“The Pomegranate” by Eavan Boland, first appeared in 1990 in her collection The Pomegranate, reflects Boland’s exploration of myth, motherhood, and the complex relationship between the personal and the legendary.
Introduction: “The Pomegranate” by Eavan Boland
“The Pomegranate” by Eavan Boland, first appeared in 1990 in her collection The Pomegranate, reflects Boland’s exploration of myth, motherhood, and the complex relationship between the personal and the legendary. The main ideas of the poem revolve around the myth of Ceres and Persephone, focusing on the universal themes of loss, love, and the inescapable passage of time. Boland uses the myth to reflect on her own role as a mother, balancing the desire to protect her daughter with the inevitability of her experiencing her own version of loss and grief. The poem has gained popularity as a textbook poem for its rich emotional depth and the way it combines personal reflection with classical mythology. As Boland writes, “The legend will be hers as well as mine,” she conveys the continuity of human experience, where each generation must face its own trials and learn its own truths. The poem’s enduring appeal lies in its poignant depiction of both universal and intimate moments, making it a powerful piece for discussions on identity, myth, and motherhood in literary studies.
Text: “The Pomegranate” by Eavan Boland
The only legend I have ever loved is the story of a daughter lost in hell. And found and rescued there. Love and blackmail are the gist of it. Ceres and Persephone the names. And the best thing about the legend is I can enter it anywhere. And have. As a child in exile in a city of fogs and strange consonants, I read it first and at first I was an exiled child in the crackling dusk of the underworld, the stars blighted. Later I walked out in a summer twilight searching for my daughter at bed-time. When she came running I was ready to make any bargain to keep her. I carried her back past whitebeams and wasps and honey-scented buddleias. But I was Ceres then and I knew winter was in store for every leaf on every tree on that road. Was inescapable for each one we passed. And for me. It is winter and the stars are hidden. I climb the stairs and stand where I can see my child asleep beside her teen magazines, her can of Coke, her plate of uncut fruit. The pomegranate! How did I forget it? She could have come home and been safe and ended the story and all our heart-broken searching but she reached out a hand and plucked a pomegranate. She put out her hand and pulled down the French sound for apple and the noise of stone and the proof that even in the place of death, at the heart of legend, in the midst of rocks full of unshed tears ready to be diamonds by the time the story was told, a child can be hungry. I could warn her. There is still a chance. The rain is cold. The road is flint-coloured. The suburb has cars and cable television. The veiled stars are above ground. It is another world. But what else can a mother give her daughter but such beautiful rifts in time? If I defer the grief I will diminish the gift. The legend will be hers as well as mine. She will enter it. As I have. She will wake up. She will hold the papery flushed skin in her hand. And to her lips. I will say nothing.
The speaker expresses a deep personal connection to a specific myth that resonates with her emotions and experiences, suggesting the legend’s significance in her life.
the story of a daughter lost in hell.
The legend referenced here is that of Ceres and Persephone from Greek mythology, where Persephone is taken to the underworld (hell), lost to her mother, Ceres.
And found and rescued there.
Persephone is ultimately rescued, and this part of the myth represents a return from darkness or despair, offering hope.
Love and blackmail are the gist of it.
The myth is driven by themes of love (Ceres’ love for Persephone) and blackmail (Persephone’s forced stay in the underworld, which results in her eating the pomegranate).
Ceres and Persephone the names.
The mother (Ceres) and daughter (Persephone) are named, anchoring the myth and establishing the familial relationship at the heart of the legend.
And the best thing about the legend is
The speaker appreciates the flexibility of the myth; it allows for personal interpretation and entry at any point, giving it a timeless, universal appeal.
I can enter it anywhere. And have.
The speaker reflects on how she can relate to the myth at different points in her life, depending on her emotional state or situation.
As a child in exile in
The speaker recalls her childhood as one of exile, possibly feeling displaced or alienated, an emotional exile rather than a physical one.
a city of fogs and strange consonants,
This imagery evokes a sense of confusion or disorientation, possibly representing the challenges of growing up in an unfamiliar or foreign environment.
I read it first and at first I was
The speaker recalls her first encounter with the myth, identifying herself with the character of Persephone in the beginning.
an exiled child in the crackling dusk of
She imagines herself as an “exiled child,” feeling separated from her home or roots. “Crackling dusk” suggests a dark and uncertain world.
the underworld, the stars blighted.
The underworld represents despair or loss, and “blighted” suggests that the stars (symbols of hope) are obscured or damaged.
Later I walked out in a summer twilight
Later in life, the speaker emerges from a more desolate past, recalling a more hopeful, reflective period—twilight suggests a moment of transition.
searching for my daughter at bed-time.
The speaker now has a daughter and is searching for her, perhaps reflecting her role as a mother and her need to protect her child.
When she came running I was ready
The speaker is relieved when her daughter returns, highlighting the protective instincts that come with motherhood.
to make any bargain to keep her.
The speaker expresses a willingness to sacrifice anything to ensure her daughter’s safety, echoing the mother’s desperation in the myth.
I carried her back past whitebeams
The mother/daughter journey is framed in positive terms here with nature imagery, symbolizing innocence and safety (whitebeams, sweet and pure).
and wasps and honey-scented buddleias.
The contrast between the sweet scent of flowers (buddleias) and the danger of wasps alludes to the mixed blessings of life—beauty and danger coexist.
But I was Ceres then and I knew
The speaker identifies with Ceres, the mother in the myth, and reflects on the inevitability of loss or suffering in life.
winter was in store for every leaf
Winter here symbolizes the inevitable passage of time, decay, and hardship; everything is bound to face the harshness of winter (loss, change).
on every tree on that road.
This imagery reinforces the idea that no one or nothing is exempt from the trials of life; everything will eventually face hardship.
Was inescapable for each one we passed. And for me.
The inevitability of winter, or suffering, affects everyone, including the speaker, signifying a universal experience of grief or loss.
It is winter
The present moment is described as winter, a time of hardship or sorrow, continuing the metaphor of inevitable change and difficulty.
and the stars are hidden.
The obscured stars reflect the loss of hope or guidance, a dark period where the way forward is unclear.
I climb the stairs and stand where I can see
The speaker transitions to a present moment, standing and reflecting on her daughter, perhaps contemplating her safety and well-being.
my child asleep beside her teen magazines,
The imagery of the daughter’s peaceful sleep contrasts with the earlier mythological danger, representing innocence or a normal, everyday moment.
her can of Coke, her plate of uncut fruit.
The ordinary objects—a can of Coke, uncut fruit—symbolize normalcy and youthful innocence, suggesting a mundane, protected world.
The pomegranate! How did I forget it?
The speaker realizes that the pomegranate, a symbol of the myth’s fatal choice (eating the fruit of the underworld), is now a part of her daughter’s life.
She could have come home and been safe
The speaker laments the loss of safety, reflecting the myth’s warning—Persephone’s innocent choice to eat the pomegranate leads to her fate.
and ended the story and all
The daughter’s action could have resolved the myth, but by choosing the pomegranate, she continues the story, reflecting life’s cycle of choices and consequences.
our heart-broken searching but she reached
The speaker acknowledges that despite all efforts to protect her, her daughter makes her own decisions, continuing the journey of myth.
out a hand and plucked a pomegranate.
The pomegranate represents the dangerous, irreversible choice, similar to Persephone’s, illustrating the dangers of temptation or curiosity.
She put out her hand and pulled down
The daughter’s innocent action marks the beginning of her own journey, paralleling the myth and the speaker’s own maternal experience.
the French sound for apple and
“The French sound for apple” refers to the language of the fruit, further symbolizing the myth’s connection to fate and choice, especially in a global or cultural context.
the noise of stone and the proof
The “noise of stone” evokes the hardness and permanence of the choice—the pomegranate’s seeds (stone) represent a concrete decision with lasting effects.
that even in the place of death,
The myth takes place in the underworld, a place of death, yet life (hunger, desire) still persists, suggesting the inescapable nature of human experience.
at the heart of legend, in the midst
The center of the myth reflects not only tragedy but the power and significance of the story, offering lessons across generations.
of rocks full of unshed tears
This metaphor represents the unspoken grief and loss within the legend, suggesting that pain is often hidden or repressed until it can be expressed.
ready to be diamonds by the time
The “unshed tears” can become “diamonds,” implying that suffering can transform into wisdom, strength, or beauty over time.
the story was told, a child can be
Despite tragedy, the story endures, showing that life’s struggles are part of a larger narrative that a child must eventually face.
hungry. I could warn her. There is still a chance.
The speaker wishes to protect her daughter from the dangers of life, warning her to avoid the same mistakes, though aware that fate may unfold differently.
The rain is cold. The road is flint-coloured.
The imagery of cold rain and a flint-colored road suggests a harsh, challenging environment, one that the daughter will eventually navigate on her own.
The suburb has cars and cable television.
The modern suburban setting contrasts with the mythological world, showing that even in a comfortable, seemingly safe environment, dangers persist.
The veiled stars are above ground.
The “veiled stars” imply that hope or guidance is obscured, and the characters must find their own way, just as Persephone must find her way in the underworld.
It is another world. But what else
The poem transitions back to the modern world, but the speaker reflects that this world, though different, still shares the mythological essence of choices and consequences.
can a mother give her daughter but such
The speaker acknowledges that the only thing she can offer her daughter is the knowledge of life’s complexities and the inevitability of hardship.
beautiful rifts in time?
“Rifts in time” refers to moments of change, transitions between innocence and experience, and how these moments shape a person’s life.
If I defer the grief I will diminish the gift.
The speaker understands that by postponing grief, she may reduce the lesson or the opportunity for growth—grief must be faced in order to move forward.
The legend will be hers as well as mine.
The speaker accepts that the myth, and its lessons, will pass down to her daughter, as every generation must experience its own challenges.
She will enter it. As I have.
The daughter will eventually face her own trials, just as the speaker has faced hers, continuing the cycle of life’s inevitable challenges.
She will wake up. She will hold
The daughter will awaken to the realities of life, facing the world with the wisdom and understanding that come with experience.
the papery flushed skin in her hand.
The “papery flushed skin” symbolizes the fragility of life and the passage of time, a stark reminder of mortality.
And to her lips. I will say nothing.
The poem ends with the speaker’s silence, symbolizing the acceptance of fate, the mother’s inability to protect her child from the lessons of life.
Literary And Poetic Devices: “The Pomegranate” by Eavan Boland
The poem alludes to Greek mythology, specifically the story of Ceres (Demeter) and Persephone, drawing connections between the myth and the speaker’s own experience.
The contrasting images of winter (a cold, dark season) and hidden stars (symbolizing the absence of guidance or hope) highlight the tension between hardship and the longing for hope.
The structure of this sentence mirrors itself in the reversal of the order of the verbs (“warn” and “chance”), emphasizing the contrast between the potential to prevent harm and the inevitability of fate.
“And the best thing about the legend is / I can enter it anywhere. And have.”
The line spills over into the next without a pause, mirroring the continuous and fluid nature of the myth and its ability to be interpreted at any point in time.
“whitebeams and wasps and honey-scented buddleias.”
The vivid sensory details evoke a lush, fragrant environment that contrasts with the darker themes of the poem, creating a sense of nostalgia and safety.
There is irony in the speaker’s exclamation, as she realizes she has forgotten the critical symbol in the myth, despite its significance to both her and her daughter.
Winter represents hardship, loss, and the inevitable passage of time. The “leaf” symbolizes innocence, highlighting the impending changes that will affect all things.
The speaker asks a rhetorical question to express her surprise and regret at forgetting the pomegranate, which is central to the myth and the poem’s themes.
The pomegranate is a symbol of temptation, fate, and the inevitability of suffering, linking the myth of Persephone with the speaker’s own experience as a mother.
The “road” represents the larger journey of life, and the color “flint” symbolizes the hard, unyielding challenges one faces in that journey.
Tension
“But I was Ceres then and I knew / winter was in store for every leaf”
The tension arises from the conflict between the desire to protect her daughter and the awareness that hardship is unavoidable.
Tone
“I could warn her. There is still a chance.”
The tone is both cautionary and maternal, reflecting the speaker’s concern and the desire to shield her daughter from inevitable harm.
Understatement
“The suburb has cars and cable television.”
The mundane description of the suburb contrasts with the mythological themes, suggesting that the modern world is not immune to the same struggles faced in the myth.
Volta
“If I defer the grief I will diminish the gift.”
The shift in tone from reflection to realization occurs here, where the speaker contemplates how delaying grief may prevent the full meaning of the myth and its lessons from being passed on.
Themes: “The Pomegranate” by Eavan Boland
Motherhood and Protection: Motherhood is a central theme in “The Pomegranate,” where the speaker reflects on her role as a mother and her overwhelming desire to protect her daughter from harm. The speaker’s protective instincts are most evident when she describes being “ready to make any bargain to keep her” after her daughter runs toward her. This mirrors the story of Ceres and Persephone, where Ceres’ desperate efforts to protect her daughter from the underworld reflect the speaker’s own desire to shield her child from life’s challenges. However, Boland contrasts the innocence of childhood, symbolized by the daughter peacefully sleeping “beside her teen magazines,” with the harsh truth that mothers cannot protect their children from everything. The speaker knows that, just as Persephone’s fate is sealed by the pomegranate, her daughter too will face inevitable hardship. The pomegranate itself becomes a symbol of the dangerous choices that every child must make, despite the mother’s best efforts to protect them.
Myth and Transformation: “Myth and Transformation” plays a significant role in “The Pomegranate,” where Boland uses the myth of Ceres and Persephone to explore how myths shape personal identity and understanding. The speaker’s connection to the myth is evident in the way she reflects on it as part of her own experience, saying, “The legend will be hers as well as mine.” This emphasizes the transmission of wisdom, pain, and transformation across generations. The myth is not just a tale of the past but a living story that has shaped the speaker’s identity as a mother and will continue to shape her daughter’s. The pomegranate is a powerful symbol in this transformation, marking a point of no return, much like Persephone’s choice. By referencing the myth, Boland highlights how such stories transcend time, influencing and guiding people in different contexts. The myth becomes a shared experience, where the speaker wishes to pass on its lessons to her daughter, ensuring that the transformation it represents continues through the generations.
The Inevitability of Loss and Change: “The Inevitability of Loss and Change” is a major theme in “The Pomegranate,” where the speaker reflects on the unavoidable nature of loss and the passage of time. Boland’s use of winter as a symbol for this theme is especially striking. The line “winter was in store for every leaf” indicates the inevitable arrival of hardship, decay, and change. While the poem begins with images of warmth and innocence—like “whitebeams” and “honey-scented buddleias”—there is an underlying knowledge that everything is subject to the passage of time and the arrival of winter. The speaker is painfully aware that no matter how much she wishes to protect her daughter, hardship is unavoidable. The inevitability of change is underscored by the pomegranate, which, much like Persephone’s fateful choice, symbolizes a moment of irreversible transformation. The poem ends with the speaker’s acceptance that grieving for the inevitable will only diminish the gift of life and wisdom, reinforcing the idea that loss and change are essential parts of the human experience.
Generational Continuity: Generational continuity is a recurring theme in “The Pomegranate,” where the speaker reflects on the passage of wisdom, grief, and myth across generations. The speaker contemplates how her daughter, just like Persephone, will eventually face her own moments of loss and growth. Boland writes, “The legend will be hers as well as mine,” suggesting that the myth of Ceres and Persephone, with all its lessons, will continue to shape the lives of future generations. The speaker is not merely a protector of her daughter but also a teacher, passing down the understanding that life’s challenges and transformations are universal. The pomegranate represents a rite of passage, one that the daughter will eventually encounter, much like the speaker did. The theme of generational continuity in the poem highlights the inevitability of passing on both the joys and sorrows of life, with each generation entering the same cycles of growth, suffering, and learning. The speaker’s recognition of this cycle underscores the profound connection between mothers and daughters, as both must navigate the same mythic themes of loss and survival.
Literary Theories and “The Pomegranate” by Eavan Boland
Feminist theory can be applied to explore the roles and experiences of women in literature. In “The Pomegranate,” Boland reinterprets the myth of Ceres and Persephone, focusing on the emotional and psychological struggles of women, especially mothers. The poem delves into themes of motherhood, loss, and generational identity, with a clear emphasis on the maternal experience.
“I was Ceres then and I knew / winter was in store for every leaf”—Here, the speaker identifies with Ceres, the grieving mother, highlighting the emotional depth of motherhood and the inherent suffering it brings, especially in a patriarchal context where women are often burdened with the responsibility of nurturing.
Mythological Criticism
Mythological criticism examines the role of myth and its influence on literature. Boland’s use of the myth of Ceres and Persephone in “The Pomegranate” not only connects the personal experience of motherhood to a broader mythic tradition but also explores the cyclical nature of myth and how it informs personal identity. The myth becomes a framework for understanding universal themes of loss and transformation.
“The only legend I have ever loved is / the story of a daughter lost in hell”—This reference to the myth of Persephone and Ceres frames the poem, showing how myth influences the speaker’s reflection on motherhood and loss, transforming a classical myth into a deeply personal narrative.
Psychoanalytic criticism explores the psychological motivations of characters and the unconscious forces that shape their actions. In “The Pomegranate,” Boland’s focus on the mother’s emotional struggle can be analyzed through the lens of Freudian or Jungian theory, where the mother’s protective instincts and the daughter’s inevitable journey through loss represent key psychological dynamics.
“If I defer the grief I will diminish the gift”—The speaker’s internal conflict reflects the psychological tension between holding onto the past (grief) and allowing for the future (growth), which is a central theme in psychoanalytic theory regarding the dynamics of repression and acceptance.
Poststructuralism challenges fixed meanings and highlights the fluidity of interpretation. In “The Pomegranate,” the myth of Ceres and Persephone is not treated as a static or singular narrative. Instead, it is reinterpreted through the speaker’s evolving personal experience. The poem emphasizes the multiple interpretations of myth, memory, and identity, suggesting that meaning is never fixed but always in flux.
“I can enter it anywhere. And have.”—The speaker acknowledges that the myth is flexible and can be entered at any point in time, reflecting poststructuralist ideas of how meaning can shift and be reinterpreted by individuals at different stages of life. The poem suggests that the story is dynamic, open to personal redefinition rather than a singular, fixed interpretation.
Critical Questions about “The Pomegranate” by Eavan Boland
How does Boland use the myth of Ceres and Persephone to reflect on the experience of motherhood in “The Pomegranate” by Eavan Boland?
Boland uses the myth of Ceres and Persephone as a framework to explore the emotional complexity of motherhood. The myth of Persephone’s abduction to the underworld and Ceres’ subsequent grief provides a powerful metaphor for the universal experience of loss that comes with parenthood. In the poem, the speaker identifies herself with Ceres, recognizing the inescapable nature of suffering that comes with being a mother. She writes, “I was Ceres then and I knew / winter was in store for every leaf,” suggesting that, as a mother, she is intimately aware of the inevitability of hardship and separation. The pomegranate, a key element in the myth, symbolizes the painful realization that children, like Persephone, must eventually face their own trials and sufferings, regardless of the mother’s desire to protect them. This use of the myth highlights how the speaker, as a mother, must come to terms with the fact that she cannot shield her daughter from the inevitable changes and losses of life. Through this connection to the myth, Boland underscores the bittersweet nature of motherhood, where the desire to protect is in constant tension with the reality of a child’s own growth and independence.
What does the pomegranate symbolize in “The Pomegranate” by Eavan Boland, and how does it function as a metaphor?
The pomegranate in “The Pomegranate” functions as a potent symbol of temptation, fate, and the irreversible nature of decisions. Drawing from the myth of Persephone, the pomegranate represents the fruit that seals her fate when she eats it in the underworld, thus ensuring that she will spend part of each year in the realm of the dead. In Boland’s poem, the pomegranate is a symbol of choices—particularly those that are difficult, irreversible, and laden with consequence. The speaker laments that her daughter, “reached out a hand and plucked a pomegranate,” an act that echoes Persephone’s fateful decision. This moment in the poem represents a loss of innocence, as the daughter steps into a world where she must face difficult realities. Boland writes, “She could have come home and been safe / and ended the story,” implying that the pomegranate signifies the choice to step into a new phase of life, full of complexity and inevitable sorrow. It becomes a metaphor for the moments of life that one cannot undo, and the speaker’s struggle lies in accepting that her daughter, like Persephone, must make such choices to grow and learn.
