“Rapunzel” by Anne Sexton: A Critical Analysis

Introduction: “Rapunzel” by Anne Sexton

“Rapunzel” by Anne Sexton first appeared in Transformations (1971), a poetry collection that reimagines classic fairy tales through a dark, psychological, and often feminist lens. This poem, like others in the collection, explores themes of female relationships, sexuality, oppression, and the complexities of power. Sexton retells the traditional Rapunzel story with an emphasis on the intense, sometimes possessive love between women, particularly between Rapunzel and Mother Gothel. The poem implies a homoerotic bond, reinforced by lines such as “A woman / who loves a woman / is forever young.” Mother Gothel’s protectiveness over Rapunzel is presented not only as maternal but also possessive and erotic, creating a complex and layered relationship. The poem also critiques societal constraints on female sexuality, drawing parallels between Rapunzel’s isolation and the way women have historically been confined under patriarchal structures. Because of its exploration of these themes, Rapunzel is often studied in literature courses, particularly in feminist and psychoanalytic readings of fairy tales. The poem remains a compelling text in contemporary discussions on gender and desire, reinforcing Sexton’s reputation as a poet who redefined traditional narratives through a confessional and subversive voice.

Text: “Rapunzel” by Anne Sexton

A woman
who loves a woman
is forever young.
The mentor
and the student
feed off each other.
Many a girl
had an old aunt
who locked her in the study
to keep the boys away.
They would play rummy
or lie on the couch
and touch and touch.
Old breast against young breast…
Let your dress fall down your shoulder,

come touch a copy of you
for I am at the mercy of rain,
for I have left the three Christs of Ypsilanti
for I have left the long naps of Ann Arbor
and the church spires have turned to stumps.
The sea bangs into my cloister
for the politicians are dying,
and dying so hold me, my young dear,
hold me…
The yellow rose will turn to cinder

and New York City will fall in
before we are done so hold me,
my young dear, hold me.
Put your pale arms around my neck.
Let me hold your heart like a flower
lest it bloom and collapse.
Give me your skin
as sheer as a cobweb,
let me open it up
and listen in and scoop out the dark.
Give me your nether lips
all puffy with their art
and I will give you angel fire in return.
We are two clouds
glistening in the bottle galss.
We are two birds
washing in the same mirror.
We were fair game
but we have kept out of the cesspool.
We are strong.
We are the good ones.
Do not discover us
for we lie together all in green
like pond weeds.
Hold me, my young dear, hold me.
They touch their delicate watches

one at a time.
They dance to the lute
two at a time.
They are as tender as bog moss.
They play mother-me-do
all day.
A woman
who loves a woman
is forever young.
Once there was a witch’s garden
more beautiful than Eve’s
with carrots growing like little fish,
with many tomatoes rich as frogs,
onions as ingrown as hearts,
the squash singing like a dolphin
and one patch given over wholly to magic —
rampion, a kind of salad root
a kind of harebell more potent than penicillin,
growing leaf by leaf, skin by skin.
as rapt and as fluid as Isadoran Duncan.
However the witch’s garden was kept locked
and each day a woman who was with child
looked upon the rampion wildly,
fancying that she would die
if she could not have it.
Her husband feared for her welfare
and thus climbed into the garden
to fetch the life-giving tubers.

Ah ha, cried the witch,
whose proper name was Mother Gothel,
you are a thief and now you will die.
However they made a trade,
typical enough in those times.
He promised his child to Mother Gothel
so of course when it was born
she took the child away with her.
She gave the child the name Rapunzel,
another name for the life-giving rampion.
Because Rapunzel was a beautiful girl
Mother Gothel treasured her beyond all things.
As she grew older Mother Gothel thought:
None but I will ever see her or touch her.
She locked her in a tow without a door
or a staircase. It had only a high window.
When the witch wanted to enter she cried”
Rapunzel, Rapunzel, let down your hair.
Rapunzel’s hair fell to the ground like a rainbow.
It was as strong as a dandelion
and as strong as a dog leash.
Hand over hand she shinnied up
the hair like a sailor
and there in the stone-cold room,
as cold as a museum,
Mother Gothel cried:
Hold me, my young dear, hold me,
and thus they played mother-me-do.

