Essay For Early American Literature Due No Later Than Decemb

Essay For Early American Literaturedue No Later Than December 6 Via E

Respond to one of the following questions in a 3-4 page essay. You must include at least one outside source and adhere to MLA format:

1. Discuss the themes and elements of Native American creation stories. How do the characteristics that resonate in these myths differ from those found in Judeo/Christian mythology? How might we account for their differences? Are there similarities between the Native and European origin stories? If so, how can we make sense of these and what do these similarities mean?
2. Consider the graphic nature of Casas’ accounts of the Spanish atrocities. Why might Casas have chosen to represent so vividly the horror of the Spanish Conquest from the Indian point of view? How does his description reverse common European stereotypes about the “savagery” of American Indians? What kind of audience does he assume will read his work? Why might he think these accounts of violence will persuade them? Why does he consistently refer to the torture and murder of women and children? How effective is his strategy?
3. Compare Columbus’ descriptions of the islands’ plants, natural features, and native inhabitants in the first and second letters featured in The Norton Anthology of American Literature. What kind of language does he use in the first letter? How is it different in the second? What does Columbus seem preoccupied with? How might we account for the different versions of the new world depicted in these letters? Consider the political project each letter was intended to serve. Why might Columbus insist that “Española is a marvel” in the first letter, and then portray it as an “exhausted,” unhealthy place populated by “cruel savages” in his later account?
4. Examine Cabeza de Vaca’s explanation that Indians refused to believe he and his group were of the same race as the Spanish because of their appearance and behavior. Does he see himself as “of the same people” as the Christian slavers? How has his European and conquistador identity changed over time among the Indians? Focus on his use of pronouns like “we” and “they”—when does he include whom, and what does that signify about his sense of identity?
5. Analyze why Bradford wrote Book I of Of Plymouth Plantation in 1630 and Book II roughly from 1644 to 1650. How do these dates relate to the religious beliefs of the Puritans? How do historical events influence his account? How might his depiction of hardships upon landing reinforce their claim to the land and their spiritual purity? Discuss how Bradford’s tone and perspective evolved over the fourteen years between the two books.
6. Identify biblical and typological moments in Winthrop’s “A Model of Christian Charity.” What similarities exist between the Puritans and the Old Testament Hebrews? How does their interpretation of their history as divinely prefigured influence their worldview? What pressures and comforts might this biblical reading impose on individuals and communities?
7. Compare Franklin and Emerson’s perspectives on what it means to be American. How did each define American identity and individualism? Discuss how Franklin’s rise from obscurity and Emerson’s spiritual self-improvement reflect evolving notions of the American character and the complexity of national ideals.
8. Discuss biblical typology in Frederick Douglass’ Narrative of the Life of Frederick Douglass. Why is this significant? What does it reveal about his perspective and message?
9. Explore the tension between civilization and nature in Hawthorne’s short stories. Why is this tension important? How does it reflect broader themes within American literature?
10. Analyze the central conflict in Irving’s “The Legend of Sleepy Hollow” and its significance to Irving’s view of America. How does the story reveal cultural or national themes?
11. Discuss the role of identity and its destruction in Poe’s short stories. How do characters’ identities evolve or disintegrate, and what does this say about Poe’s worldview?
12. Examine the role of women in Poe’s short stories. How do they conform to or challenge traditional female roles?
13. Analyze the role of women in Hawthorne’s short stories. How are female characters portrayed, and what do they reveal about gender roles?
14. Discuss biblical typology in Hawthorne’s short stories. How does it serve thematic or moral purposes?
15. Examine symbolism in Melville’s “Bartleby, the Scrivener.” How does it deepen the story’s themes and characters?
16. Explore the transformation of the narrator in “Bartleby, the Scrivener.” How does the narrator change, and what does that reveal about the story’s message?
17. Discuss symbolism in Melville’s “The Paradise of Bachelors and the Tartarus of Maids.” How does symbolism critique social and economic structures?

Paper For Above instruction

Native American creation stories hold a unique place in the landscape of world mythology, embodying themes of harmony, foundation, and spiritual connection with nature. These stories serve as foundational narratives that explain the origins of the world, humans, and moral order, often emphasizing a deep interconnectedness between all living beings. Unlike Judeo-Christian mythology, which frequently delineates divine intervention and a linear creation process centered around a monotheistic deity, Native American myths tend to be more fluid, emphasizing cyclical time, ecological balance, and community harmony. For instance, in the Iroquois creation story, Earth is formed on the back of a giant turtle, symbolizing stability and life’s foundational dependence on water and earth—elements that reflect indigenous ecological worldview. Conversely, Christian creation narratives are typically characterized by a divine decree issuing from God's command, reinforcing themes of obedience and divine sovereignty (Vennum, 2001). This fundamental difference arises from distinct cultural contexts: indigenous stories are embedded within a relationship-centered worldview that emphasizes living in harmony with nature, whereas Judeo-Christian accounts often underscore transcendent authority and the moral order established by a supreme deity.

