Ariel by Sylvia Plath

Sylvia Plath's "Ariel" was first published posthumously in a 1965 collection of the same title, which
Plath had completed not long before her death in February 1963. In this free verse poem, a speaker
sheds her inner burdens on a morning horseback ride, becoming one with the natural force she feels in
her horse and the landscape. The speaker's liberating but dangerous ride has often been read as a
metaphor for writing, female empowerment, and/or psychological instability—all subjects Plath
understood intimately.
Ariel” Summary

The speaker declares that everything is still and dark until a vast, hazy landscape of distant rocky hills
appears.

The speaker talks to her horse, calling her a fierce and divine lioness and marveling at the way their
two bodies work together, becoming one.

The ploughed fields rush past the speaker and her horse as they ride on. The brown curve of the earth
mirrors the horse's neck, which the speaker feels she can't catch up with.

Wild blackberries capture the speaker's attention, as if they're throwing out hooks to catch her.

Their sweet, dark juice fills the speaker's mouth and reminds her of blood. She notices shadows.

Some new force intervenes and carries the speaker onwards, taking over every bit of her—from her
legs to her hair to the skin that peels from the bottoms of her feet.

The speaker feels naked as Lady Godiva, stripping off unnecessary parts of herself like clothing. She
casts aside lifeless hands and useless restrictions.

Liberated, she begins to evaporate like bubbles, until she becomes one with a field of wheat and the
glitter of the ocean.

The cries of a child fade away inside a far-off wall. The speaker becomes a swift arrow, or dew
evaporating into the air, united with a natural energy that throws her into the heart of the fiery red
morning sun.
· Literary and Historical Context of “Ariel”
· Literary Context
The American poet Sylvia Plath wrote "Ariel" in the fall of 1962, and published it in a collection of the
same name. She died in February 1963, shortly after completing the Ariel manuscript. This collection,
with its themes of liberation, gender, death, and rebirth, would make Plath famous after her death. But
its legacy has gotten entangled with Plath’s personal struggles, including her mental illness and the
breakdown of her marriage to fellow poet Ted Hughes.
The poems Plath wrote for Ariel echo her earlier work in their thematic concerns, natural imagery, and
use of black/white symbolism. For instance, "Ariel" echoes a lot of imagery from Plath's 1960 poem
"Blackberrying." And Plath's famous novel, The Bell Jar, is a clear precursor of this poem's feminist
themes.
Immersed in literature since her childhood, Plath had many poetic influences. However, her longtime
affinity for Shakespeare’s The Tempest—and especially the character of Ariel, the imprisoned air-
spirit—has the most obvious and prominent influence here. Plath returned to The Tempest for
inspiration many times over the course of her career; for instance, her poem "Full Fathom Five" quotes
the play. Some of her other major influences were Dylan Thomas ("Fern Hill"), William Blake ("The
Garden of Love"), and Robert Lowell ("Waking in the Blue").
Since her death, Plath has become one of the most beloved, respected, and influential poets of the 20th
century.
Historical Context
"Ariel" was written during the early 1960s, a period characterized by change and instability. In fact, the
Cuban Missile Crisis was taking place while "Ariel" was written, and the fear and volatility of that
near-disaster resonates with this poem's images of destruction. Those images might also speak to
Plath's personal struggles. The poem was written on Plath's final birthday, her 30th. Struggling with a
painful marriage and long-term depression, she would commit suicide that same year.
"Ariel" also reflects the feminist movement of the 1960s. In these years, Second Wave Feminism was
beginning to crystallize as women reacted against an oppressive return to traditional family values in
the post-WWII 1950s. Plath's reference to Lady Godiva, who stands up for her beliefs against her
husband's wishes, captures the growing feminist spirit of the time.
However, the poem's themes of liberation and empowerment are at odds with Plath's use of a racist slur
in this poem. The Civil Rights movement was well underway when "Ariel" was written, and Plath was
very politically engaged. However, her poetry frequently featured racist and anti-Semitic tropes and
fetishization. Her shortsightedness reflects a wider white blindness to Black realities in the 1960s.

· “Ariel” Themes

Sylvia Plath's poem "Ariel" explores a range of complex themes that contribute to its
enduring power and depth. Here are some of the key themes elaborated:

### 1. **Transformation and Rebirth**

**Description**: The poem vividly depicts a journey from darkness to light, symbolizing a
profound personal transformation and rebirth.

