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Some Keep the Sabbath going to Church  by Emily Dickinson 

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Some Keep the Sabbath going to Church  by Emily Dickinson 

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SOME keep the Sabbath going to church; |
I keep it staying at home, |
With a bobolink for a chorister, |
And an orchard for a dome. |

Some keep the Sabbath in surplice; |         5
I just wear my wings, |
And instead of tolling the bell for church, |
Our little sexton sings. |

God preaches,—a noted clergyman,— |
And the sermon is never long; |         10
So instead of getting to heaven at last, |
I ’m going all along!

Here we see a poem that contains two key qualities of Dickinson's work, skepticism towards religion, and a transcendentalist

influence with natural imagery and sense of individuality.

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- a figure in American literature that has taken near mythological status
-born and died in Amherst Massachusetts
- Largely viewed as a solitary hermit, but this understand if Dickinson is most likely over-simplified
- She was extremely close to her family, including her sister-in-law.
- Barely published in her lifetime, became well known posthumously.

- this photograph is proposed by the Amherst College Archives to be only the second photograph of Dickinson known to be in existence.

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A statue of Harriet Wilson in New Hampshire 

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A statue of Harriet Wilson in New Hampshire 

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-some conventions from prominent antebellum styles, including the seduction novel, domestic story, and sentimentalism.
- through all of this, Wilson shows a general knowledge of American literature, providing a work that is unique, while at the same time indebted to other American works of this time.
- touches American racial tensions in a way that hadn't been done before, looking at it in the North rather than the South.

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-Thought to be first novel published by an Female African American author.
-While published in 1859, it was virtually undiscovered until 1981, when it was rediscovered by scholar Henry Louis Gates Jr.
-Deals with the experience of a free black house servant in the North, and her experience of cruelty at the hands of a cruel white mistress
-themes include religion, corruption, the passive spectator, and education.

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Taken around 1866

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-semiautobiogrpahical
- The author Fanny Fern, like the titular character, was windowed at a young age, and turned to writing to support herself.
- The theme of the text suggests the injustices relating to gender in Antebellum America. This is seen the numerous obstacles Ruth Hall has to overcome to be a female writer, and her eventual at this time unusual financial and domestic independence. Fern may be making a statement regarding her own artistic and professional experience
- This work is unique is its portrayal of the coming of age of the artist, effectively shedding light on the motivations and process in the act of writing itself.

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- attempts to have the reader have an emotional stake in the story
-empathize with the characters suffering
- suffering can enhance the perceived virtuousness of the character
- Ruth Hall is an example of this, while also breaking with some of the genre's conventions, such the marriage coming at the beginning of the novel, rather than at the end in a "happily ever after" scenario
-

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Slaves overwhelm their captors
-a cook on the brig Creole, who leads the revolt on the ship carrying around 130 slaves in 1841.
- Reached British controlled Nassau, and all slaves were freed. Considered to be possibly the most successful slave revolt of American history.

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-uses real historical figures, but also take poetic license to tell his story
i.e. Madison Washington
-Evaluates the relationship between objective facts and subjective biasis, such as racist ideas, in the recording of history: "At this the stupid blockheads showed their ivory, rolled up their eyes in horror, as if the idea of putting men on a footing with merchandise were revolting to their humanity" pg.51

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-born into slavery, was a slave for the first twenty years of his life.
-wrote autobiography and many rhetorical appeals for the injustice of slavery.
-Also wrote The Heroic Slave, which is a significantly a work of historical fiction. It is considered to be the first known work of African American fiction.
- uses real historical figures, but also take poetic license to tell his story

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A socially strict society that shaped much american thinking for the centuries leading up the nineteenth of Hawthorne's.

