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Mary Rowlandson's Narrative

Mary Rowlandson's The Narrative Of ***** Captivity And The Restoration: An Examination of Culture Clashes Through Literary Themes

From the epic poetry of Homer to the his*****rical logs of Thucydides, the victor has always earned ***** right to function as the historical storyteller. In her short book, "the Narrative of the Captivity and ***** Restoration of Mrs. Mary Rowl*****son," however, it is not the victors, but rather the captive who writes history. Because of this, Rowlandson's work can be considered a monument*****l piece of literature. In fact, University of California professor Harvey Pierce writes that ***** type of work, later called the captivity novel, has an important ***** in the literary realm as a piece of historical literature in which "historical *****" *****comes second to "what the narrative was for ***** readers from whom it ***** wr*****ten" (Pierce 1). Pierce notes that "what the narrative was" for its readers can range from "religious confessional" ***** "visceral thriller;" and Rowlandson's ***** exhibits a bit of both of these extremes (1). In fact, Rowlandson uses both the themes of "***** [confession]" and "visceral thriller" to establish the cultural gap between herself and ***** Native Americans.

Through constant reliance on and references ***** God and religi***** dur*****g her captivity, Rowlandson not only establishes her ***** as part "religious confessional," but also suggests the impenetrable cultural differences between *****self and her captors. The most straightforward example of this can be observed in "the fifth remove" on ***** Sabbath Day. Rowlandson narrates that ***** captors "bade [her] go to work," to which she made the na ve reply that she wi*****d to rest, considering it was the Sabbath *****, and would do much more on the consecutive day. This logic was received with ***** natives' threat ***** "break [her] face." After this exchange, Rowlandson contemplates why God ***** allowed the Native Americans' continual escape from ***** Englishmen despite their ***** defiance ***** Christian ********** (Rowlandson).

Through this episode, one can not only conclude that Rowlandson ***** the captivity narrative as a confessional—questioning a God ***** allows "heathens" to ***** the muskets of Christian men—but one also realizes ***** stark difference between the Native's ***** beliefs and hers. Contemporary observers reading Rowlandson's account would readily understand the *****s between the two cultures' religious beliefs b*****ed on the vast amount ***** scholarship, research, and study available about both faiths. According ***** American Passages: A ***** Survey's renditions of Native *****merican creation stories through ***** ancient oral tradition and contemporary poetry ***** Luci Tapahanso, Native American faiths "link people to the culture, myths, and land" through elaborate symbolic mythology ("***** Voices"). Similarly, contemporary students understand that the Christian faith presents a much more rigid view of creation, life, death, and life after *****. Religion, *****refore, represents a m*****jor gap ***** the ***** cultures. Because Row*****son portrays the Native American religion as wrong or inferi*****, readers can quickly grasp the cultural gap that exists between ***** English and the Natives in this situation, allowing human sociology


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