How does Boland address the theme of generational continuity in “The Pomegranate” by Eavan Boland?
Generational continuity is a key theme in “The Pomegranate,” where the speaker reflects on how the myth of Ceres and Persephone is passed down through generations and becomes a shared experience between mother and daughter. The speaker acknowledges that her daughter will eventually enter the myth, just as she did, when she writes, “The legend will be hers as well as mine.” This suggests that the cycle of loss, growth, and transformation is not only part of the speaker’s life but will inevitably become part of her daughter’s journey as well. Boland’s reference to “She will enter it. As I have.” emphasizes this continuity, where the mother-daughter relationship is framed not only in terms of protection and nurturing but also in terms of shared experience and the transmission of wisdom. The poem suggests that the lessons of the past—the myths, the grief, and the wisdom—are passed down through generations, and that each generation must face the same universal truths, like the inevitability of suffering and loss. In this way, the poem captures the cyclical nature of life and the passing of stories, myths, and emotional burdens between mothers and daughters.
In what ways does the poem suggest the inevitability of loss and change, and how does the speaker cope with it in “The Pomegranate” by Eavan Boland?
The inevitability of loss and change is a central theme in “The Pomegranate,” as Boland explores the emotional toll of accepting that everything in life is transient. The speaker’s realization that “winter was in store for every leaf” highlights her awareness that all things, including innocence and youth, must eventually face decay and loss. Winter in the poem symbolizes not only physical decay but also emotional loss, signaling the unavoidable changes in life. The poem contrasts the hopeful imagery of a summer twilight and a daughter running toward her mother with the harsh recognition that “winter was in store.” Even the lush, fragrant imagery of “whitebeams” and “honey-scented buddleias” is tinged with the knowledge that decay and hardship are unavoidable. The speaker is painfully aware that, just as Persephone’s fate in the myth is sealed by eating the pomegranate, her daughter too will face her own challenges, despite her mother’s best efforts to shield her. The inevitability of change is underscored by the pomegranate, which, much like Persephone’s fateful choice, symbolizes a moment of irreversible transformation. The speaker copes with this reality by embracing the cycle, knowing that loss is a natural part of growth. By accepting the grief that comes with it, the speaker ensures that the lessons of the past are passed on, allowing her daughter to enter the myth, as she has, and experience the world’s inevitabilities for herself.
Literary Works Similar to “The Pomegranate” by Eavan Boland
“The Journey” by Mary Oliver: Oliver’s poem shares a thematic connection with “The Pomegranate,” as both deal with the process of personal growth, choice, and the irreversible nature of decisions.
“The Loss of the Creature” by Walker Percy: Percy’s poem, while prose, deals with themes of transformation and loss in a way similar to Boland’s exploration of myth and the personal journey of change.
“A Mother’s Prayer” by Kahlil Gibran: Gibran’s work, like Boland’s, explores the deep emotional bond between mother and child, reflecting on the mother’s desire to protect and the inevitability of loss and change.
Representative Quotations of “The Pomegranate” by Eavan Boland
“The only legend I have ever loved is / the story of a daughter lost in hell.”
The speaker expresses a deep personal connection to the myth of Persephone’s abduction by Hades, symbolizing a mother’s emotional attachment to a story of loss and longing.
Feminist Theory – This reflects the maternal grief and love, placing the myth in a female-centered context and exploring the emotional burdens placed on women.
“I was Ceres then and I knew / winter was in store for every leaf.”
The speaker identifies with Ceres, reflecting on the inevitability of loss and suffering as part of the maternal experience.
Psychoanalytic Criticism – The speaker’s recognition of the inevitable passage of time and suffering represents a psychological journey toward accepting loss as part of the life cycle.
“She could have come home and been safe / and ended the story.”
The speaker reflects on the possibility of her daughter avoiding the same fate as Persephone, symbolizing a mother’s desire to protect her child from hardship.
Feminist Theory – The mother’s desire to protect her daughter mirrors the deep maternal instinct to shield offspring from danger, typical in feminist readings of myth.
“The pomegranate! How did I forget it?”
The speaker realizes the critical moment in the myth of Persephone, where eating the pomegranate seals her fate, signaling the loss of innocence.
Mythological Criticism – This moment highlights the symbolic importance of the pomegranate, tying it to the myth of Persephone and the irreversible decisions in life.
“If I defer the grief I will diminish the gift.”
The speaker acknowledges that avoiding grief would prevent the full emotional and life lessons from being passed on to her daughter.
Poststructuralism – The speaker reflects on the multiplicity of meanings associated with grief and the importance of accepting it as part of personal growth.
“The legend will be hers as well as mine.”
The speaker recognizes that the myth and its lessons will pass from mother to daughter, illustrating generational continuity.
Generational Continuity – The theory of passing down wisdom, suffering, and myth through generations is evident in this quotation, reflecting the cyclical nature of life.
“She will enter it. As I have.”
The speaker acknowledges that her daughter will eventually face the same challenges and transformations as she did, underscoring the inevitable passage of life.
Psychoanalytic Criticism – The line conveys the psychological development of the daughter, preparing for the emotional growth that will mirror the mother’s journey.
“It is winter and the stars are hidden.”
This line uses the image of winter and hidden stars to evoke feelings of despair, emphasizing the harsh reality of life and the inevitable cycles of hardship.
Mythological Criticism – The imagery draws on the mythic association of the underworld (winter) with darkness and loss, similar to Persephone’s time in the underworld.
“The suburb has cars and cable television.”
This line places the poem’s modern context against the ancient myth, suggesting the persistence of loss and change despite the passage of time and technology.
Poststructuralism – By juxtaposing modernity with myth, Boland reflects on how the meanings of myths evolve and how they remain relevant across time.
“I carried her back past whitebeams / and wasps and honey-scented buddleias.”
The mother recalls a peaceful moment with her daughter before the inevitable realization of loss and hardship, representing innocence and the approach of hardship.
Feminist Theory – This peaceful imagery contrasts the mother’s desire to protect her daughter with the harsh realities that she will face, central to feminist views of maternal love and loss.
Suggested Readings: “The Pomegranate” by Eavan Boland
Meier, Kaitlin Christine. The Legend that Is Hers as Well as Mine: A Nonlinear Dynamic Approach to the Mother/Daughter Relationship in Eavan Boland’s “The Pomegranate”. California State University, Fresno, 2020.
McCallum, Shara. “Eavan Boland’s Gift: Sex, History, and Myth.” The Antioch Review, vol. 62, no. 1, 2004, pp. 37–43. JSTOR, https://doi.org/10.2307/4614596. Accessed 11 Feb. 2025.
Clutterbuck, Catriona. “Eavan Boland and the Politics of Authority in Irish Poetry.” The Yearbook of English Studies, vol. 35, 2005, pp. 72–90. JSTOR, http://www.jstor.org/stable/3509326. Accessed 11 Feb. 2025.
“The Panther” by Rainer Maria Rilke first appeared in 1903 in his collection New Poems (Neue Gedichte).
Introduction: “The Panther” by Rainer Maria Rilke
“The Panther” by Rainer Maria Rilke, first appeared in 1903 in his collection New Poems (Neue Gedichte), is a poignant meditation on captivity, portraying a panther confined within a cage, whose once-vivid perception has dulled due to the monotonous repetition of its restricted environment. The imagery of “a thousand bars; and behind the bars, no world” encapsulates the panther’s loss of agency and perspective, emphasizing the psychological impact of confinement. The panther’s powerful yet futile pacing, described as “a ritual dance around a center / in which a mighty will stands paralyzed,” reflects a broader existential theme of suppressed vitality and the struggle between instinct and restriction. The poem’s enduring popularity as a textbook selection stems from its masterful use of symbolism, rhythm, and evocative language to explore themes of freedom, oppression, and disillusionment. Its universal relevance makes it an essential piece in literature courses, illustrating how physical captivity mirrors mental and emotional entrapment.
Text: “The Panther” by Rainer Maria Rilke
His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else. It seems to him there are a thousand bars; and behind the bars, no world.
As he paces in cramped circles, over and over, the movement of his powerful soft strides is like a ritual dance around a center in which a mighty will stands paralyzed.
Only at times, the curtain of the pupils lifts, quietly—. An image enters in, rushes down through the tensed, arrested muscles, plunges into the heart and is gone.
Literary, Poetic, Rhetorical, and Stylistic Devices
His vision, from the constantly passing bars,
The bars symbolize captivity. The phrase “constantly passing” suggests the endless movement of the panther’s vision, reinforcing a sense of imprisonment.
The poem’s melancholic tone underscores its theme of hopelessness and confinement.
Themes: “The Panther” by Rainer Maria Rilke
Captivity: The overarching theme of captivity is emphasized through the repeated references to the “bars” that enclose the panther, symbolizing not only physical imprisonment but also psychological and existential entrapment. The line “a thousand bars; and behind the bars, no world” conveys the depth of this confinement, illustrating how prolonged restriction numbs perception and erases any sense of an external world. This theme extends beyond the literal cage, serving as a metaphor for societal oppression, authoritarian rule, and personal struggles where freedom is stifled.
Alienation: A direct consequence of captivity in “The Panther” is the theme of alienation, which underscores the creature’s detachment from the outside world. The panther’s perception has deteriorated, as expressed in the lines: “His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else.” This suggests a profound sense of isolation, where the monotony of captivity strips the panther of its ability to connect with anything beyond its immediate surroundings. The poem mirrors human experiences of loneliness, emotional detachment, and the psychological effects of prolonged confinement.
Loss of Vitality and Suppressed Power: The poem also conveys the loss of vitality and suppressed power, highlighting how captivity weakens not only the body but also the spirit. Once a majestic and free creature, the panther is now reduced to a futile, repetitive motion: “in which a mighty will stands paralyzed.” This paradox of strength and helplessness illustrates how oppression does not merely restrict movement but erodes identity and self-agency. The panther’s diminished existence serves as a powerful reflection of how imposed limitations—whether societal, political, or personal—can suffocate potential.
Fleeting Awareness and Lost Perception: In the final stanza of “The Panther”, Rilke presents the theme of fleeting awareness and lost perception, where brief moments of clarity arise but vanish just as quickly. The lines “Only at times, the curtain of the pupils / lifts, quietly—. An image enters in, / rushes down through the tensed, arrested muscles, / plunges into the heart and is gone.” suggest that despite the panther’s dulled senses, occasional glimpses of the outside world or past memories momentarily break through. However, these moments are ephemeral, reinforcing the poem’s overarching sense of hopelessness and the irreversible effects of long-term captivity.
Literary Theories and “The Panther” by Rainer Maria Rilke
The poem explores the psychological effects of confinement on the panther, symbolizing the repression of desires and instincts. The phrase “His vision, from the constantly passing bars, has grown so weary” reflects the concept of learned helplessness, where prolonged captivity leads to resignation and mental exhaustion.
“His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else.”
Marxist Criticism
From a Marxist perspective, the panther represents the proletariat, trapped in a system that limits its freedom and agency. The imagery of “a thousand bars; and behind the bars, no world” suggests economic and social structures that entrap individuals, mirroring class struggle and systemic oppression.
“a thousand bars; and behind the bars, no world.”
Existentialist Criticism
The panther’s experience in the cage reflects existentialist themes of isolation, meaninglessness, and the search for purpose. The line “in which a mighty will stands paralyzed” encapsulates the existential dilemma—having potential but being unable to act due to external constraints.
“in which a mighty will stands paralyzed.”
Structuralism
Structuralist criticism focuses on binaries and systems of meaning. The poem establishes a binary opposition between freedom and captivity, movement and paralysis. The “bars” function as a signifier of limitation, while the fleeting image in the final stanza represents moments of fleeting awareness within structured confinement.
“Only at times, the curtain of the pupils / lifts, quietly—. An image enters in, / rushes down through the tensed, arrested muscles, / plunges into the heart and is gone.”
Critical Questions about “The Panther” by Rainer Maria Rilke
How does Rilke use imagery to convey the theme of captivity in “The Panther”?
Rilke masterfully employs vivid imagery to depict the panther’s physical and psychological imprisonment. The phrase “His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else.” illustrates how the panther’s gaze is dominated by the repetitive sight of the bars, reinforcing a sense of entrapment. The bars do not just restrict movement but also dictate perception, symbolizing how prolonged confinement dulls awareness and eliminates any sense of an external world. Additionally, the description of the panther’s movement—“As he paces in cramped circles, over and over,”—creates a visual image of monotonous and futile motion, further highlighting the suffocating effects of captivity. The metaphor “a thousand bars; and behind the bars, no world.” underscores the idea that the panther’s reality is entirely consumed by its imprisonment, where the outside world ceases to exist in its perception. This intricate use of imagery effectively immerses the reader in the panther’s constrained existence, making the poem a powerful reflection on the devastating impact of confinement.
How does Rilke portray the psychological effects of captivity in “The Panther”?
The poem delves deeply into the psychological deterioration caused by confinement, portraying a once-powerful creature reduced to a state of mental and emotional paralysis. The line “in which a mighty will stands paralyzed.” captures the tragic irony of the panther’s condition—its strength remains intact, yet it is rendered powerless by its captivity. This highlights the concept of learned helplessness, where repeated exposure to limitations results in a loss of agency and hope. The repetitive pacing in “As he paces in cramped circles, over and over,” mirrors obsessive or ritualistic behavior often observed in captive animals, symbolizing mental distress. Furthermore, the final stanza reveals the panther’s fleeting consciousness, as “Only at times, the curtain of the pupils / lifts, quietly—. An image enters in, / rushes down through the tensed, arrested muscles, / plunges into the heart and is gone.” This momentary vision suggests that despite being numbed by captivity, occasional glimpses of freedom or memory arise, only to disappear just as quickly. This passage encapsulates the psychological torment of knowing what has been lost yet being unable to reclaim it, making the poem a profound exploration of the mental effects of oppression.
What is the significance of movement and stillness in “The Panther”?
Movement and stillness play a crucial role in conveying the panther’s internal conflict between its natural instincts and the constraints of captivity. The panther is in constant motion, yet this movement is paradoxically circular and repetitive, as seen in “As he paces in cramped circles, over and over.” This imagery reflects both habitual restlessness and futility, symbolizing how the panther’s once-purposeful strides have been reduced to a meaningless routine. The panther’s movement is further likened to a “ritual dance,” suggesting an almost involuntary, conditioned response to its confinement, reinforcing the idea of psychological conditioning under oppression. In stark contrast, the phrase “in which a mighty will stands paralyzed.” introduces the theme of forced stillness, where the panther’s potential energy is suppressed by its inability to act. This opposition between motion and paralysis serves as a central tension in the poem, reflecting the struggle between natural instinct and imposed limitation, a conflict that resonates in broader discussions of human oppression and restriction.
How does “The Panther” reflect broader existential or philosophical themes?
At its core, “The Panther” transcends the literal experience of an imprisoned animal and delves into broader existential themes concerning freedom, perception, and the human condition. The line “a thousand bars; and behind the bars, no world.” can be interpreted as a metaphor for existential entrapment, where external constraints—whether societal, psychological, or self-imposed—shape and limit one’s perception of reality. The panther’s loss of awareness mirrors the existentialist idea that when individuals are trapped in repetitive, meaningless routines, their sense of a broader world or purpose diminishes. The fleeting moment of awareness in the final stanza—“Only at times, the curtain of the pupils lifts, quietly—”—suggests that despite being engulfed by confinement, brief moments of realization or enlightenment still occur, though they are ephemeral and elusive. This moment resonates with existentialist thought, particularly the notion that meaning is often fleeting and constructed within an otherwise indifferent or restrictive existence. Through this lens, “The Panther” becomes not just a poem about captivity but a meditation on the fragility of perception, the loss of agency, and the struggle for meaning in a constrained world.
Literary Works Similar to “The Panther” by Rainer Maria Rilke
“The Jaguar” by Ted Hughes – Like “The Panther”, this poem contrasts the energy and untamed nature of a wild animal with the oppressive confinement of captivity, highlighting themes of freedom versus restriction.
“Sympathy” by Paul Laurence Dunbar – This poem, with its famous line “I know why the caged bird sings”, shares thematic parallels with “The Panther”, emphasizing psychological suffering, longing for freedom, and the impact of captivity.
“Caged Bird” by Maya Angelou – Inspired by Dunbar’s “Sympathy”, this poem also explores the contrast between confinement and freedom, much like Rilke’s depiction of the panther’s limited perception behind the bars.
“The Eagle” by Alfred, Lord Tennyson – While this poem depicts an eagle in majestic isolation rather than captivity, it similarly conveys a powerful sense of animal instinct and suppressed potential, resonating with “The Panther”.
“To a Mouse” by Robert Burns – Though focused on a small, vulnerable creature rather than a powerful predator, Burns’ poem shares “The Panther”’s themes of fate, powerlessness, and the constraints placed upon living beings by external forces.
Representative Quotations of “The Panther” by Rainer Maria Rilke
Quotation
Context
Theoretical Perspective
“His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else.”
The panther’s perception is reduced to the bars, symbolizing the psychological effects of captivity.
Psychoanalytic Criticism – Reflects the panther’s mental exhaustion and learned helplessness.
“It seems to him there are a thousand bars; and behind the bars, no world.”
Hyperbolic imagery emphasizing total confinement and the erasure of the external world.
Existentialist Criticism – Highlights the erasure of meaning and external reality under restriction.
“As he paces in cramped circles, over and over,”
Depicts the panther’s restricted movement, symbolizing futility and monotony.
Structuralism – Reinforces the binary opposition of movement vs. stasis.
“The movement of his powerful soft strides is like a ritual dance around a center.”
Compares the panther’s movement to a “ritual dance,” emphasizing conditioned behavior.
Marxist Criticism – Suggests how systemic oppression conditions individuals into predictable behavior.
“In which a mighty will stands paralyzed.”
Represents the suppression of instinctive will due to forced confinement.
Foucault’s Theory of Power and Surveillance – Captivity leads to internalized submission, rendering power ineffective.
“Only at times, the curtain of the pupils lifts, quietly—.”
Suggests moments of brief awareness, where the panther gains momentary perception.
Phenomenology – Examines the temporary lifting of perception in an otherwise dulled state.
“An image enters in, rushes down through the tensed, arrested muscles.”
The entry of an image represents fleeting consciousness in an otherwise dulled existence.
Cognitive Psychology – Represents sensory perception and how memory functions under confinement.
“Plunges into the heart and is gone.”
The disappearance of the image suggests hopelessness and the inability to retain moments of clarity.
Absurdist Criticism – Suggests the meaningless and fleeting nature of awareness in an oppressive world.
“His vision, from the constantly passing bars, has grown so weary that it cannot hold anything else.”
Repeated reference to vision and bars, reinforcing themes of restriction and limited perception.
Postmodernism – Deconstructs the concept of reality as limited by one’s perception.
“A thousand bars; and behind the bars, no world.”
Final emphasis on the total loss of freedom, making captivity absolute.
Critical Theory – Highlights how confinement shapes experience, erasing the possibility of an alternate world.
Suggested Readings: “The Panther” by Rainer Maria Rilke
Luckhoff, Serena. “Rilke in Translation: Uncovering the Panther in the English Language.” Aresty Rutgers Undergraduate Research Journal 1.4 (2022).
Calhoon, Kenneth S. “The Eye of the Panther: Rilke and the Machine of Cinema.” Comparative Literature, vol. 52, no. 2, 2000, pp. 143–56. JSTOR, https://doi.org/10.2307/1771564. Accessed 11 Feb. 2025.
van den Broek, Claire Y. “How the Panther Stole the Poem: The Search for Alterity in Rilke’s ‘Dinggedichte.’” Monatshefte, vol. 105, no. 2, 2013, pp. 225–46. JSTOR, http://www.jstor.org/stable/24549563. Accessed 11 Feb. 2025.
