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310767082_Enchanted_or_endangered_by_Sleep_Modern_interpretation_of_the_heroine's_consciousness
_in_Tales_of_Sleeping_Beauty_Transformations_by_Anne_Sexton_and_Beginning_with_O_by_Olga_Bro
umas

Abstract

In the fairy tale “Sleeping Beauty,” also known as “Briar Rose,” a young princess is initially destined to die
via a curse when she is approximately fifteen years old; however, she pricks her finger on a spindle and
falls into a deep sleep for a hundred years. The female protagonist’s comatose sleep is a root metaphor that
has been perpetuated for hundreds of years through many cultures and numerous variations. One can find
variations of this theme in classical literature throughout history, such as Perrault’s “Sleeping Beauty in the
Woods” and the Grimms’ “Brier Rose.” Each of these pieces of literature employs classical representations
of a curse that is induced by an external force. In each version, the princess falls into a deep slumber for a
hundred years and is awakened by an external stimulus. The theme persists to this day in both classical
traditions and contemporary rewritings of “Sleeping Beauty,” one in which the heroine is suspended in
sleep as she is about to emerge from adolescence. Contemporary versions of the tale, such as Anne Sexton’s
“Briar Rose (Sleeping Beauty)” in Transformations (1971), and Olga Broumas’ “Sleeping Beauty” in
Beginning with O (1977) investigate the sleeping beauties’ comatose state from modern feminist voices.
While all of the aforementioned tales highlight sleep as a critical process in the protagonist’s development,
the premise of this paper centers on explicating the way in which the metaphor of sleep should be analyzed.
The heroine's arrested development in mid-adolescence has been traced from the 17th to the 20th century,
and its symbolism is the basis for the traditional interpretation of the sleep metaphor: the showcase of the
princess' beauty as a symbol of femininity. From feminist and psychoanalytic perspectives, the sleep
metaphor contemplates the heroine's isolation in the society.Those authors elaborate on the long sleep of
the heroine that suspends her in adolescence, highlighting the way in which this sleep represents a
withdrawal from sexual encounter and from the dream of everlasting youth and perfection that has haunted
humankind for ages. Sleep is represented as the heroine’s self-realizing unconsciousness, as well as a
natural process of human nature that can occur in men and women. The heroine’s curse is a turning point
for the protagonist in her transition from adolescence to adulthood. Therefore, through tremendous amounts
of sleep, the heroine internally undergoes the development necessary to become a mature adult.This
internalized self-development is experienced to some extent by the entire society and that the tale happens
to particularize the experience of one woman. It can also be interpreted that the sleep metaphor underpins
the protagonist with classical gender ideals, allowing her to fit into a male-dominated fairy tale.
Nevertheless, when she is awakened, her perceptions of her fairy tale ending and former reaction to
patriarchal structures lie in conflict with modern gender roles. Adopting these approaches, this paper
addresses the premise that magical prolonged sleep illustrates the arrested development of an adolescent
princess. Via this state of suspended unconscious animation, both physical and emotional, the protagonist
maintains her isolation from and rejection of the consequences associated with adulthood, thus retaining her
youth indefinitely and simultaneously deferring the rigors of womanhood. As depicted in classical and
contemporary tales, the heroine is isolated in a deep sleep predestined by a curse, showcasing her
vulnerability and insecurity. Further analysis of the tales demonstrates that the tension of each heroine’s
sleep is a dilemma between her objective identity in a patriarchal society as wife versus her subjective
identity as an individual. However, the sleep is no longer a dilemma; rather it is the heroine's self-defense
mechanism, which secures her from society. The princess in her deep-sleep state can be likened to a rose in
winter; as the rose appears to be dead during its hibernation, the princess lies dormant, appearing lifeless.
Under the surface, however, much is happening. Both the rose and the princess “use” their deep sleep to
prepare them for the world outside once awakened by an external stimulus. The rose will be awakened by
the kiss of spring, and the princess will be awakened by the kiss of a prince, becoming the fairy tale
heroine.
Enchanted or Endangered by Sleep? Modern Interpretation of the Heroine’s Consciousness in Tales of
Sleeping Beauty

