‘Ariel’ became the title poem in Plath’s posthumous 1965 volume, publication of which was overseen (controversially) by Plath’s widower, Ted Hughes.
‘Edge’. This poem, written just six days before Plath committed suicide in February 1963, was probably the last poem she ever wrote. Fittingly – and eerily – it’s about a dead woman, whose body has been ‘perfected’ in death (and, presumably, suicide).
‘Waking in Winter’. This may sound like a poem describing a natural scene, but in fact ‘Waking in Winter’ is about a nuclear winter. Written in 1960 and infused with Cold War and environmentalist elements, ‘Waking in Winter’ offers a bleak vision of a post-nuclear winter where the sky doesn’t just look like tin – the whole atmosphere tastes metallic, too. ‘Waking in Winter’ examines the bleakness of a winter created by man rather than nature – of ‘destructions, annihilations’.
‘Crossing the Water’. The water being crossed in this poem is, first and foremost, the boundary between the United States and Canada – but the poem is also suffused with images of darkness and blackness which suggest that another boundary, between life and death, is also being summoned.