Anne Bradstreet: A Puritan Poet with Feminist Sensibilities

Anne Bradstreet (1612-1672) lived amidst the fervent exploration and unwavering Puritanism of the 17th century. Bradstreet’s desire to establish a community rooted in Puritan religious principles prompted her journey to settle in the Massachusetts Bay Colony on the Arabella. However, Bradstreet’s poetry unveils a delicate balance between her devout faith and her unease with the patriarchal norms of her era. While deeply entrenched in Calvinistic doctrine, Bradstreet quietly rebelled against the constraints imposed on women, creating a body of work that subtly but powerfully challenged Puritan norms.

Anne Bradstreet’s first published work was her poetry collection, “The Tenth Muse Lately Sprung Up in America,” published in 1650 in London. It was the first book of poetry published by an author living in the American colonies, and it marked a significant milestone as it was also the first published work by a woman in British North America. However, while Bradstreet actively wrote and contributed to The Tenth Muse, it’s important to note that her brother-in-law, John Woodbridge, took the manuscript to England and arranged for its publication.

He wrote a preface to the book, framing her work as a modest offering and emphasizing her domestic role as a wife and mother. This preface sought to protect her from criticism by positioning her poetry as a private endeavor rather than a challenge to male intellectual dominance. It served as a form of male endorsement, highlighting the essential role of allies in amplifying and validating women’s contributions while shaping how Bradstreet’s work was perceived and appreciated within a male-dominated society.

Subversive while humble

Bradstreet’s Puritanism was both a source of inspiration and constraint. Her belief in the Calvinistic doctrines of the sovereignty of God, the depravity of man, and unconditional election shaped her life and poetry. Hardship and peril marked Bradstreet’s life in 17th-century America, a reality she framed as a divine test of faith. In “In Memory of My Dear Grandchild, Elizabeth Bradstreet,” she writes, “It was His own: it was not mine,” expressing her submission to God’s providence even in grief. Similarly, “The Weary Pilgrim” portrays life as a journey fraught with “burning sun” and “stormy rains,” with the goal of eternal union with Christ. For Bradstreet, poetry was not merely an artistic outlet but an extension of her theology, interwoven with her trust in God’s sovereignty.

Puritan society expected women to embody obedience, piety, and humility, a framework Bradstreet embraced and resisted. In “An Epitaph on My Dear and Ever-Honoured Mother,” she praises her mother as “religious in all her words and ways,” aligning her with Puritan ideals. Bradstreet understands that as a woman, Puritan culture dictates that her place is in the home, minding her children, tending to chores, and being a helpmeet to her husband, none of which includes being a published author. While the poem adheres to Puritan expectations of women, Bradstreet’s reverence for her mother’s role also elevates the significance of women’s contributions, challenging the notion that their work was lesser or unworthy of recognition.

However, Bradstreet’s reverence for traditional roles coexists with her acute awareness of the restrictions placed on women. In ‘The Prologue,’ she demonstrates a masterclass in quiet rebellion. Bradstreet begins by stating that her ‘mean Pen’ is unfit to sing of grand subjects like ‘Wars, of Captains, and Kings.’ This opening sets the tone of humility, aligning with societal expectations that women should not aspire to intellectual or literary greatness. However, her modesty is performative, a strategic tool to disarm critics while asserting her right to poetic expression. Lines like, ‘My obscure lines shall not so dim their worth,’ carry an undercurrent of irony, subtly drawing attention to the absurdity of dismissing women’s contributions. This juxtaposition of societal expectations and her aspirations evokes empathy for the struggle she faced.

She knows that the male-dominated literary world will believe that her writing if it ‘proves well,’ must be ‘stol’n, or else it was by chance. She confronts male literary dominance, wryly noting, ‘Men can do best, and women know it well.’ Bradstreet acknowledges cultural norms with irony, subtly critiquing the societal belief in female inferiority while asserting women’s right to recognition. She wrestles with the knowledge that men believe that females have a ‘weak or wounded brain’ that ‘admits no cure.’ Bradstreet acknowledges that men have ‘preeminence in all’ but simply requests that the men of her generation ‘grant some small acknowledgment’ of women’s abilities. Her use of irony to critique male dominance gives her words a powerful resonance, making the audience feel the strength of her argument.