Introduction
In the fairy tale “Sleeping
Beauty,” a young princess is
initially destined to
die via a curse when she is
approximately fifteen years old;
however, she pricks
her finger on a spindle and
falls into a deep sleep for a
hundred years. The
female protagonist’s comatose
sleep is a root metaphor that
has been
perpetuated for hundreds of
years through many cultures
and numerous
variations. One can find
variations of this theme in
classical literature
throughout history, such as
Perrault’s “Sleeping Beauty in the
Woods”1 and the
Grimms’ “Briar Rose.”2 Each of
these pieces of literature
employs classical
representations of a curse that is
induced by an external force. In
each version,
the princess falls into a deep
slumber for a hundred years and
is awakened by
an external stimulus. The theme
persists to this day in both
classical traditions
and contemporary rewritings of
“Sleeping Beauty,” one in which
the heroine is
suspended in sleep as she is about
to emerge from adolescence.
Contemporary
versions of the tale, such as
Anne Sexton’s “Briar Rose
(Sleeping Beauty)” in
Transformations3 and Olga
Broumas’ “Sleeping Beauty” in
Beginning with O4
investigate the sleeping beauty’s
comatose state from modern
feminist voices.”
In the fairy tale “Sleeping
Beauty,” a young princess is
initially destined to
die via a curse when she is
approximately fifteen years old;
however, she pricks
her finger on a spindle and
falls into a deep sleep for a
hundred years. The
female protagonist’s comatose
sleep is a root metaphor that
has been
perpetuated for hundreds of
years through many cultures
and numerous
variations. One can find
variations of this theme in
classical literature
throughout history, such as
Perrault’s “Sleeping Beauty in the
Woods”1 and the
Grimms’ “Briar Rose.”2 Each of
these pieces of literature
employs classical
representations of a curse that is
induced by an external force. In
each version,
the princess falls into a deep
slumber for a hundred years and
is awakened by
an external stimulus. The theme
persists to this day in both
classical traditions
and contemporary rewritings of
“Sleeping Beauty,” one in which
the heroine is
suspended in sleep as she is about
to emerge from adolescence.
Contemporary
versions of the tale, such as
Anne Sexton’s “Briar Rose
(Sleeping Beauty)” in
Transformations3 and Olga
Broumas’ “Sleeping Beauty” in
Beginning with O4
investigate the sleeping beauty’s
comatose state from modern
feminist voices.”
In the fairy tale “Sleeping
Beauty,” a young princess is
initially destined to
die via a curse when she is
approximately fifteen years old;
however, she pricks
her finger on a spindle and
falls into a deep sleep for a
hundred years. The
female protagonist’s comatose
sleep is a root metaphor that
has been
perpetuated for hundreds of
years through many cultures
and numerous
variations. One can find
variations of this theme in
classical literature
throughout history, such as
Perrault’s “Sleeping Beauty in the
Woods”1 and the
Grimms’ “Briar Rose.”2 Each of
these pieces of literature
employs classical
representations of a curse that is
induced by an external force. In
each version,
the princess falls into a deep
slumber for a hundred years and
is awakened by
an external stimulus. The theme
persists to this day in both
classical traditions
and contemporary rewritings of
“Sleeping Beauty,” one in which
the heroine is
suspended in sleep as she is about
to emerge from adolescence.
Contemporary
versions of the tale, such as
Anne Sexton’s “Briar Rose
(Sleeping Beauty)” in
Transformations3 and Olga
Broumas’ “Sleeping Beauty” in
Beginning with O4
investigate the sleeping beauty’s
comatose state from modern
feminist voices.”
In the fairy tale “Sleeping Beauty,” a young princess is initially destined to die via a curse when
she is approximately fifteen years old; however, she pricks her finger on a spindle and falls into a deep
sleep for a hundred years. The female protagonist’s comatose sleep is a root metaphor that has
been perpetuated for hundreds of years through many cultures and numerous variations. One can
find variations of this theme in classical literature throughout history, such as Perrault’s “Sleeping
Beauty in the Woods”1 and the Grimms’ “Briar Rose.”2 Each of these pieces of literature employs
classical representations of a curse that is induced by an external force. In each version, the princess falls
into a deep slumber for a hundred years and is awakened by an external stimulus. The theme persists to this
day in both classical traditions and contemporary rewritings of “Sleeping Beauty,” one in which the heroine
is suspended in sleep as she is about to emerge from adolescence. Contemporary versions of the tale, such
as Anne Sexton’s “Briar Rose (Sleeping Beauty)” in Transformations3 and Olga Broumas’ “Sleeping
Beauty” in Beginning with O4 investigate the sleeping beauty’s comatose state from modern feminist
voices.”

