Hacer público el amor, y la publicación justificada: "A Dedication to my Wife", de T. S. Elliot y "To My Dear and Loving Husband", de Anne BradstreetTo Make Love Public, and Publication Justified: T. S. Eliot's "A Dedication to My Wife" and Anne Bradstreet's "To My Dear and Loving Husband"

Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, TO MAKE LOVE PUBLIC, AND PUBLICATION JUSTIFIED: T. S. ELIOT’S “A DEDICATION TO MY WIFE” AND ANNE BRADSTREET’S “TO MY DEAR AND LOVING HUSBAND” DÍDAC LLORENS-CUBEDO Uni e sidad Nacional de Educación a Dis ancia (UNED), dllo ens@ log.uned.es Recei ed Sep embe 15 h, 2013 Accep ed Decembe 6 h, 2013 KEYWORDS T. S. Elio ; Anne B ads ee ; “A Dedica ion o My Wi e;” “To My Dea and Lo ing Husband;” The Elde S a esman; Pu i an li e a u e; poe ic since i y; poe ic impe sonali y PALABRAS CLAVE T. S. Elio ; Anne B ads ee ; “A Dedica ion o My Wi e;” “To My Dea and Lo ing Husband;” The Elde S a esman; li e a u a pu i ana; since idad poé ica; impe sonalidad poé ica ABSTRACT: T. S. Elio ’s “A Dedica ion o My Wi e” and Anne B ads ee ’s “To My Dea and Lo ing Husband” sha e a numbe o Biblical allusions and images, as well as he heme o uni y in lo e. B ads ee w o e o he simila poems o he husband. Elio ’s “Dedica ion” is unique in his p oduc ion, bu i is closely ela ed o his play The Elde S a esman. The celeb a ion o human lo e in B ads ee ’s poem may be conside ed sub e si e, bu she succeeds in making i compa ible wi h Pu i an doc ine. Elio ’s poem is s angely a odds wi h his heo y and p ac ice o impe sonali y, bu i achie es i s ull meaning as he culmina ion o he poe ’s ques . Bo h poems can disconce eade s, bu hey a e jus i ied esponses o he ci cums ances in which hey appea ed. RESUMEN: “A Dedica ion o My Wi e”, de T. S. Elio , y “To My Dea and Lo ing Husband”, de Anne B ads ee , compa en algunas alusiones e imágenes bíblicas, además del ema de la unidad en el amo . B ads ee esc ibió o os 82 Dídac Llo ens-Cubedo Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. poemas simila es dedicados a su ma ido. El poema de Elio es insóli o den o de su p oducción, pe o gua da una es echa elación con su ob a ea al The Elde S a esman. El can o al amo e enal que se pe mi e B ads ee pod ía conside a se sub e si o, pe o la au o a consigue hace lo compa ible con la doc ina pu i ana. La eo ía y la p ác ica de la impe sonalidad quedan lejos de es e poema, pe o con él Elio culmina de mane a signi ica i a su ayec o ia poé ica. Ambos poemas pueden desconce a al lec o , pe o son espues as jus i icadas a las ci cuns ancias en las que su gie on. The a o T. S. Elio (1888-1965) and Anne B ads ee (c. 1612-1672) hasli le in common, sepa a ed as hey a e by se e al cen u ies o changing li e a y as es and con en ions. Thei pe cep ion as au ho s exempli ies he p oblems and i onies o es ablishing a na ional canon: B ads ee , bo n nea London, has come down in his o y as he i s Ame ican poe ; Elio , bo n in Missou i, is gene ally conside ed a pa agon o B i ishness. Poe s o la e gene a ions such as Ad ienne Rich o John Be yman admi ed B ads ee ’s poe y, bu Elio is unlikely o ha e been amilia wi h i he ield o Ame ican S udies did no consolida e du ing his li e ime. 1 Fu he , B ads ee was conside ed a poe o his o ical impo ance, a he han li e a y me i . In e es ingly, he Ame ican New C i ics we e he i s o show an in e es in he wo k o ea ly Ame ican au ho s (Du án 97). Bo h Elio ’s “A Dedica ion o My Wi e” and B ads ee ’s “To My Dea and Lo ing Husband” ha e he po en ial o challenge eade s’ expec a ions. They will be app oached compa a i ely, as au onomous ex s and wi hin he con ex o he au ho s’ whole p oduc ions. The pu pose is o explain how hey wo k as poems, why hey came o be and why hey we e published. THE POEMS IN THEMSELVES “A Dedica ion o My Wi e” was he las o he Occasional Ve ses ha closed T. S. Elio ’s Collec ed Poems 