Introduction: “Prologue” by Anne Bradstreet
“Prologue” by Anne Bradstreet first appeared in 1650 in her collection The Tenth Muse Lately Sprung Up in America. This poem reflects Bradstreet’s deep awareness of the limitations imposed on female writers of her time. With humility and modesty, she addresses the challenges faced by women in the male-dominated literary sphere. Despite acknowledging her perceived inferiority as a poet compared to men, Bradstreet subtly critiques the societal norms that dismiss women’s intellectual capabilities. Her work reveals a complex interplay between modesty, self-awareness, and a quiet assertion of her own literary worth. Through this, “Prologue” demonstrates Bradstreet’s skill in navigating the expectations of her era while expressing a feminist consciousness ahead of its time.
Text: “Prologue” by Anne Bradstreet
To sing of Wars, of Captains, and of Kings,
Of Cities founded, Common-wealths begun,
For my mean Pen are too superior things;
Or how they all, or each their dates have run,
Let Poets and Historians set these forth.
My obscure lines shall not so dim their worth.
But when my wond’ring eyes and envious heart
Great Bartas’ sugar’d lines do but read o’er,
Fool, I do grudge the Muses did not part
‘Twixt him and me that over-fluent store.
A Bartas can do what a Bartas will
But simple I according to my skill.
From School-boy’s tongue no Rhet’ric we expect,
Nor yet a sweet Consort from broken strings,
Nor perfect beauty where’s a main defect.
My foolish, broken, blemished Muse so sings,
And this to mend, alas, no Art is able,
‘Cause Nature made it so irreparable.
Nor can I, like that fluent sweet-tongued Greek
Who lisp’d at first, in future times speak plain.
By Art he gladly found what he did seek,
A full requital of his striving pain.
Art can do much, but this maxim’s most sure:
A weak or wounded brain admits no cure.
I am obnoxious to each carping tongue
Who says my hand a needle better fits.
A Poet’s Pen all scorn I should thus wrong,
For such despite they cast on female wits.
If what I do prove well, it won’t advance,
They’ll say it’s stol’n, or else it was by chance.
But sure the antique Greeks were far more mild,
Else of our Sex, why feigned they those nine
And poesy made Calliope’s own child?
So ‘mongst the rest they placed the Arts divine,
But this weak knot they will full soon untie.
The Greeks did nought but play the fools and lie.
Let Greeks be Greeks, and Women what they are.
Men have precedency and still excel;
It is but vain unjustly to wage war.
Men can do best, and Women know it well.
Preeminence in all and each is yours;
Yet grant some small acknowledgement of ours.
And oh ye high flown quills that soar the skies,
And ever with your prey still catch your praise,
If e’er you deign these lowly lines your eyes,
Give thyme or Parsley wreath, I ask no Bays.
This mean and unrefined ore of mine
Will make your glist’ring gold but more to shine.