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- Hawthorne presents moral ambiguity thought the novel to keep the reader on the edge of their seat.
- this offers readers and critics much fodder for subjective interpretation.
"She had wandered, without rule or guidance, into a moral wilderness. Her intellect and heart had their home, as it were, in desert places, where she roamed as freely as the wild Indian in his woods. The scarlet letter was her passport into regions where other women dared not tread. Shame, Despair, Solitude! These had been her teachers - stern and wild ones - and they had made her strong, but taught her much amiss." Chapter XVIII, 'A Flood of Sunshine'

source: https://www.cliffsnotes.com/literature/s/the-scarlet-letter/study-help/famous-quotes-from-the-scarlet-letter

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- has to wear the letter A, the sign of an adulterer. The story opens and we don't know who the father of her child is. It is eventually revealed to be Arthur Dimmesdale, a revered clergyman in the community.

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-Born 1804 in  Salem Massachusetts
-many of his works feature moral allegories based in the New England Puritan world.
-wrote in the style of historical romance and fiction.
-embraced by european authors such as the English, american authors  had a sense of pride from this, since much of American literature was scorned by foreign critics.

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What Poe contributes to the American voice

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What Poe contributes to the American voice

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Represents the Gothic sensibilities that emphasize that man cannot escape from the demons of the old world in the new one. Something evil lurks in human and rustic nature. Poe continues to particularly captivate readers into the present day with his perverse and melancholy style.

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"And, as the shades of the second evening came on, I grew wearied unto death, and, stopping fully in front of the wanderer, gazed at him steadfastly in the face. He noticed me not, but resumed his solemn walk, while I, ceasing to follow, remained absorbed in contemplation. “This old man,” I said at length, “is the type and the genius of deep crime. He refuses to be alone. He is the man of the crowd. It will be in vain to follow; for I shall learn no more of him, nor of his deeds. The worst heart of the world is a grosser book than the ‘Hortulus Animæ,’* and perhaps it is but one of the great mercies of God that ‘er lasst sich nicht lesen.’ ”

Source: http://www.eapoe.org/works/tales/crowdd.htm

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Artwork Inspired by The Man of The Crowd

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Artwork Inspired by The Man of The Crowd

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source: http://hsmedianerdreviews.blogspot.com/2015/07/analysis-man-of-crowd.html

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Douglass masterfully uses literary devices to convince his audience of his argument for emancipation. These devices include

-imagery
-direct quotes
-litotes
-repittion
-rhetorical questions
-alliteration
-metaphor

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Apess was born a member of Pequot Tribe, but his father was half European. You can find the pequot on this map among other New England tribes such as the Mohicans and Pennacook. 

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Apess was born a member of Pequot Tribe, but his father was half European. You can find the pequot on this map among other New England tribes such as the Mohicans and Pennacook. 

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An Indians Looking Glass For The White Man

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An Indians Looking Glass For The White Man

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by William Apess

"Having a desire to place a few things before my fellow creatures who are traveling with me to the grave, and to that God who is the maker and preserver both of the white man and the Indian, whose abilities are the same, and who are to be judged by one God, who will show no favor to outward appearances, but will judge righteousness." (pg.1)

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"Even in our distant state, some good rumor of their wealth and civility have arrived. We have learned with joy their improvement in the social arts. We have seen their newspapers. we have seen them in our schools and colleges. In common with the great body of the American people we have witnessed with sympathy the painful labor of these red men to redeem their own race from the doom of eternal inferiority, and to borrow and domesticate in the tribe, the arts of caucasian race."

-From His Letter to President Martin Van Buren

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With my two selections here today, I wanted to draw a connection between the emergence of the American voice in Antebellum literature and the literal voices and sounds two Antebellum poets  hear. Whitman frames the singing he hears as joyous and all encompassing. Poe's Bells are also all encompassing, but the inescapablity of the noise and the ponderance of what meaning they convey in the hearts of men suggests a building sense of horror and dread.

