Prologue
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.
Welcome to a fascinating journey into the world of poetry, where words become windows into history and human experience. Today, we delve into Anne Bradstreet’s remarkable poem, “Prologue,” a foundational work that speaks volumes about ambition, societal expectations, and the enduring power of a unique voice. This poem is not merely an introduction to her larger collection; it is a profound statement, a clever argument, and a timeless exploration of an artist’s place in the world.
Understanding Anne Bradstreet’s “Prologue”
A Concise Overview of “Prologue”
Anne Bradstreet’s “Prologue” serves as a powerful introduction to her collected poems, published in 1650. This piece immediately confronts the significant challenges faced by female poets in a society largely dominated by men. Bradstreet begins by humbly stating that her poetic aspirations do not extend to grand epics about wars, kings, or the founding of nations, themes traditionally reserved for male writers. Instead, she articulates a focus on what she can achieve within the societal constraints of her time. The poem skillfully balances expressions of humility with a subtle yet firm assertion of female intellectual capability and artistic worth. The Prologue summary reveals a poet keenly aware of her position, navigating the expectations placed upon her gender while striving for artistic recognition.
The central idea of “Prologue” revolves around the limitations and expectations imposed upon women, particularly in the realm of artistic expression. Bradstreet acknowledges her perceived shortcomings, often comparing her poetic voice to a flawed instrument. However, this acknowledgment is not a surrender; it is a strategic move to argue that she writes to the best of her ability, deserving of fair assessment. She anticipates criticism for both her gender and the quality of her work, subtly requesting recognition for her efforts, even if it is only a small acknowledgment. This poem is ultimately about finding and valuing one’s own voice despite formidable societal pressures.
The Enduring Message of “Prologue”
“Prologue” offers invaluable insight into seventeenth century societal norms and the struggles of early female writers. It is far more than a simple confession of inadequacy; it is a cleverly constructed argument for recognizing the potential and contributions of women in a world that frequently dismissed them. The poem remains profoundly relevant today, offering a timeless message about perseverance, self belief, and the importance of carving out one’s own artistic space. Its themes resonate with anyone who has faced obstacles in pursuing their passions, making it a truly shareable and impactful piece of literature.
In Depth Analysis of “Prologue”
To fully appreciate Bradstreet’s artistry and message, a closer Prologue analysis is essential. We will examine how she meticulously crafts her argument through each stanza, using language and imagery to convey complex ideas.
Exploring Each Stanza
- Stanza 1: Defining Poetic Scope and Strategic Humility
The poem opens with Bradstreet defining the boundaries of her poetic ambition. She declares that grand, heroic themes such as“To sing of Wars, of Captains, and of Kings, / Of Cities founded, Common-wealths begun,”
are beyond her reach. She defers to male poets and historians, stating,“For my mean Pen are too superior things.”
This is not necessarily a statement of genuine inability but rather a deliberate rhetorical choice to establish humility. By acknowledging established literary roles, she subtly prepares the reader for a different kind of poetry, one that operates within perceived constraints yet still holds significant value. - Stanza 2: Envy of Skill and Self Acceptance
Bradstreet introduces a hint of envy toward celebrated poets like Guillaume de Salluste Du Bartas, whose skills seem effortless and divinely inspired. She admits,“Fool, I do grudge the Muses did not part / ‘Twixt him and me that over-fluent store.”
This line reveals a tension between admiration for superior talent and frustration at her own perceived limitations. However, she quickly reconciles this feeling by reminding herself that she will write“according to my skill,”
demonstrating a mature understanding and acceptance of her own abilities and unique voice. - Stanza 3: Embracing Imperfection as a Norm
This stanza is crucial for understanding Bradstreet’s approach to her craft. She uses powerful metaphors to describe her poetic voice:“My foolish, broken, blemished Muse so sings.”
She argues that perfection is not always a prerequisite for artistic merit, drawing parallels:“From School-boy’s tongue no Rhet’ric we expect, / Nor yet a sweet Consort from broken strings.”
This establishes a standard of acceptance for flaws, suggesting that value can be found even in imperfect creations, thereby challenging conventional standards of beauty and skill in poetry. - Stanza 4: Limits of Art and Innate Constraints
Bradstreet contrasts the potential of art to improve skill with the reality of inherent limitations. While“Art can do much,”
she asserts that“A weak or wounded brain admits no cure.”
This suggests that some obstacles are insurmountable, hinting at the societal constraints and intellectual barriers that often hindered female pursuits in her era. It raises the profound question of whether external forces can truly overcome innate limitations, or if some barriers are simply too strong to transcend through effort alone. - Stanza 5: Anticipating Criticism and Gender Bias
This stanza directly addresses the prejudice Bradstreet anticipates from her critics. She declares,“I am obnoxious to each carping tongue / Who says my hand a needle better fits.”
This line powerfully reveals the dismissive attitudes toward female intellect and artistic ambition. She anticipates being told that her talents are better suited for domestic tasks than for poetry, highlighting the restrictive societal expectations placed upon women. She also foresees that if her work is good, it will be attributed to theft or chance, rather than her own skill. - Stanza 6: Classical Allusion and Challenging Historical Narratives
Bradstreet employs a clever rhetorical strategy by questioning classical tradition. She asks why the ancient Greeks, who highly valued poetry, would have“feigned they those nine”
Muses and made“poesy Calliope’s own child”
if they did not recognize the creative potential of women. This highlights the hypocrisy of praising poetic inspiration while simultaneously marginalizing female poets in her own time. It is a pointed critique of a historical narrative that selectively excluded women from artistic recognition, concluding with a bold dismissal:“The Greeks did nought but play the fools and lie.”
