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Such a link is particularly important for the study of Spofford, for words and their multiple meanings hold a special significance in her work. If the story omits the word rape, the captivity narrative form contains its meaning. In her discussion of representations of rape in Chaucer, Christine M. The beast holds, embraces, yells, creating an image of human assault. Spofford continually emphasizes their close, physical proximity.

The intensity, intimacy and sensuality of the encounter all imply forced sex. The woman reacts like a victim of sexual assault. You stand nearer the world than I do. This is a powerful declaration. Armand concludes Emily Dickinson Burgess and Holmstrom cite paralysis, both physical and psychological, as a significant state in the experience of rape A hollow cut in any thing … 2. Both Spofford and Dickinson struggle to find ways to speak the anguished experience that seems inexpressible in its simultaneous and intense violation of both body and mind.

The visibility of rape through representation, moreover, presents its own problems. Attempts to represent extreme violation result at times in extreme expressions which mid-nineteenth-century America, in both sentimental and sensational forms, found particularly compelling. Both Spofford and Dickinson venture into Gothic spaces where the spectacular slides into spectacle, with its too ready embracement of the subject of violated womanhood.

Like Dickinson in more minimalist fashion, Spofford readily pressures emotional and psychological limits. The panther and the maelstrom provide a means of controlling expression and thereby disallow the double victimization of the assaulted woman. Her confusion is momentary, but nonetheless again associates the male presence with threat and fear.

Neither forest nor home, wilderness nor settlement, offers safety. This is not a knowable space. Practical and sensible, the woman nonetheless has what the story presents as a vision:.


  1. Hardback Editions.
  2. The Legend of Sleepy Hollow, by Washington Irving.
  3. Onomastic Index in: Spatial Relations. Volume Two.
  4. Individual Offers?
  5. Hunger Eats a Man.
  6. An extension of the Easy Peasy All-in-One Homeschool;
  7. The Delinquent Solution (Routledge Revivals): A Study in Subcultural Theory?

The Lord have mercy on the people! The threatening tone of the vision gives way to the possibility of an unknown assailant stalking the woman. There is no hint of a native presence, or indeed of an animal one, in this odd and threatening image in which the human menace that precedes the violent attack is evident.

The attribution is very quick, and seems too facile. The woman and her family, after the night of anguish, clearly need a ready answer.

Vernacularity in England and Wales, c. | Utrecht Studies in Medieval Literacy

It remains unknown, suggesting perhaps, without beleaguering this detail more than it deserves, that the source of evil is not so easy to discern. Is it Indian, animal, savage, male? Was the attacker from the settlement? Spofford is a subtle artist. A distinct lack of certainty informs much of her work. Her aesthetics involve destabilization at every turn. She is like Sheherazade and Orpheus at once, as Opfermann points out, singing one song after another to keep death at bay, and using her music to tame the wild animal. But song also connects her to another violated woman, the ravaged Philomel, who, defying all odds to proclaim the wrongs done her, eventually transforms into a nightingale.

The woman, suspended in mid-air an instant, cast only one agonized glance beneath,—but across and through it, ere the lids could fall, shot a withering sheet of flame,—a rifle-crack, half-heard, was lost in the terrible yell of desperation that bounded after it and filled her ears with savage echoes, and in the wide arc of some eternal descent she was falling;—but the beast fell under her. This falling woman lands softly, on her tormentor. Throughout her ordeal, moreover, the woman inverses the relationship between womankind and serpent as well, for in a sense, her singing seduces the beast, not the other way around.

The woman and her family move beyond the violation. There is no hint of recoil or rejection.

Onomastic Index

Spofford offers another response. She empowers her female protagonist, and the image of the united family, the woman, man and child continuing on, provides a model of resilience that insists on resistance to the evil that both man and beast do. Like Dickinson, she presents obvious details but then mutes them to reveal her subject obliquely but powerfully. Spofford finds ways to express an unspeakable female experience that demands the understanding of her readers. Armstrong, Nancy and Leonard Tennenhouse.

Berkeley: U of California P, Bal, Mieke. Double Exposure: the Subject of Cultural Analysis. NY: Routledge, Beam, Dorri. Bendixen, Alfred. Brownmiller, Susan. NY: Simon and Schuster, Castiglia, Christopher. Chicago: UP of Chicago, Cody, David. Coleman, Robert.

