Anne Bradstreet introduces The Tenth Muse Lately Sprung Up in America (1650) as a prologue. In keeping with Renaissance tradition. It serves the purpose not only of introducing the reader to the subject of quaternions (sets of four interrelated poets), but also allows for the poet’s “direct address” to the reader regarding the craft, or the likely reception of the work she expects (Dasgupta at 16). Similar to her other public works, Bradstreet’s Prologue also adopts the humble tone that Bradstreet is known for. It is her excessive self-deprecation and modesty that makes her seem unusual. It is not a good idea to take the words of the poet at face value. This paper examines the possibility that the Prologue’s tone is actually a humble compromise. Bradstreet assumed this position to convince her readers of her abilities as a writer.
Although the Prologue is sometimes interpreted to reflect the “ethos Puritan self deprecation” (Dasgupta8), it is really a clever plot that attempts to steal Bradstreet’s craft while pleasing the mostly conservative male readers. Eileen Margerum said that the success of a poem in classical poetry tradition was not determined by the validity of its sentiments but rather on how well she used prescribed formulae. Anne Bradstreet, 17th century poet draws on both the Puritan narrative and classical poetic traditions of her predecessors. She is therefore obliged to include the “formulae for humility” in all her works (Margerum 152). These lines are from the Prologue that show how both conventions were incorporated.
“To sing Of Wars, of Captains and King, Of Cities founded and Common-wealths started, For my meant Pen are too superior; Or how each one has run, Let Poets & Historians set them forth. They will not be diminished by my obscure lines.”
Refusal is an example of her poetry not being applicable to history writing. It is a male-dominated realm that is very similar to poetry composition. It is easy to see that her stoic stance suggests she conforms to a man’s world. She also refers to her poetic heritage by mentioning Guillame De Salluste du Bartas (a French Protestant poet) and Sir Philip Sidney’s Defense of Poesy. This acts highlights her insecurities and limitations as a writer due to the absence of a lineage full of female poets. Gilbert and Gubar, prominent feminists and authors, argue that just like men writers feel an “anxiety in the influence”, as Harold Bloom proposed, female writers also experience an “anxiety in the authorship” (“The infected in the sentence: the woman writer and the anxiety in authorship”, 25). Bradstreet’s work illustrates this phenomenon. She is therefore knowingly constructing an image of anxiousness and insecurity regarding the creation process.
We see a shift from the Rhetoric of Impossibility into the Rhetoric of Deception. This is done through heavy use of irony. Bradstreet uses the first-person as a method of persuasion. There are also several figures and speech tropes that feature in the Prologue. The self-fashioning of Bradstreet, by managing the narrative and appealing for criticism to be ignored, adds to its performative nature. The Prologue is a response to masculine literary traditions. Bradstreet reveals this humility by examining the use of satirical devices. One example of this is in line 36 in the Prologue. She says that “the Greeks did nothing but play fools and lie” and calls the Greeks “fools” for their fanciful ideas about women being “capable producing knowledge and arts” (Dasgupta18). Future civilizations held them in contempt. This ironic tone suggests that humility is a performance, and the poem is therefore a performance by the self.
“Men are superior and have the right to continue their progress; it is not fair to wage war. It is possible for men to do the best and women know this well. Preeminence in each and every area is yours. But, acknowledge us in a small way.” (Bradstreet quoted by Dasgupta at 19).
Anannya Dietta offers several interpretations of these lines. One interpretation is consistent with Bradstreet’s tone, which he apparently uses to express the dangers posed by a woman trying navigate the male-dominated poetry space. It is based only on the superficial meanings that the lines convey. She accepts the gender inequalities that poetry politics create and grants men the superiority. (19) The second interprets the lines differently and points out the absurd humor Bradstreet continues engaging in. This reading is even more powerful because it forces men to acknowledge women’s achievements while also recognizing their own. Bradstreet is the first American poet published in Europe. This is despite her gender. She uses the rhetorical tool of humility to her advantage and can make the desired impact on all readers. It is clear that the Prologue is much more than Bradstreet’s modest submission to the long line of male writers before her. It is the foundation that will allow women to create a literature in America.