Ariel by Sylvia Plath

The imagery of this poem shows the muliebrity gaining and expressing her power as she and the long horse are matching. There is something phantasmal about the way the ride is described, and the role of the name "Ariel" reinforces this, a reference to Shakespeare's fun-loving sprite in The Tempest. Shakespeare's Ariel is androgynous, capable of creation any sex, and Plath's female rider as well is capable of being both male and female and so of asserting her female power in a variety of ways. Indeed, she can in like manner be inanimate objects, like an elm tree, even as she is a wife and mother and a man inquisitory for a wife all at the same time. Shakespeare's Ariel is as well as a slave, subject to the whims of his master and desirous of being freed. This applies to Plath's adult female rider, and she indeed achieves a sense of release and independence through and through the ride and contrarily through the unification she experiences with the horse and the reach over which they ride.

The power of the female is expressed as she becomes the lioness of God. The unified poet-rider-horse can become anyone or anything and help them achieve the freedom for which they yearn. The freedom of the ride is a symbol for freedom over in the world. The ride is not simply freedom yet effort--achieving freedom requires suffering, but it is a suffering that is sweet in its results:

The present condition of Ariel is one of captivity and su

ffering, but she will escape from this misery into the posy of freedom. It is not merely an escape--the suffering leads to the release, is indeed a exigency for the release. The escape has been hinted at from the producening when the horse escapes stasis and steps into the substanceless darkness. The whet and forward motion of the horse have gained momentum since the send-off line. The speed of escape is now at its peak:

The use of "I" in this poem begins with the rider talking of "the be intimate I cannot reach," and by the end the "I" refers to both horse and rider, moving forward like an arrow and escaping from the darkness and from the stasis that unplowed all in balance. The woman, God's lioness, escapes from inactivity to show that she can be all things and all people.

This arrow tends toward the "red/ Eye, the cauldron of morning," with the heart being like the bullseye sought by the arrow and thus stands as the goal. It is found in the cauldron of morning, the time when things begin and when new possibilities are found once the light has fully dissipated the darkness of stasis.

Flannery O'Connor in her short stories "Good demesne People" and "The Life You Save May Be Your make" shows a concern with the tension between body and oral sex, the somatogenic and the spiritual. She presents this tension in the context of an almost allegorical complex body part in both stories. Both stories take place in a world that is cruel, where human beings inflict damage on one another almost as a consider of course. The world O'Connor creates in her stories is one where the conflict between mind and body is often bloody and may border on the grotesque, and in both these stories the plot and theme unfolds in a world with mythological power and significance. The theme of abandonment is too present in both stories and reinforces the idea that the mind rattling separates us from the world around us so that no matter what connections we might make with the world around us, lastly we a
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