“Ecofeminism without Nature?” by Stacy Alaimo first appeared in the International Feminist Journal of Politics in September 2008.
Introduction: “Ecofeminism without Nature?” by Stacy Alaimo
“Ecofeminism without Nature?” by Stacy Alaimo first appeared in the International Feminist Journal of Politics in September 2008. In this thought-provoking essay, Alaimo critiques traditional ecofeminism by questioning the essentialist connections often drawn between women and nature. Her work engages deeply with the theoretical tensions between feminism and environmentalism, arguing that the ecofeminist movement’s historical tendency to “background” nature in favor of focusing on gendered narratives needs to be re-evaluated. Alaimo highlights that ecofeminist activism should be seen as an “engaged mode of theory,” emphasizing that feminist theory and activism should be informed by environmental challenges rather than subsuming them within gender discourse. This critical examination brings forth new ways to conceptualize ecofeminist activism by moving away from essentialist perspectives and opening space for what she calls “transcorporeal” ethics—a notion that views bodies and nature as interconnected in dynamic, transformative ways rather than through fixed identities or roles. Her contribution is significant in literary theory and feminist studies, as it challenges the assumption that environmental and feminist objectives are inherently aligned, advocating instead for a nuanced, context-specific examination of these intersections.
Summary of “Ecofeminism without Nature?” by Stacy Alaimo
Challenge to Essentialism in Ecofeminism In “Ecofeminism without Nature?”, Stacy Alaimo critiques the essentialist underpinnings within ecofeminism, particularly the perceived connection between women and nature. She argues that ecofeminist theory often “backgrounds nature” (p. 300), sidelining environmental concerns in favor of gendered discourse. This perspective is intended to question the tendency within ecofeminist theory to treat nature as a passive backdrop for human narratives, especially in feminist activism, which Alaimo believes risks reinforcing stereotypes. Alaimo calls for a “reconfiguration of the connections between environmentalism and feminism” (p. 302) to avoid essentialist perspectives that limit feminist discourse.
Ecofeminism as an Engaged Mode of Theory Alaimo explores how ecofeminist activism can function as an “engaged mode of theory” (p. 294), where feminist theory and activism inform and transform each other. She points to a peace camp at Clayoquot Sound as a case study, illustrating how feminist activists there redefined the concept of “woman” by “mobilizing different narratives” (p. 293) rather than adhering to rigid, essentialist definitions. This site becomes, for Alaimo, a powerful example of “struggle over the meaning of woman, and the practice of ecofeminist politics” (p. 294), challenging static interpretations of both feminism and environmentalism.
Critique of Feminism’s Link with Environmentalism Alaimo questions the inherent linking of feminism with environmentalism, suggesting that the union of these two ideologies should not be assumed as natural or inevitable. She notes that “there is no necessary or essential relation between feminism and environmentalism” (p. 301), a statement that aligns with her broader critique of ecofeminism’s essentialist leanings. Alaimo proposes that ecofeminism should consider “context-specific articulations” (p. 304) of these connections, allowing for diverse interpretations based on historical and cultural factors.
Transcorporeality and Nature as Dynamic Alaimo introduces her concept of “transcorporeality,” which sees nature as a “dynamic and transformative force” rather than a static entity (p. 303). She advocates for a feminist theory that acknowledges the fluid and interconnected relationships between human bodies and the environment, rejecting the notion of nature as a mere “repository of unchanging truths” (p. 303). This view challenges traditional ecofeminist notions that risk solidifying stereotypes about women and nature, positioning both as adaptable and actively shaping each other.
Implications for Feminist Theory and Activism Alaimo concludes that linking feminism and environmentalism should not rest on rigid assumptions but should evolve through “particular places and contexts” (p. 304). By moving beyond essentialist frameworks, ecofeminism can better address “dominant cultural norms” (p. 293) and adapt to modern feminist activism’s diverse and intersectional needs. Her essay calls for an ecofeminism that embraces multiplicity and resists simplification, suggesting that “the relations between feminism and environmentalism cannot be assumed” and must be critically examined (p. 304).
Literary Terms/Concepts in “Ecofeminism without Nature?” by Stacy Alaimo
The idea that entities have inherent characteristics; in feminism, it refers to ascribing inherent traits to women.
Alaimo critiques ecofeminism’s essentialist leanings, challenging the notion that women are inherently connected to nature (p. 293, 300).
Backgrounding
Treating nature as a passive backdrop rather than an active participant in human events.
Alaimo argues that ecofeminism often “backgrounds nature,” making it secondary to human narratives, thus devaluing its role (p. 300).
Engaged Mode of Theory
Concept that theory and activism should inform and influence each other in a reciprocal relationship.
Alaimo sees ecofeminist activism as an engaged mode of theory, where real-life activism at places like Clayoquot Sound reshapes feminist theory (p. 294).
Transcorporeality
The interconnectedness of human bodies and the environment, challenging static, isolated views of nature.
Alaimo introduces transcorporeality as a dynamic view of nature and bodies that are in constant transformation, interacting with one another (p. 303).
Anti-Essentialism
Opposes essentialism, promoting the idea that identities are constructed rather than inherent.
Alaimo calls for an anti-essentialist ecofeminism, encouraging diverse, context-specific connections between feminism and environmentalism (p. 301, 304).
Articulation Theory
Concept from post-Marxism where different ideologies are connected in varied ways depending on context.
Alaimo draws on Laclau and Mouffe’s articulation theory to suggest ecofeminism should vary its approach, aligning feminism and environmentalism in context-specific ways (p. 301).
Narrative Refiguration
Reinterpreting traditional narratives to reflect alternative or marginalized perspectives.
Alaimo emphasizes narrative refiguration at the ecofeminist peace camp, showing how activists redefine “woman” beyond essentialist narratives (p. 294).
Eco/Feminism (with Slash)
Distinction of terms using a slash to suggest the separation yet connection of ecology and feminism.
Alaimo uses “eco/feminism” to illustrate that ecology and feminism are not intrinsically united but can intersect under specific circumstances (p. 301).
Intersectionality
Analyzing overlapping social identities and systems of oppression.
Alaimo indirectly engages with intersectionality by questioning if ecofeminism adequately addresses issues beyond gender, including race, class, and environmental justice (p. 304).
Contestation
Challenge and opposition to accepted norms or ideas.
Alaimo highlights the ecofeminist peace camp as a site of contestation over definitions of “woman” and “nature,” pushing back against traditional narratives (p. 294).
Contribution of “Ecofeminism without Nature?” by Stacy Alaimo to Literary Theory/Theories
Anti-Essentialist Feminist Theory Alaimo challenges essentialist views within feminist theory, arguing against the idea that women are inherently connected to nature. She suggests that ecofeminism should avoid reinforcing static identities by embracing “context-specific articulations” (p. 301) that adapt to diverse cultural and historical settings, contributing to a broader anti-essentialist discourse in feminism.
Material Feminism and Transcorporeality By introducing the concept of “transcorporeality” (p. 303), Alaimo advances material feminist theory, which focuses on the interconnectedness of human and non-human bodies. Her view positions nature as an active, transformative force, challenging the perception of nature as a passive backdrop and pushing material feminism towards a more integrated environmental focus.
Post-Marxist Articulation Theory Alaimo draws on post-Marxist articulation theory from Ernesto Laclau and Chantal Mouffe, suggesting that ecofeminism should align with “particular places and contexts” rather than assuming a universal connection between feminism and environmentalism (p. 301). This contribution encourages a fluid approach to ideology, where ecofeminism adapts based on situational needs, enriching the theory of articulation.
Critique of Binary Structures in Feminism and Environmentalism Alaimo critiques binary frameworks that separate human and non-human, feminine and masculine, proposing that ecofeminism reframe its perspectives to resist “reified categories” (p. 294). Her approach deconstructs these binaries, influencing feminist theories that seek to dismantle rigid dualisms.
Ecofeminism as an Engaged Mode of Theory Alaimo emphasizes the importance of theory and activism as “engaged modes” (p. 294), where each informs the other. This contribution advocates for a dynamic relationship between ecofeminist theory and real-world activism, encouraging feminist theory to be continually reshaped by environmental and social movements.
Refiguring Nature in Feminist Theory Through her critique of “backgrounding” nature, Alaimo encourages feminist theory to see nature as more than a mere setting for gendered narratives. She calls for an “ongoing examination of the grounds and purposes” of linking feminism and environmentalism (p. 304), pushing feminist theory to recognize the active role of nature in shaping identities and discourses.
Examples of Critiques Through “Ecofeminism without Nature?” by Stacy Alaimo
Literary Work
Ecofeminist Critique Using Alaimo’s Framework
Key Concepts from Alaimo
The Handmaid’s Tale by Margaret Atwood
Using Alaimo’s critique of essentialist views, one could examine how The Handmaid’s Tale presents women’s bodies as sites of both ecological and patriarchal exploitation. The Republic of Gilead objectifies women based on reproductive capacity, aligning them with nature in an essentialist, dehumanizing manner.
Essentialism, Transcorporeality, Backgrounding
Silent Spring by Rachel Carson
Alaimo’s concept of “engaged mode of theory” and the need for an active relationship with nature challenges Silent Spring’s portrayal of nature as a passive victim of human impact. While Carson’s work inspired environmental activism, an Alaimo-based critique might question how nature itself is represented and whether its agency is fully recognized.
Engaged Mode of Theory, Backgrounding
Their Eyes Were Watching God by Zora Neale Hurston
Through Alaimo’s lens, Janie’s relationship with nature could be seen as symbolic of her struggle for identity and agency in a male-dominated world. The novel often links Janie with natural imagery, but Alaimo’s anti-essentialist perspective might critique this alignment as reinforcing gendered stereotypes of women’s connection to nature.
Alaimo’s emphasis on “transcorporeality” offers a lens to question Walden’s view of nature as a site for self-discovery, where Thoreau treats nature as a passive observer to his own spiritual journey. An Alaimo critique would ask if Thoreau’s perspective adequately acknowledges the mutual influence of human and natural worlds.
Criticism Against “Ecofeminism without Nature?” by Stacy Alaimo
Overemphasis on Anti-Essentialism Critics argue that Alaimo’s strong stance against essentialism may overlook the positive aspects of ecofeminism that highlight interconnectedness with nature. Some suggest that her anti-essentialist approach risks erasing the valuable insights and cultural connections between women and the environment that many ecofeminists cherish.
Lack of Practical Solutions for Activism While Alaimo critiques the theoretical underpinnings of ecofeminism, she offers limited practical guidance for how ecofeminist activists might address environmental issues without reinforcing essentialist views. This could leave readers questioning how to apply her ideas in real-world activism effectively.
Ambiguity in Defining “Transcorporeality” Alaimo introduces “transcorporeality” as a dynamic relationship between human bodies and the environment, yet this concept can be seen as abstract and lacking clear application in feminist theory. Critics argue that “transcorporeality” might be too theoretical to have tangible implications for environmental justice and feminist practices.
Risk of Undermining Feminist Solidarity By questioning the inherent connection between feminism and environmentalism, Alaimo may inadvertently weaken alliances within the ecofeminist movement. Critics suggest that her insistence on “context-specific articulations” risks fragmenting the movement by encouraging individualistic interpretations rather than fostering collective action.
Neglect of Intersectional Perspectives Although Alaimo discusses the potential intersections of race, class, and gender in ecofeminism, some argue that her work could more thoroughly engage with intersectional issues. Critics contend that by focusing primarily on anti-essentialism, Alaimo may miss addressing the unique experiences of marginalized communities in ecofeminist contexts.
Representative Quotations from “Ecofeminism without Nature?” by Stacy Alaimo with Explanation
“Nature becomes a mere background for the gendered human drama that unfolds.” (p. 300)
Alaimo critiques how ecofeminism often treats nature as secondary to human-centered feminist concerns, arguing for a more engaged, reciprocal approach that emphasizes nature’s active role in feminist narratives.
“It is crucial that we interrogate the grounds, purposes, and consequences of linking environmentalism and feminism.” (p. 304)
Alaimo encourages ecofeminists to critically assess the relationship between feminism and environmentalism, rather than assuming an inherent connection, thus advocating for a nuanced, context-specific approach to ecofeminism.
“Ecofeminist peace camps can be understood as sites of struggle over the meaning of woman.” (p. 294)
By analyzing ecofeminist activism at peace camps, Alaimo shows how these spaces allow activists to redefine “woman” beyond essentialist stereotypes, presenting ecofeminism as a site of resistance and redefinition.