Despite these differences, there are notable similarities between Native American and European origin stories. Both traditions seek to explain the origins of humans and the universe, often involving divine or supernatural beings. For example, certain Native myths include trickster figures or creator gods that resemble European archetypes like Prometheus or Odin, serving as cultural heroes or mediators. These parallels suggest a shared human desire to make sense of the unknown, providing moral lessons and cultural identity. The similarities could also reflect cross-cultural exchanges through colonization and trade, which facilitated the sharing of mythic motifs. Such shared themes highlight the universal human quest for understanding origins, but the distinct mythic structures reveal differences in worldview: indigenous stories typically emphasize balance and community, while European tales often focus on divine authority and individual heroism (Naomi, 2018).

The vivid accounts of Casas’ violence against indigenous peoples serve a deliberate purpose rooted in moral and political aims. Casas’ detailed descriptions of atrocities—drowning, dismemberment, torture—are intended to evoke visceral empathy in his European audience, challenging the narrative that the Spaniards are civilizers and calling attention to their brutality. By portraying these acts from the Indian perspective, Casas reverses European stereotypes that depicted Indigenous peoples as barbaric and “savage,” instead positioning them as victims of colonial violence (Foley, 2003). His vivid language aims to shock his readers into recognizing the moral implications of conquest, intending to persuade Europe to reconsider its justification for colonization.

Casas’ repeated emphasis on the suffering of women and children underscores the moral outrage he seeks to evoke. These vulnerable victims serve as symbols of innocence destroyed by European greed, reinforcing the moral argument for reform or intervention. The graphic descriptions are strategic, designed to penetrate the reader’s conscience and prompt a sense of guilt and responsibility. Casas assumes that his European audience is susceptible to emotional appeals, using detailed depictions to foster moral outrage and catalyze reform. His strategy’s effectiveness lies in its ability to elicit empathy and shame, motivating moral debate over colonization’s ethics (Bartolomé de las Casas, 1552). This approach seeks to garner support for efforts to curtail Spanish brutality and promote social justice.

Columbus’ first and second letters portray contrasting visions of the New World, shaped by their political and economic objectives. The first letter employs lofty, admiring language, emphasizing the islands’ natural beauty, abundance, and potential for wealth—referred to as “marvelous” and indicative of divine blessing (Columbus, 1493). His tone is optimistic and celebratory, intended to impress the monarchs and secure investment. In contrast, his second letter reflects a more pragmatic, or even bleak, view. Columbus describes the islands as “exhausted,” unhealthy, and plagued with “cruel” natives—portraying a land less idyllic than initially claimed. These shifts likely serve political purposes: the first letter seeks to inspire support and justify conquest, while the second warns of difficulties, perhaps to prepare for exploitation or to temper expectations.

Columbus’s preoccupation with the wealth of the land and its resources drives his descriptions. His initial language seeks to paint an almost utopian image of the Indies, emphasizing their divine favor and bounty. Later, he demonstrates concern with practical challenges, including resistance from indigenous populations. Differences in these accounts may also reflect changing political needs—initially, enthusiasm for exploration, subsequently, colonial administration realities. Columbus’s narratives reveal how storytelling can serve specific interests, shaping European perceptions of the New World to align with political and economic goals.

Cabeza de Vaca’s narrative reveals a complex evolution of identity rooted in cultural encounter. Initially, he aligns himself with the Spanish conquistadors, emphasizing their European heritage and religious mission. However, through his experiences among the indigenous peoples, he recognizes shared humanity, especially as they perceive him as different from the brutal slavers. His depiction of their gentleness, generosity, and distinct appearance signifies a recognition of cultural others but also illuminates a shift in self-perception. His frequent use of “we” and “they” underscores the tension between his European origin and his developing identification with the indigenous worldview. Over time, Cabeza de Vaca begins to see himself not solely as a conquistador but as part of a broader human community that transcends racial boundaries, a recognition influenced by his interactions that foster empathy and cross-cultural understanding (Hemming, 1997).

