Poem focuses her > on strength nok surning Poin} in the poem Lo. + le D —# het Flaws. Litt Red-Cap by Carol Ann Poseserngio a peter Sule in eee Sh ae Satay ety AASaN ee ge com Asymbel of freedom and Libenty - The Red cops worm Ne ERE PORN bor French Kevoluntaries- 9 Fi¢¢¢ veiakionship, with Adon [- hee ee one ine a jw a a ‘ive role |! | Bo extended metaphor (porting cidmecd asa physical pace . which + [er emphasized by tre ay 3 ight walk outYoF a Neighbor hoed /Gubtle use of (Agsonanice /ieKing "I? ond * Eyes™ t childhood's end, thedhouses petered{out)~ cach of these land marks especially ee the most ___| f cette Gxonted merapyer) ee the picture of a \ au PorauTheo: extensive (€x: hs SIF fe scaped¢ ecomes_until al lof the poem: " The wo! Wor 19 Le ve on’ abandoned ae Pere the poem the Ok = ere gw ‘s iscigho4— man Bit whom the speakel volf) __———S eroti i ‘ has @ love APFair id on! ling 223 2 Strange GimileYnints at sexuality’ a3 a theme. By compar if Se eeberted toae +n | two very unike Hhings = gardeviing ard illicit love affairs wit gees she reatterS | weir: a glimpse into the 6 akers Sstdte-of mind and her sexual cur? sity as she band Further away, ef more and more pani onpeanng bien pine prety childhood and bie "woods" emprier +e 1a if ® Thib clear-cut Hounplary between child|nood jand) the next| stage) of} life ; erecta cusp Path chiidinogd are caculteod .Bring oF Kro "yptnlexciting ond frighten +) 6y usin "Noul' he fom invites readers [to imaging +hembelves | in [ne speaker's | cnges , wetking cut dP our ou child toods up to He of the ussodis Todor algo creates an eFfect of universality + suggesting Bhat +e oO AThe secord- : . jpurney Qu pF Chitdiioge and into aputtrood ig a chared~experience Minot everyone orrhene ly ; must face:3% auttiobiographicol reference. ) Oescribed with animalistic lit ict ii i ordre? __s hurman———+ gs wail as a poet. > Monasrons aid ie ie Noe See le stood in a clearing, reading his verse out loud LE makes the weip's predal ry nabure Extlamation BbwS debn the paceof + poem: he is im awe- iy childishness , 4 yiaeny and Fragility ever been) babe) (waif,{and bought me a drin! she is a %; T teenager with Tyan allusion t6"never bem Kssed” ined . Sexual a she made the fifst move in +neir experience relati onship- Sorted his(wolfy drawl,)a paperback in his(hairy paw, eae red wine staining his bearded jaw.(What bi s e '2_ (Gweet sixteen}/ clichés Ly to describe ner youth. she wants the wolf to see her as innocent: ne u +12 = She is Playing up the image of an mnocent Young girl , naive and inexpeMienced -in order +0 4 attract tne wolf's attention, ny cOnET Hi she vad it ail under control. wnich breaks the Syereotype OF MEN aominak x The speaker subtly introduces +ne gendered power imbalance perwen the twol gel + wolf) — Even Youan she is the one who pursues him, she understa ee ‘the need Fo make the wolf feel like +he Powerful one in the situation - atche. 3.""my first, Youmight-ask-why. Here'swhy. Poetry. ‘ not | ng Wicked but ‘it by the eyes of owls. | crawled in his wake, tog eee eer "my stockings ripped to shreds, scraps of red from my blazer ‘* snagged on twig and branch, murder clues. | lost both shoes Line 12 +13 moving from stamza 2 403 achieves a dynamic effect. It propells me reader From one We and ne stanzq into the next in He same eager and neadion way that #he speaker pursues +e wolf. oe. Breaking up oF the line emphasizes tne Speaker's op oe) areaing feaders’ attention tothe foct this is not just any drink , but her First 2 This emphasis alsd highlights tne Sexual implications of my first” FoResHADOWING 4ne pivotal role thot the Wolf is about to play in the 2 ier Sexual icp perience ard I i i ween speaker's sexual awakening and coming ~ of - Ce peaiter Her p prior eho ; yuse of caesura adds boldness tothe speaker's words. wee ipa Oeno. Continuation © SEANZA 3 _Line 15: sneis cpprecching maturity ,feacving He dork dangerous adutt world , which she eagerly waits to see "A dork, tangled thorny place 7 The specker simply doesn't Know ushat to expect because she has never been there before. The poem's use of natural (imagery ) todescribe tne speoter's destination. The "donk, tongled* place represents oth the mysterious world of sex as well as the intriguing word of poetry. “trong Le tne +orniness shows ceaders that +e speoker anticipates adultiood will be full of difficulties and Obstacles . The use of Geyndeton ) ackis on urgent quality tothis place as well. (not en a comma separates each word.) Regardless itis olso a place that promises greater Knowledge ard wisdom as tis is (symbolized ) ‘by the eyes of owls’. Owls are common symbols of wisdom in literature: edating back +o Crreek Mythology. "I crawted in. lost both shoes” (Line 16-18) arduous journey +e speaker undergoes in oder +o consummate her sexual relationship with the wolf. > Painful consequences OF the power imbalance between the two The speoker