Significant Images in the Grimms’ Version of “Rapunzel”
“…the witch took her to the middle of the forest and shut her up in a tower that had neither stairs nor door, but only a little window at the very top.” (p. 74) A feeling of suspense is instilled just by reading this single line in “Rapunzel” by Jacob and Wilhelm Grimm. Elements evoking emotion in a story, such as suspense, increase the degree of entertainment thereby enhancing quality and enjoyment factors. This story is both superficially entertaining and subconsciously intriguing. Exploring the symbolism of images such as the tower, the open window at the top of it and Rapunzel’s long hair will begin to satisfy this curiosity.
The image of a tall solid structure is introduced quite early in the story and repeated in two different forms. The first occurs at the beginning of the story in the form of a “high wall around the garden” (p.73), and the second, of course, as the tower which is home to the 12 year old Rapunzel. It is worth mentioning that the idea of a tower and window at the top are not unique to this story. In fact, they can be traced back to Greek Mythology and the story of Perseus. The excerpt
“…he locked Danae in a bronze tower so that she would never marry or have children. The tower had no doors, but it had one very small window. Danae was very sad, but one day a bright shower of gold came through the small window. A man appeared…”
(http://www.greekmythology.com/Myths/Heroes/Perseus/perseus.html) clearly proves this. Perhaps the Witch, who is characterized as the Godmother, also had the intention of preventing Rapunzel from marrying and having children. A Freudian would say this image is completely phallic whereby the tower symbolizes the (erect) male sexual organ. During the “phallic stage of psychosexual development for both the boy and the girl, in their own ways, it is the male organ that dominates their thinking and inquiry.” (C.F. Monte. page 88) Visualization of this image is quite dominant since the bulk of the story takes place in the tower and the actual location of the tower is in the middle of a forest, obviously protruding. The Freudian perspective also gives the placement of the window much more relevance.
That single open window, located at the top of the tower, is really quite significant. This window would visually appear dark from the bottom of the tower, perhaps cavernous, but from Rapunzel’s perspective, it is her only source of light and connection to the world outside. It also serves as an entrance for both her Godmother and the Prince. For the Prince, an entrance it was, until the foolish child blurts this secret to her Godmother, who then growls: “Wicked child! I thought I had shut you away from the world, but you’ve deceived me.” (p. 75) Had this not happened, the window would also have been her only escape, for this was their plan: “Every time you come, bring a skein of silk and I’ll make a ladder with it. When it’s finished, I’ll climb down, and you will carry me home on your horse.” (p. 75) A Freudian interpretation would suggest that this opening represents the female sexual and reproductive organs involved in the genital phase of the psychosexual stages in which sexual intimacy and reproduction are emphasized (C.F. Monte. page 90). Its location, at the top of the tower, is interesting because it is physically impossible to get into without the help of Rapunzel, by her letting down her hair. The prince, who tricks her into letting him up, wins her over quickly by his sweet words. He rescues her, in essence, from the wicked Godmother, but also helps Rapunzel to discover womanhood while in the confines of the only place she has ever known. This discovery of womanhood included conceiving a child, which agrees with the biological aspect of a Freudian interpretation of the structures. Through the window is where conception takes place. The image of a window is first presented at the beginning of the story, when the mother looks through it, sees the “high wall around the garden” (page 73). Her husband climbs the wall of the garden where the rapunzel, that his wife yearns so emphatically for, grows. Soon after, they conceive a child. The connection between the window, conception and Rapunzel is quite clear, but the physical and essential connection between Rapun zel and anything beyond the window and below the tower is one to be explored.
Rapunzel’s hair, extremely long and golden in color, is the single method of transportation from the bottom of the tower to the room in which she is kept. It is absolutely fundamental in the story because it symbolizes the tie between the Godmother, and later, the Prince, and her. It provides the only access to Rapunzel. Without this ladder, she would not receive food from her provider, and her future husband would never have been able to reach her. The story could not be complete without this elemental image. Just as the husband in the beginning of the story climbs the wall that surrounds the ga rden, in which the rapunzel grows, so does the Prince climb the long hair to aid in the success of Rapunzel’s transformation. In both cases the “witch” attempts to prevent happiness and change, first by breaking the connection between Rapunzel and her parents, and second by severing the tie between the two young lovers. Rapunzel’s long hair is only necessary while she is still locked away, thus, still a child. Once the Godmother robs her of her means of exploration she makes the transition and the image is no longer needed.
Superficially, one might read this story and conclude that a foolish and naïve girl should think before blurting out statements that may get her in trouble. And if she doesn’t think first, she may well deserve the consequences that follow. On a deeper level, however, Rapunzel successfully completes the transformation of girl to woman by the end of the story. She has become a wife and bears the child that was conceived in the space at the top of the tower, despite the attempt made by the Godmother to prevent this from happening. Therefore, subconsciously, the Grimms seem to be telling a story of the rite of passage, conception and the elements necessary to complete these events of transformation.
Perrault, Charles. "Puss in Boots." Folk & Fairy Tales Comp. Martin Hallett and Barbara Karasek. 2nd ed. Peterborough, Ontario: Broadview, 1996. 94-97.
Monte, Christopher F. Beneath the Mask: An Introduction to the Theories of
Personality. Fifth Edition. Orlando, Florida: Harcourt Brace College Publishers. 1995.
http://www.greekmythology.com/Myths/Heroes/Perseus/perseus.html