1909-1962. The poe ’s ob ious aim was o openly communica e his g a i ude o his second wi e, Vale ie Fle che Elio . Clea om he e y i s wo ds is a sense o indeb edness o he joy, encou agemen and peace o mind ha Vale ie b ough o Elio ’s li e: To whom I owe he leaping deligh Tha quickens my senses in ou waking ime And he hy hm ha go e ns he epose o ou sleeping ime, The b ea hing in unison (Elio , Collec ed 220) 2 1 In a lec u e gi en in Sain Louis in 1953, Elio ecognized he exis ence o a genuinely Ame ican li e a u e. “Ame ican Li e a u e and he Ame ican Language” was included in To C i icize he C i ic (1965). 2 The o iginal layou is ep oduced in all e se quo a ions, bo h ly ical and d ama ic. To make lo e public… 83 Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. The p edominance o o ganic image y in hese lines ( e lex, hea bea , elaxa ion, b ea hing) is s iking and eminiscen o mo emen II o “Bu n No on” (1936): “ he illing wi e in he blood,” “ he dance along he a e y,” “ he ci cula ion o he lymph” (Elio , Collec ed 178). In he i s o Fou Qua e s (1936-1942), hese images o bodily ine i abili y a e unno iced exp essions o a cosmic ha mony ha Elio calls “ he dance” (Howa d 42). The lo e s’ physical sensa ions he i s hing con eyed o eade s in “Dedica ion” can also be conside ed in eg al o i . Be o e becoming “occasional e ses,” Elio ’s lines we e published p eceding he ex o his las play, The Elde S a esman (1959), unde he i le “To My Wi e.” Only he i s s anza, quo ed abo e, emained he same in he de ini i e e sion o 1963. O iginally, he second s anza ead as ollows: O lo e s . . . Who hink he same hough s wi hou need o speech And babble he same speech wi hou need o meaning: (Elio , Elde 5) The las wo lines bo h imply and nega e he sequence hough -speech, as well as he connexion be ween speech and i s meaning. Ca ied on om he p e ious s anza (“b ea hing in unison”), he idea o he lo e s’ union e ol es in o ha o hei mu ual unde s anding. Do s, as used in he i s line, seldom appea in Elio ’s poems . His eade s a e likely o disapp o e o hem as ma ks o “ he gene al mess o imp ecision o eeling” (Elio , Collec ed 191) as he had pu i in he concluding mo emen o “Eas Coke ” (1940) o he law o agueness, which e e y poe should s uggle o a oid. Elio seems o ha e eg e ed he do s and comple ed he line when he la e ga e poem s a us o “To My Wi e:” “O lo e s whose bodies smell o each o he ” (Elio , Collec ed 220). In so doing, he made he line cohe e wi h he o ganic image y o he p e ious s anza and wi h he cen al idea o uni y in lo e. Fu he , he colon a e “meaning” was eplaced by a pe iod, ollowing he syn ac ically complex s a emen o he objec , which akes up six lines. The poe added a new s anza, appa en ly se ing wo images agains each o he (“win e wind,” “ opic sun”), bu ac ually es ablishing a pa allelism be ween hem, clea in he syn ax; hei simila i y consis s in a common essen ial quali y (“pee ish,” “sullen”) and in hei p oducing no e ec (nei he “chill” no “whi he ”). Two symbols, whose g ea signi icance in Elio ’s poe y will be discussed below, a e also in oduced: he oses and he ose-ga den. As in he i s s anza, we ind imagina i e echoes o Fou Qua e s: na u e, he seasons, mys ic lo e. The lo e s ha e each o he and hei s ong, endu ing a ec ion: No pee ish win e wind shall chill No sullen opic sun shall whi he The oses in he ose-ga den which is ou s and ou s only 84 Dídac Llo ens-Cubedo Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. (Elio , Collec ed 220) In he ea lie ex , published wi h he play, he las s anza cons i u es a mo e explici dedica ion: “ o whom,” wi h which he poems begins, inally becomes “ o you.” The i s wo lines a e ema kably p osaic, and he hi d and ou h d aw a en ion o he dis ance sepa a ing he lo e s’ p i a e knowledge om he public s a emen made o he eade s: To you I dedica e his book, o e u n as bes I can Wi h wo