The sonnet seems to explore the intersection of feminist and postcolonial power structures, and yet the politics advanced by the poem main ambivalent due to its violence and its open-ended conclusion Through the character of Lead, one can interpret Yeats negotiating his political investments in Western civilization as an Irish colonial subject symbolically raped by England The poem then can be read both as a political Statement about Ireland’s precarious (post) colonial situation in the 1 sass and a statement about sexual politics, suggesting the inseparability of these two forms of domination.
The notion of Identification as a form of initialization that incorporates inside what is outside the self. Fuss argues that because identification reveals the intersections between power and desire it offers ways to re-imagine “how subjects act upon one another” in non-dominating way “sudden blow/’ – extends the feeling of Lead’s factorization to the reader Poem as an allegory for colonial violence Conveys a resistance to colonial occupation; even after the violence, Lead (Ireland) manages to stay on her feet (“wings beating” – swan is still flying, lifts Lead off the ground -? contrasted to her “staggering” after the “sudden blow”
Identifies with both Lead and the Swan Swan: hybridism of the swan, as both masculine and feminine as well as animal and divine, coerces readers to identify with the figure Perpetuated factorization of Lead forces the reader to identify with Lead The effect of this double identification engenders an emotional recognition of my complicity with the interconnected systems of domination in philanthropist, and colonialism.
It also ungrounded my identity as a woman by putting into question my ability to identify what is feminine made evident by the rhetorical questions The experience of reading “Lead and the Swan” highlights the fluidity of our identifications and our capacity for otherness and transformation. “breast upon breast” suggests the merging of gender categories and how sexual differences can no longer be controlled and finalized by philanthropist Geoffrey H. Hartman notes how the description of the action of the poem thwarts the ability to imagine the fantastical scene: “It evokes the imminence of the visible in the invisible”.