Years later a prince came by
and heard Rapunzel singing her loneliness.
That song pierced his heart like a valentine
but he could find no way to get to her.
Like a chameleon he hid himself among the trees
and watched the witch ascend the swinging hair.
The next day he himself called out:
Rapunzel, Rapunzel, let down your hair,
and thus they met and he declared his love.
What is this beast, she thought,
with muscles on his arms
like a bag of snakes?
What is this moss on his legs?
What prickly plant grows on his cheeks?
What is this voice as deep as a dog?
Yet he dazzled her with his answers.
Yet he dazzled her with his dancing stick.
They lay together upon the yellowy threads,
swimming through them
like minnows through kelp
and they sang out benedictions like the Pope.

Each day he brought her a skein of silk
to fashion a ladder so they could both escape.
But Mother Gothel discovered the plot
and cut off Rapunzel’s hair to her ears
and took her into the forest to repent.
When the prince came the witch fastened
the hair to a hook and let it down.
When he saw Rapunzel had been banished
he flung himself out of the tower, a side of beef.
He was blinded by thorns that prickled him like tacks.
As blind as Oedipus he wandered for years
until he heard a song that pierced his heart
like that long-ago valentine.
As he kissed Rapunzel her tears fell on his eyes
and in the manner of such cure-alls
his sight was suddenly restored.

They lived happily as you might expect
proving that mother-me-do
can be outgrown,
just as the fish on Friday,
just as a tricycle.
The world, some say,
is made up of couples.
A rose must have a stem.

As for Mother Gothel,
her heart shrank to the size of a pin,
never again to say: Hold me, my young dear,
hold me,
and only as she dreamed of the yellow hair
did moonlight sift into her mouth.