ds a li le pa o wha you ha e gi en me. The wo ds mean wha hey say, bu some ha e a u he meaning Fo you and me only. (Elio , Elde 5) These ou lines we e educed o wo and hei candidness oned down. In i s 1963 o m, he poem s ill con as s he p i a e (“you and me only”) wi h he public (“o he s”); in ac , mo e a en ion is d awn o he opposi ion as a esul o Elio ’s edi ing o he poem: “Bu his dedica ion is o o he s o ead:/ These a e p i a e wo ds add essed o you in public” (Elio , Collec ed 220). In ac I o The Elde S a esman, a dis inc ion is made be ween he lo e s’ p i a e wo ld and hei public appo (13-14); his dis inc ion is pa alleled by he uneasiness o a poli ician as he e ea s in o p i acy (16). Elio begins his essay “The Th ee Voices o Poe y” (1957), con empo a y wi h he play, discussing he poems ha Robe B owning and Elizabe h Ba e B owning add essed o each o he . In Elio ’s opinion, lo e poems a e always expec ed o be ecei ed by he lo e , bu also by an ideal eade : “my opinion is, ha a good lo e poem, hough i may be add essed o one pe son, is always mean o be o e hea d by o he people. Su ely, he p ope language o lo e ha is, o communica ion o he belo ed and o no one else is p ose” (“Th ee Voices” 90). P ose o p i a e lo e, poe y o public lo e. Anne B ads ee ’s “To My Dea and Lo ing Husband” mus ha e emained unpublished, wai ing o “o he people” o ead i , o many yea s. I was included, abou h ee hund ed yea s be o e he publica ion o Elio ’s “A Dedica ion o My Wi e,” in he second edi ion o The Ten h Muse La ely Sp ung Up in Ame ica (1687). I s on ispiece ca ego ized i as one o he “di e se o he pleasan and se ious Poems by a Gen lewoman in hose pa s,” i.e. in he dis an Ame ican se lemen s. 3 The poe had ma ied Simon B ads ee a he age o 16, and hey bo h se led in Massachuse s Bay Colony wo yea s la e . The poem opens wi h he image ypical o lo e poe y and also appea ing in Elio ’s “Dedica ion” o he 3 A digi alized image o he on ispiece o he second edi ion o The Ten h Muse is a ailable a he websi e o he Lib a y o Cong ess <h p://www.loc.go /exhibi s/ easu es/images/a 0177as.jpg>. Web. 2nd Decembe 2013. To make lo e public… 85 Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. wo lo e s as one being. In he i s ou lines h ee pa allel sen ences beginning wi h a condi ional clause he poe mo es om he p i a e (“we,” “ hee”) o he public sphe e, as o he women a e add essed and challenged: I e e wo we e one, hen su ely we. I e e man we e lo ’d by wi e, hen hee; I e e wi e was happy in a man, Compa e wi h me ye women i you can. (B ads ee , Wo ks 225) The wo lines ha ollow exp ess he husband’s lo e’s wo h, wi h a choice o O ien alis e ms o compa ison: “I p ize hy lo e mo e han whole Mines o gold,/ O all he iches ha he Eas do h hold” (B ads ee , Wo ks 225). The image y o p ecious objec s and goods is a coun e poin o he aus e e li es yle o he Ame ican se le s, bu he Bible has been iden i ied as i s sou ce: “ he judgemen s o he Lo d” a e “mo e o be desi ed han gold” (Pss. 19.9-10).4 Likewise, he cha ac e is ically Pu i an es ain seems o be a odds wi h he image implici in he ollowing e se line he inex inguishable lame o lo e and wi h he ully ewa ding, mu ual dependence be ween he lo e s, he appa en sel -su iciency o hei eelings o each o he : “My lo e is such ha Ri e s canno quench,/ No ough bu lo e om hee gi e ecompence” (B ads ee , Wo ks 225). These lines also con ain a Biblical echo: “Much wa e canno quench lo e, nei he can he loods d own i ” (Sg. o Sol. 8.7), om a sou ce ha is an imagina i e in luence o bo h Elio and B ads ee . The “Song o Solomon” sings o sensual lo e and he physical beau y o a woman me apho ically p esen ed as a ga den: My sis e , my spouse, is as a ga den enclosed, as a sp ing shu up, and a oun ain sealed up. Thy plan s a e as an o cha d o pomeg ana es wi h swee ui s, as camphi e, spikena d, e en spikena d and sa on, calamus, and cinnamon wi h all he ees o incense, my h and aloes, wi h all he chie spices. O oun ain o he ga dens, O well o li ing wa e s, and he sp ings o Lebanon. (Sg. o Sol. 4. 