**Elaboration**:
- **Imagery of Dawn**: The transition from night to dawn mirrors the speaker’s inner
transformation. The rising sun symbolizes new beginnings and the shedding of old selves.
- **Metamorphosis**: The speaker’s ride on the horse Ariel represents a metamorphosis,
moving from a state of inertia or entrapment to one of liberation and renewal.

### 2. **Death and Suicide**

**Description**: Themes of death, both literal and metaphorical, permeate the poem,
reflecting Plath's own struggles with suicidal thoughts.

**Elaboration**:
- **Riding to Death**: The headlong rush of the horse can be interpreted as a suicidal
plunge, an embrace of death as a form of escape or transcendence.
- **Imagery of Extinction**: Phrases like "the black sweet blood mouthfuls" and "the
child's cry / Melts in the wall" suggest a dissolution of self and a merging with the infinite,
hinting at both the allure and the terror of death.

### 3. **Female Empowerment and Identity**

**Description**: The poem explores the speaker’s quest for self-empowerment and the
struggle to assert her own identity, distinct from societal and familial expectations.

**Elaboration**:
- **Breaking Free**: The ride on Ariel symbolizes breaking free from constraints, including
traditional female roles. The speaker’s defiant journey can be seen as an assertion of
independence and self-discovery.
- **Symbol of the Horse**: Ariel, the horse, can be viewed as a representation of unbridled
feminine power and freedom.

### 4. **Nature and the Sublime**

**Description**: Nature in "Ariel" is portrayed with a sense of awe and terror, embodying
the sublime—beauty mixed with overwhelming power and danger.

**Elaboration**:
- **Elemental Forces**: The poem’s depiction of wind, speed, and the vast landscape evokes
the power and majesty of nature, reflecting the speaker’s tumultuous emotions.
- **Union with Nature**: The merging of the speaker’s identity with the natural world ("I /
Am the arrow") suggests a profound connection to the elemental forces, symbolizing a
dissolution of boundaries and an embrace of the sublime.

### 5. **Existential Anguish and Transcendence**

**Description**: The poem grapples with existential themes, including the search for
meaning and the confrontation with nothingness.

**Elaboration**:
- **Confronting the Void**: The intense, almost nihilistic drive of the poem reflects an
existential struggle, a confrontation with the void or the abyss.
- **Transcendent Moments**: Despite the anguish, there are moments of transcendence
where the speaker achieves a sense of unity and purpose, as seen in the final lines where she
becomes “the arrow, / The dew that flies.”

### 6. **Isolation and Alienation**

**Description**: Feelings of isolation and alienation are central to the poem, reflecting the
speaker’s separation from others and from herself.

**Elaboration**:
- **Solitary Journey**: The ride on Ariel is a solitary journey, symbolizing the speaker’s
inner isolation and her detachment from societal norms.
- **Imagery of Distance**: The landscape imagery, with its vast, open spaces, emphasizes
the speaker’s sense of alienation and her existential solitude.

### 7. **Freedom and Confinement**

**Description**: The tension between freedom and confinement is explored through the
speaker’s physical and psychological journey.

**Elaboration**:
- **Breaking Constraints**: The act of riding the horse at breakneck speed symbolizes
breaking free from constraints, whether they are societal, familial, or psychological.
- **Confined Spaces**: Contrasted with this freedom are the confined spaces and the sense of
entrapment the speaker feels, reflecting her inner turmoil and desire to escape.

Liberation and Transcendence

The speaker of "Ariel" describes an early morning horse ride. While the speaker's journey begins as a
highly physical experience, it gradually becomes less sensory and more spiritual—or even supernatural.
Over the course of her ride, the speaker sheds all that holds her back and begins to feel that she's one
with the exuberant natural force that she sees in the landscape and the horse. The title's allusion to the
air-spirit Ariel, a character in Shakespeare’s The Tempest who is released from servitude at the end of
the play, only strengthens the speaker’s point: fully and freely giving in to one's natural impulses is a
transformative, liberating, and joyful experience.

The speaker initially experiences her morning ride in her body, connecting to the scene through
physical experience. Grounding herself in this way prepares her to feel a deeper connection with the
world around her. The speaker refers to horseback riding as "a pivot of heels and knees," highlighting
the bodily movements of both herself and the horse. She then mentions "[t]he brown arc" of the horse's
"neck," and notes that she "cannot catch" it any more than she can catch the landscape that the horse is
"sister" to. At first, she's enjoying her physical experience, but she's still a little outside it. In other
words, the powerful force that pervades the natural world is one step ahead of her, leading her on.
When the speaker stops to taste berries, she becomes somewhat grounded, imagining that the berries
have "blood" like her and feeling the thorns as "hooks" that anchor her to the physical world.