“The Moon” by Robert Louis Stevenson first appeared in A Child’s Garden of Verses (1885), a collection of poetry that captures the wonder and innocence of childhood.
Introduction: “The Moon” by Robert Louis Stevenson
“The Moon” by Robert Louis Stevenson first appeared in A Child’s Garden of Verses (1885), a collection of poetry that captures the wonder and innocence of childhood. The poem personifies the moon, giving it a “face like the clock in the hall,” as it silently observes both the peaceful and eerie aspects of the night. Its vivid imagery and rhythmic structure make it an engaging poem for young readers, contributing to its popularity in textbooks. The poem contrasts nocturnal creatures—such as “the squalling cat and the squeaking mouse”—with daytime beings that “cuddle to sleep,” highlighting the natural cycle of rest and activity. Its simple yet evocative language, along with its educational value in introducing children to poetic devices like personification and imagery, has cemented its place in early literature curricula.
Text: “The Moon” by Robert Louis Stevenson
The moon has a face like the clock in the hall; She shines on thieves on the garden wall, On streets and fields and harbour quays, And birdies asleep in the forks of the trees.
The squalling cat and the squeaking mouse, The howling dog by the door of the house, The bat that lies in bed at noon, All love to be out by the light of the moon.
But all of the things that belong to the day Cuddle to sleep to be out of her way; And flowers and children close their eyes Till up in the morning the sun shall arise.
Annotations: “The Moon” by Robert Louis Stevenson
Line from the Poem
Poetic Devices
Literary Devices
Stylistic Devices
Rhetorical Devices
The moon has a face like the clock in the hall;
Personification, Simile (“face like the clock in the hall”)
Onomatopoeia (“howling”), Alliteration (“door of the house”)
Symbolism (dogs as nocturnal creatures)
Auditory imagery, Repetition
Evocative sound, Foreboding atmosphere
The bat that lies in bed at noon,
Imagery, Contrast (day vs. night)
Symbolism (bat as a night creature)
Concise phrasing, Visual contrast
Rhetorical contrast, Emphasis
All love to be out by the light of the moon.
Personification (“love to be out”), Symbolism
Moon as a guiding force
Rhythmic flow, Soft phrasing
Imaginative appeal, Universal symbolism
But all of the things that belong to the day
Contrast (day vs. night), Imagery
Juxtaposition, Structural balance
Parallelism, Emphasis on dichotomy
Rhetorical contrast, Balanced phrasing
Cuddle to sleep to be out of her way;
Personification (“cuddle to sleep”), Imagery
Soft consonance, Gentle tone
Lyrical rhythm, Comforting phrasing
Euphony, Gentle persuasion
And flowers and children close their eyes
Symbolism (flowers and children as innocence), Imagery
Natural cycle, Peaceful setting
Parallelism, Lulling rhythm
Pathos (innocence of children), Warmth
Till up in the morning the sun shall arise.
Symbolism (sun as renewal), Personification
Closure, Transition from night to day
Predictable phrasing, Symbolic closure
Epiphora, Hopeful conclusion
Themes: “The Moon” by Robert Louis Stevenson
The Contrast Between Day and Night
One of the central themes in “The Moon” by Robert Louis Stevenson is the stark contrast between the activities of the day and those of the night. The poem illustrates how certain creatures, like “the squalling cat and the squeaking mouse” and “the howling dog by the door of the house,” become active under the moon’s glow, while others retreat into slumber. This contrast is reinforced by the juxtaposition of nocturnal and diurnal beings, emphasizing the natural rhythm of life. Stevenson presents the moon as a silent observer of the night, overseeing the world that awakens when “all of the things that belong to the day cuddle to sleep to be out of her way.” The imagery of children and flowers closing their eyes suggests that night serves as a time of rest and renewal, preparing them for the return of daylight when “the sun shall arise.”
The Moon as a Silent Guardian
Throughout the poem, the moon is depicted as a constant and watchful presence in the nighttime world. The personification in the line “The moon has a face like the clock in the hall” reinforces the idea that the moon, like a timekeeper, watches over everything, marking the passage of time. It shines upon all beings without discrimination, whether they are innocent sleepers like “birdies asleep in the forks of the trees” or more ominous figures like “thieves on the garden wall.” This omnipresence of the moon suggests a protective role, illuminating the dark world and guiding nocturnal creatures through the night. The poem thus portrays the moon as an ever-present entity that maintains balance in nature, ensuring that the cycle of night and day continues uninterrupted.
The Cycle of Nature and Time
Stevenson’s poem emphasizes the inevitable passage of time and the cyclical nature of existence. The moon and the sun function as symbols of this cycle, marking the transition from night to day and back again. The imagery of “flowers and children clos[ing] their eyes” suggests a universal pattern of rest and renewal that repeats daily. The phrase “till up in the morning the sun shall arise” signals the conclusion of the moon’s domain and the return of daylight, reinforcing the idea that time moves in a perpetual loop. By highlighting these transitions, Stevenson connects the natural world to the structured flow of time, much like the “clock in the hall” that keeps track of hours. This theme subtly teaches young readers about the predictability and order in nature, making it a foundational concept in early literature.
The Mystical and Enchanting Nature of the Night
The poem captures the mystery and allure of the nighttime world, portraying it as a realm of both tranquility and quiet activity. While daytime is associated with structure and routine, the night, illuminated by the moon, is filled with creatures that thrive in the darkness. The description of “the bat that lies in bed at noon” emphasizes the reversal of usual expectations, suggesting that nighttime holds its own unique rhythm and purpose. Stevenson’s use of sound imagery, such as “the squalling cat and the squeaking mouse,” brings the nocturnal world to life, making it feel vibrant and alive. At the same time, the poem maintains a dreamlike quality, as even the more active elements of the night seem to exist within a hushed and gentle atmosphere. This theme appeals to a child’s imagination, encouraging a sense of wonder about the unseen world that exists after bedtime.
Literary Theories and “The Moon” by Robert Louis Stevenson
Highlights the poem’s connection to nature and its depiction of ecological rhythms between night and day.
“She shines on thieves on the garden wall, / On streets and fields and harbour quays,” (Nature’s Interaction with Light)
Critical Questions about “The Moon” by Robert Louis Stevenson
How does Stevenson use personification to characterize the moon in “The Moon”?
Robert Louis Stevenson employs personification in “The Moon” to give the celestial body human-like qualities, enhancing its role as an active observer of the nighttime world. The line “The moon has a face like the clock in the hall;” directly attributes a face to the moon, suggesting it possesses consciousness or awareness similar to a watchful guardian. This comparison implies that, like a clock, the moon is a constant presence, marking the passage of time and illuminating the night. Additionally, Stevenson describes how the moon “shines on thieves on the garden wall,” implying that it not only provides light but also silently observes human activity. Through personification, the poem creates a comforting yet omnipresent moon that watches over the world, reinforcing a sense of security and wonder. This technique helps young readers relate to the moon as a familiar and engaging figure, making nighttime feel less mysterious and more inviting.
How does “The Moon” explore the theme of duality between night and day?
Stevenson’s “The Moon” presents a clear contrast between the activities of night and day, illustrating a cyclical pattern in nature. The line “But all of the things that belong to the day / Cuddle to sleep to be out of her way;” highlights how daytime creatures and objects retreat at night, making room for nocturnal life. This binary opposition is central to the poem, reinforcing the structured rhythm of the natural world. The poet contrasts the nocturnal beings—such as “the squalling cat,”“squeaking mouse,” and “howling dog”—with daytime elements like “flowers and children” that “close their eyes” in preparation for the sun’s return. This duality not only showcases the separation between the two periods but also emphasizes their interdependence; just as night brings an end to day, day inevitably returns, replacing the moon with the sun. Through this interplay, Stevenson highlights the balance in nature and the inevitability of time’s passage.
How does “The Moon” create a sense of wonder and enchantment about the night?
Stevenson’s “The Moon” is filled with an air of enchantment, transforming the night into a magical realm overseen by a silent guardian. The imagery in “And birdies asleep in the forks of the trees” evokes a sense of quiet beauty, emphasizing the peaceful aspects of the night. At the same time, Stevenson includes more active and eerie elements, such as “the squalling cat and the squeaking mouse” and “the bat that lies in bed at noon,” to highlight the peculiar and unseen life that thrives after dark. The rhythmic structure and soft, flowing language contribute to the poem’s lullaby-like quality, inviting young readers to imagine the nighttime as a mysterious yet fascinating world. By presenting the moon as an omnipresent figure watching over all creatures, Stevenson nurtures a childlike sense of curiosity and comfort, making the night seem less intimidating and more wondrous.
How does “The Moon” reflect a child’s perspective on nature and the night?
Stevenson’s “The Moon” is deeply embedded in a child’s perspective, portraying the night not as a time of fear, but as a realm of gentle observation and structured activity. The moon’s personification makes it seem approachable and friendly rather than distant or cold. The playful descriptions of animals—such as “the squalling cat” and “squeaking mouse”—reflect how a child might perceive nighttime sounds as animated and lively rather than ominous. Additionally, the mention of “flowers and children” closing their eyes reinforces the innocence associated with sleep, a natural part of childhood routines. The predictable conclusion—“Till up in the morning the sun shall arise.”—mirrors a child’s understanding of the day-night cycle as a reassuring and expected event. Stevenson’s use of simple, rhythmic language further enhances the poem’s accessibility to young readers, making it an engaging piece that aligns with a child’s imaginative view of the world.
Literary Works Similar to “The Moon” by Robert Louis Stevenson
“Silver” by Walter de la Mare – This poem, like “The Moon”, personifies the moon as a gentle observer of the night, casting silver light on the sleeping world.
“Who Has Seen the Wind?” by Christina Rossetti – Similar to “The Moon”, this poem explores nature’s unseen forces through personification and simple yet lyrical language.
“The Night” by William Blake – This poem, like “The Moon”, portrays nighttime as a peaceful, protective force, with a celestial presence watching over the world.
Representative Quotations of “The Moon” by Robert Louis Stevenson
The poem begins by personifying the moon, comparing it to a household clock, making it familiar and relatable.
Formalism – Examines the use of simile and personification to create vivid imagery.
“She shines on thieves on the garden wall,”
The moon is depicted as an impartial observer, illuminating both innocence and mischief.
New Historicism – Reflects how nature is beyond moral judgment, observing all human actions equally.
“On streets and fields and harbour quays,”
The moon’s light extends everywhere, showing its universal presence.
Structuralism – Demonstrates the symbolic structure of light as a unifying force.
“And birdies asleep in the forks of the trees.”
Highlights the peaceful side of nighttime, as small creatures rest under the moon’s watch.
Ecocriticism – Focuses on the connection between animals and natural cycles.
“The squalling cat and the squeaking mouse,”
Introduces the nighttime activity of creatures, contrasting with the stillness of the sleeping world.
Psychoanalytic Theory – The unconscious, often associated with night, awakens while the conscious mind sleeps.
“The bat that lies in bed at noon,”
Reinforces the reversal of natural rhythms, showing creatures adapted to night.
Poststructuralism – Challenges traditional binaries of day and night as fixed entities.
“All love to be out by the light of the moon.”
Suggests that nighttime is an active and appealing space for certain beings.
Romanticism – Celebrates the moon’s enchantment and the wonder of nocturnal life.
“But all of the things that belong to the day / Cuddle to sleep to be out of her way;”
Draws a sharp contrast between day and night, reinforcing their cyclical nature.
Structuralism – Explores binary oppositions in literature, such as night vs. day.
“And flowers and children close their eyes”
Connects nature and innocence, showing a shared need for rest and renewal.
Humanism – Emphasizes the universal human experience and connection to nature.
“Till up in the morning the sun shall arise.”
The poem ends with the assurance that day will return, maintaining the natural cycle.
Formalism – Highlights structural closure and rhythmic balance in the poem’s resolution.
Suggested Readings: “The Moon” by Robert Louis Stevenson
Stevenson, Robert Louis. Robert Louis Stevenson: A child’s garden of verses. Vol. 16. Scribner, 1895.
Schmitt, Cannon. “Technical Maturity in Robert Louis Stevenson.” Representations, vol. 125, no. 1, 2014, pp. 54–79. JSTOR, https://doi.org/10.1525/rep.2014.125.1.54. Accessed 11 Feb. 2025.
Colley, Ann C. “‘Writing Towards Home’: The Landscape of ‘A Child’s Garden of Verses.'” Victorian Poetry, vol. 35, no. 3, 1997, pp. 303–18. JSTOR, http://www.jstor.org/stable/40003054. Accessed 11 Feb. 2025.
“Mirror” by Sylvia Plath, first appeared in 1971 as part of her posthumous collection Crossing the Water, shows the themes of self-reflection and the unembellished truth of self-perception, captured through the metaphor of a mirror.
Introduction: “Mirror” by Sylvia Plath
“Mirror” by Sylvia Plath, first appeared in 1971 as part of her posthumous collection Crossing the Water, shows the themes of self-reflection and the unembellished truth of self-perception, captured through the metaphor of a mirror. The poem explores the honesty with which the mirror reflects the images before it, embodying an impartial perspective that is “not cruel, only truthful.” This introspective honesty, coupled with Plath’s poignant, clear language, has made “Mirror” a popular choice in educational texts. The poem’s contemplative tone and its exploration of personal identity resonate deeply, making it a powerful tool for teaching themes of self-awareness and the human condition. As the mirror states: “I am silver and exact. I have no preconceptions.” This line encapsulates the mirror’s function as an object of true reflection, devoid of human biases and emotions, which appeals to both students and scholars for its deep psychological insight and artistic expression.
Text: “Mirror” by Sylvia Plath
I am silver and exact. I have no preconceptions. Whatever I see I swallow immediately Just as it is, unmisted by love or dislike. I am not cruel, only truthful‚ The eye of a little god, four-cornered. Most of the time I meditate on the opposite wall. It is pink, with speckles. I have looked at it so long I think it is part of my heart. But it flickers. Faces and darkness separate us over and over.
Now I am a lake. A woman bends over me, Searching my reaches for what she really is. Then she turns to those liars, the candles or the moon. I see her back, and reflect it faithfully. She rewards me with tears and an agitation of hands. I am important to her. She comes and goes. Each morning it is her face that replaces the darkness. In me she has drowned a young girl, and in me an old woman Rises toward her day after day, like a terrible fish.
The mirror describes itself using the properties of being “silver” and “exact,” suggesting purity and accuracy in reflection. “No preconceptions” implies its objectivity, free from biases or emotions, much like an impartial observer.
Whatever I see I swallow immediately
The use of “swallow” metaphorically describes how the mirror absorbs or takes in everything it reflects without hesitation or judgment.
Just as it is, unmisted by love or dislike.
This line emphasizes the mirror’s unbiased nature, reflecting things as they are, unaffected by personal feelings of “love or dislike.”
I am not cruel, only truthful‚
The mirror clarifies its purpose: it is not “cruel” in its honesty but merely “truthful,” highlighting the often harsh nature of truth.
The eye of a little god, four-cornered.
Likening itself to a “little god,” the mirror suggests a powerful, all-seeing quality within its limited, “four-cornered” frame.
Most of the time I meditate on the opposite wall.
“Meditate” implies a contemplative, almost thoughtful observation of the opposite wall, suggesting a constant and focused attention.
It is pink, with speckles. I have looked at it so long
The description of the wall as “pink, with speckles” adds a personal touch to what the mirror observes daily, suggesting familiarity and perhaps monotony.
I think it is part of my heart. But it flickers.
The mirror anthropomorphically feels a connection (“part of my heart”) with the wall it faces, yet this connection is unstable (“flickers”), symbolizing moments of disconnection or change in perception.
Faces and darkness separate us over and over.
“Faces and darkness” interrupt the mirror’s view, representing how human presence and absence (darkness) cyclically affect what it reflects, emphasizing the transient nature of human life.
Now I am a lake. A woman bends over me,
The transition to a “lake” introduces a new reflective surface, deeper and broader in scope. The “woman” represents introspection and self-examination.
Searching my reaches for what she really is.
This line illustrates the woman’s quest for self-discovery and truth about her identity through the reflective surface of the lake.
Then she turns to those liars, the candles or the moon.
The “candles or the moon” are described as “liars,” suggesting their light distorts reality, unlike the truthful reflection of the mirror or lake.
I see her back, and reflect it faithfully.
The mirror/lake continues to reflect the woman accurately, even as she turns away, symbolizing the persistent, unchanging truth it offers regardless of her actions or focus.
She rewards me with tears and an agitation of hands.
The woman’s “tears and an agitation of hands” indicate emotional turmoil and distress faced upon confronting her true self in the reflection.
I am important to her. She comes and goes.
The mirror’s importance is highlighted by the woman’s repeated visits (“She comes and goes”), indicating a reliance on the mirror for self-reflection and understanding.
Each morning it is her face that replaces the darkness.
This line suggests a routine, where each day starts with the woman looking into the mirror, using it to replace the unknown (“darkness”) with her own image, symbolizing self-confrontation and the search for personal identity.
In me she has drowned a young girl, and in me an old woman
The mirror reflects the passage of time, showing the woman’s transformation from “a young girl” to “an old woman,” signifying the inevitable aging process and the changes in self-perception and identity over time.
Rises toward her day after day, like a terrible fish.
The “terrible fish” is a stark, unsettling image that concludes the poem, possibly representing the fear or dread of aging and mortality that rises in the woman as she confronts her reflection day after day.
“Faces” represent whole people, emphasizing how individuals and their absences affect the mirror.
Themes: “Mirror” by Sylvia Plath
The Search for Identity: In “Mirror” by Sylvia Plath, the theme of the search for identity is poignantly explored through the interactions between the woman and the mirror-turned-lake. The poem delves into the depths of self-exploration, with the mirror stating, “Now I am a lake. A woman bends over me, Searching my reaches for what she really is.” This reflection is not just literal but metaphorical, suggesting the woman’s quest to discover her true self. The mirror, a symbol of objective reality, presents an unfiltered view of the woman’s appearance and, by extension, her inner self. It shows how the woman confronts and sometimes recoils from her own reality, oscillating between recognition and denial, as seen when she turns to “those liars, the candles or the moon,” preferring their flattering but deceitful light to the stark truth of her reflection.
The Nature of Truth: Plath’s “Mirror” encapsulates the theme of truth through the lens of an inanimate object that reflects only what it sees, emphasizing the poem’s central motif: “I am not cruel, only truthful.” The mirror describes itself as “exact” and “unmisted by love or dislike,” indicating its impartiality and the inevitability of aging and self-recognition it presents. This unyielding adherence to truth confronts the subjective perceptions of the human experience, challenging the characters within the poem—and the readers themselves—to accept the often harsh realities of life and self-perception. The mirror’s repeated meditation on the opposite wall and its detailed observation underscore its role as a passive observer, committed only to the truth, however unwelcome it may be.
Aging and Mortality: Aging and mortality are central themes explored in “Mirror.” Plath personifies the mirror and later a lake, which reflect back the life changes of the woman observing herself. As the poem progresses, the narrative shifts from the wall the mirror often reflects to the woman who “comes and goes.” In a powerful metaphor, the mirror states, “In me she has drowned a young girl, and in me an old woman / Rises toward her day after day, like a terrible fish.” This imagery reflects the woman’s grappling with her own aging, as she sees her youthful self ‘drowned’ and her older self emerging. The relentless passage of time and its physical manifestations on the human body are rendered with both a literal and emotional accuracy that is unmistakable and poignant.
The Role of Perception: The theme of perception—how we see ourselves versus how others see us—is woven throughout “Mirror.” The poem highlights the duality of the mirror’s role: an object of factual reflection and a symbol of personal perception. The mirror’s claim, “Most of the time I meditate on the opposite wall,” suggests a constancy in its reflection, a permanence that stands in contrast to the human tendency to see what we want or fear in ourselves. This idea is further explored in the transformation of the mirror into a lake, providing a deeper, more expansive reflective surface. Here, the woman’s interaction with the mirror, shifting between facing it and turning away, encapsulates the human struggle with self-image, influenced by both internal desires and external pressures. The contrast between the steady, unchanging mirror and the flickering, unreliable perception of self highlights the complexities of understanding and accepting one’s true nature.