Annotations: “Rapunzel” by Anne Sexton

Stanza	Annotation
A woman / who loves a woman / is forever young.	This opening line establishes the theme of female intimacy and possibly queer love. The phrase “forever young” suggests that such love resists the aging effects of time, reinforcing a romanticized and timeless quality.
The mentor / and the student / feed off each other.	Introduces the dynamic between Rapunzel and Mother Gothel, presenting it as one of learning and dependence. The phrase “feed off each other” suggests emotional, psychological, or even physical intimacy.
Many a girl / had an old aunt / who locked her in the study / to keep the boys away.	A modernized allusion to societal control over female sexuality, echoing the way Rapunzel is confined. The “old aunt” metaphorically represents figures who suppress young women’s autonomy.
They would play rummy / or lie on the couch / and touch and touch.	The “touch and touch” hints at a possible erotic subtext, emphasizing intimacy between women that goes beyond familial bonds.
Old breast against young breast… / Let your dress fall down your shoulder,	This explicitly describes a physical closeness that blurs the line between maternal care and eroticism, reinforcing the poem’s exploration of complex female relationships.
Come touch a copy of you / for I am at the mercy of rain,	“Touch a copy of you” suggests a mirroring effect, possibly alluding to a lesbian relationship where the two women see themselves in each other. “Mercy of rain” implies vulnerability and surrender to desire.
For I have left the three Christs of Ypsilanti / for I have left the long naps of Ann Arbor	Reference to The Three Christs of Ypsilanti, a psychological study on schizophrenia, possibly symbolizing breaking away from imposed narratives or societal expectations. The “long naps of Ann Arbor” suggests a past life of passivity or dreaming.
The sea bangs into my cloister / for the politicians are dying, / and dying so hold me, my young dear, hold me…	“Cloister” implies isolation (as in a convent), while the “sea banging” suggests an intrusion of emotion or chaos. The reference to dying politicians may symbolize societal change or decay.
The yellow rose will turn to cinder / and New York City will fall in / before we are done so hold me,	“Yellow rose” traditionally symbolizes friendship but turning to “cinder” implies destruction. The image of New York City’s fall suggests impermanence and upheaval, reinforcing the urgency of intimacy.
Put your pale arms around my neck. / Let me hold your heart like a flower / lest it bloom and collapse.	The fragility of love and emotion is highlighted through the metaphor of a blooming flower, suggesting both beauty and vulnerability.
Give me your skin / as sheer as a cobweb, / let me open it up / and listen in and scoop out the dark.	These lines use visceral imagery, implying an intense, almost surgical desire to know the other deeply. “Scoop out the dark” suggests revealing hidden fears, traumas, or truths.
Give me your nether lips / all puffy with their art / and I will give you angel fire in return.	This is an overtly sensual line, reinforcing the theme of sexual intimacy. “Angel fire” juxtaposes the carnal with the divine, suggesting transcendent passion.
We are two clouds / glistening in the bottle glass. / We are two birds / washing in the same mirror.	The imagery of “clouds” and “birds” suggests fluidity and symmetry in their relationship, emphasizing unity and reflection.
We were fair game / but we have kept out of the cesspool.	This suggests that, despite being vulnerable to judgment or harm, they have managed to avoid societal corruption or degradation.
We are strong. / We are the good ones.	This declaration reaffirms their resilience and self-righteous confidence in their relationship.
Do not discover us / for we lie together all in green / like pond weeds.	“Pond weeds” imply secrecy and natural entanglement, reinforcing the theme of hidden, forbidden love.
Hold me, my young dear, hold me.	The repeated plea underscores emotional and physical dependence.
They touch their delicate watches / one at a time.	Watches symbolize time, suggesting a fleeting nature of youth or love.
They dance to the lute / two at a time.	Lutes were historically used in courtly love songs, enhancing the poem’s romantic tones.
They are as tender as bog moss.	“Bog moss” evokes softness and moisture, reinforcing sensuality and closeness.
They play mother-me-do / all day.	“Mother-me-do” refers to a childlike game, reinforcing the theme of maternal intimacy and emotional dependence.
A woman / who loves a woman / is forever young.	Repeated refrain that suggests timeless, youthful vitality in same-sex relationships.
Once there was a witch’s garden / more beautiful than Eve’s…	Introduces the Rapunzel story, linking it to the Biblical garden, thus connecting female desire to original sin.
However, the witch’s garden was kept locked…	Represents restricted access to knowledge, power, or sexuality, much like Rapunzel’s later imprisonment.
Her husband feared for her welfare / and thus climbed into the garden…	Suggests the gendered dynamic where men must transgress boundaries to “save” women.
Ah ha, cried the witch, / whose proper name was Mother Gothel…	Introduces Mother Gothel as both captor and protector, mirroring the possessiveness seen earlier in the poem.
Because Rapunzel was a beautiful girl / Mother Gothel treasured her beyond all things.	Reinforces the obsessive nature of their relationship, highlighting themes of possessiveness and control.
As she grew older Mother Gothel thought: / None but I will ever see her or touch her.	Echoes the earlier lesbian undertones, portraying Gothel as a jealous lover as well as a mother figure.
When the witch wanted to enter she cried: / Rapunzel, Rapunzel, let down your hair.	Retains the classic fairy-tale motif, but in the context of the poem, it gains an erotic charge.
Years later a prince came by / and heard Rapunzel singing her loneliness.	The prince symbolizes heteronormative love, contrasted against the closeness Rapunzel shares with Gothel.
Like a chameleon he hid himself among the trees…	Suggests deception or the idea that he must adapt to access her.
Yet he dazzled her with his dancing stick.	The “dancing stick” is a phallic symbol, highlighting Rapunzel’s transition into heterosexual desire.
They lay together upon the yellowy threads, / swimming through them / like minnows through kelp.	Sexual consummation is depicted through natural imagery, reinforcing transformation.
Mother Gothel discovered the plot / and cut off Rapunzel’s hair to her ears.	The cutting of hair symbolizes a loss of power and punishment for transgression.
As blind as Oedipus he wandered for years…	Links the prince’s suffering to Greek tragedy, suggesting fate and redemption.
They lived happily as you might expect…	The traditional “happy ending” is presented almost ironically, contrasting with the earlier deep female connection.
As for Mother Gothel, / her heart shrank to the size of a pin…	Gothel’s downfall parallels the loss of her obsessive love for Rapunzel.
And only as she dreamed of the yellow hair / did moonlight sift into her mouth.	Suggests that even in defeat, Gothel is haunted by her love for Rapunzel.