12-16) This ga den o lo e and e ili y can be ela ed o Elio ’s ose-ga den, a key image in poems like “Dedica ion” o “Bu n No on”. Needless o say, he spices i yields a e among “ he iches ha he Eas do h hold,” less dea han Simon B ads ee ’s lo e. The sensuali y o he “Song o Solomon” becomes canonical in he Bible and accep able in “To My Dea ” because o i s symbolis m. The appeal and signi icance o he ga den image o he Pu i ans who a i ed in Ame ica, on he o he hand, need no be elabo a ed on. Al hough, in he emaining lines o he poem he poe eso s again o syn ac ic pa allelism, lo e is p esen ed in a o ally di e en ligh : he in ensi y o he 4 Fo he iden i ica ion o Biblical allusions, see Gibe , Ame ican 49-50. 86 Dídac Llo ens-Cubedo Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. husband’s lo e canno be ecip oca ed by he wi e on ea h. “My lo e” and “ hy lo e” become linked o e e ni y and will inally and ine i ably be supe seded by i : Thy lo e is such I can no way epay, The hea ens ewa d hee mani old I p ay. Then while we li e, in lo e le ’s so pe se e , Tha when we li e no mo e, we may li e e e . (B ads ee , Wo ks 225) THE POEMS IN THEIR RELATIONS As we ha e seen, bo h poems e ol e a ound he no ion o he lo e s’ union. This union is ma imonial: i echoes Biblical ex s and hei p esence in Wes e n li e a u e. Bo h Genesis and Ephesians emphasize he ca nal, and could jus i y a Pu i an poe like B ads ee in he singing o human lo e: “The e o e shall man lea e his a he and his mo he , and shall clea e o his wi e, and hey shall be one lesh” (Gen. 2.24); “So ough men o lo e hei wi es, as hei own bodies. He ha lo e h his wi e, lo e h himsel ” (Eph. 5.28). 5 Allusion o hese sou ces can be easily iden i ied in o he poems by B ads ee , as in he las wo lines o “A Le e o My Husband, Absen upon Public Employmen :” “Flesh o hy lesh, bone o hy bone/ I he e, hou he e, ye bo h one” (B ads ee , Wo ks 226). In ye ano he o B ads ee ’s “le e s o my husband,” he elabo a e compa isons used by o he Renaissance poe s whom she admi ed a e inally esol ed in he wish o he lo e s’ li elong in eg a ion: Toge he a one T ee, oh le us b ouze, And like wo Tu les oos wi hin one house, And like he Mulle s in one Ri e glide, Le ’s s ill emain bu one, ill dea h di ide. (B ads ee , Poemes 90) Finally, in he poem “In My Soli a y Hou s in My Dea Husband His Absence,” he wi e p ays o he husband’s speedy e u n, and he desi e is made lici by he p omise ha hey will p aise he Lo d oge he : So bo h o us hy Kindness Lo d Wi h P aises shall ecoun And se e hee be e han be o e Whose Blessings hus su moun . (B ads ee , Poemes 94) 6 5 Al hough T. S. Elio would ha e d awn on he King James Bible (1611), quo a ions he e a e om he Gene a Bible (1560), which he Pu i ans used. 6 Poemes ep oduces he o iginal spelling; sligh changes ha e been made o make he spelling in all quo a ions uni o m. To make lo e public… 87 Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. Simila i ies be ween Elio ’s “Dedica ion” and his o he poems a e scan . In he i s mo emen o “Eas Coke ,” which p esen s an idealized u al scene om he pas , he coun y dance has a clea symbolic impo : “The associa ion o man and woman/ In daunsinge, signi ying ma imonie” (Elio , Collec ed 185).7 “Dedica ion,” howe e , cohe es wi h he ex o he play i o iginally p eceded, The Elde S a esman. I s p o agonis , he ageing Lo d Cla e on, ealizes ha he has ne e lo ed because he has ne e e ealed his eal sel . The eappea ance o wo people om his pas who ha e g udges agains him (Fede ico Gomez and M s Ca ghill) will cause Lo d Cla e on o examine his li e and make amends. Genuine lo e, which e e ses he e ec s o Lo d Cla e on’s p e ence o lo e, is embodied