Literary Theories and “Mirror” by Sylvia Plath
Literary Theory
Application to ‘Mirror’
References from the Poem
Feminist Theory
This theory can examine how the poem reflects the societal pressures on women to maintain youth and beauty, and the internal conflict these pressures cause.
“A woman bends over me, / Searching my reaches for what she really is.” This line shows the woman’s struggle with her identity, which can be interpreted as a critique of how women are often valued for their appearance over their other qualities.
Focuses on the unconscious mind, and can interpret the mirror as a symbol of the true self that the conscious mind might be unwilling to accept.
“In me she has drowned a young girl, and in me an old woman / Rises toward her day after day, like a terrible fish.” These lines can be seen as representing the confrontation with the unconscious self, a realization of aging and mortality.
Analyzes the underlying structures of a text. The mirror’s reflections can be seen as a structure that organizes the text’s meaning around themes of truth and perception.
“I am silver and exact. I have no preconceptions.” This description of the mirror sets up a structure of objectivity and reflection, which is central to understanding the themes of the poem.
This theory would explore the instability of language and meaning in the poem, examining how the text undermines the idea of a fixed identity.
“Then she turns to those liars, the candles or the moon.” This line suggests the unreliability of appearances and challenges the notion of truth, which the mirror initially seems to represent unambiguously.
Critical Questions about “Mirror” by Sylvia Plath
How does the mirror’s perspective influence the theme of self-perception in the poem? The mirror in Sylvia Plath’s “Mirror” serves as both a literal and metaphorical lens through which the theme of self-perception is deeply explored. As an inanimate object, the mirror offers an unbiased, unemotional reflection of what it observes. It describes itself as “silver and exact” and claims to have “no preconceptions,” which emphasizes its role as an objective observer (Plath, lines 1-2). This objectivity is central to the poem’s exploration of how individuals confront their true selves. The mirror’s reflections force the woman to face her reality, stripped of any self-deception that might be offered by “those liars, the candles or the moon” (line 12). This unflinching honesty of the mirror makes the reader question the nature of self-perception and whether true self-awareness is possible without such objectivity.
What does the transformation from a mirror to a lake signify in the poem? The transition from a mirror to a lake in “Mirror” expands the scope of reflection both literally and metaphorically. Initially, the mirror is confined to a room, reflecting the mundane “opposite wall” and the activities within its “four-cornered” view (Plath, lines 6, 5). However, when the mirror becomes a lake, the reflection becomes deeper and broader, symbolizing a more profound level of introspection. The lake allows the woman to “search [the] reaches for what she really is” (line 10), indicating a deeper, more existential exploration of self. This transformation suggests a shift from superficial self-awareness to a more profound understanding of one’s identity and place in the world. It raises questions about the depths to which we can know ourselves and the fluid, often unsettling nature of personal identity.
How does the poem address the theme of aging and mortality? Aging and mortality are addressed through the evolving relationship between the woman and her reflections in the poem. Initially, the mirror reflects the woman as she is in real-time, but over the years, it captures her transition from a “young girl” to an “old woman” (Plath, line 17). This reflection is not merely physical but is laden with the emotional weight of seeing oneself age. The line “Rises toward her day after day, like a terrible fish” evokes a sense of dread and inevitability associated with aging and mortality (line 18). The metaphor of the “terrible fish” highlights the horror with which the woman confronts her aged self, suggesting that the awareness of mortality can be both profound and frightening. Plath’s depiction of this encounter emphasizes the relentless passage of time and the changes it brings, underscoring the poem’s contemplation of mortality.
What role do external sources of light—like candles and the moon—play in the poem compared to the mirror’s reflections? In “Mirror,” the external sources of light such as candles and the moon play a contrasting role to the reflections provided by the mirror. The mirror accuses these sources of being “liars,” which implies that unlike its own truthful reflections, these sources distort reality (Plath, line 12). This distinction highlights the theme of truth versus illusion in the poem. While the mirror prides itself on presenting things “just as they are,” the candles and the moon provide a softer, more flattering light that deceives the woman about her true appearance and possibly her life (Plath, lines 3-4). This dichotomy raises critical questions about how truth and illusion affect our understanding of ourselves and the world around us. It suggests that while comforting, illusions can prevent genuine self-awareness and acceptance of reality.
Literary Works Similar to “Mirror” by Sylvia Plath
“Lady Lazarus” by Sylvia Plath Similarity: Like “Mirror,” this poem also explores themes of identity and self-perception, with the speaker using powerful imagery to confront and reveal deep personal truths.
“The Love Song of J. Alfred Prufrock” by T.S. Eliot Similarity: Eliot’s poem mirrors Plath’s work in its introspective tone and the theme of self-analysis, where Prufrock, much like the woman in “Mirror,” examines his life with a critical and often disillusioned eye.
“Anorexic” by Eavan Boland Similarity: Boland’s poem delves into themes of body image and self-perception, similar to “Mirror,” showcasing a struggle with identity through the physical self.
“A Woman Speaks” by Audre Lorde Similarity: Lorde’s poem addresses themes of self-identity and the quest for self-definition, resonating with Plath’s depiction of a woman’s reflection on her true self in “Mirror.”
“Barbie Doll” by Marge Piercy Similarity: Piercy’s poem critiques societal standards of female beauty, echoing “Mirror’s” exploration of the pressures and challenges faced by women in confronting their own images and societal expectations.
Representative Quotations of “Mirror” by Sylvia Plath
“I am silver and exact. I have no preconceptions.”
The mirror introduces itself, emphasizing its objective nature and ability to reflect without bias.
Structuralism
“Whatever I see I swallow immediately”
This line highlights the mirror’s capacity to absorb and reflect images instantly, symbolizing its role as an impartial observer.
Psychoanalytic Theory
“Just as it is, unmisted by love or dislike.”
The mirror claims its reflections are unaffected by personal feelings, focusing on its truthful nature.
Feminist Theory
“I am not cruel, only truthful”
The mirror defends its blunt honesty, suggesting that truth can often be perceived as cruelty.
Deconstruction
“The eye of a little god, four-cornered.”
The mirror likens itself to a deity with complete observational power within its bounds, enhancing its authoritative presence.
Cultural Criticism
“Most of the time I meditate on the opposite wall.”
The mirror’s constant observation of the wall suggests a deep, reflective quality, akin to contemplation or meditation.
Existentialism
“Now I am a lake.”
The shift from a mirror to a lake introduces a deeper, more expansive medium for reflection, suggesting a more profound level of self-exploration.
Symbolic Interactionism
“A woman bends over me, Searching my reaches for what she really is.”
The woman uses the lake (formerly the mirror) to search for her true identity, reflecting the struggle and desire for self-understanding.
Feminist Theory
“Then she turns to those liars, the candles or the moon.”
The woman looks away from the truthful reflection to less reliable sources of light, which suggests a reluctance to face the stark truths about herself.
Psychoanalytic Theory
“In me she has drowned a young girl, and in me an old woman Rises toward her day after day, like a terrible fish.”
The mirror/lake reflects the passage of time and the changes in the woman’s identity from youth to old age, capturing the inevitable transformation and its emotional impact.
Existentialism
Suggested Readings: “Mirror” by Sylvia Plath
Freedman, William. “The Monster in Plath’s” Mirror”.” Papers on Language and Literature 29.2 (1993): 152.
Axelrod, Steven Gould. “The Mirror and the Shadow: Plath’s Poetics of Self-Doubt.” Contemporary Literature, vol. 26, no. 3, 1985, pp. 286–301. JSTOR, https://doi.org/10.2307/1208027. Accessed 10 Feb. 2025.
ALBAN, GILLIAN M. E. “Medusa as Female Eye or Icon in Atwood, Murdoch, Carter, and Plath.” Mosaic: An Interdisciplinary Critical Journal, vol. 46, no. 4, 2013, pp. 163–82. JSTOR, http://www.jstor.org/stable/44030714. Accessed 10 Feb. 2025.
“Anorexic” by Eavan Boland, first appeared in the 1980 collection In Her Own Image, explores themes of self-denial, bodily rejection, and the destructive pressures of femininity and patriarchal ideals.
Introduction: “Anorexic” by Eavan Boland
“Anorexic” by Eavan Boland, first appeared in the 1980 collection In Her Own Image, explores themes of self-denial, bodily rejection, and the destructive pressures of femininity and patriarchal ideals. Boland’s visceral language reflects the psychological and physical torment of an anorexic speaker who equates her body with sin and seeks purification through starvation. The poem’s stark imagery and intense personal voice make it a powerful feminist critique of societal expectations placed on women’s bodies. One of its most striking lines, “Flesh is heretic. / My body is a witch. / I am burning it.” (Boland, 1980), encapsulates the speaker’s internalized self-loathing and her attempt to reclaim control through bodily erasure. The poem is widely studied in literary courses due to its evocative exploration of gender, identity, and suffering, making it a compelling piece for discussions on feminist literature and poetic expression.
Text: “Anorexic” by Eavan Boland
Flesh is heretic. My body is a witch. I am burning it.
Yes I am torching her curves and paps and wiles. They scorch in my self denials.
How she meshed my head in the half-truths of her fevers
till I renounced milk and honey and the taste of lunch.
I vomited her hungers. Now the bitch is burning.
I am starved and curveless. I am skin and bone. She has learned her lesson.
Thin as a rib I turn in sleep. My dreams probe
a claustrophobia a sensuous enclosure. How warm it was and wide
once by a warm drum, once by the song of his breath and in his sleeping side.
Only a little more, only a few more days sinless, foodless,
I will slip back into him again as if I had never been away.
Caged so I will grow angular and holy
past pain, keeping his heart such company
as will make me forget in a small space the fall
into forked dark, into python needs heaving to hips and breasts and lips and heat and sweat and fat and greed.
A part of the body (heart) is used to symbolize emotional connection and purity.
Themes: “Anorexic” by Eavan Boland
Self-Destruction and Anorexia as Punishment: One of the most striking themes in “Anorexic” is the self-destructive nature of the disorder and the way the speaker treats starvation as a form of punishment. The poem presents the body as an enemy, something that must be destroyed to attain purity. The speaker believes that her physical form is sinful, describing it as “My body is a witch. / I am burning it.” This violent imagery highlights the deep self-loathing that fuels her disordered eating, reinforcing the idea that her body must suffer to achieve an ideal state. The metaphor of fire, repeated throughout the poem (“Now the bitch is burning”), suggests a purging process, as if she is undergoing a ritualistic cleansing by eliminating the very flesh that defines her. This destructive impulse reflects the reality of anorexia as a disorder that is both psychological and physical, where self-inflicted pain is mistakenly seen as self-control.
Femininity and the Rejection of the Female Body: The poem also critiques the societal pressures placed on women to conform to unrealistic standards of beauty and purity. The speaker views her body’s natural curves and desires as something to be eradicated, stating, “her curves and paps and wiles / They scorch in my self-denials.” The rejection of her body mirrors a rejection of femininity itself, as she equates physical softness and sexuality with weakness or corruption. By starving herself, she seeks to transcend these traits, attempting to become “Thin as a rib”—a biblical reference to Eve’s creation, symbolizing a return to a pre-fallen state before female sexuality was introduced into the world. The contrast between past and present—“How warm it was and wide / once by a warm drum”—suggests a nostalgic longing for a time before she was fully aware of her body and its burdens, reinforcing the destructive impact of societal and internalized expectations of female physicality.
Religious Imagery and the Search for Purity: Religious imagery plays a crucial role in “Anorexic”, as the speaker equates thinness with spiritual purification and sees her body as something inherently sinful. She uses religious diction such as “Flesh is heretic” and “sinless, foodless” to suggest that eating is not only a physical act but a moral failing. The reference to “milk and honey”, a biblical allusion to abundance and nourishment, is renounced, further emphasizing the speaker’s belief that self-denial is the path to righteousness. Her goal is to become “angular and holy / past pain”, suggesting that she associates extreme thinness with saint-like purity, transcending human weakness. However, the irony in this pursuit is evident, as her suffering and self-punishment do not bring enlightenment but rather reinforce her entrapment in a cycle of pain and destruction.
Loss of Identity and the Desire for Erasure: A recurring theme in the poem is the speaker’s desire to erase herself completely, symbolizing both the literal effects of anorexia and a deeper existential crisis. She envisions herself dissolving into nothingness, saying, “I will slip / back into him again / as if I had never been away.” This suggests a longing to return to a state of pre-existence, possibly before birth or before she was burdened by the expectations of femininity and the physical body. The imagery of enclosure—“a claustrophobia / a sensuous enclosure”—reflects the suffocating nature of her condition, where her own body becomes a prison. She aspires to shrink so much that she ceases to exist as a separate entity, becoming “caged so”, which further reinforces the poem’s underlying tension between control and self-destruction. Ultimately, this theme highlights the psychological struggle of an individual who seeks solace not in healing, but in complete disappearance.
The poem critiques societal pressures on women to conform to unrealistic beauty standards. The speaker’s rejection of her body (“her curves and paps and wiles / They scorch in my self denials”) highlights the internalization of patriarchal expectations and the self-inflicted violence that results from them.
Psychoanalytic Theory
From a psychoanalytic perspective, the poem reflects the speaker’s deep-seated self-loathing and unconscious desire to return to a pre-individualized state (“I will slip back into him again as if I had never been away.”). Her self-destruction can be read as a manifestation of repression and internalized trauma.
The poem can be analyzed in relation to historical and cultural attitudes toward the female body, particularly within religious and patriarchal frameworks. The biblical allusions (“Thin as a rib”) suggest a critique of how women have historically been defined through religious narratives of purity and sin.
Through a post-structuralist lens, the poem deconstructs traditional binaries such as purity vs. sin, body vs. spirit, and self vs. other. The speaker’s transformation (“angular and holy / past pain”) challenges stable meanings, illustrating the instability of identity and language in the construction of the self.
Critical Questions about “Anorexic” by Eavan Boland
How does “Anorexic” critique societal beauty standards and gender expectations?
“Anorexic” presents a stark critique of societal beauty standards and the pressure placed on women to conform to unrealistic ideals. The speaker views her body as something that must be controlled, reduced, and ultimately erased, illustrating how deeply ingrained cultural expectations shape female identity. The poem explicitly connects femininity with sinfulness, as seen in the lines “her curves and paps and wiles / They scorch in my self denials.” This rejection of the body as something deceitful and impure reflects the internalization of patriarchal standards that equate physical softness with weakness. The speaker’s goal is to become “Thin as a rib,” an allusion to Eve’s creation from Adam’s rib, suggesting that returning to a pre-fallen, pre-sexual state is the only way to achieve purity. By drawing on these religious and societal constructs, Boland critiques the destructive ways in which women’s bodies are policed and controlled.
What role does religious imagery play in shaping the speaker’s perception of her body?
Religious imagery in “Anorexic” reinforces the idea that the speaker’s body is inherently sinful and must be purified through suffering. From the opening lines, she declares, “Flesh is heretic. / My body is a witch. / I am burning it.” The use of the words “heretic” and “witch” connects her body to historical instances of persecution, where women who defied societal norms were condemned and destroyed. The metaphor of burning also evokes religious purification, as if the speaker believes she must suffer to cleanse herself of her physicality. Additionally, the poem references biblical symbols of nourishment—“milk and honey”, which are traditionally associated with abundance and divine promise—but the speaker rejects them in her pursuit of holiness. Her ultimate goal is to become “angular and holy / past pain,” linking starvation with spiritual transcendence. Through this imagery, Boland critiques how religious and moral discourses have historically been used to regulate women’s bodies and impose ideals of self-denial.
How does the poem explore the psychological effects of anorexia?
The poem vividly portrays the psychological torment of anorexia, using disturbing imagery and a fragmented sense of self. The speaker describes her body as an external force that deceives and controls her, saying, “How she meshed my head / in the half-truths / of her fevers / till I renounced / milk and honey / and the taste of lunch.” The use of personification here suggests a dissociation between the speaker and her body, as if it is an oppressive entity she must battle. This sense of division mirrors the psychological struggle of those suffering from eating disorders, where the mind becomes consumed by intrusive thoughts about control, food, and purity. The speaker’s longing to “slip / back into him again / as if I had never been away.” suggests a desire to disappear completely, to erase the burden of existence by returning to a pre-birth state. These lines capture the dangerous mental distortion that accompanies anorexia, where self-destruction is falsely equated with liberation.
What is the significance of the speaker’s desire to “erase” herself?
Throughout “Anorexic”, the speaker expresses a desire to reduce herself to nothingness, reflecting a deep existential crisis beyond just physical starvation. The poem traces her journey from rejecting her body to longing for complete erasure, as she says, “I am starved and curveless. / I am skin and bone.” This stripping away of flesh is not just a physical act but a symbolic attempt to negate her own existence. Her ultimate goal is to “slip / back into him again / as if I had never been away.” This could be interpreted as a desire to return to the safety of the womb or to merge with a male figure in order to escape her identity as a woman. The phrase “caged so / I will grow / angular and holy / past pain,” suggests that the speaker believes self-erasure will lead to spiritual purity, further emphasizing the poem’s theme of suffering as a path to transcendence. However, this belief is deeply ironic, as the speaker’s relentless pursuit of purity only leads to more suffering and self-destruction.
Literary Works Similar to “Anorexic” by Eavan Boland
“Mirror” by Sylvia Plath – This poem explores a woman’s struggle with self-image and aging, mirroring “Anorexic”’s themes of body dysmorphia and self-loathing.
“Lady Lazarus” by Sylvia Plath – Like “Anorexic”, this poem delves into self-destruction, using vivid and violent imagery to depict a woman’s battle with her own body and identity.
“Goblin Market” by Christina Rossetti – While allegorical, this poem shares “Anorexic”’s exploration of female desire, self-denial, and the moral consequences of consumption and abstinence.
“The Pomegranate” by Eavan Boland – This poem, also by Boland, reflects on femininity, self-sacrifice, and the tension between nourishment and denial, themes central to “Anorexic”.
Representative Quotations of “Anorexic” by Eavan Boland
The opening line sets the tone for the speaker’s rejection of her own body, portraying it as sinful.
Feminist Criticism – Highlights the internalized misogyny and societal expectations of women’s bodies.
“My body is a witch.”
The speaker equates her body with a historical figure of persecution, reinforcing self-hatred.
Feminist Criticism – Reflects historical oppression of women through witch trials and body policing.
“I am burning it.”
Describes the act of self-punishment through starvation, symbolizing purification.
Psychoanalytic Theory – Represents self-destructive impulses and the desire for control.
“Now the bitch is burning.”
Personifies the body as an enemy being destroyed, emphasizing self-inflicted suffering.
Psychoanalytic Theory – The externalized body as an antagonist reflects internalized self-hatred.
“Thin as a rib.”
Biblical allusion to Eve’s rib, symbolizing a return to pre-fallen, pre-sexualized purity.
New Historicism – Examines the biblical origin of female identity and its connection to purity.
“I will slip back into him again as if I had never been away.”
Expresses the desire to disappear into a male figure, erasing individuality and physicality.
Psychoanalytic Theory – Suggests a Freudian return to the womb or dissolution of self.
“Sinless, foodless,”
Equates the absence of food with moral purity, linking starvation to virtue.
Feminist Criticism – Reinforces patriarchal constructs equating thinness with goodness.
“How she meshed my head in the half-truths of her fevers.”
Describes how her body has deceived her, reinforcing the theme of self-alienation.
Post-Structuralism – Deconstructs the concept of truth, showing how identity is shaped by perception.
“Keeping his heart such company as will make me forget.”
Suggests the speaker’s attempt to suppress memories of her body’s physical existence.
Psychoanalytic Theory – Implies repression of bodily memory as a means of psychological survival.
“Into python needs heaving to hips and breasts and lips and heat.”
Frames physical desires as monstrous and predatory, reinforcing the rejection of the flesh.
Post-Structuralism – Questions the stability of language in defining bodily needs and desires.