Literary And Poetic Devices: “Rapunzel” by Anne Sexton

Poetic Device	Example from Poem	Explanation
Alliteration	“with carrots growing like little fish.”	Repetition of consonant sound “l”at the beginning of words enhances musicality.
Allusion	“For I have left the three Christs of Ypsilanti.”	Reference to a real psychological study, expanding the poem’s depth.
Anaphora	“Hold me, my young dear, hold me…”	Repetition of phrases at the start of clauses to emphasize longing and emotional weight.
Assonance	“The sea bangs into my cloister.”	Repeated vowel sounds create a lyrical and flowing effect.
Caesura	“Put your pale arms around my neck. Let me hold your heart like a flower.”	A natural pause in the middle of the line adds emphasis and rhythm.
Consonance	“What is this beast, she thought, with muscles on his arms like a bag of snakes?”	Repetition of consonant sounds creates a textured and rhythmic quality.
Ekphrasis	“They lay together upon the yellowy threads, swimming through them like minnows through kelp.”	A vivid, descriptive passage that paints a picture for the reader.
Enjambment	“The yellow rose will turn to cinder and New York City will fall in before we are done…”	A sentence or phrase continues beyond the line break, creating fluidity.
Epistrophe	“A woman who loves a woman is forever young.”	Repetition at the end of clauses or lines reinforces key themes.
Euphemism	“Mother-me-do.”	A gentle or indirect expression referring to maternal intimacy instead of overt sexuality.
Hyperbole	“The prince flung himself out of the tower, a side of beef.”	An exaggerated description to intensify the emotional impact.
Imagery	“We lie together all in green like pond weeds.”	Evocative language appeals to the senses and creates a strong mental picture.
Irony	“As for Mother Gothel, her heart shrank to the size of a pin.”	Contradicts the reader’s expectation—Gothel, once powerful, is reduced emotionally.
Metaphor	“We are two birds washing in the same mirror.”	A direct comparison suggesting unity and shared experience.
Onomatopoeia	“The sea bangs into my cloister.”	A word imitates the sound it describes, reinforcing the sensory experience.
Paradox	“We are the good ones.”	A statement that seems contradictory but holds truth, as society may see them otherwise.
Personification	“Moonlight sifted into her mouth.”	Giving human qualities to nature, reinforcing the magical, surreal tone.
Refrain	“A woman who loves a woman is forever young.”	A repeated line or phrase that emphasizes a central theme.
Simile	“What is this moss on his legs?”	A comparison using ‘like’ or ‘as’ to describe unfamiliar experiences.
Symbolism	“Rapunzel’s hair fell to the ground like a rainbow.”	Her hair represents power, beauty, and entrapment.

Themes: “Rapunzel” by Anne Sexton

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1. Female Desire, Intimacy, and Queer Love: One of the most striking themes in “Rapunzel” is the exploration of female desire and same-sex intimacy. Sexton subverts the traditional fairy tale to depict a deeply emotional and possibly erotic bond between Rapunzel and Mother Gothel. The line “A woman / who loves a woman / is forever young.” suggests a love that transcends time, reinforcing the idea that women who engage in relationships with other women escape the societal constraints of aging and traditional domesticity. Throughout the poem, there are overtly sensual descriptions that blur the line between maternal care and romantic affection, such as “Old breast against young breast… / Let your dress fall down your shoulder.” These moments challenge conventional interpretations of the Rapunzel story by transforming it into a narrative of forbidden, hidden, yet deeply powerful female love. The portrayal of this relationship not only adds a queer reading to the text but also critiques how female bonds are often controlled and restricted by society.

