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

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Mary Rowlandson's Narrative

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

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

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

***** ***** episode, one can not ***** conclude that Rowlandson ***** the captivity narrative as a confessional—questioning a God ***** allows "heathens" to escape the muskets of Christian men—***** one also realizes the stark difference between the Native's religious beliefs and hers. Contemporary observers reading Rowl*****son's account would readily understand the ***** between ***** 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 ***** creation stories through the ancient oral tradition ***** contemporary poetry of Luci Tapahanso, Native American faiths "link people to the culture, myths, and 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 gap ***** the ***** cultures. Because Rowlandson portrays ***** Native American religion as wrong or inferi*****, ***** can quickly gr*****p the cultural gap that exists between the English and the Natives in this situation, allowing human sociology


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