Reclamation of Identity and Self-Expression in Anne Bradstreet’s “Prologue”
Anne Bradstreet’s “Prologue” emphasises on individual assertion as one of the most powerful ways to combat hierarchical power structures. In doing so, it facilitates a possible reclamation of one’s individual identity in a time dominated by oppressive politics. Bradstreet achieves this not by claiming to “conquer” the authority of power structures, but by asserting her own agency within them.
My essay argues that “Prologue” assigns one’s individual will the ability to challenge restrictive external constructs. In this sense, it expands itself into a universal space. It gives credence to the very voice of the female poetess.
The very first lines of the poem illustrate
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“From a School Boy’s tongue, no hetoric we expect”, Bradstreet claims. However, as has been pointed by in her essay, school boys do go on to be trained in the art of rhetoric.
Therefore, such an idea holds within it very significant and powerful implications. By positing it, Bradstreet locates poetry as a learning trajectory. She also sees herself as at the beginning of it.
Hence, she points at her capability for further growth, learning and exploration in it. At the same time, she also rejects the confinement that can come with being an “established poet.” Rather than conceptualising poetry as a “fixed” form of art— she views it as dynamic, interactive and perpetuating. This also challenging the hierarchies of literary trajectories, and the delimitations they engender. It can also be observed that the lines employ once again a sense of ironic juxtaposition. Rhetorical abilities are employed to explore the ideas of “rhetoric”.
Further, Bradstreet states that “nor yet a Sweet consort” arises from “broken strings”. However, the very crux of the idea she propounds is that a “broken string” cannot represent a “sweet consort”. It must mirror its own actuality. Therefore, Bradstreet speaks here of the individual self’s authentic representation. She seems to state that the oppression of broken and fragmented lives should be represented with complete authenticity and
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She illustrates this by citing the example of Demosthenes, a Greek orator who overcame his “lisp” by practising speech. However, she also says that she might herself be incapable of it, given the fact that she possesses a “weak and wounded brain”. Here, she does not refer to her incapability as a poet, but of the “irreparability” consigned to her gender. This suggests the idea that her “weak and wounded brain” isn’t a construct of her own—but one which has been imposed on her. It is how women are perceived to be like, and also conditioned to believe of
In the opening, she shares her childhood encounters with women in prose with the children’s rhyme “a little girl who had a curl”. This personal anecdote introduces the topic of the portrayal of women in literature, as well as establishes a connection with her audience.
Anne Bradstreet’s feelings about her home represent the most material conflict. When her home burned down she wrote the poem to voice these feelings of hers. She describes the awakening to the “shrieks of dreadful voice” and going out to watch “the flame consume” her “dwelling place”. But she comforts herself with good Puritan dogma. The burning of the house is God’s doing and his doings should not be questioned. In looking over the stanzas where she
Anne Bradstreet's poem, To My Dear and Loving Husband, shows her profound love and undying affection for her husband. For a Puritan woman who is supposed to be reserved, Bradstreet makes it her obligation to enlighten her husband of her devotion. She conveys this message through her figurative language and declarative tone by using imagery, repetition, and paradoxes.
In her poems, Anne Bradstreet recognizes the concept of male superiority during the Puritan times, although she contradicts herself in her poems with a feminist undertone to highlight the capabilities of women. “If what I do prove well, it won’t advance” (111). Bradstreet makes a point to mention that she is fully aware that, due to her gender, she would not be taken seriously as an author. This quote appears to have a challenging tone. Bradstreet is disappointed that her
Anne Bradstreet was America's first noteworthy poet in spite of the fact that she was a woman. Both the daughter and wife of Massachusetts governors, Bradstreet suffered all of the hardships of colonial life, was a mother, and still found time to write. Her poem, "The Author to Her Book," is an example of Bradstreet's excellent use of literary techniques while expressing genuine emotion and using domestic subject matter.