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2. Control, Possession, and Maternal Obsession: Mother Gothel’s relationship with Rapunzel is marked by an intense possessiveness that reflects themes of control and maternal obsession. Unlike the classic fairy tale, Sexton presents Gothel as more than just a captor—she is an emotionally dependent figure who treasures Rapunzel to the point of imprisonment. The line “None but I will ever see her or touch her.” highlights her obsessive desire to keep Rapunzel for herself, denying her access to the outside world. Gothel’s possessiveness is further emphasized in moments where she pleads for intimacy, repeating “Hold me, my young dear, hold me.” This suggests that she needs Rapunzel as much as Rapunzel needs her. This portrayal complicates the traditional idea of maternal love by merging it with elements of dependence and control. Ultimately, Gothel’s love is not purely nurturing but suffocating, symbolizing how women, especially young ones, have historically been confined under the guise of protection.

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3. Entrapment and Female Oppression: The theme of entrapment is central to Sexton’s version of “Rapunzel”, reinforcing the historical oppression of women through confinement. Rapunzel is locked away in a tower, isolated from the world, much like how women have been physically and metaphorically restricted by patriarchal structures. The stanza “She locked her in a tower without a door / or a staircase. It had only a high window.” powerfully conveys the extent of her imprisonment, both physical and emotional. The poem also draws a parallel between Rapunzel’s confinement and the ways women have been guarded or kept under surveillance, as shown in “Many a girl / had an old aunt / who locked her in the study / to keep the boys away.” This suggests that women’s freedom has been historically controlled by both external (men) and internal (other women) forces, making escape a nearly impossible feat. The prince’s eventual arrival represents a traditional form of liberation, but Sexton complicates this by showing how Gothel’s grip on Rapunzel is emotional as well as physical, making the concept of true freedom uncertain.

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4. Transformation and the Loss of Innocence: Sexton’s “Rapunzel” also addresses transformation, particularly the transition from innocence to experience. Rapunzel begins as a sheltered, innocent girl, but her relationship with Gothel, and later the prince, forces her into the complexities of love, desire, and betrayal. The moment she meets the prince, she is confronted with the unfamiliar nature of men: “What is this beast, she thought, / with muscles on his arms / like a bag of snakes? / What is this moss on his legs?” These lines illustrate her naïveté and the way she views male physicality as strange and foreign. Her eventual escape with the prince symbolizes the inevitable loss of childhood dependency and innocence. However, unlike traditional fairy tales, Sexton doesn’t present this transition as purely positive. The cutting of Rapunzel’s hair—“Mother Gothel discovered the plot / and cut off Rapunzel’s hair to her ears.”—acts as a violent marker of change, signifying both punishment and the loss of youthful power. In the end, the prince’s blinding and subsequent cure through Rapunzel’s tears suggest that transformation is painful but ultimately necessary, reinforcing the inevitability of growth and change.

Literary Theories and “Rapunzel” by Anne Sexton

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1. Feminist Literary Theory: Feminist literary criticism is particularly relevant to “Rapunzel”, as Anne Sexton rewrites the traditional fairy tale through a lens that critiques the oppression of women and the restrictive roles imposed on them. The poem explores themes of female autonomy, control, and confinement, particularly in how Rapunzel is isolated by Mother Gothel. The line “She locked her in a tower without a door / or a staircase. It had only a high window.” symbolizes the historical oppression of women, where they were often confined to domestic spaces or denied agency over their own bodies. The theme of possession—“None but I will ever see her or touch her.”—further reflects how women have been controlled under patriarchal systems, whether by men or by maternal figures reinforcing those societal structures. Feminist theory can also be applied to analyze the portrayal of female relationships, as the poem challenges the heteronormative expectations found in traditional fairy tales.

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2. Queer Theory: Queer theory is essential in interpreting “Rapunzel”, as the poem presents a subversive and possibly homoerotic relationship between Rapunzel and Mother Gothel. Sexton rewrites the classic story to explore the dynamics of same-sex intimacy, particularly through lines like “A woman / who loves a woman / is forever young.” This suggests an eternal and unbreakable bond between women, possibly hinting at a romantic or sexual relationship. The imagery of physical closeness—“Old breast against young breast… / Let your dress fall down your shoulder.”—further supports a reading of queer desire. Mother Gothel’s possessiveness over Rapunzel can be interpreted as both protective and jealous, reinforcing the complexity of same-sex relationships that do not fit into traditional societal norms. By applying queer theory, the poem can be seen as a radical reimagining of female desire, breaking away from heteronormative constraints and celebrating the fluidity of gender and sexuality.