Annotations: “Prologue” by Anne Bradstreet
| Line | Annotation | Devices Used |
| 1. To sing of Wars, of Captains, and of Kings | Bradstreet refers to epic themes typically written by male poets. | Allusion (to epic poetry), Parallelism, Assonance (“Wars” and “Captains”) |
| 2. Of Cities founded, Common-wealths begun | Continues listing grand topics, further distancing her own work. | Alliteration (“Common-wealths”), Enumeration, Historical Allusion |
| 3. For my mean Pen are too superior things; | Bradstreet acknowledges that such grand themes are beyond her modest abilities, showing humility. | Metaphor (Pen for writing), Litotes (understatement) |
| 4. Or how they all, or each their dates have run, | Refers to the passing of time for these monumental events. | Synecdoche (dates for historical periods), Alliteration (“dates have run”) |
| 5. Let Poets and Historians set these forth. | She leaves grand topics to the “worthy” poets and historians. | Enjambment, Irony (since Bradstreet herself is a poet) |
| 6. My obscure lines shall not so dim their worth. | Her self-deprecation continues, contrasting her writing to that of grand figures. | Self-deprecating irony, Alliteration (“obscure lines”) |
| 7. But when my wond’ring eyes and envious heart | She admires and envies other poets, introducing her critical self-awareness. | Personification (heart), Juxtaposition (wondering vs envious), Enjambment |
| 8. Great Bartas’ sugar’d lines do but read o’er, | Refers to Guillaume de Salluste Du Bartas, a French poet whose style she envies. | Allusion, Metaphor (“sugar’d lines” for sweet writing) |
| 9. Fool, I do grudge the Muses did not part | Expresses frustration that she didn’t receive equal poetic gifts from the Muses. | Allusion (to Muses), Apostrophe (addressing herself as “Fool”), Personification (Muses) |
| 10. ‘Twixt him and me that over-fluent store. | She regrets not sharing Bartas’ poetic talent. | Enjambment, Metonymy (Muses for poetic inspiration) |
| 11. A Bartas can do what a Bartas will | Acknowledges Bartas’ skill with a resigned tone. | Epizeuxis (repetition of “Bartas”), Alliteration (“Bartas will”) |
| 12. But simple I according to my skill. | Contrasts her simplicity with Bartas’ grandeur. | Antithesis, Enjambment |
| 13. From School-boy’s tongue no Rhet’ric we expect, | Establishes a metaphor comparing her poetic ability to that of a novice. | Metaphor (school-boy’s tongue for inexperience), Hyperbaton (inverted syntax) |
| 14. Nor yet a sweet Consort from broken strings, | Compares her poetry to flawed music. | Metaphor (broken strings), Alliteration (“sweet strings”) |
| 15. Nor perfect beauty where’s a main defect. | Emphasizes her limitations, implying imperfection is inevitable. | Metaphor (defective beauty for flawed writing), Antithesis (perfect vs defect) |
| 16. My foolish, broken, blemished Muse so sings, | Continues the self-deprecating tone, showing vulnerability in her work. | Personification (Muse), Epithets (“foolish,” “blemished”) |
| 17. And this to mend, alas, no Art is able, | Suggests that even artistic skill cannot fix her shortcomings. | Hyperbole, Alliteration (“Art able”), Apostrophe (“alas”) |
| 18. ‘Cause Nature made it so irreparable. | Claims her faults are natural and unchangeable. | Personification (Nature), Irony |
| 19. Nor can I, like that fluent sweet-tongued Greek | Refers to the ancient Greek orator Demosthenes, who overcame a speech impediment. | Allusion (Demosthenes), Epithet (“sweet-tongued”) |
| 20. Who lisp’d at first, in future times speak plain. | Highlights Demosthenes’ struggle and success, contrasting it with her own situation. | Allusion, Antithesis (lisp’d vs plain) |
| 21. By Art he gladly found what he did seek, | Refers to Demosthenes’ triumph through effort. | Alliteration (“gladly found”), Historical allusion |
| 22. A full requital of his striving pain. | Describes the reward for his hard work, contrasting with her self-doubt. | Metaphor (“requital” for reward), Enjambment |
| 23. Art can do much, but this maxim’s most sure: | Acknowledges the power of art, but implies it has limits. | Aphorism, Parallelism |
| 24. A weak or wounded brain admits no cure. | Declares that some flaws, like her own, are beyond fixing. | Metaphor (wounded brain), Aphorism |
| 25. I am obnoxious to each carping tongue | Admits she is subject to harsh criticism. | Metaphor (“carping tongue” for critics), Enjambment |
| 26. Who says my hand a needle better fits. | Reflects societal expectations that women should focus on domestic tasks. | Metonymy (needle for domesticity), Antithesis (needle vs pen) |
