“Prologue” by Anne Bradstreet first appeared in 1650 in her collection The Tenth Muse Lately Sprung Up in America. This poem reflects Bradstreet’s deep awareness of the limitations imposed on female writers of her time. With humility and modesty, she addresses the challenges faced by women in the male-dominated literary sphere. Despite acknowledging her perceived inferiority as a poet compared to men, Bradstreet subtly critiques the societal norms that dismiss women’s intellectual capabilities. Her work reveals a complex interplay between modesty, self-awareness, and a quiet assertion of her own literary worth. Through this, “Prologue” demonstrates Bradstreet’s skill in navigating the expectations of her era while expressing a feminist consciousness ahead of its time.
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.
Line | Annotation | Devices Used |
1. To sing of Wars, of Captains, and of Kings | Bradstreet refers to epic themes typically written by male poets. | Allusion (to epic poetry), Parallelism, Assonance (“Wars” and “Captains”) |
2. Of Cities founded, Common-wealths begun | Continues listing grand topics, further distancing her own work. | Alliteration (“Common-wealths”), Enumeration, Historical Allusion |
3. For my mean Pen are too superior things; | Bradstreet acknowledges that such grand themes are beyond her modest abilities, showing humility. | Metaphor (Pen for writing), Litotes (understatement) |
4. Or how they all, or each their dates have run, | Refers to the passing of time for these monumental events. | Synecdoche (dates for historical periods), Alliteration (“dates have run”) |
5. Let Poets and Historians set these forth. | She leaves grand topics to the “worthy” poets and historians. | Enjambment, Irony (since Bradstreet herself is a poet) |
6. My obscure lines shall not so dim their worth. | Her self-deprecation continues, contrasting her writing to that of grand figures. | Self-deprecating irony, Alliteration (“obscure lines”) |
7. But when my wond’ring eyes and envious heart | She admires and envies other poets, introducing her critical self-awareness. | Personification (heart), Juxtaposition (wondering vs envious), Enjambment |
8. Great Bartas’ sugar’d lines do but read o’er, | Refers to Guillaume de Salluste Du Bartas, a French poet whose style she envies. | Allusion, Metaphor (“sugar’d lines” for sweet writing) |
9. Fool, I do grudge the Muses did not part | Expresses frustration that she didn’t receive equal poetic gifts from the Muses. | Allusion (to Muses), Apostrophe (addressing herself as “Fool”), Personification (Muses) |
10. ‘Twixt him and me that over-fluent store. | She regrets not sharing Bartas’ poetic talent. | Enjambment, Metonymy (Muses for poetic inspiration) |
11. A Bartas can do what a Bartas will | Acknowledges Bartas’ skill with a resigned tone. | Epizeuxis (repetition of “Bartas”), Alliteration (“Bartas will”) |
12. But simple I according to my skill. | Contrasts her simplicity with Bartas’ grandeur. | Antithesis, Enjambment |
13. From School-boy’s tongue no Rhet’ric we expect, | Establishes a metaphor comparing her poetic ability to that of a novice. | Metaphor (school-boy’s tongue for inexperience), Hyperbaton (inverted syntax) |
14. Nor yet a sweet Consort from broken strings, | Compares her poetry to flawed music. | Metaphor (broken strings), Alliteration (“sweet strings”) |
15. Nor perfect beauty where’s a main defect. | Emphasizes her limitations, implying imperfection is inevitable. | Metaphor (defective beauty for flawed writing), Antithesis (perfect vs defect) |
16. My foolish, broken, blemished Muse so sings, | Continues the self-deprecating tone, showing vulnerability in her work. | Personification (Muse), Epithets (“foolish,” “blemished”) |
17. And this to mend, alas, no Art is able, | Suggests that even artistic skill cannot fix her shortcomings. | Hyperbole, Alliteration (“Art able”), Apostrophe (“alas”) |
18. ‘Cause Nature made it so irreparable. | Claims her faults are natural and unchangeable. | Personification (Nature), Irony |
