Essay - Mary Rowlandson's Narrative Mary Rowlandson's the Narrative of the Captivity...


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
Copyright Notice

Mary Rowlandson's Narrative

Mary ***** The Narrative Of ***** Captivity And The Restoration: An Examination of Culture Clashes Through Literary *****mes

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

Through constant reliance on and references ***** God and religi***** during her *****, Rowlandson not only establishes ***** ***** as part "*****ous *****al," but also suggests the impenetrable cultural differences between ***** and her captors. The most straight*****ward example of 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 wished to rest, considering it was the Sabbath *****, and would do much more on the consecutive day. This logic was 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 their ***** defiance of Christian doctrine (Rowlandson).

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

. . . . [END OF ESSAY PREVIEW]

Download entire paper (and others like it)    |    Order a brand new, custom paper

© 2001–2017   |   Essays on Mary Rowlandson's Narrative Mary Rowlandson's the Narrative of the Captivity   |   Term Papers Models