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3. Psychoanalytic Literary Theory (Freudian and Lacanian Analysis): A psychoanalytic reading of “Rapunzel” reveals deep-seated themes of obsession, desire, and transformation. Sigmund Freud’s theories on attachment and repression can be applied to Mother Gothel’s relationship with Rapunzel, as her excessive control mirrors an Oedipal-like complex where the maternal figure refuses to release the child into independence. The line “Hold me, my young dear, hold me.” is repeated throughout the poem, indicating Gothel’s emotional dependency on Rapunzel, which could be interpreted as a subconscious fear of abandonment.

Lacanian psychoanalysis, particularly the concept of the “mirror stage,” is also applicable. Rapunzel’s first encounter with the prince—“What is this beast, she thought, / with muscles on his arms / like a bag of snakes?”—demonstrates her confusion and fear upon encountering the Other (the male figure), which disrupts her world of maternal attachment. Rapunzel’s transformation from a secluded girl to an independent woman mirrors Lacan’s theory of identity formation, where she moves from the Imaginary (a world shaped by her relationship with Mother Gothel) to the Symbolic Order (the world of desire and sexual maturity represented by the prince).

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4. Postmodernism and Intertextuality: Anne Sexton’s “Rapunzel” is a prime example of postmodern literature, which often deconstructs traditional narratives and reinterprets them through a contemporary lens. The poem engages in intertextuality by reworking the well-known fairy tale, but instead of presenting a straightforward moral lesson, Sexton injects ambiguity and psychological depth. The reference to “the three Christs of Ypsilanti” (a real-life psychiatric case study) disrupts the fairy-tale setting, blending reality with myth and challenging traditional narrative expectations.

Postmodern theory also examines the instability of meaning, and in “Rapunzel”, there is no clear moral resolution. While traditional fairy tales present clear distinctions between good and evil, Sexton’s version complicates this binary. Mother Gothel is not merely a villain; she is also a woman driven by love and fear. The final lines—“As for Mother Gothel, / her heart shrank to the size of a pin, / never again to say: Hold me, my young dear, hold me.”—suggest that she, too, is a tragic figure, left alone after losing the person she tried to keep. This subversion of the conventional fairy-tale structure aligns with postmodern themes of fragmentation, reinterpretation, and challenging dominant ideologies.

Critical Questions about “Rapunzel” by Anne Sexton

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Literary Works Similar to “Rapunzel” by Anne Sexton

1. “Cinderella” by Anne Sexton – Like “Rapunzel”, this poem is part of Sexton’s Transformations collection and retells a classic fairy tale with dark, subversive, and feminist undertones, critiquing traditional happy endings.
2. “Goblin Market” by Christina Rossetti – This poem shares themes of female intimacy, temptation, and the complexities of desire, as two sisters navigate a world where their bodies and autonomy are at stake.
3. “The Lady of Shalott” by Alfred, Lord Tennyson – Similar to “Rapunzel”, this poem features a woman trapped in isolation, longing for the outside world, and ultimately facing tragic consequences when she tries to break free.
4. “Mirror” by Sylvia Plath – Both poems explore themes of female identity, transformation, and the passage of time, using reflection and entrapment as central metaphors.
5. “The Ballad of Reading Gaol” by Oscar Wilde – Though not a fairy-tale retelling, this poem resonates with “Rapunzel” in its themes of imprisonment, longing, and the psychological impact of confinement.

