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Literary analysis of rapunzel
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Rapunzel
There was once a young girl –around 16– her name was Rapunzel. She was taken away from her mother before she was old enough to remember what she looked like. She grew up in a tall apartment complex all the way at the top floor, with a mother who she thought was her birth mother. Rapunzel wanted to leave the apartment and make friends, but her mother wouldn’t let her leave; she warned her that people were mean outside of their ‘happy’ home. She was sad that she was not allowed to leave her home, and she got very tired of seeing the same walls everyday. She got tired of having the same monotonous routine that she felt was embedded into her skull. She felt like she resembled a robot in many ways; she wasn’t allowed to have her own opinions, and she never found any more
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emotions those hammered into her brain, which was like her control panel.
“Today is the day.” Rapunzel said to herself, “Today is the day that I break the chain that connects me to this home.” She had run his thought through her head millions of times, but she had never had the courage to actually do it. She was nervous to even think of walking out of the door that held in all of her memories. Memories. She had no memories here. The only thing she could remember that made her happy was when she sang to her mother while her mother would brush her hair. It was late at night and Rapunzel was as nervous as she could ever be. She took a look in her mirror, and stared at herself for the last time before the tiptoed out of her comfort zone and into the chilly New York air. Rapunzel had beautiful, long, black hair and stunning bright blue eyes– the type that could pierce right through you and see your darkest secrets. She was a small girl, only about 5’5” and weighing only about 120 pounds. Anything can happen to a fragile girl on the streets. Rapunzel made sure that her mother was asleep when she slipped her small frame out of the wide door that stood, towering over her. As she walked down the hallway and into the elevator, she tried to figure out how to use
the buttons. She has seen people use them in shows, but she had never actually used one herself. She studied the buttons, and tried to figure out which one to press. The saw a button that was labelled “G,” so she assumed it meant “Ground.” She wanted to leave so badly, and she was doing it! She was leaving her home and she was scared in the best way. She wanted to know what was out there, waiting for her; she wanted to know how her life could be if she wasn’t locked away in permanent solitary confinement. She heard a voice that said “Ground Floor,” and like magic the doors in front of her split open to reveal a big lobby with a fatigued worker drooling all over his papers scattered about his desk. Rapunzel quietly walked across the tiled floor, to the other side of the lobby. She gingerly pushed the front doors of the building, but they didn’t open. “What?” She whispered quietly, and tried again. The doors clanked, but didn’t open. “Pull it.” She heard a voice groggily call out from behind her. She turned her head to see the worker with a stream of drool running down his face, and his hair sticking up in all directions. Rapunzel giggled and replied, “Right,” She pulled the door open, and started to walk out before turning back, “Thank you!” She said in a sing-song tone. She walked out of the tall building and started down the sidewalk. She came across a store, and headed inside; after all, she did want to explore everything!
The girl's mother is associated with comfort and nurturing, embodied in a "honeyed edge of light." As she puts her daughter to bed, she doesn't shut the door, she "close[s] the door to." There are no harsh sounds, compared to the "buzz-saw whine" of the father, as the mother is portrayed in a gentle, positive figure in whom the girl finds solace. However, this "honeyed edge of li...
It is commonly believed that the only way to overcome difficult situations is by taking initiative in making a positive change, although this is not always the case. The theme of the memoir the Glass Castle by Jeannette Walls is that the changes made in children’s lives when living under desperate circumstances do not always yield positive results. In the book, Jeannette desperately tries to improve her life and her family’s life as a child, but she is unable to do so despite her best efforts. This theme is portrayed through three significant literary devices in the book: irony, symbolism and allusion.
The home in which a child lives in is suppose to be a place of warmth, love, and protection. A home also offers other important aspects into a child’s life, for instance, self-confidence, pride, and security. If a child does not reside in a home that offers warmth, love, and protection, that child will not feel good about herself or the home in which she lives in. A child wants a home that he or she can be proud of enough to bring home a friend or two. In addition, if a child does not feel safe and secure in his or her home, then she will not posses these qualities in the outside world. Moreover, their lack of security can cause major disruptions and distractions within their everyday routine, like with Sandra. For example, the homes that Lena and Sandra live in illustrate the exact opposite of each other.