“There is no necessary or essential relation between feminism and environmentalism.” (p. 301)
This statement challenges the foundational assumption within ecofeminism that women and nature are inherently connected, arguing that this relationship should be situational and adaptable rather than fixed.
“Essentialist discourses crept back in, in the face of a woman who tried to refuse to be vulnerable.” (p. 293)
Alaimo illustrates how cultural expectations of femininity, such as vulnerability, continue to influence ecofeminist activism, highlighting the difficulty of fully escaping essentialist assumptions within feminist frameworks.
“Transcorporeality… can no longer serve as the ground of essentialism, because it is no longer the repository of unchanging truths.” (p. 303)
Alaimo’s concept of transcorporeality challenges essentialist views by depicting nature and bodies as dynamic, interconnected forces rather than static entities, redefining ecofeminism to align with posthumanist ideas.
“The relations between feminism and environmentalism cannot be assumed, but must be carefully explored.” (p. 304)
This line underscores Alaimo’s call for ecofeminists to rethink assumed connections between gender and nature, promoting a detailed examination of how these relationships evolve in specific cultural and historical contexts.
“Ecofeminism raises many questions regarding the costs and benefits of connecting feminism and environmentalism.” (p. 302)
Alaimo advocates for a critical view of ecofeminism, encouraging readers to weigh the consequences of merging feminism with environmental issues, as it may bring benefits but also reinforce restrictive gender norms.
“Engaged mode of theory… a process of reflective thought.” (p. 294)
Alaimo views ecofeminist activism as not just action but a reflective, evolving theory, positioning activism and theory as interconnected in addressing environmental and gendered oppression.
“Feminism may be too broad or too narrow a term for various environmental activists to embrace.” (p. 304)
This quotation questions whether the label “feminism” fully encompasses the diversity within ecofeminist activism, suggesting that intersectionality and specificity are necessary to address the unique issues facing different activists and communities.
Suggested Readings: “Ecofeminism without Nature?” by Stacy Alaimo
Alaimo, Stacy. “Cyborg and Ecofeminist Interventions: Challenges for an Environmental Feminism.” Feminist Studies, vol. 20, no. 1, 1994, pp. 133–52. JSTOR, https://doi.org/10.2307/3178438. Accessed 26 Oct. 2024.
Longenecker, Marlene. “Women, Ecology, and the Environment: An Introduction.” NWSA Journal, vol. 9, no. 3, 1997, pp. 1–17. JSTOR, http://www.jstor.org/stable/4316527. Accessed 26 Oct. 2024.
Feder, Helena, and Stacy Alaimo. “Changing Nature: Stacy Alaimo and Cary Wolfe at ASLE.” Interdisciplinary Studies in Literature and Environment, vol. 21, no. 4, 2014, pp. 873–93. JSTOR, http://www.jstor.org/stable/26430512. Accessed 26 Oct. 2024.
“Windflowers” by Christina Rossetti first appeared in her 1874 collection titled Sing-Song: A Nursery Rhyme Book, a volume that became known for its lyrical charm and gentle exploration of nature and human emotion.
Introduction: “Windflowers” by Christina Rossetti
“Windflowers” by Christina Rossetti first appeared in her 1874 collection titled Sing-Song: A Nursery Rhyme Book, a volume that became known for its lyrical charm and gentle exploration of nature and human emotion. This collection, primarily directed towards children, showcases Rossetti’s lyrical craftsmanship, with “Windflowers” standing out for its simplicity and vivid imagery. The poem’s main ideas revolve around themes of innocence, fleeting beauty, and the natural world, all evoked through Rossetti’s delicate wordplay and vivid descriptions of windflowers. The popularity of “Windflowers” and Rossetti’s other nursery rhymes lies in her ability to weave profound reflections on life and transience into verses accessible and enchanting to both young readers and adults, making her work beloved across generations.
The simple phrasing of this line downplays the end of beauty, subtly reinforcing the poem’s theme of life’s transience and the inevitable decay of dreams.
Themes: “Windflowers” by Christina Rossetti
Desire for Escape and Transcendence: One of the central themes in “Windflowers” is the longing for escape from the mundane or restrictive aspects of life. The speaker expresses this desire by asking for a “crown of wind-flowers” to “fly away,” seeking a release to a more idealized world. This desire is intensified by the mention of “the singers at their song” and “players at their play,” evoking an image of harmony, joy, and freedom that contrasts with the limitations of earthly existence. The reference to flight, often symbolizing freedom or spiritual transcendence, indicates a yearning to break free from life’s constraints and experience something beyond the ordinary.
Beauty and Impermanence: Rossetti uses the windflowers as a symbol of nature’s transient beauty, emphasizing that even the loveliest aspects of life are short-lived. The crown of flowers, twisted and formed, represents an ephemeral beauty that, while captivating, is destined to fade. This theme culminates poignantly in the line, “And to-night they die,” highlighting the inevitability of decay and loss. Rossetti’s choice of windflowers, delicate and easily affected by the wind, reinforces the poem’s meditation on how beauty, like life itself, is precious yet fleeting.
Reality vs. Fantasy: The poem explores the tension between fantasy and reality, particularly the limits of escapism. The speaker imagines that the crown of windflowers might allow them to transcend their current existence, symbolizing the desire for fantasy as an escape. However, this hope is quickly challenged when it’s noted that the crown “can never make you fly.” This acknowledgment of reality intruding upon the speaker’s imagination underscores a sense of limitation, showing that while dreams and fantasies offer temporary solace, they cannot alter one’s tangible circumstances.
Mortality and Acceptance: A tone of acceptance of mortality and the inevitable end pervades the poem, particularly in the closing lines. The speaker twists the crown of windflowers “to-day” only to witness its demise “to-night,” a stark reminder of life’s brevity. This awareness reflects a sober acknowledgment of the natural cycle of life and death, as well as an acceptance that even the most beautiful creations cannot escape mortality. By accepting that “to-night they die,” the speaker acknowledges the transient nature of all things, embracing the inevitability of death and the ephemerality of beauty.
Literary Theories and “Windflowers” by Christina Rossetti
Emphasizing the beauty of nature, individual longing, and introspective thought, Romanticism celebrates the natural world and emotional depth. In “Windflowers,” Rossetti explores the desire for escape, beauty, and harmony with nature. The crown of “wind-flowers” represents a connection to the natural world, highlighting nature’s fragile and transient beauty, typical of Romantic ideals.
“Twist me a crown of wind-flowers” and “Beyond the surging of the sea” convey the longing to merge with nature’s beauty and escape life’s limitations.
Existentialism explores the search for meaning in an indifferent world, and in “Windflowers,” the speaker’s confrontation with mortality and limitations reflects an existential realization. The poem’s acceptance of the transient nature of life and beauty, especially in the line “And to-night they die,” reflects a conscious acknowledgment of life’s brevity, questioning the search for escape and the constraints of human existence.
The lines “your crown of wind-flowers / Can never make you fly” and “And to-night they die” embody the existential struggle with freedom and mortality.
Examining gendered limitations, Feminist Theory can apply to Rossetti’s work, often focusing on constrained roles or yearnings for freedom. In “Windflowers,” the speaker’s desire for escape and the unattainable freedom of flight can reflect the poet’s exploration of limitations imposed on women. The longing for transcendence may signify a struggle against societal constraints and a search for personal autonomy.
“That I may fly away” and “Put on your crown of wind-flowers” may symbolize a yearning for freedom from restrictive roles or societal expectations.
Critical Questions about “Windflowers” by Christina Rossetti
How does Rossetti use imagery to convey the theme of impermanence in “Windflowers”?
Rossetti utilizes vivid and delicate imagery to convey impermanence, most notably through the “crown of wind-flowers.” The crown, made of fragile flowers susceptible to the slightest breeze, symbolizes the fleeting beauty of life. In the lines “I twist them in a crown to-day, / And to-night they die,” Rossetti underscores the rapid transition from life to death, portraying how beauty and existence are transient. By crafting this visual of flowers that bloom momentarily before they wither, Rossetti effectively uses imagery to reflect the inevitability of life’s end, encouraging readers to ponder the delicate, passing nature of both beauty and life.
What role does the desire for escapism play in the poem, and how does it reflect the speaker’s inner conflict?
The desire for escapism is central to the speaker’s inner conflict, reflecting a yearning to transcend the limitations of reality. The plea to “twist me a crown of wind-flowers; / That I may fly away” illustrates a wish to break free from earthly constraints and enter a world of harmony and peace. However, the speaker’s longing is met with a stark reminder of reality: “your crown of wind-flowers / Can never make you fly.” This conflict between fantasy and reality reveals the speaker’s struggle with the limitations of escapism, as their dreams are ultimately confronted by the inescapable truth of mortality and the impossibility of true freedom from life’s trials.
How does the poem address the theme of mortality, and what is its significance within the poem?
Mortality is a significant theme in “Windflowers,” permeating the poem with a somber acceptance of life’s transience. The final lines, “And to-night they die,” serve as a stark reminder that everything beautiful, like the windflowers, must eventually fade. Rossetti’s depiction of the fleeting lifespan of the flowers serves as a metaphor for human life, drawing attention to the inevitability of death. The acceptance of mortality in the poem resonates with a tone of quiet resignation, as the speaker acknowledges the limits of both life and beauty, underscoring the inevitability that all things, no matter how precious, must come to an end.
What is the significance of the rhetorical question, “But whither would you go?” in the poem?
The rhetorical question, “But whither would you go?” acts as a pivotal moment that challenges the speaker’s desire for escape, prompting reflection on the feasibility and purpose of such longing. This question introduces an introspective pause in the narrative, suggesting that the speaker must confront the practicality and meaning of their desire. By asking where one would go if escape were possible, Rossetti invites readers to consider whether any destination or fantasy can truly satisfy the speaker’s yearning. This question not only underscores the limits of escapism but also suggests that the speaker’s idealized visions may be unattainable, hinting at a sense of disillusionment with dreams that cannot fulfill life’s deeper existential needs.
Literary Works Similar to “Windflowers” by Christina Rossetti
“To Daffodils” by Robert Herrick Like “Windflowers,” this poem reflects on the fleeting nature of beauty and life, using flowers as a metaphor for mortality.
“Ode to the West Wind” by Percy Bysshe Shelley Shelley’s poem shares a longing for escape and transcendence, as well as the use of natural imagery to explore themes of freedom and limitation.
“Nothing Gold Can Stay” by Robert Frost Frost’s work resonates with Rossetti’s theme of impermanence, illustrating how beautiful moments are temporary and inevitably give way to change.
“The Garden” by Andrew Marvell This poem explores the allure and ephemeral beauty of nature, similar to Rossetti’s reflections on the natural world’s transience and spiritual connection.
“Song” by John Keats (also known as “In a Drear-Nighted December”) Keats’s poem examines how beauty and youth fade, mirroring Rossetti’s contemplation of life’s brevity and the desire to preserve fleeting moments.
Representative Quotations of “Windflowers” by Christina Rossetti
“Eve’s Apology in Defense of Women” by Aemilia Lanyer first appeared in 1611, published as part of her poetry collection Salve Deus Rex Judaeorum.
Introduction: “Eve’s Apology in Defense of Women” by Aemilia Lanyer
“Eve’s Apology in Defense of Women” by Aemilia Lanyer first appeared in 1611, published as part of her poetry collection Salve Deus Rex Judaeorum. This work is notable for its early feminist perspective, as Lanyer challenges the traditional blaming of women for humanity’s fall, a theme centered around the biblical figure of Eve. Through this poem, Lanyer reinterprets Eve’s story, arguing that Adam bears more responsibility for the transgression, as he was created first and thus held greater moral accountability. Lanyer uses eloquent language and persuasive reasoning to advocate for women’s innocence, skillfully defending Eve and, by extension, all women from the weight of patriarchal condemnation. The poem is celebrated for its bold rhetoric, questioning societal norms and highlighting the intellectual and moral capacities of women, which were often downplayed in her time.
Text: “Eve’s Apology in Defense of Women” by Aemilia Lanyer
But surely Adam can not be excused,
Her fault though great, yet he was most to blame;
What Weakness offered, Strength might have refused,
Being Lord of all, the greater was his shame: 780
Although the Serpent’s craft had her abused,
God’s holy word ought all his actions frame,
For he was Lord and King of all the earth,
Before poore Eve had either life or breath.
