TLDR;
This lecture explores the concept of captivity narratives in early America, using the painting "The Murder of Jane McCrae" as a starting point. It defines captivity, discusses its various forms (literal, spiritual, imaginative, sexual, racial, and sensibility), and relates it to the idea of America as a New Canaan. The lecture also examines Mary Rowlandson's captivity narrative within the context of King Philip's War, highlighting the historical and cultural factors that influenced its creation and reception. Finally, it connects captivity narratives to contemporary anxieties, drawing parallels with alien abduction stories and prisoner of war experiences.
- Captivity narratives reflect the anxieties and fears of people of any time period.
- Mary Rowlandson's narrative was a bestseller due to its exotic nature and influence on later narratives.
- Captivity involves a destabilisation of identity, with phases of faith, capture, trial, and restoration.
Introduction to Captivity Narratives [0:00]
The lecture begins with an introduction to captivity narratives, using "The Murder of Jane McCrae" as an example to illustrate the romanticised and often inaccurate portrayals of Native Americans and captivity experiences in early American art. The term "captivity" originates from the Latin words "caper" (to take) and "captivus" (the captive), implying being held without permission. The lecturer highlights the element of fantasy in these narratives, noting the idealised depiction of the captive and the implied sexuality, despite the lack of evidence of sexual assault in actual captivity cases.
Types of Captivity [3:04]
Six types of captivity are outlined: literal (being physically held), spiritual (held by faith or piety), imaginative (held by one's imagination through reading), sexual (held by seduction or emotional feelings), racial (racial bondage like slavery), and sensibility (being bound by one's feelings). The term "captivated" was once used synonymously with being mesmerised by magic. Captivity also relates to the concept of captive Israel and the wilderness as a symbolic space. The lecture emphasises the opposition between savagery and civilisation in these narratives.
Captivity Narratives Today [7:23]
The lecture references the book "Follow the River" as a modern example of a captivity narrative that emphasises the sensational and violent aspects of the experience. It suggests that these narratives continue to appeal to audiences because they tap into anxieties about the "racialised other". The lecturer encourages viewers to analyse the anxieties portrayed in such narratives and their appeal to contemporary audiences.
Historical Context: King Philip's War [9:38]
The lecture provides historical context for Mary Rowlandson's captivity, situating it within King Philip's War (1675-1678). The raid in which Rowlandson was captured was part of a retaliation by the Narragansett Indians for a massacre of over 600 Indians by the British. The war was also connected to the French and Indian Wars, with religious undertones related to Puritan fears of Catholic French influence. The war resulted in significant casualties and destruction for both colonists and Native Americans.
Reasons for Captivity [13:59]
The lecture explores the reasons why captives were taken during King Philip's War, including trade, enslavement, revenge, and ransom. Surprisingly, adoption was also a significant factor, as Native Americans would take white children to replace lost family members due to disease or war. This practice was facilitated by the absence of a strong concept of racial purity among Native Americans at the time. Statistics indicate that approximately 1,600 captives were taken between 1675 and 1763.
Mary Rowlandson's Narrative [15:39]
Mary Rowlandson's narrative is identified as the first of its kind written by a woman in America and was a bestseller that remained in print for a long time. Born in England and educated, Rowlandson was married to a Calvinist minister, which influenced the narrative's publication. Literacy rates at the time were around 40% for women and 60% for men. Rowlandson's ability to speak Algonquin and her status as a powerful woman contributed to her capture. Her captivity lasted 11 weeks and 5 days, and she wrote about it two years later.
Gender Differences and Propaganda [18:36]
The lecture discusses gender differences in captivity narratives, with men's narratives typically highlighting action and escape, while women's narratives emphasise passivity and distress. Rowlandson's narrative was promoted by Increase Mather, a prominent minister, as a form of propaganda to revitalise church membership among the second generation of Puritans. The narrative is presented as an edited text with a propagandist purpose, urging readers to consider Rowlandson's "double voice" and distinguish between public and private elements in her writing.
Literary Structure and Themes [21:10]
The lecture identifies elements of a Jeremiah in Rowlandson's narrative, a type of sermon with three parts: establishing rules, showing how people stray from them, and illustrating how they return to the fold. The narrative is described as a transatlantic text, with ideas and ideals being exchanged between America and Europe. A key concept is the destabilisation of identity caused by captivity, which involves phases of faith, capture, trial, and restoration. This process results in a changed identity, mirroring the anxieties of people in any time period.
Contemporary Relevance [25:27]
The lecture concludes by comparing captivity narratives to contemporary phenomena such as alien abduction stories, prisoner of war experiences, and slave narratives. These comparisons highlight how captivity narratives reflect the anxieties and fears of people across different time periods and cultures. The lecturer encourages viewers to consider these connections and apply them to their own writings and discussions.