A Companion to American Poetry. Группа авторов

A Companion to American Poetry - Группа авторов


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and Learning in America’” (2011, 42). That Morton’s movement from Artemisia to Ackland in the opening section of this poem follows this pattern while stressing her own scholarly judgment suggests that she may have knowingly modeled her work on commencement forms, just as Bradstreet drew on Ralegh’s use of citations. And just as we might see in Bradstreet’s representation of Semiramis an attempt to encompass the world that resonates with the poet’s own grand design, Morton signals her own intellectual accomplishments when she celebrates Ackland’s education and scientific knowledge of the world:

      While to her tutor’d rhetoric was given

      To point the stars, that gem the brow of heaven,

      The plant’s quick growth, the mineral’s slow decay,

      The electric torrent’s undulating way,

      Or round the pictured orb instructive trace

      Each varying zone, that tints the changeful face;

      (Morton 1799, pp. 6–7)

      While Morton emphasizes that her poem is more factual than her classical models, here she praises Harriet’s comprehension of the stars and earth as natural phenomena understood scientifically, not as embodiments of supernatural influence. This catalog of her education in astronomy, botany, minerology, and electicity culminates in a characterization of the globe in terms of “varying zone” that will then be more fully figured in Harriet’s movement through various prospects as she travels from east to west.

      NOTES

      1 1. The Tenth Muse includes twelve pages of prefatory material, including a letter by John Woodbridge, Bradstreet’s brother-in-law who oversaw the publication of this volume, and several poems and anagrams by men who praised and tweaked her by turn. The identity of R.Q. is unknown. For a fuller discussion of this prefatory material, see Kathryn Zabelle Derounian-Stodola (1990) and Gillian Wright (2013, pp. 66–73). Jane D. Eberwein suggests that R.Q.’s commendatory poem was omitted from Several Poems because it suggested that Bradstreet’s representation of monarchies might be read as seditious (1991, p. 139), while Wright suggests that the misogynist humor of the poem undermines the general tone of studied, unthreatened praise found in the other prefatory material (2013, p. 67).

      2 2. I use “Ralegh” as the preferred spelling since it is common across recent scholarship.

      3 3. Apart from R.Q.’s poem, which was cut from Several Poems, I have used Bradstreet’s later edition of her poems because in it we find subtle differences that, at least in the sections I treat, put greater emphasis on women’s efforts (“plac’d” becomes “built” in her description of Semiramis in “In honour of that High and Mighty Princess, Queen Elizabeth, of most happy memory”) and on slurs on powerful women (in “The Four Monarchies,” again regarding Semiramis, “And that her worth, deserved no such blame” becomes “That undeserv’d, they blur’d her name and fame”). These changes suggest that Bradstreet’s ideas about historical interpretation and representations of women may have been becoming more bold and specific even as she moderated her positions on monarchy.

      4 4 As Jane D. Eberwein argues, “if Anne Bradstreet failed as a historian, she did so in part because, in events then being played out in the courts and battlefields of Britain, history itself failed her” (1991, p. 123). Wright suggests that the confusion of the ending may also be attributed to the editorial interference of John Woodbridge, who was arranging its publication after the beheading of the King (2013, pp. 94–96).

      5 5. The figure of the Asssyrian Queen Semiramis found in Ralegh’s Historie and Bradstreet’s poetry is rooted in Greek histories of Persia by Diodorus, Herodotus, Plutarch, and others. To a large extent she is an historical fiction, perhaps a composite of two historical queens from the eighth century BCE but with a legend that was thoroughly shaped by Greek perspectives (Stronk 2017, pp. 526-527). She is represented as a great leader who built the walls of Babylon and successfully ruled and expanded the Assyrian empire after the death of her husband Ninus. Some accounts assert that she had her husband killed so she could rule in his stead. Others suggest that she pretended to be her son or had an incestuous relationship with him in order to rule after Ninus’ death. The unreliability of Greek accounts is an important feature in Ralegh’s Historie. Two centuries earlier, Christine de Pizan stresses the gendered valences of historical misrepresentations when she includes Semiramis as the cornerstone of her City of Ladies (1982, pp. 38–40).

      6 6. Suzuki argues that “Bradstreet establishes an opposition between monarchism and republicanism, which intersects with another opposition between the genders”, suggesting that her positive treatment of counselors and of female monarchs both privilege an expanded polity (2009, p. 936). In the process, Bradstreet stakes her claim as an epic poet. I highlight instead her emphasis on the process of evaluating interpretations rather than the conclusions she reaches.

      7 7. Lady Harriet


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