Becoming America - An Exploration of American Literature from Precolonial to Post-Revolution, 2018a

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BECOMING AMERICA REVOLUTIONARY AND EARLY NATIONAL PERIOD LITERATURE than ever before. The Quaker watched her keenly. She came to her at last, and touched her arm. “When thee comes back,” she said, in a low, sorrowful tone, like one who speaks from a strong heart deeply moved with remorse or pity, “thee shall begin thy life again,—there on the hills. I came too late; but not for thee,—by God’s help, it may be.” Not too late. Three years after, the Quaker began her work. I end my story here. At evening-time it was light. There is no need to tire you with the long years of sunshine, and fresh air, and slow, patient Christ-love, needed to make healthy and hopeful this impure body and soul. There is a homely pine house, on one of these hills, whose windows overlook broad, wooded slopes and clover-crimsoned meadows,—niched into the very place where the light is warmest, the air freest. It is the Friends’ meeting-house. Once a week they sit there, in their grave, earnest way, waiting for the Spirit of Love to speak, opening their simple hearts to receive His words. There is a woman, old, deformed, who takes a humble place among them: waiting like them: in her gray dress, her worn face, pure and meek, turned now and then to the sky. A woman much loved by these silent, restful people; more silent than they, more humble, more loving. Waiting: with her eyes turned to hills higher and purer than these on which she lives, dim and far o now, but to be reached some day. There may be in her heart some latent hope to meet there the love denied her here,—that she shall nd him whom she lost, and that then she will not be all-unworthy. Who blames her? Something is lost in the passage of every soul from one eternity to the other,—something pure and beautiful, which might have been and was not: a hope, a talent, a love, over which the soul mourns, like Esau deprived of his birthright. What blame to the meek Quaker, if she took her lost hope to make the hills of heaven more fair? Nothing remains to tell that the poor Welsh puddler once lived, but this gure of the mill-woman cut in korl. I have it here in a corner of my library. I keep it hid behind a curtain,—it is such a rough, ungainly thing. Yet there are about it touches, grand sweeps of outline, that show a master’s hand. Sometimes,—to-night, for instance,—the curtain is accidentally drawn back, and I see a bare arm stretched out imploringly in the darkness, and an eager, wolsh face watching mine: a wan, woful face, through which the spirit of the dead korl-cutter looks out, with its thwarted life, its mighty hunger, its unnished work. Its pale, vague lips seem to tremble with a terrible question. “Is this the End?” they say,—”nothing beyond? no more?” Why, you tell me you have seen that look in the eyes of dumb brutes,— horses dying under the lash. I know. The deep of the night is passing while I write. The gas-light wakens from the shadows here and there the objects which lie scattered through the room: only faintly, though; for they belong to the open sunlight. As I glance at them, they each recall some task or pleasure of the coming day. A half-moulded child’s head; Aphrodite; a bough of forest-leaves; music; work; homely fragments, in which lie the secrets of all eternal truth and beauty. Prophetic all! Only this dumb, woful face seems to belong to and end with the night. I turn to look at it. Has the power of Page | 1526
BECOMING AMERICA REVOLUTIONARY AND EARLY NATIONAL PERIOD LITERATURE its desperate need commanded the darkness away? While the room is yet steeped in heavy shadow, a cool, gray light suddenly touches its head like a blessing hand, and its groping arm points through the broken cloud to the far East, where, in the ickering, nebulous crimson, God has set the promise of the Dawn. 4.27.2 Reading and Review Questions 1. How does Harding tie her readers—of whatever class, race, age, gender, and religion—with the characters and events of her story? Why? What’s her intent? 2. What role, if any, does art, artistry, and the artist, play in this story? Why? How do you know? 3. What mysteries or hidden messages does the story describe versus mysteries it resolves or solves? Why? How, and to what end? 4. Looking at the qualities of this text that reect Realism in literature, how does its realism use facts? How does it transcend facts? Why, and how? 5. What is the role of women in this work? Do women have a role in “bettering” the factory-workers lives? Are women central or marginal in this story? Why? How do you know? 4.28 LOUISA MAY ALCOTT (1832–1888) Best known today for her young adult novel Little Women (1869), Louisa May Alcott also published a novel on women and labor; short stories on nurses and hospitals, racism, and the abuses of slavery; and a number of sensation novels with such lurid subjects as suicide and drug addiction. Born in Germantown, Pennsylvania, but raised mainly in Boston and Concord, Alcott beneted from her father’s views on progressive education as well as friendships with such local celebrities as Emerson and Thoreau. In 1843, Amos Bronson Alcott (1799– 1888) founded Fruitlands, a utopian community near Concord that banned meat and money, and he brought his wife and four daughters to live there. Its Image 4.27 | Louisa May Alcott Photographer | Unknown Source | Wikimedia Commons License | Public Domain Page | 1527
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B E C O M I N G AMERICA An Explorat
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TABLE OF C ONTENTS PART ONE: PRE- A
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3.18 Cherokee Women 671 3.18.1 Cher
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1Pre- and Early Colonial Literature
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