Who being framed by God’s eternal hand, 785
The perfectest man that ever breathed on earth;
And from God’s mouth received that straight command,
The breach whereof he knew was present death:
Yea having power to rule both Sea and Land,
Yet with one Apple won to loose that breath 790
Which God had breathed in his beauteous face,
Bringing us all in danger and disgrace.
And then to lay the fault on Patience’ back,
That we (poor women) must endure it all;
We know right well he did discretion lack, 795
Being not persuaded thereunto at all;
If Eve did err, it was for knowledge’ sake,
The fruit being fair persuaded him to fall:
No subtle Serpent’s falsehood did betray him,
If he would eat it, who had power to stay him? 800
Not Eve, whose fault was only too much love,
Which made her give this present to her Dear,
That what she tasted, he likewise might prove,
Whereby his knowledge might become more clear;
He never sought her weakeness to reprove, 805
With those sharp words, which he of God did hear:
Yet Men will boast of Knowledge, which he took
From Eve’s fair hand, as from a learned Book
Annotations: “Eve’s Apology in Defense of Women” by Aemilia Lanyer
Lanyer opens with a bold assertion, challenging the traditional narrative by arguing that Adam shares responsibility for humanity’s fall.
2
Her fault though great, yet he was most to blame;
Lanyer acknowledges Eve’s mistake but shifts the greater blame to Adam, indicating that his fault surpasses hers.
3
What Weakness offered, Strength might have refused,
Lanyer contrasts Eve’s “weakness” with Adam’s “strength,” suggesting that Adam, with his greater strength and knowledge, should have resisted temptation.
4
Being Lord of all, the greater was his shame:
Adam’s role as “Lord of all” implies his authority and responsibility, making his failure more shameful.
5
Although the Serpent’s craft had her abused,
Lanyer notes that Eve was deceived by the Serpent’s trickery, which tempers her blame, unlike Adam who wasn’t deceived.
6
God’s holy word ought all his actions frame,
Adam, unlike Eve, had received God’s direct commandments and should have adhered to them.
7
For he was Lord and King of all the earth,
Lanyer reiterates Adam’s authoritative role, underscoring his duty to uphold God’s commands.
8
Before poore Eve had either life or breath.
Lanyer reminds the reader that Adam was created first, thus assigning him prior responsibility.
9
Who being framed by God’s eternal hand,
Adam’s creation by God’s own hand emphasizes his privilege and the high expectations placed upon him.
10
The perfectest man that ever breathed on earth;
Adam is described as “perfectest,” highlighting the irony of his fall despite his ideal creation.
11
And from God’s mouth received that straight command,
Adam received God’s instruction directly, making his disobedience a knowing transgression.
12
The breach whereof he knew was present death:
Adam was aware of the severe consequences of disobedience, yet still succumbed.
13
Yea having power to rule both Sea and Land,
Lanyer emphasizes Adam’s dominion, further questioning his failure to act responsibly.
14
Yet with one Apple won to loose that breath
Adam’s yielding over “one Apple” seems trivial given his bestowed power and wisdom.
15
Which God had breathed in his beauteous face,
The image of God’s breath in Adam signifies the divine life given to him, which he risks through disobedience.
16
Bringing us all in danger and disgrace.
Lanyer notes that Adam’s choice impacted all humanity, amplifying his guilt.
17
And then to lay the fault on Patience’ back,
Lanyer criticizes Adam’s shift of blame onto Eve, equating her with “Patience” – a passive, enduring figure.
18
That we (poor women) must endure it all;
The “we” represents all women, who have historically borne the blame and suffering from Eve’s actions.
19
We know right well he did discretion lack,
Lanyer argues that Adam lacked judgment, revealing his own failing, not Eve’s.
20
Being not persuaded thereunto at all;
Adam was not deceived or persuaded as Eve was, thus his sin is wholly his own choice.
21
If Eve did err, it was for knowledge’ sake,
Lanyer suggests that Eve’s desire for knowledge led her to transgress, framing her act in a more noble light.
22
The fruit being fair persuaded him to fall:
Adam was attracted to the appearance of the fruit, implying a superficial desire led him to sin.
23
No subtle Serpent’s falsehood did betray him,
Unlike Eve, Adam was not tricked, making his fall purely a failure of his own will.
24
If he would eat it, who had power to stay him?
Lanyer points out that Adam ate of his own volition, with no one else compelling him.
25
Not Eve, whose fault was only too much love,
Eve’s motivation, according to Lanyer, was love, as she wished to share her newfound knowledge with Adam.
26
Which made her give this present to her Dear,
Lanyer portrays Eve’s act of offering the fruit to Adam as a loving gesture.
27
That what she tasted, he likewise might prove,
Eve wanted Adam to share in her experience and knowledge, framing her actions with empathy.
28
Whereby his knowledge might become more clear;
Lanyer suggests that Eve’s intention was to help Adam gain clarity and wisdom, not to lead him astray.
29
He never sought her weakness to reprove,
Adam didn’t correct Eve, which shows his passive acceptance rather than resistance.
30
With those sharp words, which he of God did hear:
Despite receiving direct instruction from God, Adam did not reinforce it for Eve, weakening his own role.
31
Yet Men will boast of Knowledge, which he took
Lanyer critiques the irony that men pride themselves on knowledge that was initially given by a woman.
32
From Eve’s fair hand, as from a learned Book
Lanyer poetically depicts Eve as the source of knowledge, likening her gift to a “learned Book,” elevating her actions beyond mere temptation.
Literary And Poetic Devices: “Eve’s Apology in Defense of Women” by Aemilia Lanyer
The apple symbolizes temptation, knowledge, and the forbidden, shifting the story’s focus to wisdom and moral responsibility.
Themes: “Eve’s Apology in Defense of Women” by Aemilia Lanyer
Gender Equality and the Defense of Women: A central theme in “Eve’s Apology in Defense of Women” is Lanyer’s argument for gender equality, as she challenges the traditional, male-dominated narrative that places the blame for humanity’s fall on Eve. By stating, “Her fault though great, yet he was most to blame” (line 2), Lanyer shifts responsibility to Adam, suggesting that Eve’s actions were not alone in causing humanity’s downfall. Through this argument, Lanyer defends women by highlighting the unfairness of attributing blame solely to Eve, presenting her as a loving figure rather than a morally weak one. This defense becomes a broader call for justice, as Lanyer advocates for recognizing women’s humanity and moral capacity.
The Responsibility of Power: Lanyer emphasizes that with power comes responsibility, a theme she develops by focusing on Adam’s role as “Lord and King of all the earth” (line 7). Lanyer argues that, as the first man, Adam had a greater obligation to uphold God’s commandments. She underscores Adam’s responsibility by noting his direct receipt of God’s “straight command” (line 11), suggesting that his fall from grace was a knowing transgression rather than a mere accident. By framing Adam’s failure as a misuse of his power, Lanyer critiques those who hold authority but do not act justly, highlighting the expectation for leaders to embody wisdom and moral integrity.
The Quest for Knowledge: Lanyer portrays Eve’s act of eating the fruit as a quest for knowledge rather than a sinful transgression. She suggests that Eve’s motivation stemmed from a desire for wisdom, stating, “If Eve did err, it was for knowledge’ sake” (line 21). By reframing Eve’s actions as a pursuit of understanding, Lanyer challenges the notion that curiosity and the desire to learn are inherently sinful. This reinterpretation presents Eve in a sympathetic light, aligning her actions with a noble pursuit. Through this theme, Lanyer encourages the view that intellectual curiosity, even if it leads to mistakes, is an essential aspect of human growth and development.
The Hypocrisy of Blame: Another significant theme is Lanyer’s critique of Adam’s attempt to blame Eve for his own failure. By questioning, “If he would eat it, who had power to stay him?” (line 24), Lanyer highlights Adam’s autonomy and ability to resist temptation. Yet, rather than accepting responsibility, Adam deflects the blame onto Eve, forcing “poor women” (line 18) to bear the consequences. This hypocrisy underscores the poem’s broader criticism of patriarchal society’s tendency to fault women for the mistakes of men. Lanyer exposes the irony in Adam’s accusation, suggesting that blame should not rest solely on Eve and that men’s failures should be scrutinized with equal rigor.
Literary Theories and “Eve’s Apology in Defense of Women” by Aemilia Lanyer
Literary Theory
Application to “Eve’s Apology in Defense of Women”
Feminist theory explores the ways in which literature reflects or challenges societal norms about gender. Lanyer’s poem is a direct critique of patriarchal interpretations of the Bible, challenging the tradition of blaming women, specifically Eve, for humanity’s fall. By shifting much of the responsibility to Adam, Lanyer questions gender biases in religious and societal contexts.
“Her fault though great, yet he was most to blame” (line 2) highlights Adam’s greater accountability, while “That we (poor women) must endure it all” (line 18) calls attention to the disproportionate burden women bear.
Historical-Biographical Theory
This theory considers the author’s historical and biographical context to understand the work. Lanyer’s position as one of the first English women poets and her experience in a male-dominated society informs her writing. Her poem reflects the gender inequalities of the early 17th century, using Eve’s story to critique the ways women were seen as morally weaker than men.
“Not Eve, whose fault was only too much love” (line 25) reframes Eve’s action as one of love and empathy rather than sin, mirroring Lanyer’s empathy toward women’s treatment in her own era.
Psychoanalytic theory, particularly through Freudian lenses, explores unconscious motivations and symbolic meanings. Lanyer’s portrayal of Eve’s act as a quest for knowledge rather than transgression may reflect a repressed desire for intellectual freedom. This interpretation reveals Eve’s curiosity as a subconscious drive for self-knowledge and liberation from restrictive gender roles.
“If Eve did err, it was for knowledge’ sake” (line 21) presents Eve’s actions as motivated by a search for understanding, aligning with psychoanalytic views on the human pursuit of self-awareness.
Critical Questions about “Eve’s Apology in Defense of Women” by Aemilia Lanyer
How does Lanyer challenge traditional gender roles in her depiction of Eve and Adam? Lanyer directly questions the conventional narrative that assigns blame solely to Eve, reframing her as a figure deserving empathy rather than condemnation. By stating, “Her fault though great, yet he was most to blame” (line 2), Lanyer shifts the responsibility to Adam, critiquing the imbalance in how men and women are judged. This line reflects her argument that Adam’s greater strength and knowledge, as “Lord of all” (line 4), make his failure more severe. Lanyer’s portrayal of Adam as the more culpable figure serves as a direct challenge to the patriarchal interpretation that has long painted women as morally inferior to men.
In what ways does Lanyer present Eve’s actions as motivated by noble intentions rather than sin? Lanyer interprets Eve’s decision to eat the forbidden fruit not as an act of rebellion but as a quest for knowledge, driven by love and empathy for Adam. She writes, “If Eve did err, it was for knowledge’ sake” (line 21), reframing Eve’s desire for wisdom as a positive, almost altruistic trait. By further suggesting that Eve shared the fruit “That what she tasted, he likewise might prove” (line 27), Lanyer highlights Eve’s intent to share her experience, not to lead Adam astray. This reinterpretation challenges the traditional view of Eve’s actions as sinful, instead casting them as well-intentioned and generous.
What commentary does Lanyer offer on the nature of blame and accountability in relationships? Lanyer’s portrayal of Adam’s reaction after the fall addresses issues of blame and responsibility within relationships. She criticizes Adam’s attempt to deflect blame onto Eve, writing, “If he would eat it, who had power to stay him?” (line 24). This line questions Adam’s autonomy, suggesting that his decision to eat the fruit was his alone. Lanyer’s critique of Adam’s deflection of blame serves as a broader commentary on the tendency to absolve oneself of guilt by blaming others, a practice that perpetuates unequal accountability in relationships and social structures.
How does Lanyer use irony to emphasize the hypocrisy of patriarchal society? Lanyer employs irony to expose the hypocrisy of a patriarchal society that venerates male knowledge while condemning the female figure who provided it. By stating, “Yet Men will boast of Knowledge, which he took / From Eve’s fair hand” (lines 31-32), she highlights the irony that men claim authority based on knowledge that was first shared by a woman. This observation underlines the double standard that celebrates male intellect but disregards women’s contributions. Through this ironic twist, Lanyer critiques society’s selective acknowledgment of women’s value, using Eve’s story to question the fairness and consistency of patriarchal norms.