by his daugh e Monica and he iancé, Cha les. Ac h ee begins when Cha les is euni ed wi h Monica and inds he conce ned abou he a he ’s dejec ion and abou he b o he Michael, who seems likely o uin his li e by making he same mis akes as hei a he . The couple’s sepa a ion a such a c i ical momen causes Monica o ealize how much she needs Cha les, and she con i ms hei engagemen . A he end o he play, Cha les desc ibes he lo e he sha es wi h Monica as a new s a e. Toge he , hey ha e become one: So ha now we a e conscious o a new pe son Who is you and me oge he . Oh my dea , I lo e you o he limi s o speech, and beyond. I ’s s ange ha wo ds a e so inadequa e. Ye , like he as hma ic s uggling o b ea h, So he lo e mus s uggle o wo ds. (Elio , Elde 107) 8 The ine able na u e o lo e , he supe lui y o language connec wi h “Dedica ion,” wi h i s lo e s no bo he ing o e balize hei hough s, babbling meaningless sounds. Monica’s inal speech esembles he hi d s anza o he de ini i e poem, in which we we e assu ed ha he oses would be o e e esh, despi e ex eme cold o hea : Age and dec epi ude can ha e no e o s o me, Loss and icissi ude canno appal me, No e en dea h can dismay o amaze me Fixed in he ce ain y o lo e unchanging. I eel u e ly secu e In you; I am a pa o you. [...] (Elio , Elde 108) 7 The Ea ly Mode n English spelling o hese lines is a ace o Elio ’s allusion o a passage on dancing in The Boke named he Go e nou , by he poe ’s ances o Thomas Elyo (1490-1546). 8 In his plays, Elio adap ed blank e se: a he han iambic pen ame e s, he composed lines wi h an accen ual hy hm ma ked by he use o caesu a. 88 Dídac Llo ens-Cubedo Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. Da id B. Dickens iden i ied he inal scene o he play in which Monica and Cha les a ow hei lo e and Lo d Cla e on’s peace ul dea h is o eshadowed wi h a symbolic se ing, imagined a he beginning o “Bu n No on:” “ he doo we ne e opened/ in o he ose ga den” (Elio , Collec ed 177).9 This space o spi i ual ul ilmen and pu e lo e he inal des ina ion o Elio ’s poe ic jou ney, p og essi ely lea ing a ba en wilde ness behind inally shel e s he wo lo e s in “Dedica ion” and The Elde S a esman (169). A p ominen aspec o he dese symbolism ha acco ding o Dickens domina es Elio ’s poe y up o he la e wen ies is p ecisely he nega ion o lo e: s ipped o all oman icism, us a ed by pa alysis o inabili y, educed o animalis ic sex wi h a la en componen o male b u ali y. Some scenes in he The Was e Land (1922) hin a he pu i y o (los ) lo e: he expe ience o he hyacin h gi l and he lo e , in pa icula , is one among “ he ecu en and ans o ma i e ene gies o he poem” (Pa ea 100). Con e sely, The Was e Land also illus a es he poe ’s nega i e ision: he “neu o ic woman” and he companion, Philomel and Te eus, Lil and Albe , Ophelia and Hamle , Sweeney and M s. Po e , Elizabe h and Leices e , M Eugenides and he man he p oposi ions, he ypis and he young man ca buncula . Thei p esen a ion in he poem, acco ding o John Pe e , p o es ha he “speake sees a undamen al u ili y in all lo e a ai s and li a ions, wha e e he appings in which hey a e decked ou and howe e emo e om his own ime hey may be” (157). In an essay published in 1952, Pe e a gued ha The Was e Land could be ead as an elegy o a dead lo e , a young man whom eade s amilia wi h Elio ’s biog aphy would iden i y as Jean Ve denal, one o his closes iends du ing his s uden yea in Pa is, in 1911. This in e p e a ion upse Elio and caused him o ban he essay, as i s au ho explains in a 1969 pos sc ip (Pe e 165). He e Pe e also specula es ha he dis u bing e ec his “new in e p e a ion” had on Elio was d ama ized in his las play: “The Elde S a esman seems o p o ide a ema kably close ‘objec i e co ela i e’ o he p edicamen in o which my essay had o ced he au ho .” Pe e sees himsel as he inspi a ion o he cha ac e o Fede ico Gomez and sugges s ha , like