As the speaker continues her journey, her physical connection to her environment develops into a
spiritual bond, and she becomes one with the impulses that drive her. When the speaker stops to eat
berries, "something else / Hauls [her] through air." As she experiences physical connection through the
berries, some deeper natural urge takes hold of the speaker’s body, carrying with it every bit of her,
from her "hair" to the skin that "flakes from [her] heels."

The speaker describes this process as "unpeeling," and likens herself to Lady Godiva, who is known for
riding naked on horseback. As the force of the natural world sweeps her up, the speaker discards the
dead weight that burdens her: "dead hands, dead stringencies." "Hands" suggests the body and the
physical world, while "stringencies" are the rigid guidelines that no longer restrain the speaker. She
even lets go of the burdens of parenthood or of painful childhood memories as "The child’s cry / Melts
in the wall."

As she rides on in the grip of this strange force, the speaker becomes less and less material, "foam[ing]
to wheat, a glitter of seas" and resembling "the dew" that will evaporate under the morning sun. In
other words, the speaker transcends her physical form and grows much closer to the natural force that
compels her, becoming "one with the drive" forward, towards the horizon, that has been guiding her
this whole time.

Shedding her restrictions and giving into natural impulses brings the speaker strength, freedom, and
excitement—though these are not without their dangers. But in the end, this transcendent experience is
deeply worthwhile. While the horse ride began with "Stasis in darkness"—a complete lack of light or
movement—the speaker transforms into "the drive" towards the morning sun, gaining agency and
awareness. Once the transformation is complete, the speaker likens herself to a fierce, piercing "arrow,"
taking on the strength and velocity of the natural force that drives her.

At the same time, the speaker hints that this is a dangerous process, referring to dew as "suicidal" as it
flies into the fiery sun, the "cauldron of morning." The reader gets the sense that this kind of liberation
brings with it the threat of destruction. Still, the surrounding references ("drive," "arrow," etc.) suggest
that this process is exciting and empowering, albeit dangerous. In other words, the speaker’s horse ride
illustrates the ecstatic transcendence that occurs when people cast aside their physical, human
restrictions are cast aside and allow their uninhibited instincts to take over.

“Ariel” Symbols

The Horse

The horse in this poem symbolizes the natural impulses that take hold of the speaker. The horse
initially leads the speaker, who is in awe of its speed and power as they begin to "grow" into "one." But
by the time the poem closes, the speaker has become "one with the drive" that the horse embodies. The
fact that the speaker never directly tells the reader she's riding a horse emphasizes the horse's
unearthliness, making it feel almost as if the speaker is riding the elements themselves.

The speaker claims that the horse is "sister to" the landscape, emphasizing the spiritual connection that
all natural things share. But the horse also seems to be a supernatural force, not just an earthly one.
She's named "Ariel," which is the name of a liberated air-spirit in Shakespeare's The Tempest. The
speaker also calls her "God's lioness," a translation of "Ariel" from Hebrew. These allusions highlight
the horse's almost magical power.

Darkness and Light

Darkness in this poem symbolizes the limitations of the physical world (including its lack of insight),
while light represents the ecstatic freedom of spirituality. The speaker begins her ride enveloped in
darkness and sunk in the sensory experience of eating dark blackberries. Gradually, she transcends
physical burdens and restrictions, becoming a liberated "White / Godiva" who rides towards the
brilliant sun, the "cauldron of morning."
The speaker uses the n-word when describing the berries that entice her, comparing them to the eye of
a Black person. Her use of a racist slur associates Blackness with physicality and the senses—
especially when the speaker uses whiteness to signify transcendence and enlightenment. In fact, the
speaker gains power by prevailing over darkness and becoming "White." As such, the darkness and
light symbolism reinforces racist tropes and power dynamics—an unfortunately common feature of
Plath’s poetry, and one which can also be seen in poems like "The Arrival of the Bee Box," written just
a few weeks before "Ariel."

· “Ariel” Speaker
·
The speaker of this poem uses a first-person point of view, allowing the audience to see her horseback
ride through her eyes.