While all of the aforementioned tales highlight sleep as a critical process in the protagonist’s
development, the premise of this paper centers on explicating the way in which the metaphor of sleep
should be analyzed. The heroine’s arrested development in mid-adolescence has been traced from
the seventeenth to the twentieth century, and its symbolism is the basis for the traditional
interpretation of the sleep metaphor: the showcase of the princess’s beauty as a symbol of femininity.
From feminist and psychoanalytic perspectives, the sleep metaphor contemplates the heroine’s
isolation in the society. In analyzing the three classical tales from his Freudian psychoanalytical
perspective, psychologist Bruno Bettelheim theorizes, “‘Sleeping Beauty’ tells that a long period of
quiescence, of contemplation, of concentration on the self, can and often does lead to highest
achievement.”5 Based on this argument, he elaborates on the long sleep of the heroine that suspends
her in adolescence, highlighting the way in which this sleep represents a withdrawal from sexual
encounter and from the dream of everlasting youth and perfection that has haunted humankind for ages.

Referring to the same classical tradition, the Swiss scholar Max Lüthi echoes Bettelheim’s
idea of sleep as the heroine’s self-realizing unconsciousness, but he universalizes the metaphor of
sleep as a natural process of human nature that can occur in men and women.6 He argues that the
heroine’s curse is a turning point for the protagonist in her transition from adolescence to adulthood, and he
further observes the curse as a caution for humankind. Therefore, through tremendous amounts of
sleep, the heroine internally undergoes the development necessary to become a mature adult. Lüthi
then concludes that this internalized self-development is experienced to some extent by the entire society
and that the tale happens to particularize the experience of one woman.

In contrast, American scholar Jack Zipes, who approaches fairy tales from a more sociohistorical
perspective, states that the metaphor of sleep relates to the heroine’s withdrawal from social conflict as a
result of her awareness of cultural gender norms. Therefore, Zipes argues that the sleep metaphor
underpins the protagonist with classical gender ideals, allowing her to fit into a male-dominated fairy tale.
Nevertheless, when she is awakened, her perceptions of her fairy-tale ending and former reaction to
patriarchal structures lie in conflict with modern gender roles. Using Anne Sexton’s “Briar Rose” as an
example, Zipes elaborates that the poem portrays the “self-definition of a young woman” as a central
theme. The author then interprets that in sleep, Sexton’s protagonist’s self-discovery incubates along
with the trauma she experiences in the sleep state, that of her drunken father sexually molesting her.7
 Adopting these approaches, this paper addresses the premise that magical prolonged sleep
illustrates the arrested development of an adolescent princess. Via this state of suspended unconscious
animation, both physical and emotional, the protagonist maintains her isolation from and rejection
of the consequences associated with adulthood, thus retaining her youth indefinitely and simultaneously
deferring the rigors of womanhood. As depicted in classical and contemporary tales, the heroine is
isolated in a deep sleep predestined by a curse, showcasing her vulnerability and insecurity. Further
analysis of the tales demonstrates that the tension in each heroine’s sleep is a dilemma between her
objective identity in a patriarchal society as a wife versus her subjective identity as an individual.
However, the sleep is no longer a dilemma; rather, it is the heroine’s self-defense mechanism, which
secures her from society. The princess in her deep-sleep state can be likened to a rose in winter; as the
rose appears to be dead during its hibernation, the princess lies Beyond the Binary 13 dormant, appearing
lifeless. Under the surface, however, much is happening. Both the rose and the princess use their deep
sleep to prepare for the world outside once awakened by an external stimulus. The rose will be awakened
by the kiss of spring, and the princess will be awakened by the kiss of a prince, becoming the fairy tale
heroine.

Classical tales of “Sleeping Beauty” are not discarded by these contemporary writers of the
fairy tale tradition. Scholars argue that the heroine’s twilight sleep is a matter of preservation.
However, these later authors move this analysis further; while the long sleep preserves her youth and
beauty, only upon awakening and facing daily challenges does the princess realize herself as a concrete
being. The princess’s predestined fate is established by a curse and is followed by one. In the comatose
sleep, however, the princess is allowed more time to prepare. Along with this notion, contemporary
writers suggest that the sleep is also frustration and a struggle to re-enter the world. This unconsciousness
serves as metaphor not only for the preservation of external youth or the perfect model of beauty but
also as a dimension in which the princess may reflect deeply about her life and future. Consequently, the
sleep evokes the question of whether or not the protagonist wants to transform herself. Will and will
power are exerted by the princess in this interpretation. Today’s society, after all, offers a number of
different roles for women at this juncture in their lives.

