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Anne Bradstreet’s, Verses upon the Burning of our House, July 10th, 1666, describes her feelings over the loss of her home and the difficult position her believes have put her in. Although Bradstreet knew her real home was with the “might Architect” she found it difficult to let go of what she had lost material wise, through the use of personification, imagery and ethos she is able address the path she began to stray from because of these sorrows. The personification of her home lets the author express old memories the house held and will never have again, she speaks of no one ever sitting under its roof, or ever eating at its table and how in silence will it lie. By personificating the house she reveals the emotional attachment people tend
to develop with physical belongings. However, she then proceeds to personificate her own heart. She scolds it for believing Earth as her real home and reminds it she does have a home up above the skies created by Him, raise your thoughts above the sky that dunghill mist may go away, you have a home high above created by the mighty Architect. This her way of reminding herself where her feelings truly lie. Imagery is seen throughout the poem, at the beginning she describes in a flashback
Anne Bradstreet’s inability to perfect her work before it was released frustrated her to the point where she internalizes the book’s imperfections as a reflection of herself. Bradstreet uses an extended metaphor of a mother and a child to compare the relationship between herself as the author and her book. Rather than investing her spirit in God, she repeatedly focuses on trying to improve the quality of her writing with no success, “I washed thy face, but more defects I saw” (Bradstreet 13). Like a mother protecting her child, Bradstreet’s attempts to prevent critics from negatively analyzing her work of art (20). Her continuous obsession about people’s opinions consumed in the Earthly world and essentially distracted her from developing a spiritual relationship with God. Bradstreet was enveloped by her dissatisfaction with her to the point of ridiculing herself, “Thou ill-formed offspring of my feeble mind” (1). It was obvious that her mind and spiritual
The theme that has been attached to this story is directly relevant to it as depicted by the anonymous letters which the main character is busy writing secretly based on gossip and distributing them to the different houses. Considering that people have an impression of her being a good woman who is quiet and peaceful, it becomes completely unbecoming that she instead engages in very abnormal behavior. What makes it even more terrible is the fact that she uses gossip as the premise for her to propagate her hate messages not only in a single household but across the many different households in the estate where she stays.
Anne Bradstreet, whom most critics consider America’s first “authentic poet”, was born and raised as a Puritan. Bradstreet married her husband Simon at the tender age of eighteen. She wrote her poems while rearing eight children and performing other domestic duties. In her poem “Upon The Burning Of Our House, July 10th, 1666”, Bradstreet tells of three valuable lessons she learned from the fire that destroyed her home.
Perhaps the most palpable examples of Anne Bradstreet's disunity with her religious faith are displayed in Verses Upon The Burning Of Our House (July 18th, 1666). Throughout this poem, Anne tries desperately hold onto her optimism and trust in God's will, but cannot keep from bringing her true feelings of despair and resentment to light. The poem concludes with the following lines:
Anne Bradstreet's poem, The Author to her Book, is a twenty-four-line metaphor comparing the relationship of an author and her writings to the relationship between a parent and a child. The meaning of this lighthearted poem can clearly be seen as she traces the growth of a piece of work to the growth of the child. The significance of the poem, however, lies in the fact that this poem is a glimpse of the emotions felt by Anne Bradstreet an American female poet, and how it conflicts with the puritan society that frowns upon her appreciation of her talents and role as a poet. To clearly see all aspects that surround the interpretation of her poetry it is necessary to look at biographical information surrounding the life of Anne Bradstreet. Background knowledge gained previous to writing this annotation can be found at http://shenessex.heartland.net/local/scs/shs/faculty/dickerson/term197class/Jill/Bradstreet.html
Throughout our lives people share commonalities on the idea of home and what it is. Some people think of home as a house they have lived in throughout their life or a city/country they reside in. Although true for some, some people are at a loss for a distinct place to call home. People may think of home as “feeling comfortable in diverse settings and intermingling with people of different cultures” (150), which Stoddard describes as the ordinary description of cosmopolitism. (150) In contrast, people may think of home in the sense that Stoddard mentions; Freud’s idea of the uncanny, “That species of the frightening that goes back to what was once well known and has long been familiar” (Stoddard 150,). What Freud means is that the feeling of uncanny in relation to home is the frightening thought of returning ‘home’ after a long time, when you have become comfortable in another setting. It is uncanny because it becomes a struggle to fit into the place one currently resides in and the place they originally resided in. In Brooklyn the idea of the uncanny is represented in relationship to Ellis’ attitude of home. Through Eilis’ internal debates with herself, the concrete personal relations she shares in both Enniscorthy and Brooklyn, and her career opportunities in both cities, one can see her sense of home is shown to be uncanny. Ultimately, Eilis’ feeling of home is not static and fixed, instead fluid, bringing into focus the uncanny sense of a cosmopolitan view of home.
