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Paul Pattridge
Summary
Good
English 212-084
Analysis
Missing
Dr. Bruce R. Magee
Grammar
OK
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Pocahontas: An Exhibit Review
Helen and Troy, Guinevere and Camelot, Pocahontas and Jamestown; these stories of
love, war, and valor are fond beloved stories of many Americans. The life, myth, and legend
surrounding the Pocahontas and John Smith entwinement captivated people’s imaginations
many years before the popular Disney movie emblazed it into our hearts and minds. Fact and
fiction have combined to create an enduring legend about America’s birth. This legend rivals
the greatest stories passed down throughout history. The Pocahontas legend is shrouded by
many manipulations and interpretations, distorting the true facts to promote the underlying
objectives of the works creator.
In Kevin Murphy’s “Pocahontas: Her life and Legend. An Exhibition Review ,” the author
reviews the exhibit on Pocahontas by William M.S. Rasmussen and Robert S. Tilton. The Exhibit
was commissioned by the Virginia Historical Society. The Exhibit compiles art, literature, and
other products of material culture together with the intent of combining academic history and
museum practice.
It is important to note, what we know and fantasize about the facts surrounding
Pocahontas is based mostly on second-hand information. Pocahontas was illiterate. Unlike
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many iconic figures of her period, Pocahontas never produced any journals or literary works
outlining her experiences. Furthermore, the only first-hand account of the events surrounding
Pocahontas is the book Generall Historie written by John Smith. Unfortunately, this work was
published after the death of both Pocahontas and John Rolfe (her husband) therefore, accuracy of the
accounts could not be refuted.
Murphy points out academic art historians have many models for understanding how
art produce specific meanings relevant to the current prominent social situations of the day.
He further insinuates that historical art is not meant to convey accurate details, but to convey
the mainstream public viewpoint. Instances of the distortion of facts to satisfy public image is
clearly evident in the Pocahontas story. An example of the distortions of fact through artistic
license is the differences between the Simon van de Passe (1616) and the Booton Hall (18th
century) portraits of Pocahontas. The difference in harshness and ruggedness of her physical
features shows how Pocahontas was feminized and softened to conform to the public’s
viewpoint of an Indian Princess. Other examples of inaccuracy are the paintings The Baptism of
Pocahontas and The Marriage of Pocahontas. Both events have no substantial written details
recorded. The first painting The Baptism of Pocahontas was produced by John Chapman in
1840. Since no written details existed concerning this event, the whole painting is “imaginary”.
Henry Brueckner’s The Marriage of Pocahontas followed and was oiled in 1855. There are
considerable similarities in structure, style, and content between the two paintings. It is
indicated in the article, Brueckner’s work basically duplicates the scene from the earlier
Chapman painting.
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Furthermore, the images and events of Pocahontas have been manipulated to fit the
role of savage. The American frontier was thought of as a savage and fertile land that must be
conquered, subdued, and plundered. The American Indian was tied to the image of the land
and therefore was also tied to this ideology of being conquered. The land was feminized by the
prominent male interpretation of the time.
As a result, images of Pocahontas became
sexualized over the years. The story of her rescue of John Smith thereby popularized because it
encapsulated the idea of a young female princess risking her life to save a captive out of love.
While this part of John Smith’s account is very brief, it is the part that has been the most
popularized by the general population. Thereby, Pocahontas was modified into an object of
desire. Brooke’s Pocahontas depicts a Pocahontas of style and class desirable to any English
male during that period. Most recently, Disney modified the image of Pocahontas. Through
their interpretation, Pocahontas took on a more modernized prominent female form combining
aspects of several different ethnic groups. Clearly evident, the manipulations of Pocahontas
have been significant from the original Simon van de Passe engraving to the current animated
Disney version.
Pocahontas is an important iconic figure in American history. As with any important
heroic figure, fantasy and legend shroud and distort the true essence and events of the figure.
Her prominence will ensure she remains a cornerstone of our history. Unfortunately, the lack
of first-hand information will also ensure that Pocahontas will continuously be subject to public
interpretations and adaptations of her life and times.
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References
Murphy, Kevin D. “Pocahontas: Her life and Legend : An Exhibit Review” Winterhur Portfolio
(Winter 1994): pg 265