This blog post delves into the duality present in E. Pauline Johnson's poem 'A Cry from an Indian Wife,' examining her background, the poem's structure, themes of colonialism, and the representation of female figures, ultimately highlighting Johnson's unique perspective as a bridge between Indigenous and Victorian cultures.
E. Pauline Johnson, also known by her Mohawk name Tekahionwake, was a prominent poet and performer in the late 19th and early 20th centuries. This blog post aims to explore the concept of duality in her poem "A Cry from an Indian Wife," reflecting on her background, the poem's structure, and its themes, particularly in relation to colonialism and the representation of women.
E. Pauline Johnson was born to a Mohawk father and a British mother, which exposed her to both cultures from an early age. Her Mohawk name, degaan wag, translates to "double life," indicating her conscious embrace of her dual heritage. Johnson was not only a poet but also a performer who toured Canada, reciting her poetry while donning both traditional Mohawk attire and Victorian dress, symbolizing her connection to both cultures.
Johnson was well-educated in English literary classics, familiar with authors such as Shakespeare and Keats. However, she also valued the oral traditions of her Mohawk heritage, having heard stories from her grandfather. This blend of influences is evident in her work, particularly in her poetry, which often reflects themes of identity and cultural conflict.
The poem "A Cry from an Indian Wife" presents the perspective of an Indigenous woman contemplating her husband's departure to battle during the Northwest Rebellion, a significant event in Canadian history. This rebellion involved Canadian soldiers suppressing Indigenous peoples in the west, and Johnson's poem captures the emotional turmoil of an Indian wife facing the realities of war.
Johnson's poem adheres to traditional English poetic forms, featuring ten syllables per line and employing rhyming couplets. This structure contrasts with the Indigenous content of the poem, highlighting the duality of Johnson's identity. The poem shifts perspectives, with the first ten lines firmly rooted in the Indigenous viewpoint, while later lines express sympathy for the white man's perspective, marked by the phrase "yet stay."
Colonialism is a central theme in Johnson's poem. In lines 21 to 28, she critiques the Canadian soldiers and government, emphasizing the Indigenous claim to the land:
"...they forget we Indians own the land from ocean unto ocean..."
Here, Johnson uses the term "Kingdom" to describe Indigenous lands, a term typically associated with colonial language, while referring to Canadian soldiers as "Braves," a term used for Indigenous warriors. This paradox serves to engage a non-Indigenous audience, inviting them to empathize with the Indigenous perspective.
Johnson also addresses the hypocrisy of religious figures during this conflict. She questions why priests pray for the safety of Canadian soldiers while neglecting the Indian warriors, highlighting the moral contradictions of colonialism.
The poem also explores the role of women, particularly the Indian wife, as a symbol of respectability and moral standards in Victorian society. Johnson's portrayal of the Indian wife reflects the emotional pain of Indigenous women during this tumultuous time. She questions who cares for her suffering, paralleling her grief with that of the mothers of Canadian soldiers:
"...my heart is not the only one that grieves..."
This duality emphasizes the shared sorrow between Indigenous and non-Indigenous women, yet Johnson underscores the lack of recognition for the Indian wife's pain.
E. Pauline Johnson's "A Cry from an Indian Wife" serves as a poignant exploration of duality, colonialism, and the female experience. By weaving together her Indigenous heritage and Victorian influences, Johnson creates a powerful narrative that challenges readers to consider the complexities of identity and the impact of colonialism on both Indigenous and non-Indigenous peoples. Through her work, Johnson not only champions Indigenous perspectives but also highlights the shared humanity that transcends cultural divides.