When the ride begins, the speaker seems awestruck, enraptured with the strength and power of both the
horse and the landscape. Her experience of the ride gradually becomes less sensory and more spiritual
as the energy that courses through the natural world takes hold in her. The speaker undergoes a
transformation that leaves her feeling liberated and empowered.

The speaker doesn't reveal much biographical information about herself, and never explicitly states her
gender. However, her comparison of herself to "Godiva" (the legendary medieval woman who
famously rode naked through town to protest her husband's unfair tax policy), and her sense that the
horse she bonds so closely with is a "lioness" and a "sister," hint that she's a woman. What's more,
Sylvia Plath herself had a horse named Ariel, and was known for writing radically autobiographical
poetry. For all these reasons, we're referring to the speaker as "her" in this guide.

If this speaker is indeed a woman, the horse ride might be taken as a metaphor for the freedom, power,
and risk that come with casting off the burden of sexist gender roles. Still, since the speaker is never
truly gendered here, it might be fair to say that gender itself is one of the "dead stringencies" she casts
off over the transformative course of her ride.

· “Ariel” Setting
·
References to a "tor" (a colloquial British word for a hill or rocky outcropping) and to the "furrow" of
ploughed farmlands suggest that this poem takes place in the British countryside.

At the beginning of the poem, it's so early in the morning that it's still dark out, and the speaker is
overwhelmed by her surroundings, describing a torrential "Pour of tor and distances." But as she rides
out on horseback, she begins to ground herself in the natural world, bonding with the horse she rides
and eating "Black sweet blood mouthfuls" of wild blackberries. At last, the speaker even becomes the
landscape, proclaiming "And now I / Foam to wheat, a glitter of seas." The landscape's grand beauty
transforms the speaker, liberating and empowering her. At the end of the poem, she's even ready to fly
into the sun.

As the speaker rides through this wild, beautiful landscape, she becomes almost one with it,
emphasizing the transcendent and transformative power of the natural world.

· Literary and Historical Context of “Ariel”

· Literary Context
The American poet Sylvia Plath wrote "Ariel" in the fall of 1962, and published it in a collection of the
same name. She died in February 1963, shortly after completing the Ariel manuscript. This collection,
with its themes of liberation, gender, death, and rebirth, would make Plath famous after her death. But
its legacy has gotten entangled with Plath’s personal struggles, including her mental illness and the
breakdown of her marriage to fellow poet Ted Hughes.
The poems Plath wrote for Ariel echo her earlier work in their thematic concerns, natural imagery, and
use of black/white symbolism. For instance, "Ariel" echoes a lot of imagery from Plath's 1960 poem
"Blackberrying." And Plath's famous novel, The Bell Jar, is a clear precursor of this poem's feminist
themes.
Immersed in literature since her childhood, Plath had many poetic influences. However, her longtime
affinity for Shakespeare’s The Tempest—and especially the character of Ariel, the imprisoned air-
spirit—has the most obvious and prominent influence here. Plath returned to The Tempest for
inspiration many times over the course of her career; for instance, her poem "Full Fathom Five" quotes
the play. Some of her other major influences were Dylan Thomas ("Fern Hill"), William Blake ("The
Garden of Love"), and Robert Lowell ("Waking in the Blue").
Since her death, Plath has become one of the most beloved, respected, and influential poets of the 20th
century.
Historical Context
"Ariel" was written during the early 1960s, a period characterized by change and instability. In fact, the
Cuban Missile Crisis was taking place while "Ariel" was written, and the fear and volatility of that
near-disaster resonates with this poem's images of destruction. Those images might also speak to
Plath's personal struggles. The poem was written on Plath's final birthday, her 30th. Struggling with a
painful marriage and long-term depression, she would commit suicide that same year.
"Ariel" also reflects the feminist movement of the 1960s. In these years, Second Wave Feminism was
beginning to crystallize as women reacted against an oppressive return to traditional family values in
the post-WWII 1950s. Plath's reference to Lady Godiva, who stands up for her beliefs against her
husband's wishes, captures the growing feminist spirit of the time.
However, the poem's themes of liberation and empowerment are at odds with Plath's use of a racist slur
in this poem. The Civil Rights movement was well underway when "Ariel" was written, and Plath was
very politically engaged. However, her poetry frequently featured racist and anti-Semitic tropes and
fetishization. Her shortsightedness reflects a wider white blindness to Black realities in the 1960s.