Literary Works Similar to “Eve’s Apology in Defense of Women” by Aemilia Lanyer
“The Author to Her Book” by Anne Bradstreet Similar to Lanyer, Bradstreet critiques societal expectations and expresses a woman’s perspective, confronting issues of authorship and self-worth in a male-dominated society.
“Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning: Browning addresses gender inequality and the limitations placed on women, resonating with Lanyer’s themes of female intelligence and the quest for equality.
“A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet: Bradstreet explores the role of women in relationships and the burdens they bear, mirroring Lanyer’s examination of women’s often overlooked contributions and emotional labor.
Representative Quotations of “Eve’s Apology in Defense of Women” by Aemilia Lanyer
“Her fault though great, yet he was most to blame”
Lanyer introduces the idea that Adam, not just Eve, holds responsibility for humanity’s fall. She challenges the conventional narrative that blames women exclusively.
Feminist Theory – Reexamines gendered narratives of blame, questioning why Eve is held to a higher standard of fault than Adam.
“What Weakness offered, Strength might have refused”
Here, Lanyer contrasts Eve’s “weakness” with Adam’s “strength,” implying that Adam’s strength should have enabled him to resist.
Gender Theory – Lanyer redefines “strength” and “weakness,” arguing that strength also entails responsibility.
“Being Lord of all, the greater was his shame”
Lanyer asserts that Adam, as “Lord of all,” had a duty to set an example and follow God’s command.
Power and Responsibility – Explores the idea that those in power bear greater responsibility, an argument often found in feminist critiques of power dynamics.
“If Eve did err, it was for knowledge’ sake”
Lanyer reinterprets Eve’s sin as a quest for knowledge, elevating her intentions beyond mere transgression.
Psychoanalytic Theory – Lanyer suggests that Eve’s actions represent a deep-seated desire for intellectual fulfillment, framing her error as a subconscious drive for self-awareness.
“No subtle Serpent’s falsehood did betray him”
Lanyer points out that Adam was not deceived by the Serpent, suggesting his decision to eat the fruit was fully voluntary.
Free Will and Moral Accountability – Challenges deterministic views and insists on Adam’s personal agency in his choices.
“If he would eat it, who had power to stay him?”
By asking this rhetorical question, Lanyer emphasizes that Adam’s fall was his own decision, not Eve’s fault.
Individual Responsibility – Highlights individual accountability in actions, a key concept in moral philosophy.
“Not Eve, whose fault was only too much love”
Lanyer frames Eve’s motivation as love for Adam, suggesting that her intentions were pure, even if misguided.
Feminine Virtue – Reinterprets Eve’s actions as an expression of love and generosity, challenging traditional condemnations of female actions.
“That we (poor women) must endure it all”
Lanyer sympathizes with women who suffer the lasting burden of Eve’s supposed transgression.
Historical-Biographical Theory – Reflects the societal consequences women endure for perceived moral failings, tied to Lanyer’s own context of gender bias.
“He never sought her weakness to reprove”
Lanyer criticizes Adam for failing to correct Eve’s “mistake” or guide her, implying shared responsibility.
Gender and Accountability – Questions the dynamic of gender-based responsibility in moral decision-making.
“Yet Men will boast of Knowledge, which he took / From Eve’s fair hand”
Lanyer uses irony to highlight that men pride themselves on knowledge initially gained from a woman.
Irony and Patriarchal Critique – Points out the hypocrisy in male-dominated societies that claim superiority while relying on female contributions.
Suggested Readings: “Eve’s Apology in Defense of Women” by Aemilia Lanyer
Garrison, John. “Aemilia Lanyer’s ‘Salve Deus Rex Judaeorum’ and the Production of Possibility.” Studies in Philology, vol. 109, no. 3, 2012, pp. 290–310. JSTOR, http://www.jstor.org/stable/41511150. Accessed 27 Oct. 2024.
Lewalski, Barbara K. “Re-Writing Patriarchy and Patronage: Margaret Clifford, Anne Clifford, and Aemilia Lanyer.” The Yearbook of English Studies, vol. 21, 1991, pp. 87–106. JSTOR, https://doi.org/10.2307/3508481. Accessed 27 Oct. 2024.
WHITE, MICHELINE. “A Woman with Saint Peter’s Keys?: Aemilia Lanyer’s ‘Salve Deus Rex Judaeorum’ (1611) and the Priestly Gifts of Women.” Criticism, vol. 45, no. 3, 2003, pp. 323–41. JSTOR, http://www.jstor.org/stable/23126255. Accessed 27 Oct. 2024.
“Eleanor Rigby” by Paul McCartney, first appeared in 1966 on The Beatles’ album Revolver, was written by McCartney and sung primarily by him.
“Eleanor Rigby” by Paul McCartney: A Critical Analysis
Introduction: “Eleanor Rigby” by Paul McCartney
“Eleanor Rigby” by Paul McCartney, first appeared in 1966 on The Beatles’ album Revolver, was written by McCartney and sung primarily by him. The song stands out for its haunting melody and distinctive use of a string quartet, diverging from the band’s usual guitar and drum-based sound. It explores themes of loneliness, alienation, and the unnoticed lives of ordinary people. The character of Eleanor Rigby is depicted as a solitary woman who lives and dies in obscurity, while Father McKenzie, a priest, also grapples with isolation and purposelessness. Through its melancholic tone and stark lyrics, “Eleanor Rigby” captures the poignancy of human disconnection and the silent suffering that often goes unnoticed in society. The song’s innovative musical composition and deep, introspective lyrics marked a shift in The Beatles’ style, highlighting their evolution into more complex and reflective themes.
Text: “Eleanor Rigby” by Paul McCartney
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby picks up the rice in the church
Where the wedding has been – lives in a dream
Waits at the window, wearing a face that
She keeps in a jar by the door – who is it for
All the lonely people where do they all come from
All the lonely people where do they all belong
Father McKenzie, writing the words of a sermon
That no-one will hear no-one comes near
Look at him working, darning his socks in the
Night when there’s nobody there – what does he care
All the lonely people, where do they all come from
All the lonely people, where do they all belong
Eleanor Rigby died in the church and was buried
Along with her name – nobody came
Father McKenzie, wiping the dirt from his hands
As he walks from the grave no-one was saved
All the lonely people, where do they all come from
This refrain introduces the theme of loneliness, drawing attention to the many individuals in society who live isolated lives, unnoticed by others. It suggests a societal issue of widespread isolation.
“Ah, look at all the lonely people”
Repeated line for emphasis, reinforcing the universality of loneliness and compelling listeners to consider the “invisible” individuals around them.
“Eleanor Rigby picks up the rice in the church”
Eleanor is cleaning up after a wedding, suggesting her role on the fringes of society and hinting at her desire to connect with others through observing meaningful events in others’ lives, like weddings.
“Where the wedding has been – lives in a dream”
Indicates her longing or idealization of companionship and belonging, contrasting her reality with her dreams. It shows her alienation from the happiness symbolized by weddings and union.
“Waits at the window, wearing a face that”
The “window” represents both a barrier and a place where she observes life passively, not fully participating in it. “Wearing a face” implies she has a facade or mask, possibly to hide her loneliness.
“She keeps in a jar by the door – who is it for”
Symbolizes her emotional isolation and the social mask she wears, kept at the ready but used only for outward appearances, questioning the purpose of such pretense when she has no connections.
“All the lonely people where do they all come from”
Reflects on the origins of isolation, questioning if it is societal or inherent in human nature. The rhetorical question invites listeners to think about the causes of loneliness.
“All the lonely people where do they all belong”
A recurring question in the song, challenging the idea of belonging and purpose in a world where some individuals are unnoticed and disconnected.
“Father McKenzie, writing the words of a sermon”
Introduces another lonely figure, a priest who writes sermons that may go unheard, representing unfulfilled duties or a disconnect between his role and his audience.
“That no-one will hear no-one comes near”
Emphasizes his isolation and the futility of his work, as he performs tasks that have no impact due to the absence of a congregation or audience, mirroring Eleanor’s own lack of social ties.
“Look at him working, darning his socks in the”
Father McKenzie’s mundane, solitary act of mending socks underscores his isolation and his lack of connection, as he is left to care for himself in an act that seems almost pointless in the grand scheme.
“Night when there’s nobody there – what does he care”
The nighttime setting deepens the sense of loneliness, as he performs this task without anyone else around. His indifference may signal resignation to his solitude.
“All the lonely people, where do they all come from”
Reiterates the central theme of loneliness, posing the question again to explore whether loneliness is universal or caused by societal circumstances.
“All the lonely people, where do they all belong”
Repeated line that questions the lack of belonging felt by individuals like Eleanor and Father McKenzie, amplifying the sense of societal neglect or misplacement of isolated individuals.
“Eleanor Rigby died in the church and was buried”
Eleanor’s death symbolizes the culmination of a life spent in obscurity, suggesting that her isolation continues even in death.
“Along with her name – nobody came”
Her burial “along with her name” indicates that her identity and existence were largely unnoticed by others, emphasizing the theme of forgotten lives and lack of lasting impact.
“Father McKenzie, wiping the dirt from his hands”
This image evokes the finality of Eleanor’s burial, as Father McKenzie physically disconnects himself from her, symbolizing the routine, impersonal nature of his role.
“As he walks from the grave no-one was saved”
Reflects on the existential theme of salvation or the lack thereof, implying that despite his role, Father McKenzie could not alleviate Eleanor’s loneliness, nor did his religious duties save her from a life of isolation.
“All the lonely people, where do they all come from”
A final reiteration of the thematic question, underscoring the pervasive nature of loneliness and its mysterious origins.
“All the lonely people, where do they all belong”
Closing line, leaving listeners with an open-ended reflection on the lack of belonging and connection among many individuals in society, reinforcing the song’s somber message.
“Ah, look at all the lonely people”
Final repetition, reinforcing the song’s theme and encouraging the listener to take note of those isolated and unseen in society.
“Ah, look at all the lonely people”
Ends with the haunting refrain, reminding the audience of the pervasive loneliness in the world, creating a reflective and melancholic conclusion.
Literary And Poetic Devices: “Eleanor Rigby” by Paul McCartney
The repetition of the ‘l’ sound in “look,” “lonely,” and “people” creates a rhythmic emphasis, drawing attention to the phrase and enhancing the somber tone.
References the ritual of a church burial, an allusion to religious customs that enhance the character’s final isolation even in a place associated with community.
The repetition of this line at the beginning of verses emphasizes the song’s central theme of loneliness and directs listeners’ attention to the theme.
Through small, detailed actions, like “darning his socks,” McCartney characterizes Father McKenzie as a lonely, isolated figure who lives a quiet, routine life.
Contrasts the happiness of a wedding with Eleanor Rigby’s detached existence, living “in a dream,” emphasizing her disconnection from life’s joyous occasions.
Creates a vivid visual image of Eleanor cleaning up after a wedding, symbolizing her isolation from joyful social events and the remnants of others’ celebrations.
“wearing a face that she keeps in a jar by the door”
Describes her facade or social mask as something she “keeps in a jar,” symbolizing the artificiality of her outward expressions and the hidden loneliness beneath.
The motif of loneliness recurs throughout the song, reinforcing the theme of alienation and societal disconnect.
Narrative Perspective
Omniscient narrator
The narrator describes both Eleanor Rigby’s and Father McKenzie’s actions and emotions, allowing a broader view of their isolated lives and enhancing the universal theme of loneliness.
By collectively referring to “the lonely people,” loneliness is personified as a group, enhancing the song’s exploration of solitude on a societal level.
The rice symbolizes celebration and communal gatherings, contrasting with Eleanor’s isolation as she cleans up the remains, signifying her peripheral existence in social events.
The somber tone of the lyrics reflects the theme of loneliness, encouraging listeners to empathize with the characters’ plight and contemplate societal isolation.
The tragic irony lies in Eleanor’s death going unnoticed despite her presence in a church, a place meant for community, highlighting the depth of her isolation.
Themes: “Eleanor Rigby” by Paul McCartney
Loneliness and Isolation The theme of loneliness permeates Eleanor Rigby, capturing the hidden lives of individuals separated from society. The line “Ah, look at all the lonely people” opens and closes the song, framing it with a sense of widespread, unnoticed isolation. Eleanor is introduced through small, solitary actions, such as “picks up the rice in the church,” where she is present but disconnected from others. Similarly, Father McKenzie, who “darns his socks in the night,” lives a solitary life despite his public role, emphasizing that loneliness affects people in various walks of life.