Bradstreet poems are full of hints on this belief of her. Anna herself mostly prized lengthy religious poem of the conventional plots belonging to her pen: the change of seasons, and so on, whereas most modern readers like her w...
Description of the house follows, very high ceilings, old mansion it seems, with chimney stains, it has been let go. Jumps in time to narrators ex-husband making fun of narrators fantasizing about stains. The next paragraph is the father in a retirement home, always referring to things: ‘The Lord never intended’. This shows how old people have disdain for new things, the next generation appears to be more and more sacreligious. Shows streak of meanness when ‘spits’ out a reference to constant praying, narrator claims he does not know who he is talking to, but appears to be the very pious mother.
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
Burning of Her House” as she watches her own home burn to dust. Bradstreet debates her want
Similarly, the furniture in the house is as sullen as the house itself. What little furniture is in the house is beaten-up; this is a symbol of the dark setting. The oak bed is the most important p...
Comparatively, her father’s worries make her “nervous” and fearful of change, clinging on to the comfort and familiarity provided to her by her former home. The author’s usage of first person narration allows us to visualize the internal conflict that exists between Mona wanting to accept this change, and her sheer hesitation at the thought of becoming and adult. Mona’s transition from a state of reluctance into a state of acceptance is paralleled by the setting. Initially, “the blank walls” of her new home are “white and empty,” once she is “all settled in,” each “drawer ha[s] a purpose.” Similarly, upon moving in to her new home, Mona feels a sense of emptiness and longing, as she misses her parent’s home; this sense of longing is most clearly signified through Mona’s repetitive “knock[ing] on the trunk” of a tree gifted to her by her
"The Flesh and the Spirit" by Anne Bradstreet is basically a conversation between two "sisters"--the worldly body and the spiritual soul. Their heated argument concerns the value of life and what really matters in our human lives. The Flesh, who presents her side first, argues that the world offers pleasure, wealth, and fame to those who readily partake. Satisfaction for her is found in the reality of earthly possessions and the fulfillment of her desires. The Spirit, on the other hand, finds her true satisfaction in God and stores up eternal treasures in Heaven. Their sisterhood is an ongoing battle that ends in ultimate separation.
Anne Bradstreet starts off her letter with a short poem that presents insight as to what to expect in “To My Dear Children” when she says “here you may find/ what was in your living mother’s mind” (Bradstreet 161). This is the first sign she gives that her letter contains not just a mere retelling of adolescent events, but an introspection of her own life. She writes this at a very turbulent point in history for a devout Puritan. She lived during the migration of Puritans to America to escape the persecution of the Catholic Church and also through the fragmentation of the Puritans into different sects when people began to question the Puritan faith.
In "The Flesh and the Spirit" Anne Bradstreet, like Andrew Marvell, creates a "dialogue" between the Earth bound "Flesh/Body" and the Heaven raised "Spirit/Soul." However, while Marvell leaves ambiguous which voice is superior in his "dialogue," Bradstreet is quite clear that the "Spirit" will "triumph" over her sister "Flesh," and as "victor" she will wear a "laurel head." Marvell launches directly into "dialogue" causing the exclusion of any narrator, and thus lessening the chance for determination of 'right' and 'wrong.' Bradstreet opens "The Flesh and the Spirit" in ...