· Lines 1-3:
· “Stasis in darkness. Then the substanceless blue / Pour of tor and distances.”
The poem begins with a sense of stillness (“stasis”) in darkness.
Suddenly, the horse, named “Ariel,” charges forward, plunging the speaker into action.
The “substanceless blue” could represent the sky or the horse’s energy.
“Pour of tor and distances” describes the landscape rushing past—the hills, the countryside, and the
vastness of space.

· Lines 4-6:
· “God’s lioness, How one we grow, Pivot of heels and knees!—The furrow.”
The speaker addresses Ariel as “God’s lioness,” emphasizing its power and wild nature.
“How one we grow” suggests a merging of the speaker and the horse, a shared experience of growth.
“Pivot of heels and knees” highlights the physical connection between rider and horse during this
transformative ride.
“The furrow” likely refers to the path they’re cutting through the landscape, both literal and
metaphorical.

Lines 7-9:
“Splits and passes, sister to The brown arc Of the neck I cannot catch,”
The phrase “sister to” suggests a close connection between the rider and the horse. They are like
siblings, sharing this exhilarating experience.
The “brown arc” likely refers to the curve of Ariel’s neck as it stretches forward during the ride.
The speaker, despite her efforts, cannot fully grasp or control the horse’s neck. There’s a sense of both
struggle and surrender

The lines "Nigger-eye / Berries cast dark / Hooks—" are from Sylvia Plath's poem "Ariel." This poem
is rich in imagery and metaphor, and each line contributes to the overall theme and emotion of the
piece. Let's analyze these lines one by one:

### "Nigger-eye"

This line is provocative and striking, immediately grabbing the reader's attention with its controversial
and intense choice of words. The term "Nigger-eye" could be interpreted in several ways:
1. **Racial Connotations**: The use of this term can evoke a sense of discomfort and tension due to its
racist implications. This could be Plath's way of confronting the reader with the harshness and rawness
of the emotions or situations being described.
2. **Imagery of Darkness**: By using "Nigger-eye," Plath might be emphasizing the deep, dark color
of the object she is describing. This imagery can evoke a sense of something ominous or foreboding.
3. **Focus and Attention**: Eyes often symbolize perception and awareness. Here, "Nigger-eye"
might suggest a piercing, intense gaze that sees deeply into the core of things.

### "Berries cast dark"

This line continues the dark imagery introduced in the first line:
1. **Visual Description**: "Berries cast dark" likely refers to the dark, shadowy appearance of berries,
emphasizing their deep color.
2. **Symbolism**: Berries can symbolize various things, including nature, fertility, or something that
is ripe and ready to be consumed. The darkness cast by the berries can suggest a sense of mystery,
danger, or something hidden beneath the surface.
3. **Mood and Tone**: The use of "dark" contributes to a somber, possibly menacing tone. It aligns
with the intense and perhaps disturbing imagery initiated by the first line.

"Hooks—"

This line adds a sharp, sudden element to the imagery:

1. **Literal Interpretation**: Hooks can be literal hooks used for catching or holding things. In the
context of the poem, they might suggest something that captures or ensnares.
2. **Metaphorical Meaning**: Hooks can also symbolize something that grabs attention or draws one
in, possibly suggesting entrapment or a painful grasp.
3. **Connection to Previous Lines**: The dark, intense imagery of "Nigger-eye" and "Berries cast
dark" leads into the idea of hooks, which could imply being caught or drawn into the darkness or the
intense emotions being described.

Overall Analysis

When these lines are taken together, they create a vivid, dark, and somewhat unsettling image. The use
of intense, provocative language combined with the natural imagery of berries and hooks creates a
sense of tension and foreboding. Plath's choice of words and imagery serves to draw the reader into a
world that is both beautiful and disturbing, filled with powerful and conflicting emotions.

In the context of "Ariel," a poem often seen as dealing with themes of liberation, transformation, and
rebirth, these lines can be interpreted as part of the journey through darkness and entrapment towards
some form of release or revelation. The vivid, dark imagery sets the stage for the intense emotional and
psychological exploration that characterizes the poem.

1. **"Black sweet blood mouthfuls,"**

- This line evokes vivid imagery. The juxtaposition of "black" and "sweet" creates a sense of contrast.
It could symbolize something dark yet enticing.
- The mention of "blood" adds an element of rawness and life force.
- The word "mouthfuls" suggests consumption or indulgence, perhaps hinting at desire or hunger.

2. **"Shadows."**
- A single-word line that leaves room for interpretation. Shadows can represent hidden aspects,
mystery, or the unseen.
- They might symbolize the darker parts of existence or the subconscious.