The Futility of Existence McCartney portrays the seemingly meaningless routines of daily life as characters like Eleanor and Father McKenzie go through repetitive, empty actions. Eleanor “lives in a dream,” hinting at her desire for something beyond her monotonous reality. Father McKenzie writes sermons “that no one will hear,” highlighting the futility of his work when he has no audience. The ultimate futility is underscored by Eleanor’s death, where “nobody came,” showing how her life, filled with routine but devoid of meaningful connection, ends in complete obscurity.
Death and Legacy Death is a prominent theme, marked by Eleanor’s passing and the finality of her burial “along with her name.” This line suggests that her identity, life, and memories are forgotten, as she leaves no lasting impact on those around her. Father McKenzie, who performs the burial, “wiping the dirt from his hands,” walks away detached, symbolizing the impersonal way society deals with those who pass on without connections. The song questions what legacy remains when a life, like Eleanor’s, is marked by solitude rather than relationships.
Social Alienation and Neglect Eleanor Rigby paints a somber picture of societal neglect, highlighting how certain individuals live unnoticed and unacknowledged. Eleanor’s only interaction with the world seems to be cleaning up after events like weddings, yet she is disconnected from the joy and companionship they represent. Father McKenzie’s sermons, “that no one will hear,” suggest that even those in roles designed to connect with others can experience isolation. The rhetorical refrain “where do they all belong?” questions the place of isolated individuals in society, emphasizing a failure to address the emotional needs of people like Eleanor and Father McKenzie.
Literary Theories and “Eleanor Rigby” by Paul McCartney
Examines the socio-economic class struggles and alienation experienced by individuals in capitalist societies. Eleanor Rigby reflects on the isolation of working-class individuals like Eleanor, who appears to work on the sidelines of society, performing tasks (e.g., “picks up the rice in the church”) that are necessary but invisible. Similarly, Father McKenzie embodies the unacknowledged labor of religious service, where his efforts, “writing the words of a sermon that no one will hear,” go unappreciated by society. The song highlights class-based social alienation.
“Picks up the rice in the church” shows Eleanor performing unnoticed, lowly tasks, while “no one will hear” for Father McKenzie’s sermons points to his unseen labor.
Focuses on individual isolation, the search for meaning, and the recognition of life’s inherent absurdities. In Eleanor Rigby, the characters live seemingly purposeless lives, defined by routines that appear futile (e.g., “lives in a dream,” “writing the words of a sermon that no one will hear”). Eleanor’s death (“died in the church and was buried / nobody came”) and Father McKenzie’s indifferent response reflect the existential notion that life lacks inherent meaning unless one creates it. Their isolation and obscurity underscore existential despair and the human need for purpose.
“Lives in a dream” and “no one was saved” emphasize the characters’ struggles with purposelessness and isolation in a seemingly indifferent world.
Focuses on the unconscious mind, exploring repressed desires, isolation, and emotional facades. In Eleanor Rigby, Eleanor’s “wearing a face that she keeps in a jar by the door” symbolizes the public masks people use to hide their inner loneliness and desire for connection. Father McKenzie’s isolated actions, such as “darning his socks in the night,” hint at unmet emotional needs. The song suggests that, unconsciously, these characters yearn for relationships but remain trapped by their inability to express or fulfill these desires.
“Wearing a face that she keeps in a jar by the door” indicates Eleanor’s hidden emotions, while “darning his socks in the night” shows Father McKenzie’s internal solitude.
Critical Questions about “Eleanor Rigby” by Paul McCartney
What does “Eleanor Rigby” suggest about the nature of loneliness in modern society?
“Eleanor Rigby” paints loneliness as a pervasive and overlooked issue, highlighting the alienation felt by ordinary individuals within society. The line “Ah, look at all the lonely people” functions as both a call to attention and a reflection on how invisible loneliness often is. Characters like Eleanor and Father McKenzie exist on the margins of society, unnoticed and unacknowledged. Eleanor “lives in a dream” and performs menial tasks, such as picking up rice after a wedding, which positions her as a witness to others’ joyous moments without participating herself. Father McKenzie’s isolation is also evident as he writes “words of a sermon that no one will hear.” This suggests that modern society may unintentionally neglect its members, leaving them isolated in plain sight.
How does McCartney use symbolism to reflect on the themes of life and death in the song?
McCartney uses subtle yet powerful symbols to convey themes of life and death in “Eleanor Rigby.” The “church” serves as a dual symbol of both community and solitude, a place for life events like weddings and funerals. Eleanor’s act of picking up rice after a wedding symbolizes her detachment from life’s joyful experiences, while her death “in the church” symbolizes a quiet, unnoticed end. The phrase “nobody came” underscores the lack of social ties in her life, suggesting that, for some, death brings no closure or acknowledgment from others. Similarly, Father McKenzie “wiping the dirt from his hands” after her burial symbolizes the impersonal nature of her passing and the routine aspect of life and death within the community.
In what ways does “Eleanor Rigby” critique traditional roles within society? The song critiques traditional societal roles by depicting both Eleanor Rigby and Father McKenzie as fulfilling social functions that seem purposeless or undervalued. Eleanor, as a solitary woman, performs invisible tasks that go unrecognized, and Father McKenzie, a priest, engages in spiritual duties—like writing sermons—that “no one will hear.” The depiction of Eleanor “wearing a face that she keeps in a jar by the door” reflects the pressure to maintain appearances even in isolation, symbolizing societal expectations that fail to address her emotional needs. Father McKenzie’s role as a religious figure, who should provide comfort to his community, is rendered futile by his own isolation. Together, these portrayals critique how traditional roles can lead to unfulfilled lives when society fails to connect meaningfully with its members.
What message does “Eleanor Rigby” convey about human connection and empathy?
“Eleanor Rigby” conveys a sobering message about the scarcity of human connection and empathy, emphasizing the consequences of a society that overlooks its members. Despite being part of a community, Eleanor and Father McKenzie live lonely, disconnected lives. Eleanor “lives in a dream,” implying a yearning for connection or purpose that remains unmet. Father McKenzie’s solitary act of “darning his socks in the night” represents the mundane, lonely existence of a man who has little to connect him to others, despite his social position as a priest. The repeated refrain “where do they all belong” challenges the audience to reflect on the places of people like Eleanor and Father McKenzie within society, prompting questions about how community members might cultivate empathy to prevent lives marked by such profound isolation.
Literary Works Similar to “Eleanor Rigby” by Paul McCartney
“Richard Cory” by Edwin Arlington Robinson Like Eleanor Rigby, this poem explores loneliness hidden beneath an exterior, as Richard Cory, admired by townsfolk, secretly struggles with isolation.
“The Love Song of J. Alfred Prufrock” by T.S. Eliot This poem shares Eleanor Rigby‘s introspective tone and highlights the inner loneliness of an individual who feels disconnected from society.
“Aubade” by Philip Larkin Larkin’s poem captures a similar existential despair, focusing on themes of mortality and the solitary experience of facing life and death.
“Acquainted with the Night” by Robert Frost Like Eleanor Rigby, Frost’s poem delves into the theme of loneliness, with the speaker embodying a sense of isolation while moving unnoticed through the night.
“Mr. Bleaney” by Philip Larkin This poem mirrors Eleanor Rigby‘s reflection on an unremarkable life, as it depicts an ordinary man’s lonely existence and anonymous death in a rented room.
Representative Quotations of “Eleanor Rigby” by Paul McCartney
Womack, Kenneth. “Authorship and the Beatles.” College Literature, vol. 34, no. 3, 2007, pp. 161–82. JSTOR, http://www.jstor.org/stable/25115445. Accessed 27 Oct. 2024.
Connolly, Martin Christopher. “‘All the Lonely People’: Joyce’s Dubliners, Paul McCartney, and the Songbook of The Beatles.” Interdisciplinary Literary Studies, vol. 19, no. 1, 2017, pp. 1–16. JSTOR, https://doi.org/10.5325/intelitestud.19.1.0001. Accessed 27 Oct. 2024.
Carter, Steven. “The Beatles and Freshman English.” College Composition and Communication, vol. 20, no. 3, 1969, pp. 228–32. JSTOR, https://doi.org/10.2307/354135. Accessed 27 Oct. 2024.
“Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning first appeared in 1856 as part of her novel-poem Aurora Leigh, a significant literary work that explores the life, struggles, and aspirations of a female poet in Victorian society.
Introduction: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
“Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning first appeared in 1856 as part of her novel-poem Aurora Leigh, a significant literary work that explores the life, struggles, and aspirations of a female poet in Victorian society. Through this work, Browning addresses themes of gender roles, artistic ambition, and social reform, particularly highlighting the challenges faced by women in pursuing intellectual and creative fulfillment. The poem’s distinctive blend of narrative and verse allowed Browning to delve deeply into these social critiques while also offering rich, introspective commentary on the nature of art and literature. Aurora Leigh gained popularity due to its progressive views on women’s independence and education, resonating strongly with readers who valued the burgeoning discourse on women’s rights. The work’s innovative structure and lyrical, introspective quality have solidified it as a cornerstone in Victorian literature and feminist thought.
Text: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
There he glowed on me With all his face and eyes. ‘No other help?’ Said he–’no more than so?’ ‘What help?’ I asked. ‘You’d scorn my help,–as Nature’s self, you say, Has scorned to put her music in my mouth, Because a woman’s. Do you now turn round And ask for what a woman cannot give?’
‘For what she only can, I turn and ask,’ He answered, catching up my hands in his, And dropping on me from his high-eaved brow The full weight of his soul,–’I ask for love, And that, she can; for life in fellowship Through bitter duties–that, I know she can; For wifehood . . will she?’ ‘Now,’ I said, ‘may God Be witness ‘twixt us two!’ and with the word, Meseemed I floated into a sudden light Above his stature,–’am I proved too weak To stand alone, yet strong enough to bear Such leaners on my shoulder? poor to think, Yet rich enough to sympathise with thought? Incompetent to sing, as blackbirds can, Yet competent to love, like HIM?’ I paused: Perhaps I darkened, as the lighthouse will That turns upon the sea. ‘It’s always so! Anything does for a wife.’ ‘Aurora, dear, And dearly honoured’ . . he pressed in at once With eager utterance,–’you translate me ill. I do not contradict my thought of you Which is most reverent, with another thought Found less so. If your sex is weak for art, (And I who said so, did but honour you By using truth in courtship) it is strong For life and duty. Place your fecund heart In mine, and let us blossom for the world That wants love’s colour in the grey of time. With all my talk I can but set you where You look down coldly on the arena-heaps Of headless bodies, shapeless, indistinct! The Judgment-Angel scarce would find his way Through such a heap of generalised distress, To the individual man with lips and eyes– Much less Aurora. Ah, my sweet, come down, And, hand in hand, we’ll go where yours shall touch These victims, one by one! till one by one, The formless, nameless trunk of every man Shall seem to wear a head, with hair you know, And every woman catch your mother’s face To melt you into passion.’ ‘I am a girl,’ I answered slowly; ‘you do well to name My mother’s face. Though far too early, alas, God’s hand did interpose ‘twixt it and me, I know so much of love, as used to shine In that face and another. Just so much; No more indeed at all. I have not seen So much love since, I pray you pardon me, As answers even to make a marriage with, In this cold land of England. What you love, Is not a woman, Romney, but a cause: You want a helpmate, not a mistress, sir,– A wife to help your ends . . in her no end! Your cause is noble, your ends excellent, But I, being most unworthy of these and that, Do otherwise conceive of love. Farewell.’
‘Farewell, Aurora, you reject me thus?’ He said. ‘Why, sir, you are married long ago. You have a wife already whom you love, Your social theory. Bless you both, I say. For my part, I am scarcely meek enough To be the handmaid of a lawful spouse. Do I look a Hagar, think you?’ ‘So, you jest!’
‘Nay so, I speak in earnest,’ I replied. ‘You treat of marriage too much like, at least, A chief apostle; you would bear with you A wife . . a sister . . shall we speak it out? A sister of charity.’ ‘Then, must it be Indeed farewell? And was I so far wrong In hope and in illusion, when I took The woman to be nobler than the man, Yourself the noblest woman,–in the use And comprehension of what love is,–love, That generates the likeness of itself Through all heroic duties? so far wrong In saying bluntly, venturing truth on love, ‘Come, human creature, love and work with me,’– Instead of, ‘Lady, thou art wondrous fair, ‘And, where the Graces walk before, the Muse ‘Will follow at the lighting of the eyes, ‘And where the Muse walks, lovers need to creep ‘Turn round and love me, or I die of love.”
