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Rebirth in Lady Lazarus, '' Fever 103, Getting There, and Cut The Ariel-period poems of Sylvia Plath demonstrate her desire for rebirth, to escape the body that was "drummed into use" by society and men. I will illustrate the different types of rebirth with illustrations from the Ariel poems, including "Lady Lazarus," "Fever 103," "Getting There," and "Cut." "Lady Lazarus," the final of this October poems, presents Plath as the sufferer with her aggression turned towards "her male victimizer (33)." Lady Lazarus originates from Herr Doktor's ovens since a new being, her own incarnation, "the sufferer carrying on the forces of the victimizers and punishes herself into uses that are her very own" (33). Linda Bundtzen additionally sees the poem as "an allegory concerning the girl artist's fight for freedom. The female monster of a male artist-god is claiming independent creative abilities" (33). Plath confronts Herr Doktor: Herr God, Herr Lucifer Beware Beware. From the ash I rise with my red hair And I eat men like air. (Plath 246-247) Lady Lazarus following her psychic death became more powerful than her creator: " Man- female antagonism endings with the woman defiantly asserting power over her entire body and releasing its energies due to her own ends" (Bundtzen 233). While the outcome of the movie is positive, "Plath turns on himself, differentiating with her oppressor, and sadistically punishes her entire body in the process of recreating it" (Bundtzen 237). Plath didn't see the rebirth procedure as a pleasant experience, but one that's expected of her "I suppose that you could say I've got a telephone" (Plath 245). She, however, sees the advantages that come back from her anguish and continues the procedure again and again. "Fever 103" can also be about a girls releasing herself from...