Rapunzstiltskin Poem

To what extent does Lochhead’s choice of language in “Rapunzstiltskin” further the plight of feminism?

Berten’s (2001) suggestion that “female writers… [are] regularly found to have succumbed to the lure of stereotypical representations” is certainly apocryphal when applied to Liz Lochhead’s “Rapunzstiltskin”, which promulgates “our maiden’s” autonomy and, indeed, her independence. Certainly, Lochhead’s use of the noun – “maiden” – is employed to connote archaic suggestions of an unmarried woman rescued by “the knight in shining armour”; this fickle romanticism is what Lochhead ultimately sets out to erode.

Primarily, Lochhead’s use of language reflects upon the perspective of woman, in that “the Prince” – her “tower” – is only interested
[for] her tower”, demonstrating her liberty, as she later conforms to what society expects – “it was corny but he did look sort of gorgeous axe and all.” Indeed, Lochhead’s unconventional use of the adjective “corny” juxtaposes the poems antiquated setting, which satirises the position of woman today by differencing that it has changed very little. Moreover, the description “axe and all” alludes to the electric guitar, suggesting that all woman are attracted to male musicians, an ironic critic that is clearly intended for satirical purposes. Evidently the “maiden’s” submission to society is an indictment on the actions of woman, described by Berten’s (2001) and “gender roles”. Naturally these roles, “tells us how the speaker wants to see them [the character]”. Thus, as Rapunzstiltskin “hum[s] & pull[s] all the pins out of her chignon”, Lochhead emphasises her exertion, particularly through the repetition of the plosive “p”, and juxtaposes this with the ignorance of “the Prince”. Certainly, the poet’s use of blank verse may dramatically accentuate this suggestion, highlighting Lochhead’s voice in the lack of appreciation that men are presented to have for