Suggested Readings: “Anorexic” by Eavan Boland
Sliti, Adel. “Introspaces of Subversion vs Ideological: Spaces of Evil in Eavan Boland’s ‘Anorexic’.” Illuminating the Dark Side: Evil, Women and the Feminine. Brill, 2010. 185-195.
O’Leary, Maggie. “Heritage of hunger: Famine, self-starvation, and narrative-building in Eavan Boland’s” Anorexic”.” Colloquy 33 (2017): 5-24.
“The Jaguar” by Ted Hughes first appeared in The Hawk in the Rain (1957), a collection that established Hughes as a powerful voice in modern poetry.
Introduction: “The Jaguar” by Ted Hughes
“The Jaguar” by Ted Hughes first appeared in The Hawk in the Rain (1957), a collection that established Hughes as a powerful voice in modern poetry. The poem contrasts the lethargy of caged animals in a zoo with the restless, untamed spirit of the jaguar, whose energy and defiance captivate the onlookers. Hughes uses vivid imagery and strong, dynamic language to depict the slothful existence of the other animals—” The apes yawn and adore their fleas in the sun” —emphasizing their stagnation and lifelessness. However, the jaguar stands apart, embodying raw power and untamed vitality: ” His stride is wildernesses of freedom.” This portrayal makes the poem a favorite in textbooks, as it explores themes of captivity versus freedom, the power of the imagination, and the indomitable spirit of nature. The poem’s use of striking metaphors—such as the jaguar’s movement turning the cage into an illusion—illustrates its deeper philosophical message: true power and freedom exist in the mind, making it a compelling and thought-provoking piece for literary study.
Text: “The Jaguar” by Ted Hughes
The apes yawn and adore their fleas in the sun.
The parrots shriek as if they were on fire, or strut
Like cheap tarts to attract the stroller with the nut.
Fatigued with indolence, tiger and lion
Lie still as the sun. The boa-constrictor’s coil
Is a fossil. Cage after cage seems empty, or
Stinks of sleepers from the breathing straw.
It might be painted on a nursery wall.
But who runs like the rest past these arrives
At a cage where the crowd stands, stares, mesmerized,
As a child at a dream, at a jaguar hurrying enraged
Through prison darkness after the drills of his eyes
On a short fierce fuse. Not in boredom—
The eye satisfied to be blind in fire,
By the bang of blood in the brain deaf the ear—
He spins from the bars, but there’s no cage to him
More than to the visionary his cell:
His stride is wildernesses of freedom:
The world rolls under the long thrust of his heel.
Captivity vs. Freedom: One of the central themes of “The Jaguar” is the stark contrast between captivity and freedom. The poem vividly portrays the caged animals in a state of lethargy, robbed of their natural instincts and vitality. The apes are described as yawning and mindlessly grooming themselves, while the tiger, lion, and boa constrictor lie motionless, their energy drained: ” Fatigued with indolence, tiger and lion / Lie still as the sun. The boa-constrictor’s coil / Is a fossil.” The animals have become passive, reduced to lifeless figures that no longer embody their natural wildness. However, the jaguar stands in stark contrast, refusing to accept captivity and remaining fiercely untamed: ” He spins from the bars, but there’s no cage to him.” This suggests that true freedom is not just physical but also mental—while the other animals have surrendered to confinement, the jaguar’s spirit remains unbroken. The poem highlights the idea that captivity is only real if one acknowledges it, making the jaguar a symbol of resilience, defiance, and the uncontainable force of life.
The Power of Perception and the Mind: In ” The Jaguar,” Hughes explores how perception shapes reality, highlighting the difference between physical confinement and mental freedom. The other animals have lost their sense of self, but the jaguar’s defiant mindset allows it to transcend its cage. Hughes reinforces this through the line, ” More than to the visionary his cell:” comparing the jaguar to a visionary or a dreamer—someone who refuses to be limited by external constraints. The powerful imagery of ” His stride is wildernesses of freedom” suggests that the jaguar carries an entire world of wildness within it, refusing to be subdued by its surroundings. Even though it is physically confined, it does not perceive itself as caged. This theme reflects the idea that freedom is ultimately a state of mind, echoing deeper philosophical concepts about mental liberation, personal strength, and resistance to oppression.
The Wild and Untamed Spirit of Nature: Another dominant theme in “The Jaguar” is the unbreakable force of nature, which Hughes presents through the jaguar’s energy and defiance. While the other animals have been reduced to shadows of their former selves, appearing tame and passive, the jaguar remains full of raw vitality. It moves with an almost elemental force: ” His stride is wildernesses of freedom: / The world rolls under the long thrust of his heel.” This suggests that the jaguar embodies nature’s wildness, carrying the essence of the jungle within itself despite being in a cage. The phrase ” On a short fierce fuse” likens the jaguar to a ticking time bomb, reinforcing the idea that its energy is uncontrollable and ever-present. Hughes presents the jaguar as a symbol of nature’s resilience and the fact that true wildness cannot be subdued, no matter how much humans attempt to contain it. This theme aligns with the poet’s broader fascination with the raw power and untamed beauty of the natural world.
Spectacle and Human Fascination with Power: Hughes also examines the theme of spectacle and humanity’s attraction to raw, unbridled power in “The Jaguar.” The visitors to the zoo largely ignore the lethargic, caged animals, passing them by without much thought. However, they are mesmerized when they reach the jaguar’s cage: ” At a cage where the crowd stands, stares, mesmerized, / As a child at a dream.” The jaguar’s restless energy captivates them, drawing them in like an intense performance. The contrast suggests that humans are not fascinated by the domesticated and subdued but by those who refuse to be tamed. The jaguar represents a force of nature that cannot be controlled, which is what makes it so compelling to the spectators. However, the poem subtly critiques this fascination—while the crowd is entranced, they remain mere observers, failing to understand the true significance of the jaguar’s defiance. Hughes implies that humans are drawn to displays of strength and independence, but they often admire from a distance rather than truly engaging with the deeper realities of power and freedom.
Literary Theories and “The Jaguar” by Ted Hughes
Literary Theory
Application to “The Jaguar”
References from the Poem
Marxist Criticism
Examines power structures and oppression, analyzing the zoo as a metaphor for social hierarchy. The lethargic animals symbolize those who have accepted oppression, while the jaguar represents the rebellious force challenging authority.
” Fatigued with indolence, tiger and lion / Lie still as the sun.” (Shows how individuals become passive under oppressive systems), ” He spins from the bars, but there’s no cage to him.” (The jaguar resists submission, representing the revolutionary spirit).
Focuses on the subconscious mind and primal instincts. The poem contrasts the suppressed instincts of the other animals with the jaguar’s untamed energy, highlighting the tension between societal repression and natural impulses.
” The eye satisfied to be blind in fire, / By the bang of blood in the brain deaf the ear.” (Represents primal passion and uncontrollable instincts), ” His stride is wildernesses of freedom.” (Symbolizes the untamed subconscious resisting captivity).
Analyzes the relationship between humans and nature, critiquing how captivity alters animals’ natural behaviors. The poem contrasts lifeless, domesticated creatures with the jaguar, which embodies the wild spirit of nature.
” The boa-constrictor’s coil / Is a fossil.” (Captivity erases natural vitality), ” The world rolls under the long thrust of his heel.” (The jaguar retains a sense of wilderness despite confinement).
Explores themes of freedom, choice, and the nature of reality. The jaguar’s perception shapes its experience, suggesting that true freedom exists in the mind, regardless of physical barriers.
” More than to the visionary his cell:” (The jaguar, like an existentialist thinker, refuses to be defined by its situation), ” But there’s no cage to him.” (Freedom is a state of mind rather than a physical condition).
Critical Questions about “The Jaguar” by Ted Hughes
Question 1: What is the central theme of the poem, and how is it developed throughout?
The central theme of “The Jaguar” is the contrast between the natural world and the artificial confines of the zoo. Hughes develops this theme by describing the lethargic and artificial atmosphere of the zoo, where animals are ” fatigued with indolence” and ” lie still as the sun” (lines 3-4). In contrast, the jaguar is portrayed as a symbol of freedom and power, ” hurrying enraged / Through prison darkness” (lines 11-12). The poem highlights the tension between the natural instincts of the animals and the restrictive environment of the zoo.
Question 2: How does Hughes use imagery and symbolism to convey the character of the jaguar?
Hughes employs vivid imagery and symbolism to convey the character of the jaguar as a powerful and majestic creature. The jaguar’s ” stride is wildernesses of freedom” (line 19), suggesting its natural instincts and desire for liberty. The image of the jaguar ” hurrying enraged / Through prison darkness” (lines 11-12) conveys its frustration and power. The ” bang of blood in the brain” (line 15) is a symbolic representation of the jaguar’s passion and energy. Through these images, Hughes creates a sense of awe and respect for the jaguar, highlighting its wild and untamed nature.
Question 3: What commentary does the poem offer on the human relationship with nature?
The poem offers a commentary on the human relationship with nature, suggesting that humans have a tendency to confine and control the natural world. The zoo is portrayed as a place where animals are trapped and artificial, highlighting the disconnect between humans and nature. The jaguar, as a symbol of freedom and power, serves as a critique of human attempts to dominate and restrict the natural world. The poem implies that humans have a responsibility to respect and appreciate the natural world, rather than trying to control it.
Question 4: How does the poem’s use of language and form contribute to its overall effect?
The poem’s use of language and form contributes to its overall effect by creating a sense of tension and contrast between the natural world and the artificial confines of the zoo. The use of enjambment and caesura creates a sense of flow and pause, mirroring the jaguar’s movement and energy. The imagery and symbolism used throughout the poem create a vivid and powerful picture of the jaguar and its world. The poem’s language and form work together to build a sense of awe and respect for the natural world, while also highlighting the tensions and contradictions between humans and nature.
Literary Works Similar to “The Jaguar” by Ted Hughes
“The Tyger” by William Blake – Both poems explore the raw power and untamed energy of wild animals, with a focus on their primal and almost divine strength. Like Hughes, Blake uses vivid imagery to convey awe and reverence for the animal’s nature.
“Hawk Roosting” by Ted Hughes – Another poem by Hughes that, like ” The Jaguar,” delves into the theme of nature’s dominance and power. The hawk, similar to the jaguar, embodies raw instinct, self-sufficiency, and defiance.
“The Panther” by Rainer Maria Rilke – This poem also captures the experience of an animal in captivity, depicting a caged panther whose spirit has been broken, unlike Hughes’s jaguar, which resists its confinement.
“The Windhover” by Gerard Manley Hopkins – Similar to ” The Jaguar,” this poem celebrates an animal’s grace and power, focusing on a kestrel’s flight as a symbol of freedom, energy, and natural majesty.
“Snake” by D. H. Lawrence – Both poems explore the tension between human perception and the intrinsic majesty of wild creatures, portraying animals as powerful and beyond human moral judgment.
Representative Quotations of “The Jaguar” by Ted Hughes
de Orellana, Margarita, et al. ” JAGUAR.” Artes de México, no. 121, 2016, pp. 64–80. JSTOR, http://www.jstor.org/stable/24878528. Accessed 6 Feb. 2025.
“Snow White and the Seven Dwarfs” by Anne Sexton first appeared in Transformations (1971), a poetry collection that reinterprets classic fairy tales with a dark, feminist, and psychoanalytic lens.
Introduction: “Snow White and the Seven Dwarfs” by Anne Sexton
“Snow White and the Seven Dwarfs” by Anne Sexton first appeared in Transformations (1971), a poetry collection that reinterprets classic fairy tales with a dark, feminist, and psychoanalytic lens. This poem, like others in the collection, deconstructs traditional narratives to expose their unsettling undertones, particularly regarding beauty, power, and female subjugation. Sexton’s retelling presents Snow White as an objectified, passive figure—”rolling her china-blue doll eyes / open and shut”—who remains trapped in a cycle of male possession and societal expectations. The poem critiques the idealization of feminine innocence and the destructive nature of vanity, embodied in the queen’s obsessive rivalry. The haunting imagery, visceral language, and biting irony make the poem a staple in feminist literary studies and modern poetry anthologies. Its continued use in academic settings stems from its ability to challenge the sanitized versions of fairy tales and provoke discussions on gender roles, beauty standards, and psychological depth in literature.
Text: “Snow White and the Seven Dwarfs” by Anne Sexton
No matter what life you lead the virgin is a lovely number: cheeks as fragile as cigarette paper, arms and legs made of Limoges, lips like Vin Du Rhône, rolling her china-blue doll eyes open and shut. Open to say, Good Day Mama, and shut for the thrust of the unicorn. She is unsoiled. She is as white as a bonefish.
Once there was a lovely virgin called Snow White. Say she was thirteen. Her stepmother, a beauty in her own right, though eaten, of course, by age, would hear of no beauty surpassing her own. Beauty is a simple passion, but, oh my friends, in the end you will dance the fire dance in iron shoes. The stepmother had a mirror to which shereferred– something like the weather forecast– a mirror that proclaimed the one beauty of the land. She would ask, Looking glass upon the wall, who is fairest of us all? And the mirror would reply, You are the fairest of us all. Pride pumped in her like poison.
Suddenly one day the mirror replied, Queen, you are full fair, ’tis true, but Snow White is fairer than you. Until that moment Snow White had been no more important than a dust mouse under the bed. But now the queen saw brown spots on her hand and four whiskers over her lip so she condemned Snow White to be hacked to death. Bring me her heart, she said to the hunter, and I will salt it and eat it. The hunter, however, let his prisoner go and brought a boar’s heart back to the castle. The queen chewed it up like a cube steak. Now I am fairest, she said, lapping her slim white fingers.
Snow White walked in the wildwood for weeks and weeks. At each turn there were twenty doorways and at each stood a hungry wolf, his tongue lolling out like a worm. The birds called out lewdly, talking like pink parrots, and the snakes hung down in loops, each a noose for her sweet white neck. On the seventh week she came to the seventh mountain and there she found the dwarf house. It was as droll as a honeymoon cottage and completely equipped with seven beds, seven chairs, seven forks and seven chamber pots. Snow White ate seven chicken livers and lay down, at last, to sleep.
The dwarfs, those little hot dogs, walked three times around Snow White, the sleeping virgin. They were wise and wattled like small czars. Yes. It’s agood omen, they said, and will bring us luck. They stood on tiptoes to watch Snow White wake up. She told them about the mirror and the killer-queen and they asked her to stay and keep house. Beware of your stepmother, they said. Soon she will know you are here. While we are away in the mines during the day, you must not open the door.
Looking glass upon the wall . . . The mirror told and so the queen dressed herself in rags and went out like a peddler to trap Snow White. She went across seven mountains. She came to the dwarf house and Snow White opened the door and bought a bit of lacing. The queen fastened it tightly around her bodice, as tight as an Ace bandage, so tight that Snow White swooned. She lay on the floor, a plucked daisy. When the dwarfs came home they undid the lace and she revived miraculously. She was as full of life as soda pop. Beware of your stepmother, they said. She will try once more.
Looking glass upon the wall. . . Once more the mirror told and once more the queen dressed in rags and once more Snow White opened the door. This time she bought a poison comb, a curved eight-inch scorpion, and put it in her hair and swooned again. The dwarfs returned and took out the comb and she revived miraculously. She opened her eyes as wide as Orphan Annie. Beware, beware, they said, but the mirror told, the queen came, Snow White, the dumb bunny, opened the door and she bit into a poison apple and fell down for the final time. When the dwarfs returned they undid her bodice, they looked for a comb, but it did no good. Though they washed her with wine and rubbed her with butter it was to no avail. She lay as still as a gold piece.
The seven dwarfs could not bring themselves to bury her in the black ground so they made a glass coffin and set it upon the seventh mountain so that all who passed by could peek in upon her beauty. A prince came one June day and would not budge. He stayed so long his hair turned green and still he would not leave. The dwarfs took pity upon him and gave him the glass Snow White– its doll’s eyes shut forever– to keep in his far-off castle. As the prince’s men carried the coffin they stumbled and dropped it and the chunk of apple flew out of her throat and she woke up miraculously.
And thus Snow White became the prince’s bride. The wicked queen was invited to the wedding feast and when she arrived there were red-hot iron shoes, in the manner of red-hot roller skates, clamped upon her feet. First your toes will smoke and then your heels will turn black and you will fry upward like a frog, she was told. And so she danced until she was dead, a subterranean figure, her tongue flicking in and out like a gas jet. Meanwhile Snow White held court, rolling her china-blue doll eyes open and shut and sometimes referring to her mirror as women do.
Annotations: “Snow White and the Seven Dwarfs” by Anne Sexton
The poem begins with a reflection on purity and virginity. Snow White is introduced as an idealized, fragile beauty, emphasizing the theme of innocence and objectification.
Purity, Innocence, Objectification
Metaphor (virgin as “a lovely number”), Simile (“cheeks as fragile as cigarette paper”), Symbolism (white as purity)
“No matter what life you lead / the virgin is a lovely number”
Introduction of Snow White
Snow White is portrayed as a delicate, doll-like figure, reinforcing traditional femininity and desirability. Her passivity is emphasized.
Idealized Beauty, Passive Womanhood
Imagery (delicate, doll-like features), Symbolism (youth as purity)
“Rolling her china-blue doll eyes / open and shut”
Stepmother’s Vanity and Rivalry
The stepmother, obsessed with her own beauty, consults the mirror. The mirror’s response triggers her jealousy and desire to eliminate Snow White.
Jealousy, Power Struggles, Vanity
Personification (mirror as judge), Irony (beauty as obsession), Symbolism (aging as decay)
“Pride pumped in her like poison”
Stepmother Orders Snow White’s Death
The stepmother orders the hunter to kill Snow White and bring back her heart as proof. The hunter deceives the queen and lets Snow White go.
“Bring me her heart, she said to the hunter, / and I will salt it and eat it.”
Snow White in the Wildwood
Snow White wanders alone in the wilderness, facing numerous dangers. The imagery of wolves, birds, and snakes suggests both sexual threats and the harshness of the world.
Danger, Sexual Threats, Loss of Innocence
Personification (wolves, birds, and snakes as threats), Symbolism (dark forest as loss of innocence)
“Each a noose for her sweet white neck.”
Snow White Finds the Dwarfs
Snow White discovers the dwarfs’ cottage and finds safety. The dwarfs accept her, emphasizing the fairy tale motif of sanctuary and protection.
Sanctuary, Safety, Domestic Role
Repetition (seven motifs), Fairy tale conventions (dwarfs as guardians), Symbolism (small size as wisdom)
“Seven beds, seven chairs, seven forks”
First Attempt to Kill Snow White – Lacing
The stepmother disguises herself and tricks Snow White into wearing a too-tight lace, causing her to faint. The dwarfs save her, warning her about future dangers.
Naivety, Deception, Revival
Foreshadowing (warnings), Symbolism (tight bodice as oppression), Dramatic irony (reader knows the stepmother’s disguise)
“She lay on the floor, a plucked daisy.”
Second Attempt – Poison Comb
The stepmother tries again, selling Snow White a poisoned comb. Snow White faints but is revived by the dwarfs, reinforcing her naivety and passivity.
Repetition of Mistakes, Trust Issues
Symbolism (comb as a poisoned tool), Hyperbole (revival as miraculous), Repetition (queen’s persistence)
“A curved eight-inch scorpion”
Final Attempt – Poison Apple
The final, fatal deception occurs when Snow White eats the poisoned apple. This time, the dwarfs are unable to save her, and she is placed in a glass coffin.
Final Betrayal, Death, Fate
Imagery (gold piece, stillness), Symbolism (apple as original sin), Tragedy (Snow White’s helplessness)
“She lay as still as a gold piece.”
Snow White in the Glass Coffin
Snow White’s beauty is preserved in death, reinforcing themes of passive femininity and the male gaze. She becomes an object to be admired rather than an active figure.
Eternal Beauty, Male Gaze, Objectification
Symbolism (glass coffin as preservation of beauty), Male Gaze (Snow White as a display object)
“So that all who passed by / could peek in upon her beauty.”