With quiet indignation I broke in. ‘You misconceive the question like a man, Who sees a woman as the complement Of his sex merely. You forget too much That every creature, female as the male, Stands single in responsible act and thought As also in birth and death. Whoever says To a loyal woman, ‘Love and work with me,’ Will get fair answers, if the work and love Being good themselves, are good for her–the best She was born for. Women of a softer mood, Surprised by men when scarcely awake to life, Will sometimes only hear the first word, love, And catch up with it any kind of work, Indifferent, so that dear love go with it: I do not blame such women, though, for love, They pick much oakum; earth’s fanatics make Too frequently heaven’s saints. But me, your work Is not the best for,–nor your love the best, Nor able to commend the kind of work For love’s sake merely. Ah, you force me, sir, To be over-bold in speaking of myself,– I, too, have my vocation,–work to do, The heavens and earth have set me, since I changed My father’s face for theirs,–and though your world Were twice as wretched as you represent Most serious work, most necessary work, As any of the economists’. Reform, Make trade a Christian possibility, And individual right no general wrong; Wipe out earth’s furrows of the Thine and Mine, And leave one green, for men to play at bowls; With innings for them all! . . what then, indeed, If mortals were not greater by the head Than any of their prosperities? what then, Unless the artist keep up open roads Betwixt the seen and unseen,–bursting through The best of your conventions with his best The unspeakable, imaginable best God bids him speak, to prove what lies beyond Both speech and imagination? A starved man Exceeds a fat beast: we’ll not barter, sir, The beautiful for barley.–And, even so, I hold you will not compass your poor ends Of barley-feeding and material ease, Without a poet’s individualism To work your universal. It takes a soul, To move a body: it takes a high-souled man, To move the masses . . even to a cleaner stye: It takes the ideal, to blow a hair’s breadth off The dust of the actual.–ah, your Fouriers failed, Because not poets enough to understand That life develops from within.–For me, Perhaps I am not worthy, as you say, Of work like this! . . perhaps a woman’s soul Aspires, and not creates! yet we aspire, And yet I’ll try out your perhapses, sir; And if I fail . . why, burn me up my straw Like other false works–I’ll not ask for grace, Your scorn is better, cousin Romney. I Who love my art, would never wish it lower To suit my stature. I may love my art, You’ll grant that even a woman may love art, Seeing that to waste true love on anything, Is womanly, past question.’
Annotations: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
There he glowed on me / With all his face and eyes. ‘No other help?’ / Said he–’no more than so?’ / ‘What help?’ I asked.
The scene opens with Romney, the male character, looking earnestly at Aurora, questioning if she has no further help. This interaction sets a tone of urgency, implying Romney’s hope for a partnership, which Aurora meets with guarded skepticism.
‘You’d scorn my help,–as Nature’s self, you say, / Has scorned to put her music in my mouth, / Because a woman’s. / Do you now turn round / And ask for what a woman cannot give?’
Aurora confronts Romney’s previous dismissal of her talents, pointing out the irony in him now seeking help from her, a woman. This reflects the broader theme of gender limitations imposed by society and Aurora’s awareness of them.
‘For what she only can, I turn and ask,’ / He answered, catching up my hands in his, / And dropping on me from his high-eaved brow / The full weight of his soul,–’I ask for love,’
Romney admits that he seeks Aurora’s love, acknowledging her unique capacity for connection and support. His intense physical gesture—holding her hands and bowing his head—emphasizes his emotional investment in this request, setting the tone for a serious proposal.
And that, she can; for life in fellowship / Through bitter duties–that, I know she can; / For wifehood . . will she?’ / ‘Now,’ I said, ‘may God
Romney elaborates, expressing his desire for a committed partnership in life’s hardships. Aurora invokes divine witness, suggesting the gravity with which she views Romney’s request and possibly her initial hesitation to accept his terms.
Be witness ‘twixt us two!’ and with the word, / Meseemed I floated into a sudden light / Above his stature,–’am I proved too weak / To stand alone, yet strong enough to bear
Aurora’s self-reflection is triggered by Romney’s proposal, leading her to question her own strength and independence. She feels elevated, almost spiritually, suggesting an inner conflict between self-reliance and the societal expectations for women.
Such leaners on my shoulder? poor to think, / Yet rich enough to sympathise with thought? / Incompetent to sing, as blackbirds can, / Yet competent to love, like HIM?’
Aurora questions the paradoxes expected of women, as seen through her own abilities. She doubts her worth but acknowledges her capacity for love, thus framing love as a complex interplay of strength and vulnerability.
I paused: / Perhaps I darkened, as the lighthouse will / That turns upon the sea. ‘It’s always so! / Anything does for a wife.’
Aurora’s self-assessment halts, and she becomes disillusioned. She compares herself to a lighthouse, implying that women are often seen as mere supports in relationships. Her statement, “Anything does for a wife,” is a criticism of society’s undervaluation of women.
‘Aurora, dear, / And dearly honoured’ . . he pressed in at once / With eager utterance,–’you translate me ill. / I do not contradict my thought of you
Romney, sensing her growing frustration, tries to explain himself. He insists that Aurora has misinterpreted his intentions, reiterating his high regard for her. His attempt to pacify her hints at the tension between his idealistic views and her independent spirit.
Which is most reverent, with another thought / Found less so. If your sex is weak for art, / (And I who said so, did but honour you / By using truth in courtship) it is strong
Romney acknowledges a traditional bias against women in art but justifies it as a sign of respect. He implies that women’s strength lies in life and duty, reflecting the Victorian idea that women excel in domestic and emotional roles rather than intellectual or creative ones.
For life and duty. Place your fecund heart / In mine, and let us blossom for the world / That wants love’s colour in the grey of time. / With all my talk I can but set you where
Romney shifts from discussing artistic limitations to proposing a partnership rooted in love and duty, suggesting that their union could bring vibrancy to a bleak world. His poetic appeal underscores his hope to combine her emotional capacity with his ideals for societal betterment.
You look down coldly on the arena-heaps / Of headless bodies, shapeless, indistinct! / The Judgment-Angel scarce would find his way / Through such a heap of generalised distress,
Romney describes society’s suffering, suggesting that Aurora’s current detached perspective prevents her from empathizing deeply. His dramatic language about “headless bodies” and “generalized distress” represents his idealism and desire for meaningful social change.
To the individual man with lips and eyes– / Much less Aurora. Ah, my sweet, come down, / And, hand in hand, we’ll go where yours shall touch / These victims, one by one! till one by one,
Romney appeals to Aurora to join him in working closely with individuals rather than remaining aloof. He envisions a partnership where they would address each person’s suffering personally, combining his dedication with her compassion for meaningful reform.
The formless, nameless trunk of every man / Shall seem to wear a head, with hair you know, / And every woman catch your mother’s face / To melt you into passion.’
He evokes Aurora’s late mother as a symbol of compassionate love, urging her to channel that personal connection toward society’s suffering. His sentimental appeal suggests that by “seeing” the humanity in others, Aurora could find a deeper purpose aligned with his mission.
‘I am a girl,’ / I answered slowly; ‘you do well to name / My mother’s face. Though far too early, alas, / God’s hand did interpose ‘twixt it and me,
Aurora acknowledges the impact of her mother’s early death on her understanding of love and connection. Her mention of this loss signals both her vulnerability and her distance from the conventional roles Romney expects her to embrace.
I know so much of love, as used to shine / In that face and another. Just so much; / No more indeed at all. I have not seen / So much love since,
She reflects on her limited experience with genuine love, influenced by memories of her mother. This admission subtly criticizes Romney’s idea of love, implying that she finds it lacking the depth and purity she once witnessed.
Literary And Poetic Devices: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
“A starved man exceeds a fat beast,” “Your Fouriers failed”
Browning references historical, biblical, or cultural ideas, such as Fourier’s failed utopian socialism. These allusions deepen the text’s philosophical aspects and connect Aurora’s thoughts to broader social and intellectual movements.
Anaphora, the repetition of a word or phrase at the beginning of successive lines, is used by Romney to emphasize his appeals to Aurora, each clause adding urgency to his desire for companionship and partnership.
Apostrophe is when a speaker directly addresses someone absent or an abstract idea. Aurora calls upon God as a witness to her inner resolve, reflecting her solemnity and sincerity.
“I am a girl,” / “a high-souled man, To move the masses”
Assonance, or repetition of vowel sounds, is used in passages where Aurora contemplates her role. The sound enhances her introspection and conveys a musical quality to her philosophical ponderings.
“For life and duty. Place your fecund heart / In mine,”
Caesura is a pause within a line of poetry, often marked by punctuation. Here, it reflects Romney’s hesitation and seriousness, adding gravity to his call for love and duty.
Consonance, or repetition of consonant sounds, enriches the sound of the text. It appears as Aurora questions her role, underscoring her doubts and internal conflict.
Browning’s word choices create a formal, philosophical tone that reflects the characters’ elevated thoughts on love, duty, and social reform, highlighting themes central to the Victorian ethos.
“Incompetent to sing, as blackbirds can, / Yet competent to love, like HIM?”
Enjambment occurs when a line flows into the next without a pause, conveying a rush of thoughts. Here, it mirrors Aurora’s stream of consciousness and contemplation on love’s complexities.
Epistrophe is the repetition of words at the ends of successive clauses, emphasizing the idea of a woman’s life as solely a tool for a man’s ends, underscoring Aurora’s critique of Romney’s proposal.
“leaners on my shoulder” / “a lighthouse that turns upon the sea”
The metaphor of the lighthouse extends through the text, symbolizing Aurora’s conflicted role as both a guiding figure and an independent entity, highlighting her struggle between societal roles and personal identity.
“The formless, nameless trunk of every man / Shall seem to wear a head”
Hyperbole, or exaggeration, highlights Romney’s romanticized vision of Aurora’s empathy transforming the suffering of the masses, emphasizing his idealism.
“Judgment-Angel,” “hair you know,” “headless bodies”
Vivid imagery is used to evoke visual scenes, such as the Judgment-Angel searching through indistinct bodies, underscoring Romney’s vision of societal reform and Aurora’s contemplation of individual suffering.
Irony is evident when Aurora cynically comments on society’s low expectations for wives, pointing out the disconnect between her own ambitions and traditional gender roles.
Juxtaposition places contrasting ideas side by side, emphasizing the difference between inner worth and material wealth, a theme that speaks to the social ideals both characters grapple with.
The metaphor of a “fecund heart” symbolizes emotional richness and the potential for creating meaningful, compassionate change, which Romney believes could flourish within their partnership.
“Too weak to stand alone, yet strong enough to bear such leaners”
Aurora’s words express a paradox, contrasting the societal view of women as weak with their actual resilience, challenging Victorian ideals about gender and strength.
Personification gives human qualities to “social theory,” highlighting Aurora’s perception of Romney’s passion for reform as rivaling any human relationship, ultimately emphasizing her skepticism.
A rhetorical question posed by Aurora invokes the biblical figure Hagar, highlighting her resistance to being seen as a subordinate or “handmaid” and critiquing Romney’s view of marriage.
“Perhaps I darkened, as the lighthouse will / That turns upon the sea.”
This simile compares Aurora to a lighthouse, capturing her role as a guiding but solitary figure, illuminating her internal conflict between helping others and maintaining her own independence.
Themes: “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
Gender Roles and Feminine Independence In “Aurora Leigh,” Browning explores the theme of gender roles and the struggle for feminine independence, challenging the Victorian societal expectations placed on women. Aurora questions the limitations imposed on her as a woman, particularly when Romney suggests she lacks the strength for art. She retorts, “You’d scorn my help,–as Nature’s self, you say, / Has scorned to put her music in my mouth, / Because a woman’s.” This powerful line underscores Aurora’s awareness of societal restrictions on female creativity. Later, she expresses frustration with society’s limited view of women’s roles, stating, “Anything does for a wife,” pointing to the low expectations society has for women, especially within marriage. Through Aurora’s resistance to Romney’s marriage proposal, Browning critiques the notion that a woman’s highest calling is to serve as a supportive spouse rather than pursue her own ambitions.
