Essay on "Psychoanalytically Interpreting Rapunzel"

Essay 8 pages (3074 words) Sources: 8

[EXCERPT] . . . .

Rapunzel

The Grimm brothers' fairy tale "Rapunzel" is ripe for psychoanalytic interpretation because it includes a number of peculiar textual details requiring analysis. In particular, the way the story is broken up into three distinct parts and the relation these divisions have to the characters (especially the prince and the enchantress) demonstrate how the story formulates the journey from child to adult as one of a conflict and eventual reconciliation between the notions of eros and thanatos. Examining the function of the prince and the enchantress in relation to Rapunzel reveals that they serve as representations of eros and thanatos, respectively, ultimately explaining some of the more mysterious details of the text. The story is making a claim regarding the importance of reconciling death with one's own desire for life, essentially arguing that the successful embodiment of eros may only be achieved through a confrontation with and internalization of thanatos.

Before examining the characters of the prince and the enchantress in more detail, it will be useful to examine how the story is divided up by location, because this will give a clue to the functioning of the characters within these locations as well as demonstrate the transition which occurs over the course of the story. In turn, this will reveal what Christine Jones calls the portrayal of "emotional response in the fairy tale," meaning how the tale uses its own peculiar logic to express something about the human psyche (Jones 13). The story begins in the home of Rapunzel's parents, which overlooks "a splendid garden […] full of the most beautiful flowers and herbs," and these two locations serve as the sett
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ing for the first segment of the story (Grimm & Grimm 1857). This remains the setting until Rapunzel's birth, after which the enchantress takes her to a "tower, which lay in a forest, and had neither stairs nor door, but quite at the top was a little window," and Rapunzel's parents are forgotten about for the rest of the story. The tower and surrounding forest serves as the setting for the next segment of the story, and the forests and desert through which the prince wanders until he finds Rapunzel constitute the last portion.

Noting these divisions highlights the particular importance of the prince and the enchantress, because they are the only characters who can cross the boundaries between these segments (except for Rapunzel, who is present throughout). The enchantress appears only in the first and second segment, and the prince appears only in the second and third (and for good measure, one may note that Rapunzel's parents only appear in the first, and Rapunzel's children only appear in the third). Thus, the changes in location denote the three distinct phases of Rapunzel's transition from newborn child to mother, a transition that is made possible through the reconciliation of the oppositional drives of eros and thanatos as represented by the prince and enchantress. It is important to note that this claim is supported by the structure and function of the story itself, because too often discussions "of Eros and Thanatos veer toward pop psychology," so the remaining analysis will focus on pointing out evidence for this interpretation within the text (Lang 129).

Having examined how the overall structure of the story reveals the specific functions of the characters, it will now be possible to discuss in more detail how the characters of the prince and the enchantress function as the representations of eros and thanatos in relation to Rapunzel. One must necessarily begin with the enchantress, because the text seemingly presents a problem in interpreting the enchantress as the representation of thanatos by connecting her so closely with birth in the first segment of the story. However, a look at the earlier circumstances of Rapunzel's parents will reveal the unique circumstances of Rapunzel's birth that make the presence of thanatos' avatar entirely appropriate.

The story opens by noting Rapunzel's parents' long and fruitless wish for a child, and this detail reveals the reason for the enchantress' presence at Rapunzel's birth, both literally and figuratively, because as will be shown, the enchantress is not even there to necessarily "steal" Rapunzel. The story notes that "there were once a man and a woman who had long in vain wished for a child," and "at length the woman hoped that God was about to grant her desire" (Grimm & Grimm 1857). The fact that the woman will have a child is never actually confirmed until the enchantress demands that it be given to her in payment for the rampion, and this fact is the central detail which explains the enchantress' actions throughout the rest of the story. Although the story does not dwell on it, the fact that the rampion comes from an enchantress' garden makes it entirely reasonable to presume that the rampion is in some way magical, and furthermore, that this is the reason the woman becomes pregnant, and not her hope in God. Therefore, the exchange of Rapunzel for the rampion can be seen as the exchange of life for life, because Rapunzel's mother needs the rampion or else she "shall die." As thanatos cannot find expression in the mother, then it will simply take the daughter, displacing its influence from the (possibly) dying mother to the newly born daughter.

Thus, Rapunzel's birth can be seen as going against a natural order, because her mother was seemingly infertile until taking some sustenance from the enchantress' garden. Whereas normally eros is impetus for a birth, the first segment of the story represents an inversion, such that thanatos becomes the reason for Rapunzel's birth. This is unnatural, of course, so the enchantress takes Rapunzel to raise her as her own, fulfilling her promise that she "will care for it like a mother," albeit as a kind of inverted, thanatonic mother, enclosing her bodily and not allowing Rapunzel any sort of freedom or expression. Thus, the transition from the first segment of the story to the second is a transition from the usual world of the mother and father to the conceptual world of thanatos and eros.