| 27. A Poet’s Pen all scorn I should thus wrong, | Suggests her writing is seen as inappropriate for a woman. | Metaphor (pen for writing), Alliteration |
| 28. For such despite they cast on female wits. | Highlights the scorn directed at intellectual women. | Enjambment, Metonymy (wits for intellect) |
| 29. If what I do prove well, it won’t advance, | Suggests that even success won’t lead to recognition. | Irony, Enjambment |
| 30. They’ll say it’s stol’n, or else it was by chance. | Describes how her achievements would be dismissed. | Hyperbole, Irony |
| 31. But sure the antique Greeks were far more mild, | Praises the ancient Greeks for recognizing women in mythology. | Allusion, Historical reference |
| 32. Else of our Sex, why feigned they those nine | Refers to the nine Muses, suggesting they valued female intellect. | Allusion (Muses), Rhetorical question |
| 33. And poesy made Calliope’s own child? | Points out that poetry was personified as a female, Calliope. | Allusion (Calliope), Personification |
| 34. So ‘mongst the rest they placed the Arts divine, | Suggests that the Greeks recognized women’s connection to the arts. | Enjambment, Historical allusion |
| 35. But this weak knot they will full soon untie. | Implies modern men will unravel this idea of women’s artistic worth. | Metaphor (weak knot), Irony |
| 36. The Greeks did nought but play the fools and lie. | She dismisses the Greeks’ idealism, hinting at the persistent undervaluing of women. | Hyperbole, Irony |
| 37. Let Greeks be Greeks, and Women what they are. | Accepts the distinction between men and women but calls for acknowledgment. | Parallelism, Antithesis (Greeks vs Women) |
| 38. Men have precedency and still excel; | Admits the societal belief that men are superior. | Aphorism, Irony |
| 39. It is but vain unjustly to wage war. | Argues that it’s pointless to fight these norms. | Metaphor (wage war), Irony |
| 40. Men can do best, and Women know it well. | A resigned acknowledgment of gender roles. | Aphorism, Antithesis (men vs women) |
| 41. Preeminence in all and each is yours; | Addresses male poets, granting them superiority. | Hyperbole, Apostrophe (directly addressing men) |
| 42. Yet grant some small acknowledgement of ours. | Seeks a small recognition of women’s contributions. | Parallelism, Irony |
| 43. And oh ye high flown quills that soar the skies, | Addresses successful poets, comparing them to birds. | Apostrophe (directly addressing poets), Metaphor (quills for poets), Alliteration |
| 44. And ever with your prey still catch your praise, | Suggests that male poets easily gain praise. | Metaphor (prey for success), Alliteration |
| 45. If e’er you deign these lowly lines your eyes, | Asks successful poets to notice her humble work. | Apostrophe, Enjambment |
| 46. Give thyme or Parsley wreath, I ask no Bays. | Uses humble herbs (thyme, parsley |
Literary And Poetic Devices: “Prologue” by Anne Bradstreet
| Device | Example | Explanation |
| Alliteration | “Else of our Sex, why feigned they those nine” | The repetition of the consonant sound “th” emphasizes the sweetness and fluidity of Bartas’ poetry, contrasting it with Bradstreet’s modesty about her own writing. |
| Allusion | “Great Bartas’ sugar’d lines” (Line 8) | An allusion to the French poet Guillaume de Salluste Du Bartas, who was highly esteemed. Bradstreet references him to illustrate the high standard of male poets she feels she cannot match. |
| Aphorism | “A weak or wounded brain admits no cure.” (Line 24) | This concise, memorable statement reflects a commonly held belief about human limitations. Bradstreet uses it to express the perceived hopelessness of her poetic limitations. |
| Apostrophe | “And oh ye high flown quills that soar the skies” (Line 43) | Bradstreet directly addresses the “high flown quills” (great poets), even though they are not present. This device allows her to express a plea for recognition in an intimate, reflective manner. |
| Antithesis | “Men can do best, and Women know it well.” (Line 40) | Bradstreet contrasts men’s perceived superiority with women’s supposed acceptance of it, emphasizing the imbalance in societal expectations and gender roles. |
| Assonance | “Let Poets and Historians set these forth” (Line 5) | The repetition of the vowel sound “o” creates a rhythmic flow, adding musicality to the line while subtly reinforcing the intellectual authority granted to male writers. |