Prologue
Anne Bradstreet

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. 

Though Bradstreet challenges the male-dominated culture, she does so subversively and humbly, showcasing her courage in the face of societal norms. Her quiet rebellion is a testament to the strength and resilience of women in the face of adversity, inspiring us with her bravery. These rhetorical strategies allowed Bradstreet to critique patriarchal norms without provoking outright censure.

Bradstreet navigated this tension through strategic humility and subversion. In “The Author to Her Book,” she refers to her poetry as the “ill-formed offspring” of her “feeble brain,” a self-effacing metaphor that preemptively disarms critics while highlighting the absurdity of dismissing women’s intellectual contributions.

A family affair

The protection and support afforded by her family played a crucial role in her ability to navigate these tensions. Bradstreet’s father, Thomas Dudley, and her husband, Simon Bradstreet, were influential figures in the colony who supported female education—a rarity in Puritan society. Thomas Dudley ensured Anne received a robust education, exposing her to classical literature, history, and theology. This intellectual foundation enabled Bradstreet to frame her critiques within theological and literary contexts that resonated with her contemporaries. Her husband, Simon, encouraged her writing and shielded her from potential backlash, his political standing serving as an additional layer of protection. Her family’s role in her success underscores the importance of support structures in challenging societal norms.

This support was more than a personal privilege; it may have shielded Bradstreet from the harsher consequences faced by women who challenged societal norms. Anne Hutchinson, a contemporary of Bradstreet’s, was exiled from the Massachusetts Bay Colony for her theological dissent and for stepping beyond acceptable female behavior. While there is no evidence that Bradstreet and Hutchinson knew one another, their parallel trajectories highlight the precarious position of women who voiced dissent. Bradstreet’s choice to couch her critiques in humility and theological orthodoxy likely spared her from similar persecution.

Had Bradstreet lived during the Salem Witch trials, her intellectualism and independence could have made her a prime target. Fears of women deviating from societal expectations fueled the trials, which took place only two decades after her death. Bradstreet’s education, literary success, and subtle defiance of patriarchy could have been deemed dangerous or subversive during such heightened suspicion. Her family’s support and strategic use of humility were tools for literary success and potential safeguards against her society’s punitive forces.

Contemporary evangelical women advocating for inclusivity

Contemporary evangelical women who challenge church norms echo the tension between submission and subversion found in Bradstreet’s work. Writers and leaders such as Rachel Held Evans, Jen Hatmaker, and Nadia Bolz-Weber have faced significant backlash for advocating for women’s equality, addressing issues of systemic injustice, and calling for inclusivity within Christian spaces.

Rachel Held Evans, who tragically passed away in 2019, emerged as a transformative voice within contemporary Christianity. She boldly advocated for gender equality, theological inclusivity, and the affirmation of marginalized communities. Her writings, including bestsellers like A Year of Biblical Womanhood and Searching for Sunday, challenged traditional evangelical teachings on gender roles and invited readers to engage with faith in ways that embraced doubt, compassion, and complexity. Conservative evangelicals often criticized her for unapologetically supporting LGBTQ+ inclusion and critiquing patriarchal church structures. Despite the backlash, she inspired a new generation of Christians to reconcile their spiritual beliefs with a commitment to equality and social justice. Her legacy shines as a beacon for those seeking a more inclusive and justice-driven faith.

Jen Hatmaker, a prominent writer and speaker, faced excommunication from many evangelical circles after openly supporting LGBTQ+ inclusion and questioning systemic injustices within the church. Her advocacy for marginalized communities and her willingness to challenge entrenched beliefs made her a polarizing figure. Hatmaker’s work underscores the enduring tension between faith and feminism as she continues to push boundaries while remaining deeply committed to her spiritual convictions. Her journey reflects the same courage seen in Bradstreet’s subtle defiance of societal expectations.