Love Versus Social Ideals Browning contrasts romantic love with societal ideals, showing the tension between personal connection and social duty. Romney’s proposal to Aurora is rooted more in his vision of an ideal partnership to fulfill social reform rather than romantic love. Aurora recognizes this, stating, “What you love, / Is not a woman, Romney, but a cause: / You want a helpmate, not a mistress, sir.” She identifies Romney’s view of marriage as a practical union rather than a heartfelt bond, and she sees his love as conditional upon her alignment with his goals. Aurora’s refusal emphasizes her need for genuine love over duty-bound partnership, reflecting Browning’s critique of relationships based on utility rather than mutual affection and respect.
Art and Individualism Aurora champions art and individualism, viewing them as essential for human progress and inner fulfillment. In a society focused on social reform and utilitarian ideals, she believes art plays an irreplaceable role in connecting the material and spiritual realms. Aurora asserts, “It takes a soul, / To move a body: it takes a high-souled man, / To move the masses,” emphasizing that a true artist or visionary must have a profound individual perspective to inspire society. This notion aligns with Aurora’s belief that art transcends societal boundaries, allowing for self-expression that is independent of societal constraints. Her defense of poetry and personal purpose highlights her conviction that individuality is not only valuable but also essential to contributing meaningfully to society.
Class and Social Reform The theme of class and social reform is woven into Romney’s desire to uplift society and alleviate human suffering, reflecting the Victorian era’s preoccupation with social responsibility. He appeals to Aurora to help him in his mission, describing a society filled with “headless bodies, shapeless, indistinct” that desperately need aid. This language evokes the masses struggling under the weight of poverty and social inequality. However, Aurora rejects his vision, arguing that genuine reform requires “a poet’s individualism” rather than mere charitable acts. She recognizes the importance of social reform but insists that art and personal fulfillment should not be sacrificed in its name, emphasizing a more nuanced approach to class issues that respects both individual identity and collective needs.
Literary Theories and “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
Feminist theory examines the ways literature reinforces or challenges gender roles and addresses women’s social, political, and personal experiences. In Aurora Leigh, Browning critiques Victorian expectations of women.
Aurora resists Romney’s notion that a woman’s primary role is to support a man’s ambitions, declaring, “What you love, / Is not a woman, Romney, but a cause.”
Romanticism emphasizes individual emotion, nature, and the value of art as expressions of the self. Browning’s Aurora Leigh embodies these ideals, advocating for the independence and artistic expression of the individual.
Aurora argues for the importance of individuality and art, saying, “It takes a soul, / To move a body,” suggesting the artist’s essential role in human and social growth.
Marxist theory critiques class structures and explores how economic and social hierarchies affect individuals. Aurora Leigh critiques social reform efforts and questions the impact of class on personal relationships.
Romney’s focus on societal reform highlights the Marxist tension between individual needs and collective progress, as seen in “the formless, nameless trunk of every man.”
Critical Questions about “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
How does Browning challenge Victorian gender roles through Aurora’s rejection of Romney’s proposal?
In “Aurora Leigh”, Browning critiques Victorian norms by having Aurora reject Romney’s proposal, which is rooted in traditional gender expectations. Aurora confronts Romney’s view of women as supportive but secondary to men’s ambitions, asking, “Do you now turn round / And ask for what a woman cannot give?” Her pointed response critiques the societal view that a woman’s primary purpose is to serve as a helpmate rather than as an individual with her own aspirations. Aurora’s rejection of marriage as solely a utilitarian arrangement—”What you love, / Is not a woman, Romney, but a cause”—highlights her desire for a relationship based on equality and mutual respect rather than the subservience expected of women in her time.
How does Browning use Aurora’s character to discuss the importance of individuality and art in society?
Through Aurora, Browning elevates the role of the artist as an essential voice for social and spiritual growth. Aurora argues that individuality and art are crucial for true progress, stating, “It takes a soul, / To move a body: it takes a high-souled man, / To move the masses.” By prioritizing her artistic vocation over a life of duty to social reform, Aurora insists that art’s value lies in its power to inspire and transform, not just serve. Her stance reveals Browning’s Romantic ideals, placing individual purpose above collective demands, which underscores the importance of self-expression in a society that often values utility over creativity.
In what ways does Browning critique social reform movements of her time through Romney’s character?
Browning uses Romney as a critique of the social reform movements that were prevalent in Victorian England, questioning their effectiveness and approach. Romney views marriage with Aurora as a means to further his social causes, emphasizing duty and reform rather than personal connection. Aurora, however, challenges his approach, suggesting that reform must be inspired by genuine empathy, not cold, detached goals. She tells Romney, “Your work / Is not the best for…nor your love the best,” implying that his work lacks the depth needed for true change. Through Romney, Browning questions whether reform movements that prioritize abstract ideals over individual needs can genuinely address societal problems.
How does Browning portray love as complex and multifaceted, rather than idealistic, in “Aurora Leigh”?
In “Aurora Leigh”, love is portrayed as a complex interplay of personal conviction, social roles, and genuine connection. Romney’s romantic approach to Aurora is tinged with his desire for a partner in his social mission, which Aurora finds unappealing and superficial. She accuses him of wanting a “wife to help your ends…in her no end!” This line underscores her belief that true love must be rooted in mutual respect and shared values, rather than a transactional partnership. By highlighting the conflicts between love, duty, and personal independence, Browning suggests that authentic love cannot thrive under societal pressures and must be based on equality and individuality.
Literary Works Similar to “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
“The Cry of the Children” by Elizabeth Barrett Browning This poem, like Aurora Leigh, addresses social issues and critiques the plight of the oppressed, focusing on child labor and the lack of empathy in Victorian society.
“Goblin Market” by Christina Rossetti Rossetti’s poem parallels Aurora Leigh in its exploration of feminine independence and moral struggles, using allegory to depict women’s resilience against societal temptations and constraints.
“The Lady of Shalott” by Alfred, Lord Tennyson Similar to Aurora Leigh, this poem examines themes of isolation and artistic dedication, portraying a woman confined by societal limitations and yearning for genuine life experience.
“My Last Duchess” by Robert Browning In this dramatic monologue, Browning, like his wife in Aurora Leigh, explores power dynamics and critiques patriarchal control, highlighting the suppression of female agency within Victorian social structures.
“A Woman’s Last Word” by Robert Browning This poem delves into the complexities of marital relationships and feminine autonomy, akin to Aurora Leigh‘s examination of love, gender roles, and the tension between personal identity and societal expectations.
Representative Quotations of “Aurora Leigh” (Book II excerpt) by Elizabeth Barrett Browning
Zonana, Joyce. “The Embodied Muse: Elizabeth Barrett Browning’s Aurora Leigh and Feminist Poetics.” Tulsa Studies in Women’s Literature, vol. 8, no. 2, 1989, pp. 241–62. JSTOR, https://doi.org/10.2307/463737. Accessed 28 Oct. 2024.
Rosenblum, Dolores. “Face to Face: Elizabeth Barrett Browning’s ‘Aurora Leigh’ and Nineteenth-Century Poetry.” Victorian Studies, vol. 26, no. 3, 1983, pp. 321–38. JSTOR, http://www.jstor.org/stable/3827516. Accessed 28 Oct. 2024.
Steinmetz, Virginia V. “Images of ‘Mother-Want’ in Elizabeth Barrett Browning’s ‘Aurora Leigh.'” Victorian Poetry, vol. 21, no. 4, 1983, pp. 351–67. JSTOR, http://www.jstor.org/stable/40002102. Accessed 28 Oct. 2024.
“A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet first appeared in her posthumous collection Several Poems Compiled with Great Variety of Wit and Learning in 1678.
Introduction: “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
“A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet first appeared in her posthumous collection Several Poems Compiled with Great Variety of Wit and Learning in 1678. The poem, deeply personal and intimate, reflects Bradstreet’s longing and sorrow due to her husband’s absence for work. Central to the poem are themes of love, unity, and the physical and emotional separation between the poet and her husband. Bradstreet uses vivid metaphors, likening her husband to the sun and herself to the Earth, to express how deeply intertwined their lives are. Her exploration of these emotions in a Puritan society, which traditionally valued restraint over emotional expression, has contributed to the poem’s lasting popularity. Bradstreet’s ability to convey genuine affection and yearning with grace and poetic sophistication has made her work resonate with readers, highlighting the universal themes of love and separation.
Text: “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
My head, my heart, mine eyes, my life, nay, more, My joy, my magazine of earthly store, storehouse If two be one, as surely thou and I, How stayest thou there, whilst I at Ipswich lie? So many steps, head from the heart to sever, If but a neck, soon should we be together. I like the Earth this season, mourn in black, My Sun is gone so far in’s zodiac, Whom whilst I ‘joyed, nor storms, nor frost I felt, His warmth such frigid colds did cause to melt. My chilled limbs now numbed lie forlorn; Return; return, sweet Sol, from Capricorn; In this dead time, alas, what can I more Than view those fruits which through thy heat I bore? Which sweet contentment yield me for a space, True living pictures of their father’s face. O strange effect! now thou art southward gone, I weary grow the tedious day so long; But when thou northward to me shalt return, I wish my Sun may never set, but burn Within the Cancer of my glowing breast, The welcome house of him my dearest guest. Where ever, ever stay, and go not thence, Till nature’s sad decree shall call thee hence; Flesh of thy flesh, bone of thy bone, I here, thou there, yet but both one.
Annotations: “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
Bradstreet opens by listing the central elements of herself—head, heart, eyes, and life—expressing that her husband is her everything, more than these fundamental parts.
My joy, my magazine of earthly store,
She calls her husband her “magazine of earthly store,” meaning he is her source of joy and everything she treasures in life.
If two be one, as surely thou and I,
Referencing the biblical notion of marriage, she emphasizes their unity, suggesting that they are one soul despite being physically separate.
How stayest thou there, whilst I at Ipswich lie?
Bradstreet expresses frustration and longing, questioning how her husband can stay away while she lies in Ipswich, separated from him.
So many steps, head from the heart to sever,
Here, “head” (her husband) is metaphorically separated from the “heart” (herself), illustrating their physical separation.
If but a neck, soon should we be together.
She imagines that if only a “neck” separated them, they would be together soon, highlighting the longing to overcome the physical distance between them.
I like the Earth this season, mourn in black,
Comparing herself to the Earth in a season of mourning, she wears “black” (a symbol of sadness), signifying her sorrow due to her husband’s absence.
My Sun is gone so far in’s zodiac,
Bradstreet metaphorically calls her husband her “Sun,” who has moved away in his “zodiac” (representing his journey or duty far from her).
Whom whilst I ‘joyed, nor storms, nor frost I felt,
When her “Sun” (husband) was with her, she felt neither “storms” nor “frost”—symbols of hardships or sorrow—as his warmth dispelled all negativity.
His warmth such frigid colds did cause to melt.
The warmth of her husband’s presence had the power to melt any emotional “cold” she experienced, symbolizing his comforting and uplifting influence.
My chilled limbs now numbed lie forlorn;
Without her husband, she feels emotionally “numbed” and “forlorn,” emphasizing her deep loneliness and physical impact of separation.
Return; return, sweet Sol, from Capricorn;
She begs for her husband to return from Capricorn, a zodiac sign representing the distance in their separation, calling him “sweet Sol” (a poetic name for the Sun).
In this dead time, alas, what can I more
During this “dead time” (likely winter, when he is away), she feels helpless and empty, unsure of what to do without him.
Than view those fruits which through thy heat I bore?
She finds some solace in their children (“those fruits”) whom she bore with his “heat” (love and partnership), as they remind her of him.
Which sweet contentment yield me for a space,
Her children bring her temporary contentment, as they are “true living pictures” of her husband.
True living pictures of their father’s face.
The children resemble her husband, offering her some comfort in his absence by embodying his presence and features.
O strange effect! now thou art southward gone,
She describes a strange effect: since her husband has traveled “southward,” her days feel longer and tiresome, highlighting the impact of his absence on her perception of time.
I weary grow the tedious day so long;
Without him, each day drags on endlessly, revealing her emotional exhaustion and impatience for his return.
But when thou northward to me shalt return,
She looks forward to his return, imagining him coming back “northward” to be with her again.
I wish my Sun may never set, but burn
She expresses a desire that her “Sun” (husband) will never “set” (leave) again, but will remain with her permanently, fueling her heart with warmth.
Within the Cancer of my glowing breast,
She wishes him to stay “within the Cancer” (a zodiac sign symbolizing home and hearth) of her “glowing breast,” reflecting her heart’s warmth and passion.
The welcome house of him my dearest guest.