Anne Sexton’s Princess

In her “Briar Rose,” Anne Sexton uses the poetic form to express her personal view of the
psychological imagery presented in the Grimms’ version of the Sleeping Beauty tale while maintaining
the traditional story line. Interspersing artistic interpretation with a highly-sexualized narration, Sexton
depicts a protagonist deeply attached to her doting father for unusual reasons. After she is awakened by
the prince, the protagonist is unable to regain a normal life because of the traumatic events that may
have occurred during her unconscious state: “[S]leep, which is likened to death, becomes intolerable.
Fear causes [the persona] to live in anxious anticipation of time, and yet, she recoils from the future.”8
Unlike the Grimms’ Briar Rose, in this version, sleep first serves to darken the princess’s soul and
imprison her persona. Then, consequently, the sleep itself becomes the princess’s protective
mechanism, like the all-encompassing briars surrounding the castle in the Grimms’ tale, against her
father’s abuse that has occurred surreptitiously. Consequently, she moves deeper inside herself to deaden
the psychological pain.

The heroine Briar Rose falls into a comatose state due to her predestined curse. After a hundred
years, she is awakened by a prince’s kiss and is supposed to live happily ever after with him, but
Sexton’s Briar Rose is troubled as a result of nagging memories of sexual abuse. The heroine is
aroused from her deep slumber with strong impressions of her father: “He kissed Briar Rose / and she
woke up crying: / Daddy! Daddy! / Presto! She’s out of prison!”9 Nevertheless, she suffers from
insomnia because unknown fears cause her to dread sleep. The heroine’s “conflicting sensation”
upon being awakened is a consequence of a great trauma suffered during sleep; the author equates it with
being imprisoned. Sleep is often connected to safeguarding the psyche; however, in this case it also
metaphorically links the protagonist with bondage and the darkening of her soul. Therefore, once she is
freed from her dark cell, she fears sleep, and it becomes her helplessness.10

Like the Grimms’ heroine, the princess feels her life no longer belongs to her while asleep, and she
is unable to regain control of her non-being state:

If it is to come, she said

sleep must take me unawares
[...]
I must not sleep
for while asleep I’m ninety
and think I am dying.
Death rattles in my throat
like a marble.11
If it is to come, she said

sleep must take me unawares

[...]

I must not sleep

for while asleep I’m ninety

and think I am dying.

Death rattles in my throat

like a marble.11

Anne Sexton’s Briar Rose is imprisoned by her sleep and she dreams that her life is over. She
seems to be observing events from her previous sleep and becomes distanced from her body.
Skorczewski comments, “She does not remain in her body fully, that mentally she distances
herself from what her body may be feeling.”12 She awakens clearly traumatized, and
thereafter, the thought of sleep is stressful. Her posttraumatic stress disorder signifies that sleep
is incompatible with happily ever after.

Eventually, she makes the connection between her unconscious misgivings that haunt her
waking hours and the dark dreams from her sleep state:

It’s not the prince at all,

 but my father

drunkenly bent over my bed,

circling the abyss like a shark,

my father thick upon me

like some sleeping jellyfish.13

The final stanza of this poem reveals that Briar Rose was sexually molested by her inebriated
father, the king, while she magically slept. This revelation vividly addresses the reason why she
fears sleep: “She associates it with male violence.”14 She is no longer the pure icon that either
the Brothers Grimm or Perrault depict in their fairy tales. Moreover, she re-lives her trauma
once awakened in order to determine her fate. Although she is alive, she feels she has died and
entered hell. She is terrified of sleeping because sleep does not protect her; on the contrary, it
contributes to her vulnerability of sexual predation. For this Sleeping Beauty, the deep sleep is
tantamount to eternal punishment, and consequently, no happily ever after occurs when she is
asleep or awake.

The way Sexton explores the underside of sleep, and the resulting recollection that
deals with sexual violation in the final stanza, can be related to the heroine’s trauma. Sexton’s
princess is sexually molested by her father in the story. However, the princess initially confuses this
sexual abuse with love. She merely responds in a proper feminine manner that extends societal
expectations. After the incident is remembered, however, Sexton’s princess is deeply victimized by
her biological father who abused her in the past. Her sexual encounter comes to her
unconsciously in sleep and tortures her after she awakens.