Nadia Bolz-Weber, a Lutheran pastor and bestselling author, further embodies this intersection of faith and feminism in her ministry. Known for her unapologetic approach, extensive tattoos, and advocacy for marginalized communities, Bolz-Weber challenges the conventions of religious leadership. Her work embraces those alienated by traditional church structures, offering a theology centered on grace and inclusivity.

Like Bradstreet, these women navigate a delicate balance between faith and feminist critique. Each uses her platform to challenge systems that have historically silenced women while remaining rooted in a spiritual framework, forging a path for others to question, resist, and reclaim their voices within religious traditions.

Anne Bradstreet’s Legacy

The historical link between Calvinism and evangelicalism provides a framework for understanding this dynamic. Both traditions emphasize the authority of scripture and the sovereignty of God, but they also share a history of patriarchal structures that marginalize women. Bradstreet’s ability to challenge these structures from within parallels the efforts of modern evangelical women who call for reform without abandoning their faith. The tension between submission and resistance, central to Bradstreet’s poetry, remains a defining feature of the struggle for women’s voices in religious contexts.

Bradstreet’s legacy as the first published female poet in the American colonies underscores the significance of her quiet rebellion. Her collection, The Tenth Muse Lately Sprung Up in America, was extraordinary. Nevertheless, her burial in an unmarked grave poignantly reminds us of the limitations imposed on women of her time. Despite these constraints, Bradstreet’s work has endured, inspiring generations of women to assert their intellectual and creative worth. Her ability to navigate the rigid structures of Puritanism while planting seeds of doubt in its absoluteness speaks to her ingenuity and courage.

Today, as women face ostracism for advocating for justice and equality, Bradstreet’s legacy offers both inspiration and a cautionary tale. Her life reminds us that the struggle for women’s voices in religious spaces is not new, and her work challenges us to continue weaving patterns of resistance and resilience. With its blend of submission and subversion, Anne Bradstreet’s poetry is a testament to the enduring power of women’s voices, even in the most restrictive circumstances.

Anne Bradstreet is a Nasty Woman Writer

© Jamie Swann 2025

There are no images of the actual Anne Bradstreet. The featured image is taken from a 19th century illustration of her.

Works Cited

•Bradstreet, Anne. As Weary Pilgrim. Boston: Bedford/St. Martin’s, 2008. 185–86. Print.

•Bradstreet, Anne. An Epitaph on My Dear and Ever-Honoured Mother Mrs. Dorothy Dudley, Who Deceased December 27, 1643, and of Her Age, 61. Boston: Bedford/St. Martin’s, 2008. 170–71. Print.

•Bradstreet, Anne. “In Memory Of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665, Being A Year And Half Old.” Georgetown College. Georgetown.edu, n.d. Web. 16 Feb. 201.

•Bradstreet, Anne. The Prologue. Boston: Bedford/St. Martin’s, 2008. 170–71. Print.

•Bradstreet, Anne. The Flesh and Spirit. Boston: Bedford/St. Martin’s, 2008. 178–80. Print.

•Bradstreet, Anne. The Author to Her Book. Boston: Bedford/St. Martin’s, 2008. 181. Print.

Hensley, Jeannine, ed. The Works of Anne Bradstreet. Belknap Press of Harvard University Press.

•Hutchinson, Anne. Trial and Testimony: The Examination of Anne Hutchinson at the Court at Newton, November 1637. Massachusetts Historical Society, 2012.

•Moore, Beth. Chasing Vines: Finding Your Way to an Immensely Fruitful Life. Tyndale Momentum, 2020.

•Hatmaker, Jen. For the Love: Fighting for Grace in a World of Impossible Standards. Thomas Nelson, 2015.