Because Rapunzel represents the triumph of eros over thanatos (as the infertile mother gave birth by stealing some "life" from thanatos' garden), the enchantress attempts to surround and enforce all the attributes of thanatos upon Rapunzel, keeping her locked up and anonymous in a tower, unable to express herself or relate to anyone else. Rapunzel's life is one dictated almost entirely by thanatos, and only with the arrival of the prince does her life begin to include the influence of eros. As will be seen, however, the unexpected arrival of the prince causes her to swing too far the other way, which in turn precipitates an even greater swing back, towards thanatos (only to finally be reconciled with the arrival of Rapunzel's twin children).

As Manuel Aguirre remarks, "the motif of the maiden locked up in a tower to prevent her having sexual contact is familiar from both folktale (Rapunzel) and myth (Danae)," so care must be taken to uncover what, in particular, this story of a maiden in a tower is saying about that maiden and her relation to the world (Aguirre 42). Rapunzel's time in the tower is clearly characterized as predominantly influenced by thanatos, not only because of the clear depression, isolation, and meaninglessness of her captivity, but also the contrast created by the arrival of the prince. That he represents eros is a fairly obvious claim to make, especially in light of the enchantress' oppositional position, but the prince's character nonetheless requires deeper examination.

The prince is immediately associated with eros when he first notices Rapunzel, because he is attracted by "a song, which was so charming that he stood still and listened" (Grimm & Grimm 1857). As Asha notes in his essay "History, mystery and chemistry of eroticism: Emphasis on sexual health and dysfunction," eros "does not necessarily denote somatic, sensual pleasures, but love, affection, friendship and other related non-sexual expressions" (Asha 142). Thus, that the prince is first attracted by the creative expression of Rapunzel's voice, having not yet seen her and thus not knowing that Rapunzel is "the most beautiful child under the sun," demonstrates that the prince is attracted specifically by Rapunzel's expressive character, quite in opposition to the enchantress' reasons for keeping her locked up. In fact, "the singing had so deeply touched his heart, that every day he went out into the forest and listened to it," so that it is Rapunzel's singing that provides the catalyst for the rest of the story, thus demonstrating the moment at which her life shifts from the overbearing influence of thanatos and begins to orient itself towards eros.

However, the arrival of the prince does not result in Rapunzel's immediate release from her anonymizing prison, because the conflict between eros and thanatos is ongoing and not a zero-sum game; that is, Rapunzel exists on a continuum, and may only move in either direction (relatively) gradually, and not… READ MORE

Quoted Instructions for "Psychoanalytically Interpreting Rapunzel" Assignment:

Psychoanalytically Interpreting *****"Rapunzel*****"

Read the following story carefully:

*****"Rapunzel*****" by the Grimm Brothers

There were once a man and a woman who had long in vain wished for a child. At length the woman hoped that God was about to grant her desire. These people had a little window at the back of their house from which a splendid garden could be seen, which was full of the most beautiful flowers and herbs. It was, however, surrounded by a high wall, and no one dared to go into it because it belonged to an enchantress, who had great power and was dreaded by all the world.

One day the woman was standing by this window and looking down into the garden, when she saw a bed which was planted with the most beautiful rampion (rapunzel), and it looked so fresh and green that she longed for it, she quite pined away, and began to look pale and miserable. Then her husband was alarmed, and asked: *****'What ails you, dear wife?*****' *****'Ah,*****' she replied, *****'if I can*****'t eat some of the rampion, which is in the garden behind our house, I shall die.*****' The man, who loved her, thought: *****'Sooner than let your wife die, bring her some of the rampion yourself, let it cost what it will.*****'

At twilight, he clambered down over the wall into the garden of the enchantress, hastily clutched a handful of rampion, and took it to his wife. She at once made herself a salad of it, and ate it greedily. It tasted so good to her--so very good, that the next day she longed for it three times as much as before. If he was to have any rest, her husband must once more descend into the garden.

In the gloom of evening, therefore, he let himself down again; but when he had clambered down the wall he was terribly afraid, for he saw the enchantress standing before him. *****'How can you dare,*****' said she with angry look, *****'descend into my garden and steal my rampion like a thief? You shall suffer for it!*****'

*****'Ah,*****' answered he, *****'let mercy take the place of justice, I only made up my mind to do it out of necessity. My wife saw your rampion from the window, and felt such a longing for it that she would have died if she had not got some to eat.*****' Then the enchantress allowed her anger to be softened, and said to him: *****'If the case be as you say, I will allow you to take away with you as much rampion as you will, only I make one condition, you must give me the child which your wife will bring into the world; it shall be well treated, and I will care for it like a mother.*****' The man in his terror consented to everything, and when the woman was brought to bed, the enchantress appeared at once, gave the child the name of Rapunzel, and took it away with her.

Rapunzel grew into the most beautiful child under the sun. When she was twelve years old, the enchantress shut her into a tower, which lay in a forest, and had neither stairs nor door, but quite at the top was a little window. When the enchantress wanted to go in, she placed herself beneath it and cried:

*****'Rapunzel, Rapunzel,

Let down your hair to me.*****'

Rapunzel had magnificent long hair, fine as spun gold, and when she heard the voice of the enchantress, she unfastened her braided tresses, wound them round one of the hooks of the window above, and then the hair fell twenty ells down, and the enchantress climbed up by it.