1. **"Hauls me through air—"**

- The verb "hauls" suggests forceful movement, as if the speaker is being pulled or carried.
- The phrase "through air" implies a sense of weightlessness or suspension. It could symbolize a
transformative experience or a departure from the ordinary.

2. **"Thighs, hair;"**
 - These two words are presented in a concise, fragmented manner. They evoke physicality and
sensuality.
- "Thighs" may symbolize strength or vulnerability, while "hair" could represent identity or
sensuousness.

3. **"Flakes from my heels."**

- The word "flakes" suggests something breaking off or shedding. It could be literal (like skin flakes)
or metaphorical (like memories or emotions).
- "Heels" might refer to the physical part of the body or symbolize stability and grounding.

1. **"White"**
- A single-word line that sets the tone. "White" often symbolizes purity, innocence, or emptiness.
- It contrasts with the darkness and sensuality hinted at in the previous stanzas.

2. **"Godiva, I unpeel—"**
- The reference to "Godiva" likely alludes to Lady Godiva, a legendary figure who rode naked
through the streets of Coventry to protest her husband's oppressive taxes.
- The verb "unpeel" suggests a deliberate shedding or revealing. It could symbolize vulnerability
or a desire to break free from constraints.

3. **"Dead hands, dead stringencies."**

- The repetition of "dead" emphasizes lifelessness or rigidity.
- "Hands" might represent control or restriction, while "stringencies" refers to strictness or
limitations.
- The overall impression is one of release from oppressive forces.

```

1. **Imagery and Transformation:**

- The first line juxtaposes "foam" and "wheat," creating a vivid contrast. "Foam" suggests the frothy,
transient nature of the sea, while "wheat" symbolizes solidity and sustenance.
- The "glitter of seas" evokes the play of sunlight on water, emphasizing the beauty and
impermanence of life.
- This imagery sets the stage for transformation—a central theme in the poem.

**The Child's Cry:**

- The second line introduces the "child's cry." This cry can be interpreted in various ways:
- Literally, it could refer to an actual child's voice.
- Symbolically, it represents vulnerability, innocence, and longing.
- The use of "linewise" suggests that this cry is woven into the fabric of existence, echoing through
time.
.

. **Overall Interpretation:**
- The stanza captures a moment of intensity and change. The juxtaposition of elements—foam and
wheat, sea and cry—hints at life's dualities.
- The child's cry becomes a linchpin, connecting the natural world (foam, wheat, seas) to human
experience.
- The ride on "Ariel" symbolizes a journey toward self-discovery, shedding old constraints, and
hurtling toward an unknown future.

Certainly! Let's delve into the analysis of the stanza from Sylvia Plath's poem "Ariel."

**Stanza:**
```
Melts in the wall.
And I
Am the arrow,
The dew that flies
Suicidal, at one with the drive
Into the red Eye, the cauldron of morning.
```

1. **Imagery and Transformation:**

- The stanza continues the theme of transformation and dissolution. It follows the previous stanza
where the speaker lets go of "dead hands" and mundane constraints.
- "Melts in the wall" suggests a merging or dissolving of boundaries. The speaker's connection to the
human world is fading away.
- The speaker now identifies as "the arrow," a powerful symbol of direction, purpose, and intensity.

2. **The Arrow and Ariel:**

- The speaker's transformation is complete. She imagines herself as the arrow—swift, focused, and
aligned with Ariel's wild nature.
- The wordplay between "arrow" and "Ariel" reinforces their unity. Both are driven, purposeful, and
unyielding.
- The arrow's flight is "suicidal," not in a literal sense, but metaphorically. It signifies shedding her
old self, embracing Ariel's essence.

3. **The Red Eye and Morning:**

- The "red Eye" could refer to the sun rising—the fiery cauldron of morning. It symbolizes rebirth,
illumination, and intensity.
- The arrow hurtles toward this transformative moment, merging with Ariel's drive and instinct.

4. **Overall Interpretation:**
- The stanza captures the speaker's metamorphosis into something beyond human. She becomes the
embodiment of Ariel's wild spirit.
- The arrow's flight represents courage, surrender, and a leap into the unknown.
- The cauldron of morning awaits—a new beginning, fueled by intensity and purpose.

Remember that poetry invites multiple interpretations, and this analysis is just one perspective. If you'd
like to explore further or discuss other aspects, feel free to ask!