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

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Mary Rowlandson's Narrative

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

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

Through constant reliance on and references to God and religi***** during her *****, Rowlandson not only establishes her narrative as part "*****ous *****al," but also suggests ***** impenetrable cultural differences between herself and her captors. The most straight*****ward example ***** this can be observed in "the fifth remove" on the Sabbath Day. Rowlandson narrates that her captors "bade [*****] go to work," to which she made ***** na ve reply that she wished to rest, considering it w***** the Sabbath *****, and would do much more on the consecutive day. This logic was received with ***** natives' threat ***** "break [her] face." After this exchange, Rowl*****son contemplates why God ***** allowed the Native Americans' continual escape from the Englishmen despite *****ir ***** defiance of Christian doctrine (Rowlandson).

***** this episode, one can not only conclude that Rowlandson ***** the captivity narrative as a confessional—questioning a God ***** allows "heathens" to ***** the muskets ***** Christian men—***** one also realizes ***** stark difference between the Native's religious beliefs and hers. Contemporary observers reading ***** account would readily understand the differences between the two cultures' religious beliefs based on the vast amount of scholarship, research, and study available about both faiths. According to American Passages: A Literary Survey's renditions of Native ***** creation stories through ***** ancient oral tradition ***** 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, therefore, represents a m*****jor gap ***** the ***** cultures. ***** Row*****son portrays ***** Native American religion as wrong or inferior, readers can quickly gr*****p the cultural ***** that exists between the English and the Natives in this situation, allowing human sociology


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