descvites herself as "crawl Ling] inline wolf's } woke," which emphasises that she must demonstrate submission in order 40 receive “he. wolf's affection. As she crawis ofter him ~ i> ancl loses her clothes @etaphor) for te eral act oP undressing. The Speaker's youth and iimocence is highlighted oven though there is destruction of tak imnocerice.. “Scraps oF red fiom my viazer” seve a5 an GiusiOD) to Live ed Cop's formers ed hood. ‘scrapes of red’ con ve interpreted as blood shel by the speaker as she loses her yiiginity. Along with +e Gexuolized Symbol) of +oM Stocki and ner two lost shoes she describes all of ner cloning lost om in the woods as "murder clues". This reinforces tne poem's fepresentabion of coming- oF - agp. QS a quest oF Search with clues to be picked wp diong the way. “we Thena Reedy @DATE “These lines 11-18 also ominously implies that the speaker's first seual_experiene was both brutal and deadly , putting anf iffeversible\"¥ -end to her childhoed. Lines 1e-1¢ + @njamb ment) and @syndeton) motes readers on tothe next justos tne speaker” moves forward in her journey . These lines also est_tnat though Hie speaker is no longer a child, she is still not a Fully = FA lult or artist Her poetry stil nasa childish Or «experienced quality to it- ‘Thena Reddy (FD0 Thera Rethy OaTE BEE > Gumbolic] of ner virginity ond inhocence’- os Eumeste] © ary tout got tere enjombment abrupt: shows on advancement in te epeaker's coming - of -age.. Experiencing of her first sexual encounter. The Speaker's quareness of the danger that ene wolf a presents has not faded . J e — chant - like internal chyme idsrwqtoieg First-sexual experience wit the wolf she re ays is lesson 1 _=tCiumphantly tes the fenders +hok she = eae she enters vis air. 5 (elap taphor > © reinforces Phe power and went in search of a living bird — white ao Jeyraenic. hun 3 SEEM TL ete epee ee oerhay form" Me ioe Pegg ae i Sr c8 ese oe el costa rae aE a sexual lout asi the power imbolance the con shows us |fender that the speaker~ remains on ockve, eager i. *Celinging ] J til seat to his: ¢hashin fur.” Tough #e rough tarquage ( “clinging z “thrashing” ') shew that the oaker recognizes the violence e of her experienm che is eager 40 reach sexual mnoturi ty Aegardless Line 22: R.@ implies that the speoker corries o WHtle wit of doubt or a least is easshicrmg her enjoymert. of this troubling power lynamic. Line_23:"Heay matted paws’ ~ Suggest Hot the wolf has no interest in Foci\i ae swe speakers poetic ambitions Line 24: “living bird - white dove" moy seem of first to bea symbol o of purity and innocence. Having lost her virginity it is unlikely she is *searelbi for her lost purity or innocence. Tnetead ner “search Chor] a living bird " ests +hat she is an for more out of +his new cic of life fe opportunity for artistic Seo that attractre, +> he Wolf in the Gre’ dace.no 5 ATE x2 Se i) domestic cole here. iG iS undermines her st © metaphorically putting her back into Scent dreams, wee ce a Tice cee Otterteudene- re fel ee « 5. —_ which flew, straight, from my hands to his open mouth?, we op One bite, dead. How nice, breakfast in bed. he a oe licking his chops. As soon she 1 slept, | crept to the back ee : af tho a where 9 whole wallwes torreon | aglow ae Seg tie. ra books. Passio fo words, words were truly the head, ee ons iste r He Te poet uses Erjamloment) behween stanzos fo capture he abrupt and_lorutal way the wolf squashes the speokers attempt at poetry. "wnite dove’ flies “straight | from my hands to his open mouth./ one bite, dead -” This chows the reader tnat her poetic CFFeving is not just clismissed tut consumed. The wolf refers to the speaker and her poems as * breakfast in pad “and “lickK(s] his chops* like the wolf in te fay fale. ~ As faras the wif i¢ comerned the speckeris not a Fellow poet lait asexual object tobe consumed. His predatory nature extends bbeyonc| the bedroom to the artistic sphere as well. Tris important to note tna not only did He speaker hove to use her Sexuality toget close 40 her artistic tole model she discovers | realizes tat the poetic sphere that she wos so cooper toenter_ is also amale demmnated space - a There is an interesting contrast with ‘meactual depictions oF sex and lust in Me poem tp wrat the speaker experienced. She received a for less glousng, txeatment Line_3o: The vivid, powerful lines shows the speakers encounter with poetry cs much more exciting han her sexuol experience with +e wolf. The la e is almost ovqasmic a Fleed of imagery. There is unloroken repetition fein forcing that itis he words With whom +e Gpeoker is roving a woment © of Communion . PersoniPi cation She depicts the words as lini They were “Huly alive” on} speaker's tongue. | Awe on the Tongue in the heod- The fer lotion shot the speaker is experiencing is bom pleasurable and powerful. Thena Reddy @ iN Line 30no. Thena Reddy QQ DATE. The birds return as a metaphor for poetry