| Consonance | “Wars, of Captains, and of Kings” (Line 1) | The repetition of the consonant sound “s” at the ends of words enhances the solemnity and weight of the grand topics being described. |
| Enjambment | “And ever with your prey still catch your praise” (Line 44) | The sentence flows over to the next line without a pause, creating a sense of continuation and capturing the ongoing nature of poets achieving praise. |
| Epizeuxis | “A Bartas can do what a Bartas will” (Line 11) | The repetition of “Bartas” emphasizes the singularity of his talent and contrasts it with Bradstreet’s modest self-assessment. |
| Epithet | “foolish, broken, blemished Muse” (Line 16) | The epithets “foolish,” “broken,” and “blemished” are used to describe Bradstreet’s poetic inspiration, underscoring her self-deprecation and sense of inadequacy. |
| Hyperbole | “The Greeks did nought but play the fools and lie.” (Line 36) | Bradstreet exaggerates when she claims that the Greeks did nothing but “play the fools and lie,” using hyperbole to challenge the wisdom attributed to them, especially regarding gender roles. |
| Irony | “My foolish, broken, blemished Muse so sings” (Line 16) | The irony lies in Bradstreet’s self-deprecation, as her actual poetic skill is clearly far greater than she claims. This irony highlights the societal pressures on women to downplay their abilities. |
| Juxtaposition | “But when my wond’ring eyes and envious heart” (Line 7) | The positive emotion of “wonder” is placed alongside the negative emotion of “envy,” creating a contrast that reveals Bradstreet’s mixed feelings toward other poets. |
| Litotes | “For my mean Pen are too superior things” (Line 3) | This understatement emphasizes her modesty by suggesting that grand themes are “too superior” for her, when in fact her writing is quite capable. |
| Metaphor | “A Poet’s Pen all scorn I should thus wrong” (Line 27) | The “Pen” is used metaphorically to represent the act of writing, with the implication that her use of it, as a woman, is inappropriate in the eyes of society. |
| Metonymy | “The Muses did not part” (Line 9) | The “Muses” are used as a metonym for poetic inspiration, representing the divine forces believed to bestow literary talent. Bradstreet uses this to discuss her feelings of inadequacy. |
| Parallelism | “Let Poets and Historians set these forth. / My obscure lines shall not so dim their worth.” (Lines 5-6) | These two lines are structured similarly to emphasize the contrast between male poets/historians and her “obscure” writing. |
| Personification | “Great Bartas’ sugar’d lines” (Line 8) | By attributing “sugar’d” lines to Bartas, Bradstreet personifies the poetry, ascribing it human qualities such as sweetness, thus enhancing the admiration for his work. |
| Rhetorical Question | “Else of our Sex, why feigned they those nine” (Line 32) | Bradstreet asks a rhetorical question about the ancient Greeks inventing the nine Muses, suggesting that they must have valued female creativity at some level. |
| Synecdoche | “My mean Pen” (Line 3) | The “Pen” represents the entirety of Bradstreet’s writing ability. Synecdoche is used here to refer to her modest poetic work, with the pen standing for the act of writing. |
Themes: “Prologue” by Anne Bradstreet
- Gender Inequality and Feminine Modesty: One of the central themes in Anne Bradstreet’s Prologue is the societal expectation of women’s intellectual and creative inferiority. Bradstreet repeatedly downplays her own abilities, reflecting the norms of her time that discouraged women from engaging in literary or scholarly pursuits. In lines such as “I am obnoxious to each carping tongue / Who says my hand a needle better fits” (lines 25-26), she highlights the criticism women faced for stepping outside domestic roles. Her self-deprecation, however, carries an underlying critique of this bias, as she subtly asks for the recognition of female talent in the lines “Yet grant some small acknowledgement of ours” (line 42).
- Humility and Self-Deprecation: Humility, both genuine and ironic, pervades the Prologue. Bradstreet presents herself as inferior to male poets, particularly when she says, “My foolish, broken, blemished Muse so sings” (line 16). This self-deprecating tone is not just modesty but a necessary stance in a time when women were discouraged from writing. However, beneath this modesty lies a sharp awareness of her true talent. By presenting herself as unworthy and incapable of addressing grand topics like “Wars, of Captains, and of Kings” (line 1), she disarms potential critics, while still demonstrating her skill in her writing.