After a year or two, it came to pass that the king*****'s son rode through the forest and passed by the tower. Then he heard a song, which was so charming that he stood still and listened. This was Rapunzel, who in her solitude passed her time in letting her sweet voice resound. The king*****'s son wanted to climb up to her, and looked for the door of the tower, but none was to be found. He rode home, but the singing had so deeply touched his heart, that every day he went out into the forest and listened to it. Once when he was thus standing behind a tree, he saw that an enchantress came there, and he heard how she cried:

*****'Rapunzel, Rapunzel,

Let down your hair to me.*****'

Then Rapunzel let down the braids of her hair, and the enchantress climbed up to her. *****'If that is the ladder by which one mounts, I too will try my fortune,*****' said he, and the next day when it began to grow dark, he went to the tower and cried:

*****'Rapunzel, Rapunzel,

Let down your hair to me.*****'

Immediately the hair fell down and the king*****'s son climbed up.

At first Rapunzel was terribly frightened when a man, such as her eyes had never yet beheld, came to her; but the king*****'s son began to talk to her quite like a friend, and told her that his heart had been so stirred that it had let him have no rest, and he had been forced to see her. Then Rapunzel lost her fear, and when he asked her if she would take him for her husband, and she saw that he was young and handsome, she thought: *****'He will love me more than old Dame Gothel does*****'; and she said yes, and laid her hand in his. She said: *****'I will willingly go away with you, but I do not know how to get down. Bring with you a skein of silk every time that you come, and I will weave a ladder with it, and when that is ready I will descend, and you will take me on your horse.*****'

They agreed that until that time he should come to her every evening, for the old woman came by day. The enchantress remarked nothing of this, until once Rapunzel said to her: *****'Tell me, Dame Gothel, how it happens that you are so much heavier for me to draw up than the young king*****'s son--he is with me in a moment.*****' *****'Ah! you wicked child,*****' cried the enchantress. *****'What do I hear you say! I thought I had separated you from all the world, and yet you have deceived me!*****' In her anger she clutched Rapunzel*****'s beautiful tresses, wrapped them twice round her left hand, seized a pair of scissors with the right, and snip, snap, they were cut off, and the lovely braids lay on the ground. And she was so pitiless that she took poor Rapunzel into a desert where she had to live in great grief and misery.

On the same day that she cast out Rapunzel, however, the enchantress fastened the braids of hair, which she had cut off, to the hook of the window, and when the king*****'s son came and cried:

*****'Rapunzel, Rapunzel,

Let down your hair to me.*****'

she let the hair down. The king*****'s son ascended, but instead of finding his dearest Rapunzel, he found the enchantress, who gazed at him with wicked and venomous looks. *****'Aha!*****' she cried mockingly, *****'you would fetch your dearest, but the beautiful bird sits no longer singing in the nest; the cat has got it, and will scratch out your eyes as well. Rapunzel is lost to you; you will never see her again.*****' The king*****'s son was beside himself with pain, and in his despair he leapt down from the tower. He escaped with his life, but the thorns into which he fell pierced his eyes.

Then he wandered quite blind about the forest, ate nothing but roots and berries, and did naught but lament and weep over the loss of his dearest wife. Thus he roamed about in misery for some years, and at length came to the desert where Rapunzel, with the twins to which she had given birth, a boy and a girl, lived in wretchedness. He heard a voice, and it seemed so familiar to him that he went towards it, and when he approached, Rapunzel knew him and fell on his neck and wept. Two of her tears wetted his eyes and they grew clear again, and he could see with them as before. He led her to his kingdom where he was joyfully received, and they lived for a long time afterwards, happy and contented.

Your task is to interpret this story using Post-Freudian psychoanalytic theory, specifically eros, thanatos, and the Oedipal Conflict. Rather than read the story literally, seek to find any psychological meaning about human nature in this classic fairy tale.

Since interpreting a story like this is much like interpreting a poem, you are forced to be creative and speculative. There is no one *****right***** answer I am looking for. However, you must do three or four key things to be successful in your essay:

1.) You must look closely at the text. Quote key words and phrases in your paper. Interpret small details for a specific, thorough discussion.

2.) You must use psychoanalytic theory. Look for elements of each story that correspond with eros or thanatos or the Oedipal Conflict. Use those ideas to make sense of the stories.

3.) You must explain your interpretations. Even though there is no one *****right***** answer for what

the stories *****mean,***** whatever you meaning you do find and present, you must explain

and support your interpretation as much as you can. Never just say *****x represents eros*****

and walk away, for example, without explaining why x and eros have something in

common.

4.) The superior papers (the *****A***** and *****B***** papers) will attempt to explain seemingly

meaningless or subtle details in the stories. For example, there are *****textual problems***** in the story. Though not EVERY detail needs to be explained, the superior essays will

nonetheless attempt to explain as many of them as possible .

*****

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