Introduction
During the visit to Virginia Jamestown settlement, a young white boy who was staring a pleasant bronze marking the ground entrance, the statue of the Pocahontas spat on it and said it was Indian. The parents remained silent and this amazed Robertson. That particular moment ignited his curiosity on the interaction between the English settlers, the development of the modern codes of class and race and the indigenous population. The interest of Robertson was provoked by the discovery of the fact that Pocahontas had witnessed the masque in the court of Jacobs. This offered the access possibility of the reaction of the Pocahontas to the English culture. Robertson decided to construct the Pocahontas perspective in order to intertwine the grids of the class, gender and race.
According to Robertson, he uses the term “logic of colonization” in the application to the Pocahontas at the masque and in London to mean the reality and concepts applied in the ruling of the people at the masque and in London. She says that common assumption concerning the court and appeal in London embodied in the masque. Pocahontas never produced a narrative of her own because of the restrictions discovered in the record of the documentary. The documents that the Englishmen wrote gave a different opinion from the ones she held. The limitations and set backs that came with the documents never allowed her to produce her own narrative concerning a subject judged in the English although never allowed within the European texts and disturbances of her shadow that marked the alternative presence.
Pocahontas is in London due to the visitation she had in Virginia. She was attending the Twelfth Night masque performance with her advisor. She wanted to experience enactment of the ritual processes of the power that authorized and animated the English settlements on the land of the Powhatan. In the Simon van de Passé engraving, Pocahontas is represented by a visual representation that was produced in her lifetime in 1616 as one of the most charitable benevolence. Pocahontas was represented by titles and her nature of stile and high tricking up that made people think of her husband and her to be somebody.
The important structural parallels between the Pocahontas and John Smith were their curiosity about other cultures. Both of them crossed oceans in order to see powerful rulers of the rebellious tribes. John witnessed the Powhatan ruler of the state while Pocahontas visited his court. The mentioned structural parallels masked the two crucial asymmetries. Rebecca Rolfe, Pocahontas is Rolfe wife. She was a Virginia woman who responded to the English culture and ended up intertwining the grids of class, race and gender during early 17th century. She was an over determined Indian woman who served several purposes.
They dressed in a bodice of an English dress and full skirts. This made them appear like an ideal Indian woman. This showed her transformation to a woman of Christianity by abandoning the lewd clothing as seen by the Englishmen. The important symbols in the etching of the van de Passé are the portraits that were used to represent Pocahontas such as the Simon van de Passé Engraving, Eriakintomino that was found in the St. James's Park and the pleasing bronze of a lady that marked the doorway to the grounds. Pocahontas mediates between two cultures by suggesting the alternative usage of power that provided the image of mediating the two cultures. By being well placed close to the king, she witnesses a central dream of power that saw the English rule through to animation.
Works Cited
Ellen, Mary. Pocahontas: Virginia, Boston Hall Portrait, 1994
The National Portrait Gallery Smithsonian Institution, Pocahontas: Boston, Boston Hall Portrait, 1700
Simon van de Passé. The National Engraving of Pocahontas: London, Boston Hall Portrait, 1616