Prince’s Arrival and Snow White’s Revival
The prince arrives and becomes obsessed with Snow White. She is only revived by accident, emphasizing the arbitrary nature of her fate and lack of agency.
Passivity, Arbitrary Fate, Male Ownership
Irony (prince’s love for a dead girl), Symbolism (revival through accidental action), Objectification
“The chunk of apple flew out of her throat and she woke up miraculously.”
Stepmother’s Punishment
The stepmother’s brutal punishment (dancing in red-hot iron shoes) serves as a grim moral lesson, though its cruelty undermines the simplistic ‘good vs. evil’ narrative.
Justice, Revenge, Moral Hypocrisy
Dark humor (gruesome punishment), Symbolism (red-hot shoes as poetic justice), Irony (excessive cruelty)
“First your toes will smoke / and then your heels will turn black”
Closing Reflection on Snow White
Snow White, now a queen, mirrors the stepmother’s vanity by continuing to gaze into her own reflection. This suggests a cycle of female competition and objectification.
Cyclical Nature of Beauty Standards, Feminine Competition
Symbolism (mirror as vanity and self-surveillance), Irony (Snow White becomes like the stepmother)
“Rolling her china-blue doll eyes open and shut / and sometimes referring to her mirror / as women do.”
Literary And Poetic Devices: “Snow White and the Seven Dwarfs” by Anne Sexton
The coffin represents both Snow White’s preservation as a beauty ideal and her entrapment within societal expectations of passive femininity.
Themes: “Snow White and the Seven Dwarfs” by Anne Sexton
1. The Objectification and Passivity of Women
Throughout the poem, Snow White is depicted as a passive, fragile, and doll-like figure, reinforcing the idea that women, especially in traditional fairy tales, are valued primarily for their beauty and compliance.
Example from the poem:
“Rolling her china-blue doll eyes / open and shut.”
The phrase “china-blue doll eyes” equates Snow White with a lifeless, decorative object, emphasizing her lack of autonomy. Her ability to open and shut her eyes is mechanical, reinforcing how she is merely an object to be admired rather than an active participant in her fate.
Passivity in Snow White’s fate:
“She lay as still as a gold piece.”
Snow White is completely motionless, waiting for an external force (the prince) to revive her. This highlights traditional expectations of female helplessness, where a woman must be “saved” by a man rather than take control of her own destiny.
2. The Destructive Nature of Beauty Standards and Female Competition
The queen’s obsession with her beauty and her rivalry with Snow White reflect society’s fixation on female youth and appearance. Sexton critiques the way women are pitted against each other due to these unrealistic beauty ideals.
Example from the poem:
“But now the queen saw brown spots on her hand / and four whiskers over her lip.”
The queen’s fear of aging is portrayed as an existential crisis. These minor, natural signs of aging become unbearable to her because they symbolize the loss of social power tied to youth and beauty.
The mirror as a tool of self-destruction:
“Looking glass upon the wall, / who is fairest of us all?”
The mirror serves as a metaphor for external validation, showing how women are conditioned to seek approval based on their physical attractiveness. The mirror dictates worth, making beauty a dangerous obsession.
Brutal consequences of beauty-driven rivalry:
“First your toes will smoke / and then your heels will turn black / and you will fry upward like a frog.”
The queen’s punishment—being forced to dance to death in red-hot iron shoes—serves as a grotesque metaphor for how the pursuit of beauty and power ultimately destroys women.
3. The Cycle of Female Oppression
Sexton suggests that the oppression women face is cyclical, where young women, once victimized, may later become the enforcers of the same oppressive standards.
Example from the poem:
“Meanwhile Snow White held court, / rolling her china-blue doll eyes open and shut / and sometimes referring to her mirror / as women do.”
Even after the queen’s downfall, Snow White mirrors her behavior, suggesting that she, too, may succumb to vanity and the inescapable burden of beauty expectations. The phrase “as women do” implies that this cycle of self-surveillance and insecurity is deeply ingrained in female experience.
Snow White’s eventual role as queen:
Unlike traditional fairy tales that end with “happily ever after,” Sexton’s version suggests that Snow White is not freed from the system but instead becomes a part of it. She moves from being an object to admire to one who will likely perpetuate the same standards.
4. Violence and the Dark Realities Beneath Fairy Tales
Sexton strips away the sanitized version of the Snow White story and exposes its inherent violence, cruelty, and grotesqueness. She highlights the brutality lurking beneath traditional tales.
Example from the poem:
“Bring me her heart, she said to the hunter, / and I will salt it and eat it.”
The queen’s command is disturbingly literal, revealing the cannibalistic, primal violence often present in old fairy tales before they were softened for children.
The wilderness as a place of threat:
“The birds called out lewdly, / talking like pink parrots, / and the snakes hung down in loops, / each a noose for her sweet white neck.”
The forest is not a place of safety but of lurking dangers, symbolizing the harsh, predatory nature of the real world. The imagery of snakes forming nooses further emphasizes the ever-present threat to Snow White’s purity and life.
Death and punishment in the fairy tale world:
“She danced until she was dead, / a subterranean figure, / her tongue flicking in and out like a gas jet.”
The queen’s death is graphic and relentless, reinforcing how fairy tales often contain violent moral lessons. Sexton does not shy away from this brutality but instead emphasizes it to expose the cruelty embedded in these stories.
Literary Theories and “Snow White and the Seven Dwarfs” by Anne Sexton
Feminist analysis highlights the objectification of women, female rivalry caused by patriarchal beauty standards, and the passive role of Snow White. The poem critiques the way women are conditioned to be obsessed with beauty and remain submissive.
– “Rolling her china-blue doll eyes open and shut.” → Snow White is treated as an object, devoid of agency. – “Looking glass upon the wall, / who is fairest of us all?” → The mirror symbolizes the external validation women are conditioned to seek. – “Meanwhile Snow White held court… / sometimes referring to her mirror / as women do.” → This suggests that Snow White inherits the same vanity and objectification that plagued the queen, reinforcing a cycle of oppression.
This approach examines psychological elements, including the stepmother’s obsession with youth, Snow White’s unconscious passivity, and the Oedipal undertones in the prince’s desire to possess a lifeless, preserved Snow White.
– “But now the queen saw brown spots on her hand / and four whiskers over her lip.” → The queen’s fear of aging reveals an obsessive neurosis, driven by anxiety over losing power and desirability. – “The seven dwarfs could not bring themselves / to bury her in the black ground.” → The preservation of Snow White in a glass coffin suggests an unconscious fear of death and decay, possibly linking to Freud’s theory of Thanatos (death drive). – “A prince came one June day / and would not budge.” → The prince’s fascination with a lifeless Snow White suggests an element of necrophilia or a desire for an idealized, passive female who cannot resist male control.
A Marxist reading examines class struggle and economic power. The stepmother represents the ruling class that wants to maintain dominance, while Snow White represents the exploited lower class, dependent on the dwarfs, who are working-class laborers.
– “While we are away in the mines / during the day, you must not / open the door.” → The dwarfs are workers (miners) who provide shelter for Snow White, while she takes on the role of a domestic laborer (housekeeper). – “The queen dressed herself in rags / and went out like a peddler to trap Snow White.” → The queen masks her class status to deceive Snow White, illustrating class struggle and manipulation. – “They made a glass coffin / and set it upon the seventh mountain / so that all who passed by / could peek in upon her beauty.” → Snow White becomes a spectacle, reflecting commodification, where her beauty is preserved for public consumption.
Postmodernism / Deconstruction
From a postmodern perspective, Sexton deconstructs the traditional fairy tale, exposing its contradictions, dark humor, and unsettling undertones. The poem plays with irony, grotesque imagery, and an unreliable narrator to question the idealized world of fairy tales.
– “The queen chewed it up like a cube steak.” → The gruesome humor and grotesque imagery undermine the fairy tale’s traditional moral lessons. – “Snow White, the dumb bunny, opened the door.” → The mocking tone challenges Snow White’s purity and innocence, suggesting that she is not a noble heroine but a foolish, passive figure. – “And so she danced until she was dead, / a subterranean figure, / her tongue flicking in and out like a gas jet.” → The bizarre, exaggerated death scene of the queen dismantles the simplistic “good vs. evil” narrative of the original fairy tale.
Critical Questions about “Snow White and the Seven Dwarfs” by Anne Sexton
1. How does Sexton critique traditional fairy tale representations of women, particularly through Snow White and the stepmother?
Sexton’s “Snow White and the Seven Dwarfs” critiques traditional fairy tale depictions of women by exposing the harmful stereotypes of female purity and vanity. Snow White is passive, objectified, and reduced to her beauty, while the stepmother is villainized for her ambition and aging. The dichotomy of the “pure virgin” versus the “vain, aging woman” reflects societal expectations that reward women for youth and submissiveness while punishing them for power and age.
The poem highlights Snow White’s lack of agency, describing her as a doll-like figure, reinforcing the idea that women are valued only for their beauty and compliance:
“Rolling her china-blue doll eyes / open and shut.”
This mechanical imagery reduces Snow White to an object of display rather than a thinking, feeling individual. Even after her revival, she remains a symbol rather than an active figure, showing no personal growth.
Meanwhile, the stepmother’s descent into jealousy and destruction is tied to her fear of aging:
“But now the queen saw brown spots on her hand / and four whiskers over her lip.”
These minor, natural signs of aging become a source of existential crisis for the stepmother, illustrating how society devalues women as they age. The mirror, which she constantly consults, becomes a metaphor for female self-surveillance under patriarchy, showing how women are conditioned to base their worth on external validation. Ultimately, the stepmother’s punishment—dancing in red-hot iron shoes until she dies—demonstrates how women who seek power or defy conventional beauty ideals face cruel consequences.
Sexton’s retelling forces readers to question the fairy tale’s gender roles: why must Snow White remain passive and beautiful, while the stepmother—who fights for power—is cast as evil? The poem critiques how these traditional narratives pit women against each other, reinforcing destructive beauty standards and gender hierarchies.
2. What role does violence play in the poem, and how does it challenge traditional fairy tale storytelling?
Violence is central to Sexton’s reinterpretation of “Snow White and the Seven Dwarfs”, exposing the gruesome brutality that underlies traditional fairy tales. While classic fairy tales are often sanitized, Sexton amplifies the original Grimm Brothers’ violence, making it explicit and grotesque.
From the beginning, threats of violence loom over Snow White’s existence, driven by the stepmother’s vanity and insecurity:
“Bring me her heart, she said to the hunter, / and I will salt it and eat it.”
This cannibalistic imagery strips away the moral lessons of fairy tales and instead reveals their brutal, primal nature. The act of eating Snow White’s heart symbolizes the ultimate destruction of youth and beauty, as the stepmother seeks to consume and absorb what she no longer possesses.
Similarly, Snow White’s innocence and beauty are constantly linked with death and danger:
“Each a noose for her sweet white neck.”
This dark, predatory imagery paints the world as filled with sexual and mortal threats, making the traditional fairy tale setting much more sinister. The violent death of the stepmother, where she is forced to dance in red-hot iron shoes, also lacks the moral righteousness of classic fairy tales:
“First your toes will smoke / and then your heels will turn black / and you will fry upward like a frog.”
This exaggerated, grotesque punishment critiques the idea of fairy tale “justice”, suggesting that violence is not simply a consequence of evil but an inescapable reality in a world obsessed with beauty and power. Sexton’s use of violent imagery challenges readers to see fairy tales not as innocent moral lessons, but as disturbing reflections of real-world cruelty.
3. How does Sexton use irony and dark humor to subvert the traditional Snow White fairy tale?
Sexton’s version of “Snow White and the Seven Dwarfs” is infused with irony and dark humor, undermining the traditional fairy tale’s innocence and exposing its absurd and unsettling undertones.
One of the most striking uses of irony comes in the mocking tone applied to Snow White’s purity and passivity. Instead of being a noble heroine, she is reduced to a clueless and helpless figure:
“Snow White, the dumb bunny, opened the door.”
Referring to her as a “dumb bunny” completely shatters the romanticized image of the innocent, intelligent princess. This ironic framing makes Snow White seem foolish rather than virtuous, suggesting that her passivity is not noble but dangerously naive.
Sexton also injects dark humor into traditionally solemn moments, such as the prince’s obsessive devotion to Snow White’s corpse:
“A prince came one June day / and would not budge. / He stayed so long his hair turned green.”
This absurd image of the prince waiting so long that his hair changes color makes his romantic devotion seem ridiculous rather than heroic. Instead of a love story, the prince’s fixation appears more like necrophilia, further deconstructing the fairy tale’s supposed happy ending.
Similarly, the queen’s exaggerated death scene reads more like a twisted comedy than a moral resolution:
“Her tongue flicking in and out like a gas jet.”
By making the queen’s suffering cartoonishly grotesque, Sexton forces the reader to question whether justice has actually been served or if fairy tale endings are simply cruel and arbitrary. Through irony and dark humor, the poem de-romanticizes Snow White, exposing the absurdity and brutality hidden beneath traditional fairy tale structures.
4. What is the significance of the mirror in the poem, and how does it function as a symbol?
The mirror is one of the most powerful symbols in “Snow White and the Seven Dwarfs”, representing vanity, self-surveillance, and the oppressive nature of beauty standards. The stepmother’s reliance on the mirror defines her existence, making her entirely dependent on external validation:
“Looking glass upon the wall, / who is fairest of us all?”
The mirror acts as an omnipresent judge, reinforcing the idea that a woman’s worth is determined by her physical appearance. The stepmother’s downfall begins the moment she is no longer “the fairest”, highlighting how women are conditioned to see each other as competition under patriarchal beauty standards.
However, the mirror’s significance extends beyond the stepmother. At the end of the poem, Snow White begins using the mirror as well:
“Meanwhile Snow White held court, / rolling her china-blue doll eyes open and shut / and sometimes referring to her mirror / as women do.”
This final reference to the mirror suggests that Snow White has inherited the same obsession with appearance that destroyed the queen. Instead of breaking free from the cycle of vanity and self-judgment, she perpetuates it, reinforcing the idea that women remain trapped in a system that values beauty above all else.
Sexton’s use of the mirror highlights how society forces women into endless self-surveillance, turning them into both the victims and enforcers of beauty standards.Bottom of Form
Literary Works Similar to “Snow White and the Seven Dwarfs” by Anne Sexton
“Cinderella” by Anne Sexton – Like “Snow White and the Seven Dwarfs”, this poem from Sexton’s Transformations collection retells a classic fairy tale with dark humor and grotesque imagery, critiquing societal expectations of women and the illusion of fairy tale happiness.
“Gretel in Darkness” by Louise Glück – This poem reimagines Hansel and Gretel from Gretel’s perspective, exploring themes of trauma, survival, and the psychological burden of past horrors, much like Sexton’s subversive take on Snow White.
“Little Red-Cap” by Carol Ann Duffy – A feminist retelling of Little Red Riding Hood, this poem shares Sexton’s themes of female awakening, power struggles, and the deconstruction of traditional gender roles in fairy tales.
“Rapunzel” by Anne Sexton – Another poem from Transformations, “Rapunzel” mirrors “Snow White and the Seven Dwarfs” in its exploration of female entrapment, patriarchal control, and the illusions of fairy tale romance.
“The Witch’s Life” by Anne Sexton – This poem, while not a direct fairy tale retelling, shares Sexton’s signature dark tone, exploring themes of female power, aging, and societal fears of independent women, much like the portrayal of the stepmother in “Snow White and the Seven Dwarfs”.
Representative Quotations of “Snow White and the Seven Dwarfs” by Anne Sexton
“Rolling her china-blue doll eyes / open and shut.”
Snow White is introduced as a passive, doll-like figure, emphasizing her objectification and lack of agency.
Feminist Criticism – Highlights how women, especially young girls, are valued for their appearance rather than their intelligence or actions.
“Looking glass upon the wall, / who is fairest of us all?”
The stepmother repeatedly asks the mirror to validate her beauty, which dictates her sense of self-worth.
Psychoanalytic Criticism – The mirror symbolizes the superego (external judgment), reinforcing the queen’s obsessive narcissism and fear of aging.
“Bring me her heart, she said to the hunter, / and I will salt it and eat it.”
The queen demands Snow White’s heart to consume, believing it will restore her status as “fairest.”
Marxist Criticism – The queen, representing the elite, seeks to “consume” the beauty of the younger generation, mirroring capitalist exploitation.
“The seven dwarfs could not bring themselves / to bury her in the black ground.”
Snow White is not buried but placed in a glass coffin, where she remains on display for admiration.
Feminist Criticism – Snow White is preserved as an object of male desire, reinforcing the idea that women are valued only for their beauty, even in death.
“A prince came one June day / and would not budge. / He stayed so long his hair turned green.”
The prince’s absurd devotion to Snow White’s corpse is exaggerated, making his role comically obsessive.
Postmodernism / Deconstruction – Challenges the traditional idea of “true love,” exposing the prince’s actions as disturbing rather than romantic.
“Snow White, the dumb bunny, opened the door.”
Despite multiple warnings, Snow White naively lets the disguised queen in again, leading to her downfall.
Feminist Criticism – Critiques the portrayal of women as innocent and helpless, reinforcing passivity as a desirable trait in fairy tales.
“First your toes will smoke / and then your heels will turn black / and you will fry upward like a frog.”
The queen is punished with an exaggerated, gruesome death, forced to dance in red-hot iron shoes until she dies.
Postmodernism / Deconstruction – The grotesque imagery mocks fairy tale “justice,” revealing the irrational cruelty behind traditional moral lessons.
“The birds called out lewdly, / talking like pink parrots, / and the snakes hung down in loops, / each a noose for her sweet white neck.”
Snow White’s journey through the wild is depicted as sexually threatening, with predatory imagery.
Psychoanalytic Criticism – The forest represents unconscious sexual fears, with animals symbolizing the dangers of growing up.
“Meanwhile Snow White held court, / rolling her china-blue doll eyes open and shut / and sometimes referring to her mirror / as women do.”
In the end, Snow White, now a queen, continues to check her reflection, much like the stepmother.
Feminist Criticism – Suggests that the cycle of female oppression continues, as Snow White now mirrors the vanity and insecurity of the previous queen.
“She lay as still as a gold piece.”
After eating the poisoned apple, Snow White is described as a precious, lifeless object.
Marxist Criticism – Snow White is reduced to a commodity, her beauty preserved for male ownership rather than personal autonomy.
Suggested Readings: “Snow White and the Seven Dwarfs” by Anne Sexton
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 6 Feb. 2025.
STONE, KAY F. “Feminist Approaches to the Interpretation of Fairy Tales.” Fairy Tales and Society: Illusion, Allusion, and Paradigm, edited by RUTH B. BOTTIGHEIMER, University of Pennsylvania Press, 1986, pp. 229–36. JSTOR, http://www.jstor.org/stable/j.ctt13x1nhz.18. Accessed 6 Feb. 2025.
Sexton, Anne. “Snow White and the Seven Dwarfs.” The Classic Fairy Tales (1971): 96-100.
“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.
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.
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.
“Rapunzel’s hair fell to the ground like a rainbow.”
Her hair represents power, beauty, and entrapment.
Themes: “Rapunzel” by Anne Sexton
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.
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.
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.
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
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.
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.
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).
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
1. How does Anne Sexton reinterpret the theme of confinement in her version of “Rapunzel”?
Anne Sexton’s “Rapunzel” offers a profound reinterpretation of the theme of confinement, not just physically but emotionally and socially. Traditionally, Rapunzel is confined to a tower, symbolizing her physical isolation from the world. Sexton deepens this by exploring the psychological and emotional dimensions of confinement. For instance, when Sexton describes how Mother Gothel locks Rapunzel away (“She locked her in a tow without a door or a staircase,”), she not only reinforces the literal confinement but also alludes to the stifling of Rapunzel’s personal growth and autonomy. The repetition of “Hold me, my young dear, hold me,” underscores a possessive and suffocating form of love, emphasizing how confinement can extend beyond physical spaces to the control over personal relationships and emotional states.