- Stanza 7: Acknowledging Hierarchy and Subtly Requesting Recognition
Bradstreet appears to concede to the prevailing patriarchal order, stating,“Let Greeks be Greeks, and Women what they are. / Men have precedency and still excel.”
However, this is not a complete surrender. While acknowledging male preeminence, she subtly requests“some small acknowledgement of ours.”
This is a plea for recognition, not necessarily full equality, delivered with a measured and strategic tone that seeks to gain a foothold rather than wage an unwinnable war. - Stanza 8: Humble Request and Artistic Contribution
The final stanza concludes with a modest request for recognition from other esteemed poets, the“high flown quills that soar the skies.”
She asks not for grand laurels (“Bays”
) but for simple herbs like“thyme or Parsley wreath.”
Yet, the stanza ends with a powerful metaphor:“This mean and unrefined ore of mine / Will make your glist’ring gold but more to shine.”
Here, Bradstreet suggests that even a humble female voice can contribute significantly to the richness of the poetic landscape, adding unique value and enhancing the existing canon, rather than diminishing it.
Literary and Poetic Devices in “Prologue”
Crafting Meaning Through Poetic Artistry
Bradstreet masterfully employs a range of literary devices in Prologue and poetic devices in Prologue to convey her message and enhance the poem’s impact. Understanding these techniques deepens our appreciation of her skill.
- Metaphor: Bradstreet uses metaphors to draw comparisons between dissimilar things, enriching the poem’s meaning. Her
“mean Pen”
(Stanza 1) is a metaphor for her perceived humble writing ability, while the“broken, blemished Muse”
(Stanza 3) serves as a central metaphor for both her self perceived flaws and the societal constraints she faces as a female poet. The powerful image of her work as“unrefined ore”
that will make others’“glist’ring gold but more to shine”
(Stanza 8) metaphorically asserts the unique value and complementary nature of her contribution. - Allusion: References to Bartas (Stanza 2) and the Greek Muses, particularly Calliope (Stanza 6), are classical allusions. These add depth and cultural context, grounding the poem within a broader literary tradition while also allowing Bradstreet to cleverly challenge its historical biases against women.
- Irony: The poem is imbued with subtle irony. For instance, Bradstreet’s apparent humility often masks a sharp intellect and a strong assertion of her own worth. The most striking example is her questioning of the Greek tradition of Muses, which ironically celebrates female inspiration while her contemporary society dismisses female poets.
- Apostrophe: In the final stanza, Bradstreet directly addresses the
“high flown quills that soar the skies,”
which is an example of apostrophe. This direct address creates a personal and engaging tone, allowing her to make a humble yet powerful request to her male counterparts. - Rhetorical Questions: Bradstreet uses rhetorical questions, particularly in Stanza 6, such as
“Else of our Sex, why feigned they those nine / And poesy made Calliope’s own child?”
These questions are posed not to elicit an answer, but to make a point and challenge the reader’s assumptions about gender and poetic tradition. - Concession: In Stanza 7, Bradstreet employs concession by seemingly agreeing with the prevailing view of male superiority:
“Men have precedency and still excel.”
This strategic agreement allows her to then subtly introduce her plea for“some small acknowledgement of ours,”
making her request more palatable to a potentially resistant audience. - Rhyme Scheme: The consistent ABABAA rhyme scheme throughout the poem contributes to its musicality, memorability, and formal structure. This regular pattern provides a sense of order and control, even as Bradstreet discusses themes of imperfection and societal disorder.
- Imagery: The poem uses vivid imagery to create a visual and emotional connection with the reader. Examples include
“sugar’d lines”
(Stanza 2) to describe eloquent poetry,“broken strings”
(Stanza 3) for a flawed instrument, and the contrast between“unrefined ore”
and“glist’ring gold”
(Stanza 8) to represent her work versus that of established male poets.
Key Quotations and Their Significance
Certain lines from “Prologue” encapsulate Anne Bradstreet’s core arguments and enduring message. These quotations are particularly insightful for understanding her artistry and the poem’s central themes.
“From School-boy’s tongue no Rhet’ric we expect, / Nor yet a sweet Consort from broken strings”
This powerful couplet from Stanza 3 emphasizes the acceptance of imperfection and the idea that value can be found even in creations that are not flawless. It serves as a compelling argument against rigid standards of artistic excellence, suggesting that authenticity and effort hold their own merit.
“I am obnoxious to each carping tongue / Who says my hand a needle better fits.”
Found in Stanza 5, this direct and poignant statement reveals the societal prejudice Bradstreet faced as a female writer. It vividly illustrates the dismissive attitudes that confined women to domestic roles and challenged their intellectual and artistic pursuits, making it a crucial line for understanding gender bias in the seventeenth century.
“This mean and unrefined ore of mine / Will make your glist’ring gold but more to shine.”
The concluding lines of the poem in Stanza 8 offer a brilliant assertion of the value of female voices and their ability to contribute meaningfully to the larger artistic landscape. It is a statement of quiet confidence, suggesting that even a seemingly humble contribution can enhance and enrich the established literary tradition, rather than detract from it.
“Prologue” is far more than a simple introduction to Anne Bradstreet’s poetry; it stands as a testament to the enduring struggle for recognition and a subtle yet powerful argument for the value of female intellect and creativity. Bradstreet’s pioneering voice continues to resonate, offering a timeless message about perseverance, self belief, and the profound importance of embracing one’s unique artistic expression. Her work invites us to reflect on the barriers that still exist and the courage it takes to overcome them, making “Prologue” a truly inspiring and essential read for anyone passionate about literature and the human spirit.