Ellen Burton Harrington. NY: Peter Lang, Cramer, Jeffrey S. Dalke, Anne.

Derounian-Stodola, Kathryn Zabelle. NY: Penguin, The Indian Captivity Narrative NY: Twayne, Dickinson, Emily. Selected Letters. Thomas H. Dickinson, Susan. January Donnelly, Colleen. Feagin, Joe R. NY and London: Routledge, Fetterley, Judith. Bloomington: Indiana UP, Garbowsky, Maryanne M. Gaul, Theresa Strouth. Grimwood, Michael. Halbeisen, Elizabeth K.

Philadelphia: U of Pennsylvania P, Hansen, Kevin. Bobcat: Master of Survival. Hesford, Wendy S. Higgins, Lynn A. NY: Columbia UP, Holly, Carol. Horeck, Tanya. London and NY: Routledge, Jeffords, Susan.

Ladin, Jay. Logan, Lisa. Tomoka Kuribayashi and Julie Tharp. A sloop was loitering in the distance, dropping slowly down with the tide, her sail hanging uselessly against the mast; and as the reflection of the sky gleamed along the still water, it seemed as if the vessel was suspended in the air. It was toward evening that Ichabod arrived at the castle of the Heer Van Tassel, which he found thronged with the pride and flower of the adjacent country.

Old farmers, a spare leathern-faced race, in homespun coats and breeches, blue stockings, huge shoes, and magnificent pewter buckles. Their brisk, withered little dames, in close-crimped caps, long-waisted short gowns, homespun petticoats, with scissors and pincushions, and gay calico pockets hanging on the outside. Buxom lasses, almost as antiquated as their mothers, excepting where a straw hat, a fine ribbon, or perhaps a white frock, gave symptoms of city innovation.

The sons, in short square-skirted coats, with rows of stupendous brass buttons, and their hair generally queued in the fashion of the times, especially if they could procure an eel-skin for the purpose, it being esteemed throughout the country as a potent nourisher and strengthener of the hair. Brom Bones, however, was the hero of the scene, having come to the gathering on his favorite steed Daredevil, a creature, like himself, full of mettle and mischief, and which no one but himself could manage.

He was, in fact, noted for preferring vicious animals, given to all kinds of tricks which kept the rider in constant risk of his neck, for he held a tractable, well-broken horse as unworthy of a lad of spirit.

Biographies & Memoirs

Not those of the bevy of buxom lasses, with their luxurious display of red and white; but the ample charms of a genuine Dutch country tea-table, in the sumptuous time of autumn. Such heaped up platters of cakes of various and almost indescribable kinds, known only to experienced Dutch housewives! There was the doughty doughnut, the tender oly koek, and the crisp and crumbling cruller; sweet cakes and short cakes, ginger cakes and honey cakes, and the whole family of cakes. And then there were apple pies, and peach pies, and pumpkin pies; besides slices of ham and smoked beef; and moreover delectable dishes of preserved plums, and peaches, and pears, and quinces; not to mention broiled shad and roasted chickens; together with bowls of milk and cream, all mingled higgledy-piggledy, pretty much as I have enumerated them, with the motherly teapot sending up its clouds of vapor from the midst—Heaven bless the mark!

I want breath and time to discuss this banquet as it deserves, and am too eager to get on with my story. Happily, Ichabod Crane was not in so great a hurry as his historian, but did ample justice to every dainty. He could not help, too, rolling his large eyes round him as he ate, and chuckling with the possibility that he might one day be lord of all this scene of almost unimaginable luxury and splendor.

Old Baltus Van Tassel moved about among his guests with a face dilated with content and good humor, round and jolly as the harvest moon. And now the sound of the music from the common room, or hall, summoned to the dance. The musician was an old gray-headed negro, who had been the itinerant orchestra of the neighborhood for more than half a century. His instrument was as old and battered as himself. The greater part of the time he scraped on two or three strings, accompanying every movement of the bow with a motion of the head; bowing almost to the ground, and stamping with his foot whenever a fresh couple were to start.