Deliberately flippant parts of the poem include the speaker sounding like a carnival barker; calling in the public to see "the big strip-tease." These lines about the persistence and wonder of "the peanut-crunching crowd" are mockingly strident and scornfully obnoxious. A more subdued sense of irony is presented by several obviously sarcastic lines, such as the description of dying being "an art, like everything else." When the speaker goes further to state that she dies "exceptionally well," it is almost as if she is chuckling to herself through a resentful smirk, sneering at her own inherent sense of tragedy. These tongue-in-cheek comments towards her misery may also be directed in part to taunt her "Enemy". Even from the beginning, when Plath refers to another suicide attempt as achieving something ("One year in every ten/ I manage it ----"), the more-sensitive reader may find himself perturbed by the wavering tension between the chilling seriousness and the misleading lightness of "Lady
Deliberately flippant parts of the poem include the speaker sounding like a carnival barker; calling in the public to see "the big strip-tease." These lines about the persistence and wonder of "the peanut-crunching crowd" are mockingly strident and scornfully obnoxious. A more subdued sense of irony is presented by several obviously sarcastic lines, such as the description of dying being "an art, like everything else." When the speaker goes further to state that she dies "exceptionally well," it is almost as if she is chuckling to herself through a resentful smirk, sneering at her own inherent sense of tragedy. These tongue-in-cheek comments towards her misery may also be directed in part to taunt her "Enemy". Even from the beginning, when Plath refers to another suicide attempt as achieving something ("One year in every ten/ I manage it ----"), the more-sensitive reader may find himself perturbed by the wavering tension between the chilling seriousness and the misleading lightness of "Lady