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"BOSTON/SOB NOT": Elegiac Performance in Early New England and Materialist Studies of the Book

Student of witches and ornaments, prodigious birth and summary execution, Cotton Mather was a copious inquisitor and anthropologist, producing volumes of evidence that preemptively occupied the archive of early New England. For cultural historians, Mather's written judgments of custom and conduct can overshadow the evidence of an anagram, shunted to the margins of the preface to his 1682 elegy on Urian Oakes.' Yet the wordplay of "BOSTON/SOB NOT" knits together a number of the interpretive concerns and behavioral mores prompted by the New England elegy: its address to a collective, Bostonian audience; its commanding imperative that enjoins readers to cease indulging selfish emotion; its displacement of the work of mourning to an unspecified, and thus anxiety-inducing, project.2 All of these issues mark the text as conventionally puritan in its concentrated attention on the reader. But its power over the reader must also be measured in terms of the physical expressiveness of the material language itself. Its epigrammatic intensity derives in part from the assonance that oral delivery gives the phrase ("sob not"). Likewise, the