- Creative Ambition and Restraint: Throughout the Prologue, Bradstreet expresses a longing to engage with the grand subjects typically reserved for male poets, such as epic themes of heroism and history. In lines like “To sing of Wars, of Captains, and of Kings, / Of Cities founded, Common-wealths begun” (lines 1-2), she acknowledges that her “mean Pen” (line 3) is deemed inadequate for such lofty themes. However, this restraint is largely imposed by societal expectations, as she implies throughout the poem. Her creative ambition is evident in her envious admiration for other poets, particularly in lines like “Great Bartas’ sugar’d lines do but read o’er” (line 8), where she wishes she had the same poetic talent.
- Critique of Male-Dominated Literary Tradition: Bradstreet subtly critiques the male-dominated literary world and its exclusion of women. She notes the irony of ancient Greece mythologizing female Muses, only to have women later excluded from the arts. In lines such as “But sure the antique Greeks were far more mild, / Else of our Sex, why feigned they those nine” (lines 31-32), she questions the inconsistency of celebrating female muses while denying women a place in poetry. Her rhetorical question, “why feigned they those nine,” challenges the traditional view and exposes the hypocrisy of a system that both venerates and silences women’s contributions to the arts.
Literary Theories and “Prologue” by Anne Bradstreet
| Literary Theory | Application to “Prologue” | References from the Poem |
| Feminist Literary Criticism | Prologue offers a strong critique of gender inequality, addressing the marginalization of women in the literary and intellectual world. Feminist theory examines how Bradstreet confronts the patriarchal constraints that limit her voice and challenges the notion that women are inferior writers. Despite her self-deprecating tone, Bradstreet subtly questions societal norms that undervalue female creativity. | “I am obnoxious to each carping tongue / Who says my hand a needle better fits” (Lines 25-26) reflects the gender expectations placed on women, confining them to domestic roles. “Yet grant some small acknowledgement of ours” (Line 42) is a plea for recognition of female talent. |
| New Historicism | New Historicism explores Prologue in the context of its time, focusing on how the cultural and social environment influenced Bradstreet’s writing. The poem reflects the Puritan values and gender hierarchies of 17th-century America, where women were expected to be silent and submissive. Bradstreet’s apparent humility mirrors the strict gender roles imposed on women, yet she subtly critiques these roles through her writing. | “For my mean Pen are too superior things” (Line 3) reflects Bradstreet’s awareness of her expected place in society. “But sure the antique Greeks were far more mild” (Line 31) suggests a critique of historical gender roles and expectations. |
| Psychoanalytic Criticism | From a psychoanalytic perspective, Prologue can be analyzed in terms of Bradstreet’s internal conflict between her personal ambition and the constraints imposed on her by society. The poem reveals her desire to be recognized as a serious poet but also her fear of being judged or dismissed by male critics. Her use of self-deprecating language may reflect her internalized sense of inadequacy, instilled by the patriarchal values of her time. | “But when my wond’ring eyes and envious heart / Great Bartas’ sugar’d lines do but read o’er” (Lines 7-8) shows her admiration for male poets, mixed with envy, indicating an internal struggle with self-worth. “Fool, I do grudge the Muses did not part / ‘Twixt him and me that over-fluent store” (Lines 9-10) suggests feelings of inadequacy and longing for equal talent. |
Critical Questions about “Prologue” by Anne Bradstreet
- How does Bradstreet use humility to navigate societal expectations for women in “Prologue”?
- In “Prologue”, Anne Bradstreet employs a tone of humility and self-deprecation to navigate the societal expectations that limited women’s roles in intellectual and literary fields. She frequently downplays her poetic abilities, as in the lines, “For my mean Pen are too superior things” (line 3), positioning herself as unworthy of grand, heroic subjects like “Wars, of Captains, and of Kings” (line 1). However, this humility serves as a rhetorical strategy to both comply with and subtly critique the patriarchal norms of her time. By acknowledging her supposed inferiority, she disarms potential critics while still demonstrating her capability as a poet. The modesty she adopts acts as a shield, allowing her to participate in a male-dominated literary tradition without overtly challenging it, while subtly calling attention to the unfairness of such limitations.