19. Nor can I, like that fluent sweet-tongued Greek | Refers to the ancient Greek orator Demosthenes, who overcame a speech impediment. | Allusion (Demosthenes), Epithet (“sweet-tongued”) |
20. Who lisp’d at first, in future times speak plain. | Highlights Demosthenes’ struggle and success, contrasting it with her own situation. | Allusion, Antithesis (lisp’d vs plain) |
21. By Art he gladly found what he did seek, | Refers to Demosthenes’ triumph through effort. | Alliteration (“gladly found”), Historical allusion |
22. A full requital of his striving pain. | Describes the reward for his hard work, contrasting with her self-doubt. | Metaphor (“requital” for reward), Enjambment |
23. Art can do much, but this maxim’s most sure: | Acknowledges the power of art, but implies it has limits. | Aphorism, Parallelism |
24. A weak or wounded brain admits no cure. | Declares that some flaws, like her own, are beyond fixing. | Metaphor (wounded brain), Aphorism |
25. I am obnoxious to each carping tongue | Admits she is subject to harsh criticism. | Metaphor (“carping tongue” for critics), Enjambment |
26. Who says my hand a needle better fits. | Reflects societal expectations that women should focus on domestic tasks. | Metonymy (needle for domesticity), Antithesis (needle vs pen) |
27. A Poet’s Pen all scorn I should thus wrong, | Suggests her writing is seen as inappropriate for a woman. | Metaphor (pen for writing), Alliteration |
28. For such despite they cast on female wits. | Highlights the scorn directed at intellectual women. | Enjambment, Metonymy (wits for intellect) |
29. If what I do prove well, it won’t advance, | Suggests that even success won’t lead to recognition. | Irony, Enjambment |
30. They’ll say it’s stol’n, or else it was by chance. | Describes how her achievements would be dismissed. | Hyperbole, Irony |
31. But sure the antique Greeks were far more mild, | Praises the ancient Greeks for recognizing women in mythology. | Allusion, Historical reference |
32. Else of our Sex, why feigned they those nine | Refers to the nine Muses, suggesting they valued female intellect. | Allusion (Muses), Rhetorical question |
33. And poesy made Calliope’s own child? | Points out that poetry was personified as a female, Calliope. | Allusion (Calliope), Personification |
34. So ‘mongst the rest they placed the Arts divine, | Suggests that the Greeks recognized women’s connection to the arts. | Enjambment, Historical allusion |
35. But this weak knot they will full soon untie. | Implies modern men will unravel this idea of women’s artistic worth. | Metaphor (weak knot), Irony |
36. The Greeks did nought but play the fools and lie. | She dismisses the Greeks’ idealism, hinting at the persistent undervaluing of women. | Hyperbole, Irony |
37. Let Greeks be Greeks, and Women what they are. | Accepts the distinction between men and women but calls for acknowledgment. | Parallelism, Antithesis (Greeks vs Women) |
38. Men have precedency and still excel; | Admits the societal belief that men are superior. | Aphorism, Irony |
39. It is but vain unjustly to wage war. | Argues that it’s pointless to fight these norms. | Metaphor (wage war), Irony |
40. Men can do best, and Women know it well. | A resigned acknowledgment of gender roles. | Aphorism, Antithesis (men vs women) |
41. Preeminence in all and each is yours; | Addresses male poets, granting them superiority. | Hyperbole, Apostrophe (directly addressing men) |
42. Yet grant some small acknowledgement of ours. | Seeks a small recognition of women’s contributions. | Parallelism, Irony |
43. And oh ye high flown quills that soar the skies, | Addresses successful poets, comparing them to birds. | Apostrophe (directly addressing poets), Metaphor (quills for poets), Alliteration |
44. And ever with your prey still catch your praise, | Suggests that male poets easily gain praise. | Metaphor (prey for success), Alliteration |
45. If e’er you deign these lowly lines your eyes, | Asks successful poets to notice her humble work. | Apostrophe, Enjambment |
46. Give thyme or Parsley wreath, I ask no Bays. | Uses humble herbs (thyme, parsley |