2. What role does transformation play in Sexton’s “Rapunzel”?
Transformation is a central theme in Anne Sexton’s “Rapunzel,” reflecting significant changes in characters’ lives and perspectives. The poem narrates transformations that are both literal and metaphorical. For example, Rapunzel’s growth from a secluded young girl to a woman who experiences love and betrayal illustrates a personal transformation that challenges her understanding of herself and the world (“They lay together upon the yellowy threads, swimming through them like minnows through kelp”). Moreover, the transformation of the prince, who is blinded and then healed by Rapunzel’s tears, symbolizes redemption and the power of love to change lives (“As he kissed Rapunzel her tears fell on his eyes and in the manner of such cure-alls his sight was suddenly restored”). These transformations emphasize the theme of resilience and growth through adversity.
3. Analyze the portrayal of relationships in Sexton’s “Rapunzel.”
In “Rapunzel,” Anne Sexton portrays relationships as complex and often fraught with power dynamics and emotional intensity. The relationship between Rapunzel and Mother Gothel is particularly emblematic of this complexity. Mother Gothel’s affection is portrayed as both caring and controlling (“Mother Gothel cried: Hold me, my young dear, hold me”), suggesting a possessive love that stifles Rapunzel’s independence. In contrast, the relationship between Rapunzel and the prince introduces a different dynamic, one that is initially based on romantic love and mutual escape but evolves into a partnership that fosters personal growth and healing. Sexton’s depiction of these relationships highlights the ambivalent nature of human connections, where love can both empower and imprison.
4. What does the ending of Sexton’s “Rapunzel” suggest about the notions of “happily ever after”?
The ending of Sexton’s “Rapunzel” offers a nuanced take on the traditional fairy tale conclusion of “happily ever after.” While the poem concludes with Rapunzel and the prince overcoming their adversities and finding happiness (“They lived happily as you might expect”), Sexton introduces a layer of realism that questions the permanence of such happiness. The mention that “The world, some say, is made up of couples. A rose must have a stem.” implies that happiness is not an isolated state but one that depends on ongoing relationships and connections. Additionally, the fate of Mother Gothel (“her heart shrank to the size of a pin”) serves as a counterpoint to the couple’s happiness, suggesting that happiness for some might come at the expense of others. Sexton’s ending reflects a more mature and perhaps cynical view of fairy tale resolutions, acknowledging that life’s complexities continue beyond the narrative closure.
Literary Works Similar to “Rapunzel” by Anne Sexton
“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.
“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.
“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.
“Mirror” by Sylvia Plath – Both poems explore themes of female identity, transformation, and the passage of time, using reflection and entrapment as central metaphors.
“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
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
Gonzalez, Matilde Martin. “Fairy Tales Revisited and Transformed: Anne Sexton’s Critique of Social (ized) Femininity‖.” Universidad de la Laguna (1999): 10-21.
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.
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.
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.
“Little Red-Cap” by Carol Ann Duffy first appeared in The World’s Wife (1999), a poetry collection that reimagines mythic, biblical, and historical female figures through a feminist lens.
Introduction: “Little Red-Cap” by Carol Ann Duffy
“Little Red-Cap” by Carol Ann Duffy first appeared in The World’s Wife (1999), a poetry collection that reimagines mythic, biblical, and historical female figures through a feminist lens. The poem is a modern retelling of the classic Little Red Riding Hood tale, reinterpreted as a coming-of-age narrative about a young girl’s journey into womanhood, self-discovery, and intellectual awakening. Duffy subverts the traditional story by transforming the wolf into an older poet figure, symbolizing both literary mentorship and predatory male influence. The speaker, initially naïve and drawn to the world of poetry, willingly follows the wolf into the “dark tangled thorny place” of experience, a metaphor for both romantic and literary initiation. However, as she matures, she recognizes the wolf’s stagnation—his “same rhyme, same reason” existence—and ultimately liberates herself by metaphorically killing him, emerging from the forest independent and self-sufficient. The poem’s blend of feminist empowerment, literary symbolism, and evocative imagery makes it a popular choice in literature curricula, offering rich material for discussions on gender roles, power dynamics, and poetic craft. The final triumphant image—“Out of the forest I come with my flowers, singing, all alone”—cements the speaker’s transformation, encapsulating the poem’s themes of independence, artistic identity, and female agency.
Text: “Little Red-Cap” by Carol Ann Duffy
At childhood’s end, the houses petered out
into playing fields, the factory, allotments
kept, like mistresses, by kneeling married men,
the silent railway line, the hermit’s caravan,
till you came at last to the edge of the woods.
It was there that I first clapped eyes on the wolf.
He stood in a clearing, reading his verse out loud
in his wolfy drawl, a paperback in his hairy paw,
red wine staining his bearded jaw. What big ears
he had! What big eyes he had! What teeth!
In the interval, I made quite sure he spotted me,
sweet sixteen, never been, babe, waif, and bought me a drink,
my first. You might ask why. Here’s why. Poetry.
The wolf, I knew, would lead me deep into the woods,
away from home, to a dark tangled thorny place
lit by the eyes of owls. I crawled in his wake,
my stockings ripped to shreds, scraps of red from my blazer
snagged on twig and branch, murder clues. I lost both shoes
but got there, wolf’s lair, better beware. Lesson one that night,
breath of the wolf in my ear, was the love poem.
I clung till dawn to his thrashing fur, for
what little girl doesn’t dearly love a wolf?
Then I slid from between his heavy matted paws
and went in search of a living bird—white dove—
which flew, straight, from my hands to his open mouth.
One bite, dead. How nice, breakfast in bed, he said,
licking his chops. As soon as he slept, I crept to the back
of the lair, where a whole wall was crimson, gold, aglow with books.
Words, words were truly alive on the tongue, in the head,
warm, beating, frantic, winged; music and blood.
But then I was young—and it took ten years
in the woods to tell that a mushroom
stoppers the mouth of a buried corpse, that birds
are the uttered thought of trees, that a greying wolf
howls the same old song at the moon, year in, year out,
season after season, same rhyme, same reason. I took an axe
to a willow to see how it wept. I took an axe to a salmon
to see how it leapt. I took an axe to the wolf
as he slept, one chop, scrotum to throat, and saw
the glistening, virgin white of my grandmother’s bones.
I filled his old belly with stones. I stitched him up.
Out of the forest I come with my flowers, singing, all alone.
Marks the transition from childhood to adulthood, setting up the theme of growth and transformation.
into playing fields, the factory, allotments
Depicts the landscape shifting from innocence (playing fields) to industrialization (factory) and secrecy (allotments, metaphorically kept like mistresses).
kept, like mistresses, by kneeling married men,
Hints at male dominance and hidden affairs, reinforcing themes of gender dynamics and power.
the silent railway line, the hermit’s caravan,
Suggests isolation and a journey into the unknown, setting up the transition into the woods.
till you came at last to the edge of the woods.
Introduces the woods, a metaphor for experience, danger, and transformation.
It was there that I first clapped eyes on the wolf.
Introduces the wolf as a figure of temptation and learning, representing both danger and knowledge.
He stood in a clearing, reading his verse out loud
Depicts the wolf as a poet, suggesting the allure of literature and experience.
in his wolfy drawl, a paperback in his hairy paw,
Blends human and animal characteristics, emphasizing his dual nature of intellect and predatoriness.
red wine staining his bearded jaw. What big ears
Red wine symbolizes excess, indulgence, and possibly seduction.
he had! What big eyes he had! What teeth!
References the original fairy tale but here suggests both admiration and foreboding.
In the interval, I made quite sure he spotted me,
Shifts agency to the speaker, showing her desire to be noticed and engage with the wolf.
sweet sixteen, never been, babe, waif, and bought me a drink,
Plays on innocence and initiation, reinforcing the theme of youthful naivety meeting experience.
my first. You might ask why. Here’s why. Poetry.
Explicitly states that the wolf represents poetry, learning, and inspiration, not just seduction.
The wolf, I knew, would lead me deep into the woods,
Acknowledges the wolf as a guide into experience, adventure, and the unknown.
away from home, to a dark tangled thorny place
Describes the woods as a place of difficulty, challenge, and transformation.
lit by the eyes of owls. I crawled in his wake,
Owls symbolize wisdom, but also haunting mystery. The crawling suggests submission or difficulty.
my stockings ripped to shreds, scraps of red from my blazer
Suggests loss of innocence, transformation, and hints at a violent struggle.
snagged on twig and branch, murder clues. I lost both shoes
Foreboding imagery of being marked by experience, referencing fairy tale tropes.
but got there, wolf’s lair, better beware. Lesson one that night,
Acknowledges the danger in the relationship, reinforcing the idea of the wolf as both a mentor and a threat.
breath of the wolf in my ear, was the love poem.
Suggests intimacy, seduction, and the imparting of knowledge through poetry.
I clung till dawn to his thrashing fur, for
Implies struggle and passion, possibly an intense but draining relationship.
what little girl doesn’t dearly love a wolf?
Questions societal fascination with danger and forbidden experiences.
Then I slid from between his heavy matted paws
Signifies separation, moving away from the wolf after experience and learning.
and went in search of a living bird—white dove—
Symbolizes purity, peace, and possibly seeking renewal or something untainted.
which flew, straight, from my hands to his open mouth.
Represents loss of innocence or ideals being consumed by the wolf.
One bite, dead. How nice, breakfast in bed, he said,
Dark humor emphasizes the wolf’s selfish, predatory nature.
licking his chops. As soon as he slept, I crept to the back
Shows the speaker’s growing awareness and plotting of escape or revenge.
of the lair, where a whole wall was crimson, gold, aglow with books.
Books symbolize knowledge, power, and the true treasure the wolf possesses.
Words, words were truly alive on the tongue, in the head,
Describes the power of literature and poetry as a living force.
warm, beating, frantic, winged; music and blood.
Metaphorically connects literature to passion, life, and intensity.
But then I was young—and it took ten years
Acknowledges the passage of time, maturity, and eventual realization.
in the woods to tell that a mushroom
Mushroom imagery suggests decay, hidden truths, and the reality of experience.
stoppers the mouth of a buried corpse, that birds
Dark realization of hidden deaths, secrets, and the symbolic connection of birds to memory or speech.
are the uttered thought of trees, that a greying wolf
Connects nature to thought, implying that even the wolf is aging and stagnant.
howls the same old song at the moon, year in, year out,
The wolf is now repetitive, predictable, and no longer exciting or new.
season after season, same rhyme, same reason.
Criticizes monotony, particularly in literature and relationships.
I took an axe
Shifts tone to action, suggesting a break from the past.
to a willow to see how it wept. I took an axe to a salmon
Testing the effect of violence, challenging nature, perhaps asserting control.
to see how it leapt. I took an axe to the wolf
Culmination of rebellion, symbolically breaking free from the wolf’s influence.
as he slept, one chop, scrotum to throat, and saw
Gruesome imagery of violent retribution, reclaiming power.
the glistening, virgin white of my grandmother’s bones.
References the original fairy tale—discovering hidden truth within the wolf.
I filled his old belly with stones. I stitched him up.
Echoes the fairy tale’s conclusion, signifying closure and triumph.
Out of the forest I come with my flowers, singing, all alone.
Ends on an image of independence and renewal, emphasizing self-sufficiency.
Literary And Poetic Devices: “Little Red-Cap” by Carol Ann Duffy
“a living bird—white dove—which flew, straight, from my hands to his open mouth.”
The white dove symbolizes peace and innocence, which the wolf devours, signifying destruction of purity.
Tone Shift
“I took an axe to the wolf as he slept, one chop, scrotum to throat.”
The shift from poetic reflection to stark violence marks a dramatic turn in the speaker’s journey.
Transformation (Motif)
“Out of the forest I come with my flowers, singing, all alone.”
The speaker transitions from naïve girl to independent woman, illustrating personal and intellectual growth.
Themes: “Little Red-Cap” by Carol Ann Duffy
Female Empowerment and Liberation: One of the central themes of “Little Red-Cap” is female empowerment and liberation from patriarchal control. The poem reinterprets the traditional Little Red Riding Hood tale, where the girl is typically depicted as naïve and in need of rescue. Instead, Duffy’s speaker actively seeks out the wolf, who represents experience, poetry, and male influence. Initially, she follows him into the woods, symbolizing her transition into womanhood and intellectual maturity. However, as she gains knowledge and independence, she realizes that the wolf, despite his initial allure, is ultimately stagnant—“same rhyme, same reason”—and no longer serves her growth. In a powerful moment of self-assertion, she kills him: “I took an axe to the wolf as he slept, one chop, scrotum to throat”, symbolizing her rejection of male dominance. She emerges from the forest “singing, all alone”, a triumphant figure of self-sufficiency. The poem, therefore, celebrates female agency and the ability to carve out one’s own path beyond societal expectations.
The Journey from Innocence to Experience: Duffy explores the classic literary theme of moving from innocence to experience, often associated with coming-of-age narratives. At the beginning of “Little Red-Cap,” the speaker is “sweet sixteen, never been, babe, waif”, highlighting her youthful innocence. However, she is drawn to the wolf not out of fear but out of curiosity and ambition, particularly for poetry: “You might ask why. Here’s why. Poetry.” Her journey into the woods represents an initiation into adulthood, knowledge, and passion, where she willingly follows the wolf, even as her clothes—symbols of innocence—are torn: “my stockings ripped to shreds, scraps of red from my blazer snagged on twig and branch, murder clues.” Over time, she grows disillusioned with the wolf’s repetitive nature and realizes that true knowledge lies beyond him. The symbolic ten years in the woods represent her deepening understanding of life: “it took ten years in the woods to tell that a mushroom stoppers the mouth of a buried corpse.” By the end of the poem, she emerges wiser and more self-assured, showing the inevitable transformation from naïve youth to empowered adulthood.
The Power of Literature and Artistic Awakening: Literature, poetry, and artistic discovery play a crucial role in “Little Red-Cap,” with the wolf embodying both a mentor and a threat. The speaker is drawn to the wolf not for romance but for poetry, seeing him as a gateway into the literary world: “The wolf, I knew, would lead me deep into the woods.” He introduces her to the power of words, as seen in the imagery of his lair: “a whole wall was crimson, gold, aglow with books.” The descriptions of poetry as “warm, beating, frantic, winged; music and blood” emphasize its vitality and its ability to shape identity. However, the wolf’s stagnation—*”same rhyme, same reason”—*reveals that her growth requires moving beyond him. Her decision to kill the wolf and leave the woods symbolizes her rejection of outdated literary traditions and her ability to forge her own artistic voice. The poem ultimately champions literature as a tool for self-discovery and liberation, but one that must evolve rather than remain fixed.
Gender Power Dynamics and the Predatory Male Figure: The poem critiques the power dynamics between older men and younger women, particularly in artistic and intellectual circles. The wolf, an experienced poet, represents an older, authoritative male figure who takes interest in the young speaker, mirroring real-world imbalances in mentorship and romantic relationships. His presence is both enticing and dangerous, evident in the fairy tale references: “What big ears he had! What big eyes he had! What teeth!” While he provides the speaker with access to poetry and knowledge, there is an underlying sense of exploitation, reinforced by the violent imagery: “I clung till dawn to his thrashing fur.” Over time, she sees through his influence and recognizes his repetitive, self-indulgent nature. The moment she kills him—“one chop, scrotum to throat”—is both a literal and symbolic act of reclaiming power. By filling his belly with stones and leaving the forest independently, the speaker reverses the traditional damsel-in-distress narrative, instead positioning herself as the one in control. “Little Red-Cap” critiques gendered power structures and highlights the necessity of breaking free from exploitative relationships.
Literary Theories and “Little Red-Cap” by Carol Ann Duffy
Examines how the poem challenges patriarchal structures and reclaims female agency. The poem subverts the traditional Little Red Riding Hood tale, where the girl is usually a passive victim, by making the speaker an active agent of her own transformation. The wolf symbolizes a dominant male figure (mentor/lover), and his eventual death represents the speaker’s rejection of male control and assertion of independence.
“I took an axe to the wolf as he slept, one chop, scrotum to throat, and saw the glistening, virgin white of my grandmother’s bones.” → The violent act symbolizes the breaking of patriarchal constraints, reclaiming female autonomy.
Explores the subconscious desires, fears, and psychological transformation of the speaker. The journey into the woods represents a psychological rite of passage, with the wolf symbolizing both a father figure and a forbidden desire (Freudian interpretation). Lacanian theory might view the wolf as representing the “Other,” a figure who introduces the speaker to language, poetry, and self-awareness. However, she ultimately surpasses him and claims her own identity.
“The wolf, I knew, would lead me deep into the woods, away from home, to a dark tangled thorny place.” → Suggests a journey into the unconscious mind and personal discovery.
The poem plays with intertextuality by reinterpreting a well-known fairy tale with modern themes. Duffy deconstructs the traditional Little Red Riding Hood story, turning it into a feminist and literary awakening narrative. The self-awareness and playfulness of language align with postmodern techniques.
“What big ears he had! What big eyes he had! What teeth!” → A direct reference to the fairy tale but used in a context where the speaker is not a helpless victim but a willing participant in her transformation.
Examines power dynamics, class struggles, and systems of control. The wolf can be interpreted as an embodiment of institutionalized literary tradition or an elitist figure that controls access to knowledge. The speaker’s act of destroying him can symbolize breaking free from the intellectual hierarchy that privileges certain voices over others.
“Words, words were truly alive on the tongue, in the head, warm, beating, frantic, winged; music and blood.” → Suggests the democratization of literature and breaking free from traditional literary structures.
Critical Questions about “Little Red-Cap” by Carol Ann Duffy
How does Duffy subvert the traditional “Little Red Riding Hood” fairy tale in “Little Red-Cap”?
Carol Ann Duffy radically transforms the classic Little Red Riding Hood story in “Little Red-Cap” by shifting the narrative from one of passive victimhood to one of female empowerment and self-discovery. In the traditional tale, Little Red Riding Hood is a naïve girl who falls prey to the manipulative and cunning wolf, requiring a male savior (the woodsman) to rescue her. Duffy’s version, however, presents a speaker who actively seeks out the wolf, drawn not by fear but by curiosity and ambition—“You might ask why. Here’s why. Poetry.” Unlike the traditional protagonist, this Red-Cap is aware of her choices and willingly follows the wolf into the woods, symbolizing her initiation into knowledge, experience, and sexuality. The wolf, no longer just a predator, becomes a poet and mentor figure, embodying both temptation and inspiration. However, as the speaker matures, she recognizes the wolf’s stagnation—“same rhyme, same reason”—and ultimately overcomes him, taking control of her own destiny. The dramatic moment where she kills the wolf—“one chop, scrotum to throat”—represents not only a break from male control but also an assertion of female power and independence. By the end, she emerges “singing, all alone,” rewriting the fairy tale to center on self-liberation rather than victimization.
How does “Little Red-Cap” explore the relationship between gender and power?
“Little Red-Cap” presents a nuanced exploration of gender and power, particularly in the context of mentorship, literary authority, and male dominance in artistic and intellectual spheres. The wolf, an older, knowledgeable poet, initially holds power over the young speaker, offering her an introduction to poetry and experience. His presence carries both a seductive and predatory quality—“breath of the wolf in my ear, was the love poem.” This dynamic mirrors real-world relationships where older men often serve as literary or intellectual gatekeepers, shaping the development of young female voices. However, as the speaker matures, she recognizes the wolf’s limitations: his poetry is repetitive, his influence is cyclical—“howls the same old song at the moon, year in, year out.” The power dynamic shifts when she takes agency into her own hands, killing the wolf and metaphorically dismantling his influence over her. The gruesome imagery—“one chop, scrotum to throat”—specifically targets male anatomy, reinforcing the theme of breaking free from patriarchal control. The poem critiques traditional gender roles, where men are often seen as the literary authorities and women as their protégés, and instead envisions a world where women claim their own creative and intellectual space.
How does the imagery in “Little Red-Cap” contribute to the themes of transformation and self-discovery?
