While some may read this as a self-humiliation comment (Smith characterizes her own hand as “feeble” and “feminine”), it also allows for Smith to move away from the “bow” or masculine outlining of epical and instead work on her own terms. Smith starts out from literary conventions in her use of “I,” in her gendering of war as masculine, Liberty and Freedom as feminine, and finally in her use of the mother, in order to demonstrate a reading that merges revolutionary politics and gender politics. Smith creates a controversial argument, sympathetic antiwar poem that moves beyond the troubles of the actual emigrants from Revolutionary France, and thus evoking the “war of the
While some may read this as a self-humiliation comment (Smith characterizes her own hand as “feeble” and “feminine”), it also allows for Smith to move away from the “bow” or masculine outlining of epical and instead work on her own terms. Smith starts out from literary conventions in her use of “I,” in her gendering of war as masculine, Liberty and Freedom as feminine, and finally in her use of the mother, in order to demonstrate a reading that merges revolutionary politics and gender politics. Smith creates a controversial argument, sympathetic antiwar poem that moves beyond the troubles of the actual emigrants from Revolutionary France, and thus evoking the “war of the