Anne Bradstreet, as a poet, wrote as both a Puritan woman in her time and as a woman ahead of her time. Zach Hutchins analyzed this tension in “The Wisdom of Anne Bradstreet: Eschewing Eve and Emulating Elizabeth”, and makes a primary argument that three of Bradstreet’s poems provide evidence that Bradstreet rejects the Puritan views of a woman while keeping her own personal faith. Hutchins fither his argument by declaring that readers should not view Bradstreet as a symbol of rebellion or submission, instead as a symbol of wisdom.
in a book called The Tenth Muse under a male name and without her knowing. Anne Bradstreet’s
The bible teaches us many things about God. From Genesis and Exodus we can learnwhat the Judeo-Christian view of God was. Genesis shows us that God made the sun, the moon,the earth and every living thing. During the days of creation God made all things good. On theseventh day of creation God rested and declared all he made to be very good (Genesis 1:31). God created human beings in his own image. We as humans can be certain of our owndignity and self worth because we have been created in the image of God. The book of Genesisshows us that people disobey God by choosing to do wrong. Even great bible heros failed Godand disobeyed him. The bible teaches us that God is forgiving. God has many attributes. God makes no mistakes and this is wisdom. God is infinite, heknows
In all of Bradstreet’s works she is constantly expressing herself through her figurative language that whoever reads the poetry
In “The Author to Her Book,” Bradstreet is inundated in indecision and internal struggles over the virtues and shortfalls of her abilities and the book that she produced. As human beings we associate and sympathize with each other through similar experiences. It is difficult to sympathize with someone when you don’t know where they are coming from and don’t know what they are dealing with. Similar experiences and common bonds are what allow us to extend our sincere appreciation and understanding for another human being’s situation. In this poem an elaborate struggle between pride and shame manifests itself through an extended metaphor in which she equates her book to her own child.
Anna Bradstreet grows up in a healthy family. She was the daughter of Thomas Dudley who is the manager of the country estate of the Puritan Earl of Lincoln. Anna Bradstreet got married at the age of 16 to the young Simon Bradstreet who was working with Anna father. Anna Bradstreet never went to school but her father always taught her and gave her an education. It that time many women didn’t have an education. Anna considers one of the best and most important American poets. When Bradstreet was a little girl, she writes poems to honor and please her father. After she got married, she kept writing and it marriage didn’t stop her. Her brother in law, John Woodbridge, pastor of the Andover Church, brought with him to London a manuscripts collection of her poetry in 1650. It was her first book, The Tenth Muse was the first published volume of poems written by an American resident and it was widely read. Anne Bradstreet was a very religious and Godly woman. Anne Bradstreet always tried to live life in a perfect way. Anne Bradstreet was a woman of God and she always wrote about her faith in her poetry. She always talked about the Puritan and their believes and views on salvation and reclamation in her poetry. Anna seems to believe that God has punished her through her sicknesses. The Puritans believed suffering was God’s plan of preparing the soul and heart for accepting his mercy
Bradstreet wanted her poetry to remain private. She accepted her poetry unconditionally, like a mother accepts her child, because if she tried to correct the poem's flaws more flaws appeared. A distinct expression of Bradstreet true love to her
An essential step in analyzing a poem is to provide a structural outline of the poem. Anne Bradstreet’s poem, “The Author to Her Book,” can be divided into seven sections. First, line one provides the general description of how she views her creation. She repeatedly speaks directly to her work in apostrophe, as if it were her own child. Second, lines two through five depict how she feels embarrassed that her private
Anne Bradstreet was not the typical Puritan author. She wrote sweet and loving poems that greatly contrasted from other writers of her time. She did not write the ever so popular sermons that told people that they were going to hell and there was nothing they could do about it. Bradstreet was a rarity in Puritan times, she was a very educated woman that worked on something other than being a woman in the household. She was one of a kind and the beginning of an era. Using literary criticism when reading Anne Bradstreet’s poems adds a deeper understanding of her character and difficulties in life.
Anne Bradstreet is well-recognized because she was the first female American poet. The previous statement makes it seem as if her poems are only noteworthy due to her literary importance in history outweighing her poetic artistry. Luisa Hall in The Influence of Anne Bradstreet’s Innovative Errors explains that “the problem Bradstreet faces...is not the problem of being a woman or being the first American poet, but...fearing she has no right to speak, of fearing her voice cannot insert itself into English literary history” (23). Another writer that supports Hall’s claim is Catherine Sedgwick: “Sedgwick’s ability to champion an expansion of woman’s sphere beyond domestic settings was blunted by “deep inner restraints” that derived from her