- What role does gender play in shaping the themes of “Prologue”?
- Gender plays a pivotal role in shaping the themes of “Prologue,” as Bradstreet repeatedly confronts the constraints imposed on women writers. She highlights the double standards that existed for men and women in the literary world, saying, “I am obnoxious to each carping tongue / Who says my hand a needle better fits” (lines 25-26). Here, she references the expectation that women should focus on domestic tasks rather than intellectual or creative pursuits. This societal scorn for “female wits” (line 28) reinforces the theme of gender inequality, but Bradstreet’s poem also quietly subverts these expectations by asserting her right to engage in poetry. Her request for even “some small acknowledgement” (line 42) of women’s contributions demonstrates her awareness of these limitations and her desire to see them changed, albeit through a modest tone.
- How does Bradstreet address her envy of male poets in “Prologue”?
- In “Prologue,” Bradstreet openly expresses her envy of male poets, particularly the French poet Guillaume de Salluste Du Bartas, whose “sugar’d lines” she admires. She writes, “But when my wond’ring eyes and envious heart / Great Bartas’ sugar’d lines do but read o’er” (lines 7-8), conveying her longing for the poetic talent and recognition that male poets like Bartas enjoy. Bradstreet laments that the Muses did not divide their gifts more equally between men and women, saying, “Fool, I do grudge the Muses did not part / ‘Twixt him and me that over-fluent store” (lines 9-10). This expression of envy underscores her frustration with the gendered division of literary talent and success, as she believes her own work is unfairly constrained by societal expectations. At the same time, the fact that she addresses these feelings shows her ambition and desire to be recognized as a poet in her own right.
- How does Bradstreet critique the intellectual traditions of the past in “Prologue”?
- In “Prologue,” Bradstreet subtly critiques the intellectual traditions of ancient Greece, particularly their treatment of women in relation to the arts. She questions the inconsistency of a tradition that mythologized female Muses, who were said to inspire creativity, while denying women a place in the literary world. She asks, “But sure the antique Greeks were far more mild, / Else of our Sex, why feigned they those nine” (lines 31-32), referring to the nine Muses, who were female figures that inspired art and poetry. By pointing out this contradiction, Bradstreet critiques the exclusion of women from artistic recognition in her time, despite their celebrated role as mythical inspirations. Her rhetorical question—”why feigned they those nine”—exposes the hypocrisy of a patriarchal system that venerates women symbolically while denying them real opportunities to contribute to intellectual traditions.
Literary Works Similar to “Prologue” by Anne Bradstreet
- “The Author to Her Book” by Anne Bradstreet
Like Prologue, this poem addresses Bradstreet’s feelings of inadequacy and self-doubt regarding her own work, while also exploring themes of authorship and criticism. - “To the Ladies” by Mary, Lady Chudleigh
This poem critiques the subordination of women in marriage and society, echoing the feminist undertones found in Prologue where Bradstreet subtly challenges gender norms. - “A Letter to Her Husband, Absent upon Public Employment” by Anne Bradstreet
In this poem, Bradstreet explores personal feelings of love and separation but also reflects on the struggles of being a woman with intellectual and emotional depth in a male-dominated society. - “An Apology for Writing So Much upon This Book” by Margaret Cavendish
Cavendish, like Bradstreet, addresses societal expectations of women writers and defends her right to write, presenting similar themes of gender and literary ambition. - “Eve’s Apology in Defense of Women” by Aemilia Lanyer
This poem argues for women’s intellectual and moral equality with men, challenging traditional patriarchal interpretations of Eve’s role in the Fall, similar to Bradstreet’s subtle critique of male-dominated literary traditions.
