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Mary Rowlandson's Narrative

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

***** the epic poetry ***** Homer to the historical logs of Thucydides, the victor has always earned the right to function as the ***** storyteller. In her short book, "***** Narrative of the Captivity and the Restoration of Mrs. Mary Rowlandson," however, it is not the victors, but rat***** 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 ***** that this type of work, later called the captivity novel, ***** an important ***** in the literary realm as a ***** of historical literature in which "historical fact" ********** second to "what the narrative w***** for ***** readers from whom it was written" (Pierce 1). Pierce notes ***** "what the narrative was" for its readers can range from "religious confessional" to "visceral thriller;" and Rowlandson's ***** exhibits a bit of both of these extremes (1). In fact, Rowlandson uses ***** the themes of "religious [confession]" and "visceral thriller" ***** establish the cultural gap between herself and ***** Native Americans.

Through constant reliance on and references to God and religion during her *****, Rowlandson not only establishes ***** ***** as part "religious confessional," but also suggests the impenetrable cultural differences between herself and her captors. The most straightforward example ***** this can be observed in "the fifth remove" on the 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 ***** received with the *****tives' threat to "break [her] face." After this exchange, Rowlandson contemplates why ***** has allowed ***** Native Americans' continual escape from the Englishmen despite *****ir constant defiance of Christian ********** (Rowlandson).

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

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