Representative Quotations of “Rapunzel” by Anne Sexton

Quotation	Context	Theoretical Perspective
“A woman / who loves a woman / is forever young.”	This line is repeated throughout the poem and establishes the theme of female intimacy and possibly same-sex desire. It suggests that love between women exists outside societal expectations of aging and domesticity.	Queer Theory & Feminist Theory – Challenges heteronormative love and traditional gender roles, portraying female relationships as eternal and transcendent.
“She locked her in a tower without a door / or a staircase. It had only a high window.”	Describes Mother Gothel’s act of imprisoning Rapunzel, reinforcing the theme of control and restriction.	Feminist Theory & Psychoanalytic Theory – Symbolizes female oppression and maternal possessiveness, preventing Rapunzel from attaining independence.
“Hold me, my young dear, hold me.”	Repeated throughout the poem, this plea from Mother Gothel highlights her dependence on Rapunzel and blurs the line between maternal and romantic love.	Psychoanalytic Theory & Queer Theory – Suggests emotional fixation and attachment, possibly reflecting Freudian concepts of desire and repression.
“Old breast against young breast…”	An explicit moment of physical closeness between Gothel and Rapunzel, reinforcing the poem’s underlying eroticism.	Queer Theory & Feminist Theory – Explores non-normative female relationships and subverts traditional mother-daughter dynamics.
“What is this beast, she thought, / with muscles on his arms / like a bag of snakes?”	Rapunzel’s first reaction to the prince, portraying him as strange and foreign.	Psychoanalytic Theory & Postmodernism – Highlights Rapunzel’s detachment from traditional masculinity and disrupts the fairy-tale trope of instant romantic attraction.
“They lay together upon the yellowy threads, / swimming through them / like minnows through kelp.”	Describes the sexual encounter between Rapunzel and the prince, using organic imagery.	Psychoanalytic Theory & Feminist Theory – Symbolizes sexual awakening but also contrasts natural freedom with Rapunzel’s past confinement.
“Mother-me-do all day.”	A phrase describing the intimate bond between Gothel and Rapunzel, reinforcing childlike dependency.	Psychoanalytic Theory – Represents emotional regression and prolonged maternal control, preventing Rapunzel’s maturation.
“As blind as Oedipus he wandered for years / until he heard a song that pierced his heart.”	The prince, blinded after his fall, is restored by Rapunzel’s presence.	Intertextuality & Psychoanalytic Theory – References Greek tragedy, emphasizing fate and suffering as part of transformation.
“The yellow rose will turn to cinder / and New York City will fall in / before we are done.”	A surreal, apocalyptic image suggesting impermanence and inevitable change.	Postmodernism – Blends fairy-tale imagery with real-world references, destabilizing traditional narrative expectations.
“As for Mother Gothel, / her heart shrank to the size of a pin, / never again to say: Hold me, my young dear, / hold me.”	Describes Gothel’s downfall after losing Rapunzel, emphasizing her emotional devastation.	Psychoanalytic Theory & Feminist Theory – Highlights the loss of power and emotional dependency in maternal control, reinforcing themes of abandonment and possession.

Suggested Readings: “Rapunzel” by Anne Sexton

1. Gonzalez, Matilde Martin. “Fairy Tales Revisited and Transformed: Anne Sexton’s Critique of Social (ized) Femininity‖.” Universidad de la Laguna (1999): 10-21.
2. GETTY, LAURA J. “Maidens and Their Guardians: Reinterpreting the ‘Rapunzel’ Tale.” Mosaic: An Interdisciplinary Critical Journal, vol. 30, no. 2, 1997, pp. 37–52. JSTOR, http://www.jstor.org/stable/44029886. Accessed 8 Feb. 2025.
3. Skorczewski, Dawn. “What Prison Is This? Literary Critics Cover Incest in Anne Sexton’s ‘Briar Rose.'” Signs, vol. 21, no. 2, 1996, pp. 309–42. JSTOR, http://www.jstor.org/stable/3175066. Accessed 8 Feb. 2025.
4. McClatchy, J. D. “ANNE SEXTON: SOMEHOW TO ENDURE.” The Centennial Review, vol. 19, no. 2, 1975, pp. 1–36. JSTOR, http://www.jstor.org/stable/23738229. Accessed 8 Feb. 2025.