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 Themes

From the epic poetry of Homer to the his*****rical logs ***** Thucydides, the victor has always earned the right to function as the historical storyteller. In her short book, "***** Narrative of the ***** and the 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 monumental piece of lite*****ure. In fact, University of California pr*****essor 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 fact" becomes second to "what the narrative w***** for the readers from *****hom it was written" (***** 1). Pierce ********** that "what the narrative was" for its readers can range ***** "religious confessional" ***** "visceral thriller;" and Rowlandson's work exhibits a bit of both of these extremes (*****). In fact, Rowlandson uses ***** the themes of "religious [confession]" and "visceral thriller" to establish the cultural gap between herself and the Native Americans.

Through constant reliance on and references ***** God and religion during her captivity, Rowlandson not only establishes ***** ***** as part "religious confessional," 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. ***** narrates that ***** captors "bade [her] go to work," to which she made ***** 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 Americans' 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—but one also realizes ***** stark difference between the Native's religious beliefs and hers. Contemporary observers reading ***** account would readily understand ***** ***** 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 ***** Survey's renditions of Native American creation stories through the ancient oral tradition and contemporary poetry of Luci Tapahanso, Native American faiths "link people to ***** culture, myths, ***** land" through elaborate symbolic mythology ("Native Voices"). Similarly, contemporary students understand that the Christian faith presents a much ***** rigid view of creation, life, death, and life after *****. Religion, **********, represents a major ***** between the two cultures. ***** Row*****son portrays ***** Native American ***** as wrong or inferi*****, readers can quickly gr*****p the cultural gap that exists between ***** English and the Natives in this situation, allowing human sociology

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