Lo d Cla e on, Elio was con on ed by ghos s om he pas , was compelled o exo cise he demons o his lo e li e (175). The analysis o Elio ’s poems up o The Was e Land would con i m ha “all o ms o human passion [...] a e ep esen ed in his ea ly poems as in some sense mo bid” (Lamos 28). Ye , as we ha e seen, a he end o his ca ee when he p oduced The Elde S a esman and i s dedica ion , he playw igh and poe asse s his belie in he edeeming powe o lo e. When did his po ayal begin o e ol e owa ds he a i ma i e? In Dickens’ iew, he u ning poin is in he poem 9 The ose ga den scene in “Bu n No on” has been conside ed o e oke he us a ed lo e s o y o Elio and Emily Hale (Gibe , “Women” 114). To make lo e public… 89 Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. “Ma ina,” whe e “ he a i ude ha had p e iously equa ed he sexual wi h sin and sin wi h dea h” is missing; ins ead, we no ice “a cancella ion o he nega i ism o unce ain y so cha ac e is ic o all he majo poems up o his momen ” (154). “Ma ina” appea ed in 1930, h ee yea s a e Elio ’s con e sion o Anglo- Ca holicism. I is inspi ed by he scene o Pe icles’ eunion wi h his daugh e Ma ina in Shakespea e’s play and exp esses, like no o he poem by Elio be o e, he wish o emb ace a new exis ence: Li ing o li e in a wo ld o ime beyond me; le me Resign my li e o his li e, my speech o ha unspoken, The awakened, lips pa ed, he hope, he new ships. (Elio , Collec ed 106) The poe ’s “unspoken speech” will be he language o “ his” li e and o a new li e a u e ha ocuses on ai h, pu ga ion, expia ion, edemp ion and anscendence. The phase ha begins a e his u ning poin includes Fou Qua e s and Elio ’s d ama, culmina ing in The Elde S a esman. THE POEMS JUSTIFIED The e idence o he s ic mo ali y o he Pu i ans has os e ed a leas wo ques ionable belie s. The i s is ha , among hem, women li ed unde unbea able ep ession. His o ians ha e p oduced p oo o he con a y: he en e p ising spi i o Pu i an women was no owned upon, limi ed p ope y igh s we e con empla ed o hem and gende -based iolence was pe cei ed as a p oblem o he u u e o he colonies (B own ,Tindall and Shi 95-96). The second is ha hei li e a u e was dull because o he s ylis ic and hema ic limi a ions imposed on i . A a he di e en pe spec i e is possible: The app oach o li e a u e was u ili a ian, bu he e a e di e en kinds o use ulness. [...] The Ca holics and Anglicans suppo ed hei ai hs wi h g ea poe y and p ose; he colonial Pu i an had o y o w i e as well as his ad e sa ies. He had o ind a is ic p inciples which we e sui ed o his philosophic and eligious belie . His li e a y heo y was limi ed in some ways, bu i es ed on a soundly easoned concep ion o unc ion and me hod, a philosophic o quasi-me aphysical basis, and was admi ably adap ed o i s audience. (Quinn e al. 37-38) C ea i i y o i s own sake would ha e me mo al censu e bu , as de o ed and disciplined eade s o he Bible, he Pu i ans mus ha e de eloped an acu e sense o he powe o he w i en wo d ce ainly, hey did no dis ega d i as a sui able medium o de o ion. Rega ding he s a us o Pu i an women, hey we e expec ed o con ine hemsel es o he domes ic sphe e and no o neglec hei oles 96 Dídac Llo ens-Cubedo Re is a de Es udios No eame icanos nº 17 (2013). Se ille, Spain, ISSN 1133-309-X, 81-96. QUERY, Pa ick. “Ou Own Field o Ac ion: T. S. Elio , Ve se D ama, and he Mind o Eu ope.” T. S. Elio , Dan e and he Mind o Eu ope. Newcas le upon Tyne: Camb idge Schola s Publishing, 2011. 167-174. QUINN, A. H. e al. The Li e a u e o he Ame ican People. New Yo k: Apple on Cen u y C o s, 1951. TREWIN, Ion. “Vale ie Elio ” (obi ua y). The Gua dian 12 No . 2012. Web. 13 Sep . 2013. “Vale ie Elio ” (obi ua y). The Teleg aph 11 No . 2012. Web. 13 Sep . 2013. WARN, Emily. “Anne B ads ee Became a Cul u al Icon o Speaking Ou . Anne Hu chinson Was Banished.” The Poe y Founda ion. N. p., n. d. Web. 15 Sep . 2013.