The dates of Bradford’s writings correspond with critical phases of the early colonial and Puritan settlement. Book I, written in 1630, captures the initial hardships faced by the Pilgrims, emphasizing divine guidance and providence. These narratives serve to affirm their moral superiority and claim to the land, portraying their survival as a sign of divine favor. By the time Bradford writes Book II (1644–1650), the settlement is more established, and his tone shifts to reflect confidence in their spiritual and social order. The efforts to maintain religious purity amid hardships depict their collective resilience as evidence of divine approval. The historical context, including conflicts with Indigenous peoples and internal struggles, influences Bradford’s account—shaping it into a theological justification of their presence and mission. Over time, Bradford’s outlook consolidates into a narrative emphasizing divine intervention, moral righteousness, and the importance of community cohesion.

Winthrop’s “A Model of Christian Charity” demonstrates clear biblical and typological references. His depiction of the Puritans as a “city upon a hill” draws a parallel with Old Testament Israel, emphasizing divine election and moral obligation. The Puritans view themselves as a chosen community, prefigured and supported by biblical narratives of covenant and divine promise, functioning as a moral exemplar for the world. This biblical framing reinforces the group’s sense of divine purpose but also entails pressures—individuals and communities are urged to uphold righteousness as part of a divine plan, risking moral judgment if they falter. This divine interpretation provides reassurance and a collective sense of destiny, but also imposes a strict moral discipline rooted in biblical typology (Winthrop, 1630). Such reading elevates everyday events to divine significance, shaping social policies, individual behavior, and communal identity based on biblical paradigms.

Frederick Douglass’ Narrative employs biblical typology to legitimize his critique of slavery. His framing of himself as a modern Joseph or Moses finds resonance in biblical stories of liberation and divine deliverance. Douglass’s use of biblical imagery enhances his moral authority, portraying enslaved Africans as a chosen people suffering injustice but destined for freedom. This Typology underscores the moral and spiritual imperatives of abolition, highlighting divine justice unfolding through their struggle. For instance, Douglass references biblical themes of exile and return, emphasizing the ongoing divine mission for racial justice and equality (Douglass, 1845). The biblical language lends weight to his argument, positioning him as an agent of divine will in the abolition movement.

Hawthorne’s stories feature a recurring tension between the civilizing force of society and the primal instincts of nature. This conflict underscores the complex American identity—striving for moral progress while confronting innate savagery. For example, in “Young Goodman Brown,” the protagonist’s journey into the forest exposes the potential for evil lurking beneath pious appearances, questioning the veneer of civilization. This tension reflects broader themes within American literature: the ideal of progress versus the recognition of human fallibility. Hawthorne’s exploration of this duality reveals a skepticism towards unqualified assumptions of societal virtue, emphasizing the persistent presence of latent savagery amidst the veneer of civility. This conflict remains central to understanding American cultural self-identity as a land of moral possibility shadowed by inherent darkness (Hawthorne, 1835).

Irving’s “The Legend of Sleepy Hollow” centers on the tension between supernatural beliefs and rational modernity. The conflict between Ichabod Crane and the Headless Horseman embodies wider questions about the American identity—whether rooted in Enlightenment reason or prone to superstition and tradition. This story depicts a society caught between embracing progress and retaining old-world supernatural fears. Irving's portrayal of Sleepy Hollow reflects a nostalgia for colonial superstitions while subtly critiquing the changing American landscape, suggesting that cultural identity is shaped by a mixture of rationality and folklore (Irving, 1820). This dichotomy contributes to Irving’s view of America as a nation balancing progress with its historical and cultural roots.

Poe’s short stories often explore identity’s fragility and disintegration. In “The Fall of the House of Usher,” the narrator’s sense of self becomes increasingly unstable as he witnesses the decay of the Usher family, symbolizing the breakdown of inherited identity and ancestral legacy. Poe’s focus on psychological disintegration underscores the theme that personal and inherited identities are vulnerable to collapse under pressure, reflecting broader fears about the loss of individual agency amid social and familial decay (Poe, 1839). Analyzing Poe’s stories reveals a preoccupation with the tenuous boundary between sanity and madness, highlighting how fragile human self-perception can be in confronting internal or external chaos.

Women in Poe’s stories often serve as symbols of innocence, beauty, or moral purity but also challenge traditional gender roles through their vulnerability or agency. In “Ligeia,” the titular character’s mysterious strength and intelligence subvert passive femininity, suggesting a complex hybrid of power and fragility. Conversely, in stories like “The Fall of the House of Usher,” women are often passive, serving as catalysts or victims in gothic settings, reflecting Victorian ideals. Poe’s portrayal of women embodies societal tensions—although they are often portrayed as delicate and moral anchors, their roles also include embodying the uncanny, the mysterious, and the challenge to traditional gender expectations (Poe, 1845).