Duffy’s use of rich and often violent imagery in “Little Red-Cap” plays a crucial role in illustrating the speaker’s transformation from innocence to experience. At the beginning of the poem, the setting is described with subtle foreboding—“At childhood’s end, the houses petered out into playing fields, the factory, allotments kept, like mistresses, by kneeling married men.” The transition from childhood to adulthood is mapped onto the landscape, suggesting a journey into a more complex, hidden world. As the speaker follows the wolf into the woods, the imagery becomes increasingly dark and intense—“a dark tangled thorny place lit by the eyes of owls.” This description evokes both mystery and danger, reinforcing the idea that knowledge and experience are not easily gained. The transformation culminates in the moment of violence—“I took an axe to the wolf as he slept, one chop, scrotum to throat.” Here, the stark brutality of the language marks a definitive break from the past, signaling the speaker’s final assertion of selfhood. The closing image—“Out of the forest I come with my flowers, singing, all alone.”—suggests rebirth and renewal, as she emerges from the metaphorical woods of experience into a space of independent creativity.
What role does poetry and language play in “Little Red-Cap” as a form of empowerment?
Poetry and language function as central themes in “Little Red-Cap,” representing both a source of fascination and a means of liberation for the speaker. From the outset, the wolf is not just a figure of danger but also a poet—“He stood in a clearing, reading his verse out loud in his wolfy drawl, a paperback in his hairy paw.” The speaker is initially drawn to him not out of fear but because of his connection to poetry, which she sees as a gateway to knowledge and power. The imagery of books as treasures—“a whole wall was crimson, gold, aglow with books.”—reinforces the idea that literature holds transformative potential. However, as she matures, she realizes that the wolf’s poetry is repetitive and stagnant—“same rhyme, same reason.” Her final act of killing the wolf is not just about severing ties with a controlling figure, but about claiming poetry and language for herself. The triumphant ending—“Out of the forest I come with my flowers, singing, all alone.”—suggests that she has taken control of her own voice, no longer needing validation from male literary figures. Duffy positions poetry as both a means of oppression (through established, male-dominated literary traditions) and a tool for personal and artistic emancipation.
Literary Works Similar to “Little Red-Cap” by Carol Ann Duffy
“The Applicant” by Sylvia Plath – Similar to “Little Red-Cap”, this poem critiques gender roles, societal expectations of women, and the imbalance of power between men and women.
“Goblin Market” by Christina Rossetti – Both poems focus on a young female protagonist encountering an alluring yet dangerous male presence, with a strong emphasis on female agency and resistance.
“Medusa” by Carol Ann Duffy – Another poem from The World’s Wife, “Medusa” shares “Little Red-Cap”’s themes of female rage, independence, and breaking free from male influence.
Representative Quotations of “Little Red-Cap” by Carol Ann Duffy
“At childhood’s end, the houses petered out into playing fields, the factory, allotments kept, like mistresses, by kneeling married men.”
The opening lines describe the transition from childhood to adulthood, setting a tone of transformation.
Psychoanalytic Theory – The movement away from childhood represents the unconscious shift from innocence to experience, where hidden desires and societal corruption become visible.
“It was there that I first clapped eyes on the wolf.”
Introduces the wolf as a significant figure in the speaker’s journey, signaling the beginning of a transformative relationship.
Feminist Theory – The wolf, often symbolic of male authority, represents both attraction and danger in patriarchal structures.
“What big ears he had! What big eyes he had! What teeth!”
A direct reference to the traditional Little Red Riding Hood fairy tale, but here the speaker is aware of the wolf’s characteristics rather than being deceived.
Intertextuality & Postmodernism – Duffy plays with fairy tale conventions, reworking them into a feminist framework where the protagonist has agency.
“You might ask why. Here’s why. Poetry.”
The speaker justifies her decision to engage with the wolf, showing that her attraction to him is based on literature and intellectual discovery rather than mere seduction.
Marxist Theory – Knowledge and cultural capital (poetry) are central to power structures. The wolf holds intellectual authority, which the speaker initially seeks before claiming it for herself.
“I crawled in his wake, my stockings ripped to shreds, scraps of red from my blazer snagged on twig and branch, murder clues.”
The imagery of torn clothing and “murder clues” suggests a loss of innocence and foreshadows violence.
Psychoanalytic & Feminist Theory – The destruction of the red clothing, symbolic of youth and femininity, represents both sexual awakening and the erasure of innocence.
“I clung till dawn to his thrashing fur, for what little girl doesn’t dearly love a wolf?”
This rhetorical question implies both irony and inevitability, reinforcing the traditional attraction to danger.
Feminist & Gender Theory – The relationship reflects gender power dynamics, where women are socialized to be drawn to dominant, even destructive, male figures.
“Words, words were truly alive on the tongue, in the head, warm, beating, frantic, winged; music and blood.”
A passionate depiction of poetry as something vital, urgent, and transformative.
Postmodernism & Literary Theory – Celebrates language as a living force, aligning with the idea that words shape reality and personal identity.
“howls the same old song at the moon, year in, year out, season after season, same rhyme, same reason.”
The speaker recognizes the wolf’s stagnation and repetitive nature, implying her disillusionment.
Poststructuralism & Feminist Theory – Critiques the cyclical, self-indulgent traditions in male-dominated literary and social structures.
“I took an axe to the wolf as he slept, one chop, scrotum to throat, and saw the glistening, virgin white of my grandmother’s bones.”
The speaker violently kills the wolf, symbolizing her rejection of male control and her reclamation of female legacy.
Feminist & Psychoanalytic Theory – Represents a Freudian “killing the father” moment and breaking free from patriarchal literary authority.
“Out of the forest I come with my flowers, singing, all alone.”
The final line portrays a sense of completion, independence, and creative rebirth.
Feminist & Existentialist Theory – The speaker emerges as an autonomous individual, rejecting male validation and embracing self-sufficiency.
Suggested Readings: “Little Red-Cap” by Carol Ann Duffy
Varty, Anne. “Carol Ann Duffy: ‘The Edge Has Become the Centre.’” Women, Poetry and the Voice of a Nation, Edinburgh University Press, 2022, pp. 121–43. JSTOR, http://www.jstor.org/stable/10.3366/j.ctv287sb3j.10. Accessed 8 Feb. 2025.
Duffy, Carol Ann. “Little Red-Cap.” Ambit 158 (1999): 102-103.
“Little Red Riding Hood” by Anne Sexton first appeared in her 1972 poetry collection Transformations, a book that reimagines classic fairy tales with dark, ironic, and psychological depth.
Introduction: “Little Red Riding Hood” by Anne Sexton
“Little Red Riding Hood” by Anne Sexton first appeared in her 1972 poetry collection Transformations, a book that reimagines classic fairy tales with dark, ironic, and psychological depth. Sexton’s retelling of Little Red Riding Hood explores themes of deception, violence, and survival, revealing the grim realities behind the stories traditionally told to children. The poem subverts the innocence of the original folktale, presenting a world where deception lurks everywhere—not just in the woods, but in everyday life, from fraudulent schemes to hidden despair. Sexton’s stark, confessional style, infused with irony, exposes how easily innocence is preyed upon and how survival often requires a grim transformation. The poem remains a staple in literature and feminist studies due to its critique of societal norms and its dark, modernist reinterpretation of classic narratives. As Sexton writes, “Many a deception ends on such a note.” Her exploration of deception, power, and the grotesque makes this poem a popular choice in literature courses, where it serves as an example of both feminist revisionism and psychological complexity.
Text: “Little Red Riding Hood” by Anne Sexton
Many are the deceivers: The suburban matron, proper in the supermarket, list in hand so she won’t suddenly fly, buying her Duz and Chuck Wagon dog food, meanwhile ascending from earth, letting her stomach fill up with helium, letting her arms go loose as kite tails, getting ready to meet her lover a mile down Apple Crest Road in the Congregational Church parking lot. Two seemingly respectable women come up to an old Jenny and show her an envelope full of money and promise to share the booty if she’ll give them ten thou as an act of faith. Her life savings are under the mattress covered with rust stains and counting. They are as wrinkled as prunes but negotiable. The two women take the money and disappear. Where is the moral? Not all knives are for stabbing the exposed belly. Rock climbs on rock and it only makes a seashore. Old Jenny has lost her belief in mattresses and now she has no wastebasket in which to keep her youth. The standup comic on the “Tonight” show who imitates the Vice President and cracks up Johnny Carson and delays sleep for millions of bedfellows watching between their feet, slits his wrist the next morning in the Algonquin’s old-fashioned bathroom, the razor in his hand like a toothbrush, wall as anonymous as a urinal, the shower curtain his slack rubberman audience, and then the slash as simple as opening as a letter and the warm blood breaking out like a rose upon the bathtub with its claw and ball feet. And I. I too. Quite collected at cocktail parties, meanwhile in my head I’m undergoing open-heart surgery. The heart, poor fellow, pounding on his little tin drum with a faint death beat, The heart, that eyeless beetle, running panicked through his maze, never stopping one foot after the other one hour after the other until he gags on an apple and it’s all over. And I. I too again. I built a summer house on Cape Ann. A simple A-frame and this too was a deception — nothing haunts a new house. When I moved in with a bathing suit and tea bags the ocean rumbled like a train backing up and at each window secrets came in like gas. My mother, that departed soul, sat in my Eames chair and reproached me for losing her keys to the old cottage. Even in the electric kitchen there was the smell of a journey. The ocean was seeping through its frontiers and laying me out on its wet rails. The bed was stale with my childhood and I could not move to another city where the worthy make a new life. Long ago there was a strange deception: a wolf dressed in frills, a kind of transvestite. But I get ahead of my story. In the beginning there was just little Red Riding Hood, so called because her grandmother made her a red cape and she was never without it. It was her Linus blanket, besides it was red, as red as the Swiss flag, yes it was red, as red as chicken blood, But more than she loved her riding hood she loved her grandmother who lived far from the city in the big wood. This one day her mother gave her a basket of wine and cake to take to her grandmother because she was ill. Wine and cake? Where’s the aspirin? The penicillin? Where’s the fruit juice? Peter Rabbit got chamomile tea. But wine and cake it was. On her way in the big wood Red Riding Hood met the wolf. Good day, Mr. Wolf, she said, thinking him no more dangerous than a streetcar or a panhandler. He asked where she was going and she obligingly told him There among the roots and trunks with the mushrooms pulsing inside the moss he planned how to eat them both, the grandmother an old carrot and the child a shy budkin in a red red hood. He bade her to look at the bloodroot, the small bunchberry and the dogtooth and pick some for her grandmother. And this she did. Meanwhile he scampered off to Grandmother’s house and ate her up as quick as a slap. Then he put on her nightdress and cap and snuggled down in to bed. A deceptive fellow. Red Riding hood knocked on the door and entered with her flowers, her cake, her wine. Grandmother looked strange, a dark and hairy disease it seemed. Oh Grandmother, what big ears you have, ears, eyes, hands and then the teeth. The better to eat you with my dear. So the wolf gobbled Red Riding Hood down like a gumdrop. Now he was fat. He appeared to be in his ninth month and Red Riding Hood and her grandmother rode like two Jonahs up and down with his every breath. One pigeon. One partridge. He was fast asleep, dreaming in his cap and gown, wolfless. Along came a huntsman who heard the loud contented snores and knew that was no grandmother. He opened the door and said, So it’s you, old sinner. He raised his gun to shoot him when it occurred to him that maybe the wolf had eaten up the old lady. So he took a knife and began cutting open the sleeping wolf, a kind of caesarian section. It was a carnal knife that let Red Riding Hood out like a poppy, quite alive from the kingdom of the belly. And grandmother too still waiting for cakes and wine. The wolf, they decided, was too mean to be simply shot so they filled his belly with large stones and sewed him up. He was as heavy as a cemetery and when he woke up and tried to run off he fell over dead. Killed by his own weight. Many a deception ends on such a note. The huntsman and the grandmother and Red Riding Hood sat down by his corpse and had a meal of wine and cake. Those two remembering nothing naked and brutal from that little death, that little birth, from their going down and their lifting up.
Annotations: “Little Red Riding Hood” by Anne Sexton
The poppy symbolizes rebirth and fragility, reinforcing her survival.
Themes in “Little Red Riding Hood” by Anne Sexton
Deception: Sexton’s version of “Little Red Riding Hood” delves deeply into the theme of deception, portraying it as a pervasive element in human interaction and societal norms. The wolf, traditionally the deceiver in this tale, is not alone in his guises; Sexton extends this motif to humans who wear social masks. The poem opens with the imagery of a suburban matron who appears ordinary but is secretly planning to meet a lover, illustrating that deception is not limited to malicious acts but can also be found in everyday social facades. Similarly, the wolf’s disguise as the grandmother and the manipulative acts of the two women who trick old Jenny out of her savings underscore a world where deception crosses boundaries between the mundane and the predatory, suggesting that everyone, not just the obvious villains, harbors potential for deceit.
Loss of Innocence: Sexton uses the story of Red Riding Hood as a metaphor for the loss of innocence and the harsh awakenings that accompany growing up. The poem captures this transition through the protagonist’s journey, where she starts with a naive trust in the wolf, whom she perceives as harmless as a “streetcar or a panhandler.” This innocence is shattered when she encounters the wolf in her grandmother’s clothing, only to be swallowed whole. Sexton captures the brutality of this loss with stark, violent imagery, emphasizing the abrupt and often brutal confrontation with reality that marks the passage from childhood to adulthood.
Confrontation with Reality: Throughout the poem, characters face moments of stark reality that challenge their previous perceptions or beliefs. For instance, old Jenny loses her life savings to fraud, shattering her trust in others and her belief in a just world. Similarly, Red Riding Hood’s realization of the wolf’s true nature at her grandmother’s house is a sudden confrontation with evil and danger, stripping away her earlier innocence. These moments reflect the broader human experience of encountering truths that are difficult to accept yet are essential for personal growth and understanding of the world.
Cyclical Nature of Life: Sexton portrays life as a cycle of events that repeat or mirror each other, suggesting a rhythm to human experiences that can be both comforting and disquieting. This is seen in the poem’s structure and recurring motifs, such as the opening and closing scenes which both involve deceptive appearances and end with revelations. The cyclical motif is further emphasized by the huntsman who decides to cut the wolf open, mirroring the wolf’s earlier consumption of the grandmother and Red Riding Hood. This act of cutting open to reveal the truth suggests a recurring need to examine and re-examine our surroundings and ourselves, a process that is continuous and necessary for survival and understanding.
Literary Theories and “Little Red Riding Hood” by Anne Sexton
“A wolf dressed in frills, a kind of transvestite.”
Examines gender roles and how the wolf deceives by adopting a traditionally feminine disguise, reinforcing themes of manipulation and patriarchal control.
“Where’s the aspirin? The penicillin? / Where’s the fruit juice?”
Challenges traditional fairy tale logic with modern skepticism, subverting classical narratives and questioning societal norms.
Critical Questions about “Little Red Riding Hood” by Anne Sexton
How does Sexton use deception as a central theme in the poem?
Deception is a dominant theme in Anne Sexton’s “Little Red Riding Hood,” extending beyond the fairy tale’s traditional trickery to explore the pervasive nature of deceit in everyday life. The poem opens with vignettes of deception in modern society, such as a seemingly respectable suburban matron leading a double life and two women conning an elderly woman out of her savings: “Many are the deceivers: The suburban matron, proper in the supermarket, / list in hand so she won’t suddenly fly.” These stories parallel the deception at the heart of the fairy tale, where the wolf disguises himself to trick both Red Riding Hood and her grandmother. Sexton deepens the theme by suggesting that not all knives are used for physical violence: “Not all knives are for / stabbing the exposed belly.” This statement implies that deception itself can be a weapon, one that wounds psychologically rather than physically. The wolf’s ability to disguise himself as the grandmother (“A wolf dressed in frills, a kind of transvestite.”) highlights societal concerns about identity and manipulation. Through these layered examples, Sexton expands the traditional moral of the story to critique the deceptive nature of human interactions in various forms.
How does Sexton modernize and subvert the classic fairy tale?
Sexton’s retelling of “Little Red Riding Hood” moves beyond a simple cautionary tale into a satirical and psychological exploration of power and deception. She inserts modern skepticism by questioning the logic of fairy tale conventions: “Wine and cake? Where’s the aspirin? The penicillin? Where’s the fruit juice?” This humorous interjection mocks the outdated remedies given to the sick grandmother and forces the reader to reconsider how fairy tales often ignore practical realities. Similarly, the huntsman, traditionally the hero, is depicted in a way that challenges conventional ideas of salvation. Instead of swiftly executing the wolf, he considers his actions, turning the scene into a bizarre and grotesque surgical procedure: “So he took a knife and began cutting open / the sleeping wolf, a kind of caesarian section.” The choice to describe the wolf’s disembowelment as a birth-like event (“Red Riding Hood out like a poppy, quite alive from the kingdom of the belly.”) adds an unsettling dimension, blending violence with renewal. By blending dark humor, realism, and irony, Sexton transforms the fairy tale into a postmodern reflection on power, deception, and the absurdities of traditional narratives.
What role does violence play in the poem, and how is it portrayed differently than in the traditional fairy tale?
Violence in Sexton’s “”Little Red Riding Hood” is not just a tool for punishment but an intrinsic part of the world she creates, occurring in both grotesque and absurd ways. The fairy tale traditionally depicts the wolf’s devouring of Red Riding Hood and her grandmother as a moment of horror, followed by a clean-cut resolution where the huntsman heroically saves them. However, Sexton makes the violence disturbingly graphic, describing the wolf’s consumption as “Now he was fat. He appeared to be in his ninth month / and Red Riding Hood and her grandmother rode like two Jonahs up and down with his every breath.” The grotesque imagery of the wolf appearing pregnant with his victims adds to the unsettling nature of the violence. Furthermore, the wolf’s punishment is exaggerated in a way that highlights the absurdity of fairy tale justice: “They filled his belly with large stones and sewed him up. / He was as heavy as a cemetery and when he woke up and tried to run off / he fell over dead.” The wolf is not just killed; he is weighed down by the consequences of his greed, quite literally destroyed by his own excess. This exaggerated and surreal depiction forces the reader to question whether justice in fairy tales is ever truly moral or if it is just another form of storytelling convenience.
What is the significance of Sexton’s use of confessional poetry in this retelling?
As a poet associated with the Confessional movement, Sexton often intertwined personal emotions with classical narratives, and “Little Red Riding Hood” is no exception. Unlike the traditional fairy tale, which maintains a sense of detachment, Sexton inserts herself into the narrative, breaking the fourth wall with personal asides: “And I. I too. / Quite collected at cocktail parties, / meanwhile in my head / I’m undergoing open-heart surgery.” This abrupt shift from the fairy tale to a deeply personal confession disrupts the reader’s expectations, blending autobiography with storytelling. Sexton suggests that the theme of deception is not just external—it is internal, as people mask their true emotions even in social settings. By merging personal reflection with the fairy tale, Sexton draws a parallel between Red Riding Hood’s naive trust and the poet’s own struggles with psychological vulnerability. The inclusion of confessional elements forces readers to reconsider the fairy tale not as a distant moral fable, but as a deeply human experience, where fear, deception, and survival are personal battles we all face.
Literary Works Similar to “Little Red Riding Hood” by Anne Sexton
“Gretel in Darkness” by Louise Glück – Like Sexton’s poem, this piece reimagines a fairy tale (Hansel and Gretel) from a psychological and feminist perspective, emphasizing trauma and survival.
“Snow White and the Seven Dwarfs” by Anne Sexton – Another poem from Transformations, this work similarly deconstructs a classic fairy tale, exposing its dark undertones and critiquing traditional gender roles.
“The Witch’s Life” by Anne Sexton – This poem also explores themes of power, deception, and female identity, drawing connections between fairy tale archetypes and real-life struggles.
“Cinderella” by Sylvia Plath – Like Sexton, Plath reinterprets a well-known fairy tale through an ironic and unsettling lens, critiquing the illusion of happily-ever-after endings.
“The Brothers Grimm” by Lisel Mueller – This poem reflects on the darker themes underlying fairy tales, much like Sexton’s work, using vivid imagery to challenge idealized childhood narratives.
Representative Quotations of “Little Red Riding Hood” by Anne Sexton