Representative Quotations of “Prologue” by Anne Bradstreet
| Quotation | Context | Theoretical Perspective |
| “To sing of Wars, of Captains, and of Kings” | Bradstreet opens the poem by listing grand, epic themes typically associated with male poets. She implies that these subjects are beyond her reach. | Feminist Criticism: Highlights the gendered division of literary topics, where women are excluded from heroic, “masculine” subjects. |
| “For my mean Pen are too superior things;” | Here, Bradstreet humbly acknowledges that her writing is not suited for grand themes, in line with societal expectations. | New Historicism: Reflects the Puritanical modesty imposed on women, revealing the cultural context of self-deprecation. |
| “My obscure lines shall not so dim their worth.” | Bradstreet downplays her own work, suggesting it would never outshine that of male poets. | Feminist Criticism: This self-deprecation is a rhetorical device that reveals the limitations placed on women’s literary contributions. |
| “Great Bartas’ sugar’d lines do but read o’er,” | She admires the work of Guillaume de Salluste Du Bartas, a famous male poet, and compares her writing to his superior “sugar’d lines.” | Psychoanalytic Criticism: Reflects Bradstreet’s internal conflict of admiration mixed with envy, revealing her feelings of inadequacy. |
| “A Bartas can do what a Bartas will” | Bradstreet acknowledges the freedom and success of male poets, contrasting it with her own limitations. | Gender Criticism: Emphasizes the freedom men have in artistic expression, which women like Bradstreet are denied. |
| “But simple I according to my skill.” | She downplays her talent, conforming to the social expectations of modesty for women. | Feminist Criticism: Highlights the internalized modesty imposed on women writers of the time, showing how societal norms shape self-expression. |
| “I am obnoxious to each carping tongue / Who says my hand a needle better fits.” | Bradstreet refers to the criticism she faces for writing instead of focusing on domestic tasks like sewing. | Feminist Criticism: This line critiques the restrictive gender roles that confine women to domesticity and devalue their intellectual work. |
| “If what I do prove well, it won’t advance,” | Bradstreet laments that even if her work succeeds, it won’t be recognized as it would for a male poet. | Marxist Criticism: This highlights the power structures that keep women marginalized in the literary world, reflecting class and gender inequality. |
| “They’ll say it’s stol’n, or else it was by chance.” | She anticipates that any success she has will be dismissed as plagiarism or luck. | Feminist Criticism: This line speaks to the disbelief in women’s abilities, where their accomplishments are attributed to external factors rather than talent. |
| “Yet grant some small acknowledgement of ours.” | Bradstreet pleads for a small amount of recognition for women’s contributions to literature. | Feminist Criticism: A clear call for the validation of women’s work, challenging the patriarchal literary tradition. |
Suggested Readings: “Prologue” by Anne Bradstreet
- Requa, Kenneth A. “Anne Bradstreet’s Poetic Voices.” Early American Literature, vol. 9, no. 1, 1974, pp. 3–18. JSTOR, http://www.jstor.org/stable/25070644. Accessed 22 Oct. 2024.
- 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 22 Oct. 2024.
- Sweet, Timothy. “Gender, Genre, and Subjectivity in Anne Bradstreet’s Early Elegies.” Early American Literature, vol. 23, no. 2, 1988, pp. 152–74. JSTOR, http://www.jstor.org/stable/25056712. Accessed 22 Oct. 2024.
- Schweitzer, Ivy. “Anne Bradstreet Wrestles with the Renaissance.” Early American Literature, vol. 23, no. 3, 1988, pp. 291–312. JSTOR, http://www.jstor.org/stable/25056733. Accessed 22 Oct. 2024.
- Eberwein, Jane Donahue. “‘No Rhet’ric We Expect’: Argumentation in Bradstreet’s ‘The Prologue.'” Early American Literature, vol. 16, no. 1, 1981, pp. 19–26. JSTOR, http://www.jstor.org/stable/25056396. Accessed 22 Oct. 2024.
- HALL, LOUISA. “The Influence of Anne Bradstreet’s Innovative Errors.” Early American Literature, vol. 48, no. 1, 2013, pp. 1–27. JSTOR, http://www.jstor.org/stable/24476304. Accessed 22 Oct. 2024.