John Smith Rhetorical Analysis

Throughout literature, tone has been used to manifest an author’s attitude toward a variety of subjects. Tone aids in the development of literary aspects such as characterization, mood and the interpretation of the piece to the reader. However, tone does not only function in literature, tone’s uses reside in art and music as well. In fact using historical literature, artists interpret authors’ declarations by using the author’s own use of tone about an event. One piece of art that displays this characteristic is “Captain Smith Rescued by Pocahontas”, 1607, engraved by D.G. Thompson in the 19th century. This art depicts one of the most well-known stories in history, the story of Pocahontas. Using the documents provided by John Smith, himself,

Through John Smith’s own historical confrontations, Pocahontas’ and John Smith’s body position and the setting of the painting all contribute to this pitiful tone. For instance, in John Smith’s 1616 Letter to Queen Anne of Great Britain, one sees where the artist received the idea for a pitiful tone, “[s]avage courtiers, at the minute of my execution, she hazarded the beating out of her brains to save mine; and not only that, but so prevailed with her father, that I was safely conducted to Jamestown: where I found about eight and thirty miserable poor and sick creatures, to keep possession of all those large territories of Virginia; such was the weakness of this poor commonwealth, as had the savages not fed us, we directly had starved. And this relief, most gracious Queen, was commonly brought us by this Lady Pocahontas.” In this example, Pocahontas’ pity held toward the English men is displayed as she risked her life to save John Smith and helped him achieve his freedom, conduction to Jamestown and the nourishment of the Englishmen. Her selflessness and compassion displayed in this account contributed to her presence in the painting and encouraged Thompson to include her nature into the multiple tones of the painting, even if it is minimal. This is shown in the painting itself, from Pocahontas’ and John Smith’s body positons. Looking at Pocahontas, one notices she looks very young-as confirmed in Smith’s account-; in a child’s pose position, draping herself over John Smith as if hugging a well-known friend, and facing away from not only her father, but also from the viewers, concealing her –if any -conflicted emotions. Looking at John Smith, one sees part of his face, but enough to guess his facial expression, one of surprise and shock, he is minimal in the painting, despite the attention his savior brought to him; his dark