Children have often been viewed as innocent and innocent may be a nicer way to call children naive. Since children’s lives are so worry free they lack the knowledge of how to transition from being a child to becoming an adolescent. Their lack of knowledge may be a large part of their difficulties growing up, which could be a few rough years for many. In books like the boy in the striped pajamas the story is told from the point of view of a little boy, this way we get a full view of how innocent he is. In this book the writer shows the reader first hand how a child viewed the holocaust and how his innocence cost him his life. Then in books like the perks of being a wallflower Charlie is a teen whom is struggling with the transition from being a child to becoming an adolescent. In this book the writer gives a first hand look at how difficult it can be to transition into an adolescent. Charlie has many difficulties in this book; he is in search of his identity and how to fit in.
The setting of this story is described as an old nursery that is located on the top floor of an old isolated mansion that is several miles off of the main road. The narrator’s treatment is “prescribed” by her husband, John, who orders her to stay in bed and separate herself from the outside world in a bedroom that previously had several different identities. “It was a nursery first, and then a playroom and gymnasium, I should judge, for all the windows are barred for little children, and there are rings and things in the wall”(730). The feeling the room creates around her slowly begins to alter her mindset. The barred windows create the sense of being trapped within the walls around her which slowly starts to transform the room into the identity of not just any prison, but the narrator’s prison.
While written in different time periods, Lewis Carroll’s Alice’s Adventures in Wonderland and Norton Juster’s The Phantom Tollbooth seem to have an underlying commonality; using the power of literary nonsense, they react against and critique societal ideals and values, whilst subtly urging children to stray away from convention and conformity. At the beginning of each story, the child protagonists are shown to be oppressed by their societies in different ways. Alice’s Victorian society seems to be preventing her from coming into a true sense of self; While Milo’s 20th century society leaves him stuck as an uninterested, unthinking, and disconnected child. It is not until both Alice and Milo enter these nonsensical dream worlds that they embark on a quest to gain confidence within themselves and hopefully bring this newfound confidence back to the real world. While these nonsensical worlds may seem far removed from reality, by enabling children to gain authority and overcome the hypocrisies in their imagined worlds, it allows for both Alice and Milo to discover (and sometimes overcome – in Milo’s case) the hypocrisies of their own society. The adult figures that occur in these dream worlds help to reinforce the societal values in which the authors are critiquing. Encountering adults such as the Duchess and the Queen of Hearts in Alice’s Adventures and King Azaz and Officer Shrift in The Phantom Tollbooth, demonstrate the power dynamics between child and adult and work to challenge societal values.
The narrator, Twyla, begins by recalling the time she spent with her friend, Roberta, at the St. Bonaventure orphanage. From the beginning of the story, the only fact that is confirmed by the author is that Twyla and Roberta are of a different race, saying, “they looked like salt and pepper” (Morrison, 2254). They were eight-years old. In the beginning of the story, Twyla says, “My mother danced all night and Roberta’s was sick.” This line sets the tone of the story from the start. This quote begins to separate the two girls i...
In the 21st centuries take on the fairytale Rapunzel, the movie “Tangled” depicts the troubled life of an adolescent that is raised by a woman whom is not her mother. Rapunzel is abducted from her crib as an infant by an evil witch, Gothel, for the sole purpose of using her magical hair to enhance her beauty to make her young again. As an eager Rapunzel ages, she soon wants to be set free into a world that she has yet to see.
The familiar story of Rapunzel, as told by the brothers Jacob Ludwig Carl and Wilhelm Carl Grimm, takes on new meaning with a psychoanalytic interpretation. It is a complex tale about desire, achievement, and loss. The trio of husband, wife, and witch function as the ego, id, and superego respectively to govern behavior regarding a beautiful object of desire, especially when a prince discovers this object.
As a child, Lena was always kept away from strangers by her mother, fueling her curiosity and imagination. In order to keep the “bad man” from planting babies in Lena, her mother had barricaded the door to the basement and told her not to enter. However, Lena’s curiosity finally enabled her to pry open the door, but she fell into a dark chasm. When she is rescued by her mother, she said “…after that I began to see terrible things. I saw these things with my Chinese eyes, the part of me I got from my mother.” (103) Lena completely overlooked the warnings that were presented to her by an authority figure, her mom. Her mom constantly reminded her of the terrible events that could happen, but Lena felt she was so separated from the world she lived in that she became very curious. She wanted to see the world veiled by her mother’s restrictions, and even face danger she was always kept way from. As a result, she suffered the consequences of seeing everyth...