Sexton alarms the reader: the princess can no longer live happily ever after because this
incident is not fated in her future existence. The princess is no longer pure since her path is
bitterly obscured by her inebriated father. Although the conclusion is left to the imagination, the
same as in “happily ever after,” the context is completely opposite. This princess will not be all
right; most likely she will not experience happily ever after without a therapist’s assistance.

The Symbolic Meaning of Sleep

in the Contemporary Rewritings
Adapting the story line from the classical “Sleeping Beauty,” mainly from the Grimms’ “Briar
Rose,” each of the contemporary rewritings challenges the significance of the heroine’s comatose
sleep and the perfunctory continuation of her life after she is awakened by an external
stimulus. As in the three classical fairy tales, the protagonist in the contemporary tales is cursed to
sleep magically for a hundred years. Within the traditional framework of the curse and sleep, the
contemporary protagonist seems to be more aware of the outer world. Numerous individual
problems are raised in the contemporary writings, most significantly in a woman being sexually
molested by her father and a woman discovering that she loves another woman. The heroine’s
sleep often addresses modern societal concerns of sexuality, love, universality, and the
realization of self. In these modern versions from Anne Sexton and Olga.
 Broumas, the transformation from sleep to consciousness often finds the protagonist
trying to make sense of her world while sleeping and after awakening.

The metaphor of sleep in these contemporary writings facilitates the realization of the
self that drives an individual woman’s search for her societal role. Insulated in her cocoon of
unconsciousness, the princess is free to think her thoughts and to discover her innermost self.
Protected from such distractions as male dominance and the imposition of unwanted values, she is
able to grapple with her eternal struggle and the worldly limitations that await her. The heroine’s
metaphoric sleep propels her journey of the self, imbuing her with the power to construct her
own ending, not according to patriarchal norms of “happily ever after” as followed by the classical
tradition, but rather, in terms of the princess’s self-determination. The protagonist’s twilight sleep
for a hundred years is not merely the preservation of external youth that Basile, Perrault, and the
Grimms significantly universalized in their tales but an antidote that temporarily suspends
Sleeping Beauty’s problems with the world. Because the princess is allowed to remain herself for
a century, however, at least from a cultural perspective, she sometimes finds it difficult to claim a
new life and anticipate her future.

The metaphoric symbolism of the briar hedges and thorns go further than merely protecting
the heroine’s sleep and the castle in these tales. They strengthen the curse surrounding the
heroine, and in at least one instance, force the prince to re-evaluate the meaning of happily
ever after. The implication in these revisions is that the heroine, like any other person, faces an
infinite array of options pertaining to her societal role, achieving either happiness or misery.
The sleep is no longer a preservation of extreme superficial beauty; instead, it assumes a
deeper meaning, allowing the protagonist to understand herself and embrace her new world.

Conclusion
The tales investigated illustrate the “Sleeping Beauty” protagonist as a person who lives
in suspended animation for an extended time. During her sleep, the protagonist is forced to
internalize her self-image, either consciously or unconsciously, until she is awakened from her
forced isolation. In most tales, if the initial curse on the protagonist had prevailed, she would have
been dead. Instead, however, she remains alive in order to examine herself in comatose and
wakeful states. In both stories, sleep suspends the princess between two different worlds, that
is, it acts as a state of living death. In addition, sleep provides a protective means of preserving
youthful beauty. The protagonist is always a princess, which connotes her high position in society.
Therefore, the long-standing assumption of particular womanhood ideals determines happily
ever after in Sleeping Beauty fairy tales.

Other than imprisoning the heroine by reducing her to a perfect patriarchal paradigm of
the ideal woman, the sleep also arrests her adolescence, er with a prince afterward. These fairy
tales assume that the responsibility of womanhood is a challenge that many women want to
forego. The traditional perspective of the authors heavily influences the protagonist’s sexual
identity and the way she interacts with her gendered society. Individual self-defined happiness and
happily ever after are promised to no one, especially not to a Sleeping Beauty.
 NOTES