The speaker's poetic epiphany is" warm, beating + frantic , winged.” These words touches sometning deep within ine poet _as she recal @ sexual crimson and gpd glow » The use of (aoyndeton Jadde urgency to the moment sidenote: These nes show an important step in the speaker's artistic evolution They also capture me necessity for femole artists to discover their cwn means of expression within a male dominated artiste sphere. The wolf has done nothing to help her with her artistic aspirations. He presents an obstacle. to the Speaker's artistic growth - 1 ko Me speaker to sneak mto “the back of the lair’ in order to have er Gun divect experience, with poetry which in tum empowers ner bo find her voice ack aeane (St tine of the poem Now Me Speaker suggests withine distance of time ond 1Sne is ‘ Getter was young ‘and it took ten years Re. in the woods to tell that a mushroom sige ‘beer ea ete Stoppers the mouth of a buried corpse, that birds experience - Fergie thous of ieee thata sreying wolf jowis the seme old song at the moon, year in, year ou Season ater season, same miyme, sarne reason. toob an a) Stanza G is about +e speaker's reflections on her time in the woods _with +e wolf, and her growing disillusion ment with him and Meir MisninSte x tasttine-of stanzas. lines 81 - 33: captures ner growing awareness during that decade (iors) of oppressive nature of ner felationship with | She compares her situation to a “mushroom stopper Ling J 4ne Mout) oF a wuried corpse, implying that She can only grow by Silencing the wolf's voice, shah holds all the power, Lines 35-37: the (extended metaphor) of the wolf is gwen a new dimension when ie Speci NS_US not she also learned .., Ho! a gfeprg WOE howls Fhe Same cit BERHE mace, year” Pls year out Seasey offer season. same rhyme, Some rea: ok10 Tena eddy | DATE Te ines “ere old Song at the moon »Gean}in eat) out [Geass after €eascn), Kame jrhyme Game recon o emphasize the speake’s oredont and frustration. He “Te poem suggests that the wolf's song, which represents sob only his ov poetxy but the omnipresence of mole poetic yoices like his has lpecome tired ard uninspiring . The wolf has realized that he has nothing new 40 cay of teach her: She Finally begins tO exert Wer own power over sis Wolf | male dominoted sphere which throughout the poem has served as the Metaphor) for ner adolescence. _ i Lines 36-40: suggest thot the speaker has begun to interregate the Pole trot violence played in her coming-of-age ond she is curious to learn what it feels like to wield Such power for herself yather than receive it aed : Bepetition of. took" thvee Mes) an eines eh rie a: 9 Ls ranizes He SpéurerS ot 2 Strona and power gles she ets herself Hee.OATE me. Thea Reddy & She Steady controtled Thyme ond chython of lines 36-38 rae ae C" wept” “leapt /) indicates ner growing artistic mastery Line 40: The speaker picks up her axe to attack “the wolf. This act of violene ends his sexual power over her and silences his poetic voice Line 41: Inside te wolf's ody, peaker discovers her 4, grand motner's tones.” This olludes to the original Fairy tale. Ts implies tat the speaker and wolf's relationship canbe understood as part of a larger history of men exploiting and silencing woman: This \ine shows tot tne Speaker has exerted her own independence - Tmportantly , there ove sever) allusions to the Fairy tole. The speaker Fees herself rabner than requiring rescue by @ woedsman. Line 441-142: * Wiis is an explicit to tne fairy tale. The wolf in Ouhfys poemis certainty dead le Red Cop performs the same actions cn the WoIF's body, hori call ensuring that he remains in the woeds Cand ner past) forever: = Re werger the child She was before entering tne woeds with Line +2: the wolf, the speaker hos completed transition to adulthood on ner own terms: This natural imagery builds on but (eplaces +e (metaphor) of the birds and SEEMS To SUNGEHET FRE SPEGKED'S Poebe ombstTon fe Finally FAKE OU ieration) of ‘forest’ and “Flowers cvews particular attention Zo+his evolution and the switch fiom "woods" to " forests" hints that the Speaker has already begun to see (and ell) the story of her Mo New, More mature. lens coming. - of -acg. throvo Thena Reddy (>> ONE The fact that the speaker is singing out loud suagests that she_ 1s proud _of ner poetry Her voice has replaced Hat of the wolf's, whom we first met reading his verse out loud Raving overcome a number of obstacles in order to find ner om “unique voice , the speaker wields her talent triumphantly and independently. Take nore that She is alone wich draws our abbention 40° the (ternal rhyme C'stones'|'aione” i “Thi Final image Hes a Hiumphant bow on tne journey showin us a speaker who hos Huy | “chitdhood's end” and come -of- og of ner own accord. _ Structure: oe = Stanza_5 is rhe longest in +e poem. Theme - Gender and Power = Coming of age 5 artistic expression = coming of age 3 sexual _awekening