...ndurance of poverty, as we witness how Walls has turned her life around and told her inspiring story with the use of pathos, imagery, and narrative coherence to inspire others around her (that if she can do it, so can others). Jeannette made a huge impact to her life once she took matters into her own hands and left her parents to find out what life has in store for her and to prove to herself that she is a better individual and that anything is possible. Despite the harsh words and wrongful actions of Walls’ appalling parents who engage her through arduous experiences, she remained optimistic and made it through the most roughest and traumatic obstacles of her life at the age of three. Walls had always kept her head held high and survived the hardships God put upon her to get to where she is today; an author with a best selling novel to tell her bittersweet story.
Though Rapunzel’s lengthy confinement in one room, her home, is convincing evidence of the female’s domestic belonging, it does not adequately demonstrate the connectedness of the woman to the domestic. The ambitious young Prince faces an insurmountable task when he plans to elope with Rapunzel; he must, temporarily, displace the woman from her domestic home. After the Prince decisively wins Rapunzel’s affection, Rapunzel delineates her escape plan: “ '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’” (The Brothers Grimm). First, Rapunzel states she will “go away with [the Prince]” and he will “take [her] on [his] horse,” two statements which reveal both Rapunzel’s dependence upon the Prince and her lack of independence. Though Rapunzel agrees to leave her domestic realm, she does so only to elope in the safe, steady hands of the Prince, venturing from one sphere of domesticity, with her mother, to another sphere of domesticity with a man. Rapunzel also promises to “weave a ladder with [silk].” Weaving, a deep-rooted, traditional female activity arises in Rapunzel because it is both feminine and perfectly accessible within a domestic setting. The woman’s skills, in any patriarchal work, are not
In the story Rapunzel, by Grimms’ Fairy Tales, many events lead up to the tragic, yet happy, ending. The wife, who had a baby on the way, craved some of the enchantress’s herbs to eat. Every day, her craving got stronger until she could not take it anymore, and sent her husband over to steal some. The enchantress noticed the husband and got very angry. She decided to be nice and make a deal with the husband. The enchantress would spare his life if the child that his wife bare would be given to her. When the baby girl, Rapunzel, was born, she was handed over to enchantress. At the age of twelve she was locked away in a tower. There were no stairs leading to the castle, so no one could get in our out. The enchantress would climb up Rapunzel’s hair to get in. The King’s son heard Rapunzel singing and went to go see her. Rapunzel and the King’s son fell in love and decided to get married. Rapunzel told him to bring a piece of cloth every night so she could make a ladder to descend from. The enchantress found out about Rapunzel’s plan, so she cut all of her hair off and dumped Rapunzel in the desert. When the King’s son came by, the enchantress let down Rapunzel’s hair. The King’s son was so frightened by the enchantress that he jumped out of the tower, piercing his eyes on thorns. He wandered the forest until he came upon Rapunzel and his twins. Rapunzel’s tears cleared up the King’s son’s eyes, and they lived happily ever after in the kingdom. In the end, they lived happily ever after because, the wife craved the herbs, the King’s son found Rapunzel, and the enchantress discovered the King’s son.
The story of Rapunzel, by the brothers Jacob and Wilhelm Grimm, has the same basic structure as all other fairy tales born from the oral tradition; what is commonly referred to as the opening, main part and ending, is the foundation of the tale.
Over centuries, fairy tales were passed down by word of mouth to portray a story with a hidden meaning. As these fairy tales were passed on they traveled to different destinations and were modified to conform to other cultures. One example of this is the story of Grapnel. Most people are familiar with the Brothers Grimm version of Rapunzel; however, an earlier variant that comes from Italy was the forerunner to the Grimm version. The Italian version, Petrosinella, written by Giambattista Basile, is an example of how culture has an influence on literature. Although this is the case, both fairy tale versions portray jungian archetypes that are often misinterpreted by mainstream portrayals of these fairy tales.