By Douglas Anderson
An entire variety of yank writers have curious about pictures of family, family advantage, and the female or feminized hero. this crucial new publication examines the endurance and suppleness of such topics within the paintings of vintage writers from Ann Bradstreet via Jefferson and Franklin to Hawthorne, Melville, Whitman, and Emily Dickinson. with out minimizing the diversities that divide those figures, Anderson exhibits the level to which, of their a number of situations, they have been all dedicated to a standard enterprise--a social and cultural reconstruction in keeping with the family values of definitely the right inner most loved ones.
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A complete variety of yank writers have serious about pictures of loved ones, family advantage, and the female or feminized hero. this crucial new booklet examines the endurance and suppleness of such subject matters within the paintings of vintage writers from Ann Bradstreet via Jefferson and Franklin to Hawthorne, Melville, Whitman, and Emily Dickinson.
Extra info for A House Undivided: Domesticity and Community in American Literature
The child is "blest," and Bradstreet does not require the consolatory metaphor of fair flowers to reach her state of inward peace, as "settled" apparently as that of the infant's soul itself. Nor does the second stanza make more use of its more elaborate, natural parables of mutability. The child was neither grown nor ripe, not strong and tall. The lessons of nature simply encumber a relationship to the divine will that is direct and confident - that of a mother who recognizes that she had received her child directly from the same hand that now claims it.
451) "THIS GREAT HOUSEHOLD UPON THE EARTH" 39 The sense of great peril and great promise that marks Winthrop's description of the American plight is present to Taylor's imagination in this sense of a carefully nurturing God, releasing His grace with all the cautious circumspection of a mother watching over her child's slow but steady growth. Taylor never explicitly manipulates God's gender, as Bradstreet is willing to do in her "Meditation 39," for example. He takes his images from emblem books and from the Bible, with very little of the kind of provocative modification that Winthrop himself was willing to employ in his treatment of the figure of Eve.
33 36 A HOUSE UNDIVIDED At times, in his joy at God's care for His erring and undeserving creatures, Taylor can approach a sort of elation in his lines that suggests both stark surprise and a kind of durable innocence on the part of the awe-struck speaker: Oh! Good, Good, Good, my Lord What more Love yet! Thou dy for mee! What am I dead in thee; What, did Deaths arrow shot at me thee hit? Didst slip between that flying shaft and mee? Didst make thyselfe Deaths marke shot at for me? So that her Shaft shall fly no far than thee?