HEAR the sledges with the bells, |
Silver bells! |
What a world of merriment their melody foretells! |
How they tinkle, tinkle, tinkle, |
In the icy air of night! |          5
While the stars, that oversprinkle |
All the heavens, seem to twinkle |
With a crystalline delight; |
Keeping time, time, time, |
In a sort of Runic rhyme, |   10
To the tintinnabulation that so musically wells |
From the bells, bells, bells, bells, |
Bells, bells, bells— |
From the jingling and the tinkling of the bells. |

Hear the mellow wedding bells, |   15
Golden bells! |
What a world of happiness their harmony foretells! |
Through the balmy air of night |
How they ring out their delight! |
From the molten-golden notes, |   20
And all in tune, |
What a liquid ditty floats |
To the turtle-dove that listens, while she gloats |
On the moon! |
Oh, from out the sounding cells, |   25
What a gush of euphony voluminously wells! |
How it swells! |
How it dwells |
On the Future! how it tells |
Of the rapture that impels |   30
To the swinging and the ringing |
Of the bells, bells, bells, |
Of the bells, bells, bells, bells, |
Bells, bells, bells— |
To the rhyming and the chiming of the bells! |   35

Hear the loud alarum bells, |
Brazen bells! |
What a tale of terror, now, their turbulency tells! |
In the startled ear of night

How they scream out their affright! |   40
Too much horrified to speak, |
They can only shriek, shriek, |
Out of tune, |
In a clamorous appealing to the mercy of the fire, |
In a mad expostulation with the deaf and frantic fire, |   45
Leaping higher, higher, higher, |
With a desperate desire, |
And a resolute endeavor |
Now—now to sit or never, |
By the side of the pale-faced moon. |   50
Oh, the bells, bells, bells! |
What a tale their terror tells |
Of Despair! |

How they clang, and clash, and roar! |
What a horror they outpour |   55
On the bosom of the palpitating air! |
Yet the ear it fully knows,
By the twanging |
And the clanging, |
How the danger ebbs and flows; |   60
Yet the ear distinctly tells, |
In the jangling |
And the wrangling, |
How the danger sinks and swells,— |
By the sinking or the swelling in the anger of the bells, |   65
Of the bells, |
Of the bells, bells, bells, bells, |
Bells, bells, bells— |
In the clamor and the clangor of the bells! |

Hear the tolling of the bells, |   70
Iron bells! |
What a world of solemn thought their monody compels! |
In the silence of the night |
How we shiver with affright |
At the melancholy menace of their tone! |   75
For every sound that floats |
From the rust within their throats |
Is a groan. |
And the people—ah, the people, |
They that dwell up in the steeple, |   80
All alone, |
And who tolling, tolling, tolling, |
In that muffled monotone, |
Feel a glory in so rolling |
On the human heart a stone— |   85
They are neither man nor woman, |
They are neither brute nor human, |
They are Ghouls: |
And their king it is who tolls; |
And he rolls, rolls, rolls, |   90
Rolls |
A pæan from the bells; |
And his merry bosom swells |
With the pæan of the bells, |
And he dances, and he yells: |   95
Keeping time, time, time

In a sort of Runic rhyme, |
To the pæan of the bells, |
Of the bells: |
Keeping time, time, time, |  100
In a sort of Runic rhyme, |
To the throbbing of the bells, |
Of the bells, bells, bells— |
To the sobbing of the bells; |
Keeping time, time, time, |  105
As he knells, knells, knells, |
In a happy Runic rhyme, |
To the rolling of the bells, |
Of the bells, bells, bells: |
To the tolling of the bells, |  110
Of the bells, bells, bells, bells, |
Bells, bells, bells— |
To the moaning and the groaning of the bells.

Source: http://www.bartleby.com/102/88.html

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I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe
     and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off
     work,
The boatman singing what belongs to him in his boat, the
     deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing
     as he stands,
The wood-cutter’s song, the ploughboy’s on his way in the
     morning, or at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife at
     work, or of the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day—at night the party of young
     fellows, robust, friendly,
Singing with open mouths their strong melodious songs.

Source: https://www.poets.org/poetsorg/poem/i-hear-america-singing