She welcomes him as her “dearest guest,” seeing her heart as his home and embracing him with love and warmth upon his return.
Where ever, ever stay, and go not thence,
Bradstreet yearns for her husband to stay with her forever, expressing a longing for eternal companionship.
Till nature’s sad decree shall call thee hence;
She acknowledges that only death (“nature’s sad decree”) will part them, underscoring the depth of her commitment to him.
Flesh of thy flesh, bone of thy bone,
Alluding to Genesis (“flesh of my flesh, bone of my bone”), she reinforces their unity in marriage, affirming they are one entity.
I here, thou there, yet but both one.
Despite their physical separation, she emphasizes their spiritual and emotional unity, as they are “both one” in essence and love.
Literary And Poetic Devices: “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
This phrase alludes to Genesis 2:23, where Adam describes Eve as “bone of my bones,” referencing their unity in marriage and their spiritual connection.
Bradstreet directly addresses her absent husband (symbolized as “Sol” or the Sun), asking him to come back, though he is not present to hear her, adding emotional intensity.
This extended metaphor, or conceit, likens her husband to the Sun, suggesting that his presence brings warmth and life, while his absence leaves her cold and in darkness.
“In this dead time, alas, what can I more / Than view those fruits”
The continuation of a sentence without a pause across lines allows the reader to feel the ongoing nature of her sorrow and her dependency on her children’s presence.
Bradstreet exaggerates her husband’s importance by referring to him as her “magazine of earthly store,” highlighting the extent of her love and dependence on him.
Bradstreet describes her children as “living pictures” of her husband, blending life and still imagery, showing how they are both lively beings and constant reminders of him.
Capricorn, a winter zodiac sign, symbolizes the cold season and emotional distance during her husband’s absence, adding a layer of cosmic symbolism to their separation.
By referring to her husband as her “head,” Bradstreet uses synecdoche to emphasize his role as the guiding part of her life, while “heart” represents her deep emotional connection and affection.
Themes: “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
Love and Unity in Marriage: One of the most profound themes in Bradstreet’s poem is the deep love and unity between husband and wife. She views her marriage as a sacred bond, reflecting the biblical idea of “two becoming one.” This is especially clear when she writes, “If two be one, as surely thou and I,” emphasizing that their connection transcends physical distance. Her unity with her husband is further expressed in the line, “Flesh of thy flesh, bone of thy bone,” an allusion to Genesis that underscores the belief that they are inseparably linked. Bradstreet’s portrayal of marriage highlights a spiritual and emotional unity that remains steadfast despite the challenges of physical separation.
Longing and Separation: The poem is permeated by a sense of yearning and sorrow due to her husband’s absence. Bradstreet’s lament, “Return; return, sweet Sol, from Capricorn,” reveals her desire for his swift return, likening her husband to the Sun and herself to the Earth. Her loneliness is accentuated as she imagines him moving through his “zodiac,” symbolizing his journey far from her. The longing becomes especially poignant in the lines, “I weary grow the tedious day so long,” where the passage of time feels slow and burdensome in his absence. This theme of longing captures the emotional toll of separation in a time when communication and travel were limited, making her feelings especially relatable for readers.
Nature as a Reflection of Emotion: Bradstreet uses nature and the cosmos to mirror her feelings, particularly the coldness and emptiness she experiences in her husband’s absence. She compares herself to the Earth, “mourn[ing] in black” as her “Sun” has gone south, casting her into metaphorical winter. Her use of “Capricorn,” a winter zodiac sign, symbolizes not only the season but the emotional coldness she feels while he is away. This imagery underscores how her inner world, much like nature, is in a period of dormancy and mourning without his presence. The natural references make her personal sorrow feel grand and universal, connecting personal emotion to the larger cycles of nature.
Parenthood and Legacy: Despite her sadness, Bradstreet finds comfort in her children, who serve as a living legacy of her love for her husband. She calls them the “fruits” of their union, describing them as “true living pictures of their father’s face.” These lines show how her children provide her with a measure of solace, as they physically embody his presence even while he is away. This theme reflects the way children serve as a bridge between absent parents, symbolizing continuity and love that persists despite physical distance. The joy she finds in her children reflects the Puritan view of family as central to emotional and spiritual fulfillment, even as she yearns for her husband’s return.
Literary Theories and “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
Feminist theory examines Bradstreet’s expression of love, agency, and identity within the constraints of a patriarchal society. Although expressing her devotion to her husband, Bradstreet’s voice is active, allowing her to openly communicate her emotional depth and need for marital unity.
In lines like “My head, my heart, mine eyes, my life, nay, more,” Bradstreet articulates her own identity while intertwining it with her husband’s, affirming that her emotional experiences as a wife are worthy of poetic exploration and expression.
This theory focuses on the unconscious desires, fears, and emotional conflicts present in Bradstreet’s poetry. Her deep yearning for her husband represents more than physical separation; it symbolizes an emotional and psychological dependency that influences her sense of self and security.
Lines like “Return; return, sweet Sol, from Capricorn;” and “I weary grow the tedious day so long” express her longing and emotional discomfort, reflecting an attachment and dependency on his presence to feel whole and emotionally balanced.
Ecocriticism examines the poem’s use of nature as a metaphor for human emotions, showing how Bradstreet’s environment mirrors her internal state. Her sadness is represented by a natural world “mourning in black,” and her hope for her husband’s return is symbolized by the cosmic cycle of the Sun.
Bradstreet’s metaphor, “I like the Earth this season, mourn in black, / My Sun is gone so far in’s zodiac,” links her grief to the cycles of nature, depicting her inner emotional state as dependent on cosmic and seasonal rhythms, aligning her life with the natural world.
Critical Questions about “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
How does Bradstreet use metaphors to convey the depth of her love for her husband?
Bradstreet uses extended metaphors, particularly comparing her husband to the Sun, to convey the significance of his presence in her life. By referring to him as “sweet Sol” and herself as Earth, she highlights how his absence casts a shadow over her life, leaving her feeling cold and desolate, as in “I like the Earth this season, mourn in black.” This metaphor of the Sun not only conveys warmth but also implies a life-giving quality, suggesting that her husband is essential to her happiness and vitality. His absence is as impactful as the setting of the Sun, leaving her in metaphorical winter, emphasizing her emotional dependency and the intensity of her love.
How does the poem reflect Puritan values while also showcasing Bradstreet’s individual emotional experience?
While Bradstreet’s Puritan background valued restraint and devotion to duty, her poem is deeply personal, reflecting a unique emotional depth that highlights her individuality within the constraints of her society. The line, “If two be one, as surely thou and I,” reflects the Puritan belief in marriage as a spiritual unity. However, her yearning for his presence and her willingness to express sorrow at his absence reveal a personal longing that goes beyond traditional expectations. Her plea, “Return; return, sweet Sol, from Capricorn,” shows her emotional vulnerability, breaking from Puritan norms of stoicism by openly expressing love and longing for her husband, which was uncommon for Puritan women to voice so directly.
What role do Bradstreet’s children play in comforting her during her husband’s absence, and how does she view them?
Bradstreet finds comfort in her children during her husband’s absence, viewing them as “true living pictures of their father’s face,” which suggests that they are tangible representations of her husband. Her children serve as a reminder of their bond, giving her a sense of continuity and connection. She refers to them as “fruits” borne from her husband’s “heat,” suggesting both the physical outcome of their union and the emotional warmth they bring her in his absence. This perspective on her children highlights how they embody their father’s presence, serving as a comforting link to him during their separation.
How does Bradstreet’s portrayal of nature reflect her inner emotional state?
Bradstreet uses nature imagery to mirror her emotional turmoil, showing how her environment reflects her sense of loss and isolation. She describes herself as “mourn[ing] in black” like the Earth, and her husband’s absence is depicted as his journey through the “zodiac.” The imagery of her “chilled limbs” lying “forlorn” intensifies the sense of physical and emotional desolation she feels. Nature, specifically the Sun’s absence from Earth, is not merely a backdrop but an extension of her sorrow, illustrating how profoundly her husband’s departure affects her. This use of nature to echo her emotions allows her to universalize her personal grief, connecting her experience to the larger rhythms of the natural world.
Literary Works Similar to “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
“Sonnet 43” by Elizabeth Barrett Browning Like Bradstreet’s poem, this sonnet expresses intense love and devotion, exploring the depth of the poet’s affection for her partner.
“To My Dear and Loving Husband” by Anne Bradstreet Another poem by Bradstreet, it shares similar themes of marital unity and profound love, celebrating the bond she shares with her husband.
“The River-Merchant’s Wife: A Letter” by Ezra Pound This poem mirrors the sense of longing and separation, depicting a wife’s sorrow during her husband’s extended absence.
“Adieu, Farewell Earth’s Bliss” by Thomas Nashe Nashe’s poem, though about mortality, uses imagery of separation and earthly sorrow that parallels Bradstreet’s emotional pain in absence.
“Remember” by Christina Rossetti Rossetti’s poem reflects themes of separation and remembrance, urging the beloved to remember her even if they are parted by death, akin to Bradstreet’s yearning for connection despite distance.
Representative Quotations of “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
Bradstreet invokes the biblical idea of marriage as two becoming one, underscoring their spiritual unity.
Feminist Theory: This line reflects how Bradstreet views her marriage as an inseparable partnership, challenging Puritan norms of restrained personal expression in women.
“Return; return, sweet Sol, from Capricorn;”
She pleads for her husband to return, likening him to the Sun moving in the zodiac.
Psychoanalytic Theory: The repetition of “return” suggests emotional dependency, as her sense of fulfillment relies on his physical presence, revealing deep longing and yearning.
“My head, my heart, mine eyes, my life, nay, more,”
Listing her fundamental parts, Bradstreet expresses the completeness her husband brings to her life.
Ecocriticism: Through bodily imagery, she metaphorically connects her identity to the natural world, grounding her emotions in physical experiences.
“I like the Earth this season, mourn in black,”
She compares herself to Earth in winter, lamenting her husband’s absence.
Ecocriticism: This line portrays her emotional state as one with nature, reflecting sorrow through seasonal change and expressing the interconnectedness of emotions with nature.
“Flesh of thy flesh, bone of thy bone”
An allusion to Genesis, affirming their unity in body and soul.
Biblical Criticism: Bradstreet’s biblical reference emphasizes her view of marriage as sacred and divinely sanctioned, aligned with Puritan beliefs.
“My chilled limbs now numbed lie forlorn;”
She describes the physical impact of her husband’s absence as a feeling of numbness and cold.
Psychoanalytic Theory: Her physical reaction to emotional separation reflects a deep-seated attachment, suggesting that her sense of security is bound to his presence.
“Which sweet contentment yield me for a space,”
Speaking of her children, she finds temporary joy as they remind her of her husband.
Feminist Theory: This line shows Bradstreet’s role as a mother, highlighting how women’s identities in the Puritan context were often centered around family and domestic life.
“The tedious day so long”
She laments how time feels extended and tiresome in his absence.
Existential Theory: Bradstreet’s altered perception of time without her husband suggests a dependence on relational identity, hinting at existential loneliness.
“I wish my Sun may never set, but burn”
Desiring that her husband will always stay with her, like a never-setting sun.
Romanticism: The idealistic, eternal desire for her husband’s presence reflects Romantic ideas of love as a transcendent and enduring force.
“I here, thou there, yet but both one.”
She reaffirms their unity despite physical separation.
New Criticism: Analyzing this line reveals the central paradox of the poem—physical separation versus emotional unity—highlighting the poem’s complex theme of connectedness.
Suggested Readings: “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
Blackstock, Carrie Galloway. “Anne Bradstreet and Performativity: Self-Cultivation, Self-Deployment.” Early American Literature, vol. 32, no. 3, 1997, pp. 222–48. JSTOR, http://www.jstor.org/stable/25057095. Accessed 28 Oct. 2024.
Abram Van Engen. “Advertising the Domestic: Anne Bradstreet’s Sentimental Poetics.” Legacy, vol. 28, no. 1, 2011, pp. 47–68. JSTOR, https://doi.org/10.5250/legacy.28.1.0047. Accessed 28 Oct. 2024.
McClain, Larry. “Women’s Studies, Cultural Studies: Teaching Literature in the Midwest.” Transformations: The Journal of Inclusive Scholarship and Pedagogy, vol. 7, no. 1, 1996, pp. 15–28. JSTOR, http://www.jstor.org/stable/43587475. Accessed 28 Oct. 2024.