1 Charles Perrault, The Great

Fairy Tale Tradition: From
Straparola and Basile to the
Brothers Grimm, trans. and ed. Jack
Zipes. New York: W.W. Norton,
2001.
2 Jacob Grimm and Wilhelm
Grimm, The Contemporary Fairy
Tales of the Brothers
Grimm, Volume I, trans. Jack Zipes.
New York: Bantam Books, 1992.
3 Anne Sexton, Transformations.
Boston: Houghton Mifflin, 1971.
4 Olga Broumas, Beginning with O.
New Havens, CT: Yale UP, 1977.
5 Bruno Bettelheim, The Uses of
Enchantment: The Meaning and
Importance of Fairy Tales
(New York: Random House, 1975),
230.
6 Max Lüthi, Once Upon a Time:
On the Nature of Fairy Tales, trans.
Lee Chadeayne and
Paul Cottwald (Bloomington, IL:
Indiana UP, 1970), 25.
7 Jack Zipes, ed., Don’t Bet on
Prince: Contemporary Feminist Fairy
Tales in North America
and England (New York: Methuen,
1986), 21.
8 Cynthia A. Miller, “The Poet in
the Poem: A Phenomenological
Analysis of Anne
Sexton’s ‘Briar Rose (Sleeping
Beauty),’” in Analecta Husserliana,
ed. Anna-Teresa
Tymieniecka (Springer: Netherlands,
1984), 18:61-9.
9 Sexton, Transformations, lines 94-
7, 110.
10 Dawn Skorczewski, “What
Prison Is This? Literary Critics Cover
Incest in Anne
Sexton’s ‘Briar Rose,’” Signs:
Journal of Women in Culture and
Society 21, no. 2 (Winter
1996): 318-9.
11 Sexton, Transformations, lines
109-24, 111.
12 Skorczewski, “What Prison Is
This,” 319.
13 Sexton, Transformations lines
153-8, 112.
14 Skorczewski, “What Prison Is
This,” 665-6.
15 Broumas, Beginning with O,
lines 4-9, 61.
16 Ibid., lines 11-23, 61.
17 Ibid., lines 24-30, 61-2.
18 Ibid., lines 31-4, 26.
19 Ibid., lines 35-42, 62.
20 Ibid., lines 43-7, 62.
21 Ibid., lines 50-1, 62.
22 Ibid., lines 51-3, 62.
1 Charles Perrault, The Great Fairy Tale Tradition: From Straparola and Basile to the

Brothers Grimm, trans. and ed. Jack Zipes. New York: W.W. Norton, 2001.

2 Jacob Grimm and Wilhelm Grimm, The Contemporary Fairy Tales of the Brothers

Grimm, Volume I, trans. Jack Zipes. New York: Bantam Books, 1992.

3 Anne Sexton, Transformations. Boston: Houghton Mifflin, 1971.

4 Olga Broumas, Beginning with O. New Havens, CT: Yale UP, 1977.

5 Bruno Bettelheim, The Uses of Enchantment: The Meaning and Importance of Fairy Tales

(New York: Random House, 1975), 230.

6 Max Lüthi, Once Upon a Time: On the Nature of Fairy Tales, trans. Lee Chadeayne and

Paul Cottwald (Bloomington, IL: Indiana UP, 1970), 25.

7 Jack Zipes, ed., Don’t Bet on Prince: Contemporary Feminist Fairy Tales in North America

and England (New York: Methuen, 1986), 21.

8 Cynthia A. Miller, “The Poet in the Poem: A Phenomenological Analysis of Anne

Sexton’s ‘Briar Rose (Sleeping Beauty),’” in Analecta Husserliana, ed. Anna-Teresa

Tymieniecka (Springer: Netherlands, 1984), 18:61-9.

9 Sexton, Transformations, lines 94-7, 110.

10 Dawn Skorczewski, “What Prison Is This? Literary Critics Cover Incest in Anne

Sexton’s ‘Briar Rose,’” Signs: Journal of Women in Culture and Society 21, no. 2 (Winter

1996): 318-9.

11 Sexton, Transformations, lines 109-24, 111.

12 Skorczewski, “What Prison Is This,” 319.

13 Sexton, Transformations lines 153-8, 112.

14 Skorczewski, “What Prison Is This,” 665-6.

15 Broumas, Beginning with O, lines 4-9, 61.

16 Ibid., lines 11-23, 61.

17 Ibid., lines 24-30, 61-2.

18 Ibid., lines 31-4, 26.

19 Ibid., lines 35-42, 62.

20 Ibid., lines 43-7, 62.

21 Ibid., lines 50-1, 62.

22 Ibid., lines 51-3, 62.