Magawisca, springing from the precipitous side of the rock, screamed--Forbear! and interposed her arm. It was too late. The blow was leveled--force and direction given--the stroke aimed at Everell's neck, severed his defender's arm, and left him unharmed. This heroic moment in Catharine Sedgwick's most popular novel, in which Magawisca interposes her arm to save young Everell Fletcher from death at the hands of her father, the Pequot chief Mononotto, has often been interpreted as rewriting of Pocahontas's intervention on behalf of John Smith. (1) While there are parallels between the two, such an interpretation overlooks the scene's significance as one of many instances of interposition or intervention on behalf of the innocent in Hope Leslie (1827). Magawisca's heroism here is part of pattern of intercessions on behalf of the Fletcher family, in which she interposes herself emotionally, rhetorically, or, as above, physically between the Fletchers and her father. In fact, the novel is framed by reciprocal acts of interposition, since, in its second volume, Everell Fletcher and Hope Leslie interpose on behalf of Magawisca. Interpose is Sedgwick's term, one that she uses no fewer than twenty times in the course of Hope Leslie to suggest an act of intercession between the powerful and powerless to bring about higher justice. (2) Through the novel's repeated configurations of victims, intercessors, and authority figures, Sedgwick explores the overarching theme of broad category embracing range of emotional, rhetorical, or physical intercessory acts with inherently political content, raising questions about the legitimate resistance to authority. (3) Foundational to Sedgwick's concept of interposition is the petition--a specific form her heroines' rhetorical interpositions, using religiously-resonant posture to make palatable requests justice that challenged prevailing power structures. Throughout Hope Leslie, Sedgwick reiterates synonyms petition--supplication, entreaty, appeal, and prayer-and underscores the centrality of the petition's persuasive means of interposing by accentuating her heroines' deferent physical stance in making petitions. Moreover, in using such deferent posture, Sedgwick's protagonists employ elements of the petition that antebellum American women would adopt. Hope Leslie imagines forms women's political interpositions, particularly the petition, and participates discursively in the white women's petitioning campaigns of the antebellum era, illuminating this context today's scholars. In their unprecedented efforts to petition collectively in 1830, white women applied an awareness of petitioning as request for our fellow to their political interpositions on behalf of Native American Indians. From an antebellum theological perspective, the term petition was in fact often understood as kind of interposition, albeit more moderate and rhetorical (whether written or spoken) than Magawisca's dramatic bodily interposition. Frequently called intercession, petition was part of prayer including a desire of deliverance from evil, and request of good things to be bestowed ... not only ourselves but our fellow creatures also. (4) What Hope Leslie imagines as individual, spoken intercessions, white women would take up in collective, written form in their 1830s petitions to Congress on behalf of Native Americans. While there is no direct historical link between Hope Leslie and women's actual petitions, they share remarkable rhetorical similarities. Both fundamentally announced themselves as interpositions on behalf of others' natural rights, initially made use of supplicating stance and humble tone, and ultimately challenged patriarchal structures through their articulation of political opinion, moving women an important step toward citizenship. (5) Their similarities as rhetorical interpositions give them an imaginative continuity worth closely considering. …
Read full abstract