The Indian Princess

In Short

This play is a theatrical dramatization of the meeting between Captain John Smith and Pocahontas. It follows the arrival of English settlers in Virginia, their uneasy interactions with the indigenous population, and the cultural clashes that ensue. By blending the historical figure of the "Indian Princess" with European romantic conventions and the comedic antics of the settlers’ servants, the work serves as a grand, patriotic vision of the American frontier. It has lasted as an early, representative example of the "Indian Drama" genre that sought to mythologize the founding of the United States.

The Story

The story begins with Captain John Smith and his English company landing in the Virginia wilderness, committed to building a new town and establishing a foothold in the New World. Smith, portrayed as a valiant and noble leader, quickly establishes a rapport with Nantaquas, the prince of the local tribe, and his sister, the gentle Pocahontas. Pocahontas, weary of the violence and destruction associated with traditional hunting and war, finds a kindred spirit in the newcomers.

However, the peace is threatened by the intrigues of the tribal priest, Grimosco, and the warrior Miami, who is spurned by the princess. They manipulate the king, Powhatan, by stoking his fear of the white settlers and claiming they are enemies of the Great Spirit. Tensions rise until Smith is captured and brought to the block to be executed. In a climactic moment of courage, Pocahontas intervenes, shielding Smith with her own body and successfully pleading for his life.

Parallel to this high-stakes drama are the romantic entanglements of the settlers. Lieutenant Rolfe falls deeply in love with Pocahontas, teaching her the nature of romantic affection, while a disguised Englishwoman named Geraldine arrives in the colony in search of her lost lover, Percy. The plot reaches its breaking point when Grimosco orchestrates a final betrayal: a banquet of peace designed as a trap to slaughter the English leadership. Pocahontas discovers the plot and rushes to warn the newcomers. The ensuing confrontation exposes the treachery of the priest and the warrior, securing the safety of the colonists. The play concludes with a series of reunions and marriages, including those of the English soldiers and their partners. Smith delivers a final, grandiloquent speech looking toward a future where the American continent is transformed into a peaceful, prosperous, and virtuous empire, free from the corruption of the "old" world.

How It Unfolds

The arrival of the adventurers Captain Smith and his men land in the wilderness, framing their expedition as a noble endeavor to build a lasting settlement for the King. They contrast their sense of purpose with the perceived stagnation of Europe, setting the tone for the expansionist themes that follow.

The meeting of worlds Pocahontas encounters the settlers and finds herself drawn to their different way of life, particularly through her bond with Smith and her growing affection for Rolfe. The dialogue emphasizes the curiosity of the indigenous characters, who view the newcomers with both wonder and suspicion.

The threat of the priest Grimosco the priest uses religious fear and political manipulation to turn Powhatan against the settlers. He successfully convinces the king that the English are a divine menace, leading to the capture of Smith and the subsequent trial by ordeal.

The act of mercy Pocahontas saves Smith from execution by interceding at the sacrificial block, a pivotal moment that defines her character as a bridge between the two peoples. This act forces Powhatan to choose between his daughter’s mercy and the priest’s demands for war.

The banquet of betrayal Grimosco arranges a celebratory feast meant to serve as a ruse for a surprise massacre of the English guests. Pocahontas learns of the plot and works against time to warn the colonists, leading to the final resolution of the conflict.

The vision of the future With the treachery thwarted, the play transitions into a celebratory conclusion characterized by romantic unions. Smith concludes the drama with a patriotic prophecy, imagining the continent as a beacon of liberty and industry.

The People

Captain Smith is the archetypal hero: disciplined, commanding, and possessed of a grand vision for America. He acts as a mentor and moral center, though he remains somewhat distant from the emotional volatility of those around him.

Pocahontas is defined by her "enchanting simplicity" and her instinctive, peaceful nature. She acts as the emotional pivot of the play, moving from the daughter of a king to an independent woman who finds her own voice and romantic path through her love for Rolfe.

Lieutenant Rolfe is the pragmatic, worldly soldier who is softened by his genuine, albeit sudden, love for the princess. He serves as the intellectual foil to the more melodramatic Percy, who is caught in a cycle of despair over his lost love.

Powhatan is the noble but conflicted patriarch. He represents the tension between maintaining the traditional ways of his ancestors and the shifting reality brought by the settlers. He is easily swayed by his advisors but remains fundamentally rooted in his love for his daughter.

Grimosco is the antagonist, a character defined entirely by his craftiness and his desire for power. He represents the "superstition" that the settlers view as the antithesis of their own enlightenment.

In Its Own Voice

Describing his own work’s modest ambitions and his desire to avoid the harsh judgment of the critics, the author writes:

If you like it--so; if not--why so; yet, without being mischievous, it would fain be amusing; therefore, if its gambols be pleasant, and your gravities permit, laugh; if not, e'en turn aside your heads, and let the wanton youngling laugh by itself.

Reflecting on the settlers' view of their own historical significance, Smith declares:

On this our landing spot we'll rear a town Shall bear our good king's name to after-time, And yours along with it; for ye are men Well worth the handing down.

What It's Really About

The play is centrally concerned with the concept of "civilization" and the moral justification of colonial expansion. It asks whether the "New World" can be a tabula rasa—a place where the "fraud and superstition" of Europe are left behind in favor of a new, virtuous empire. The work functions as a political allegory, arguing that through labor, marriage, and the abandonment of "savage" warfare, a stable society can be built. It also probes the nature of "otherness," attempting to bridge the gap between indigenous and European cultures through the language of universal human emotions like love and pity, while simultaneously framing the indigenous population as a group that must be "taught" by the superior arts of the white settlers.

Why Read It Today

Readers interested in the history of American identity will find this a fascinating, if challenging, artifact. It is a time capsule of the early 19th-century American imagination, capturing how the founding myths of the nation were constructed and performed for the public stage. The language is grand, rhythmic, and highly dramatic, typical of the period's preference for elevated, heroic speech.

However, a modern reader must be prepared for the play’s starkly colonialist perspective. The characters are archetypes rather than nuanced individuals, and the depiction of indigenous people reflects the limited and often prejudiced attitudes of the era. The dialogue frequently shifts between high-minded political rhetoric and the somewhat clunky, stereotypical humor of the Irish and English servants, which may feel jarring to contemporary sensibilities. The length of the scenes and the heavy reliance on songs and asides are characteristic of the libretto-like nature of the play. It is a work that demands an awareness of its own historical context; it is not a realistic account, but a deliberate piece of propaganda that reveals as much about the anxieties and aspirations of early Americans as it does about the historical events it attempts to dramatize.