De mãos e pés atados
Movimentos, tentativas
Corpo suspenso pelo medo
Mudo e consciente
A voz saía, mas não ecoava
Se perdia nas ondas sonoras do pesadelo
Dor, gemido, dor
angústia compacta
pacote perdido, nunca entregue
Não espere o vento
Ele não sopra por estas bandas
Não sabia
Consciente in-coleitvo
Mãos atadas sem cordas
Anestesaido pelo subconsciente
Voz embargada
Olhares afogados
não respiram
A luz se faz presente
Mas a distancia
mãos que tentam se erguer
Tentativa inutil
Dor por dentro que não -
Dor que só doi no olhar do observador
A luz torna a dor ainda mais intensa
perceptivel
cruel
Feche os olhos
A dor é de quem vê
Abre os olhos
A dor é de quem vê
...
Os olhos não podem esconder
a dor que existe porque existo
O tempo passa
na velocidade inversa
intensamente.
Comments on “The Grave” – Katherine Ann Porter
The final scene of the short story can be considered a moment of revelation. A moment when Miranda remembers that moment from her past. When she discovered a new aspect of life, she changed from an innocent child to a person aware about what was happening around her, and also twenty years later she could understand better the meanings of death, the relationship with her brother and face the thoughts that tormented her for so long.
During childhood Miranda and her brother Paul used to hunt small animals such as doves and rabbits It was a common situation for them, a moment of enjoyment. She did not realize that their moment of enjoyment was also a moment of killing, until that day, when the “rabbit” was killed. Miranda even said that what she really liked about shooting was “pulling the trigger and hearing the noise”. The fact that she was not aware of what she was doing shows how innocent and naive she was. She was only nine years old at that time, and her brother was 12. The narrative shows that her brother maybe had some knowledge about what he was doing, and how dangerous it could become, but for them it was a kind a natural habit to killing animals. It seems that child at that age, on that part of US were used to haunt with guns, for them the fact that she wore male clothes instead of girl’s dresses could be considered a bigger sin than kill small animals. The third person omniscient narrator described many times that her brother was more efficient on hunting, that he was more precise, more skilled, and that “he may have seen all that before”. Paul “killed it (animals) with one shot” can mean that he was good with guns, but also indicates that she may also had shot her brother when is said that “they fired at the same moment” and “He did it very cleanly and quickly least of what he knew”. Those sentences confirm not only that he was more experienced on hunting; but also that he knew exactly what he was doing.
The final scene, when the smells are described reveals how omniscient the narrator is. He knew Miranda more hidden thoughts. Although the narrator uses third person it seems that is Miranda the one who is telling the story. All the details are more related to her than to him. Also, it makes the reader very close to the scene, twenty years before, and also after when she remember all that feelings she had. She felt the same smell of dead roses, the sweet smelling, like vanilla, smell of death. Every time that senses of smell is described, is a moment of death, and rebirth – a moment of change and awareness. At the begging describing her grandfather grave opened, also when her brother was shot and at the end when she herself was dying. The evidence that he was shot is the sentence “His voice dropped on the last word”, as if he had shot the rabbit and she had shot him at the same time. He made her promise that she would never tell anybody about what had happened that day. But that secret was in her mind for the rest of her life. She remembered not only the hotness of the day, but also the smell of raw flesh and wilting flowers. “The corruption she had smelled” is based not only in the fact that her childhood was corrupted, that she had changed forever. Before it was corruption the fact that she knew her treasure had a small value compared to the Gold ring her brother had found, but after was the fact that she knew she had killed her brother, but she could not tell anybody. Miranda was, at first, very interested and not afraid to see her brother with the tiny rabbits, she wanted to see. But when she realized that the blood running was not only from the rabbit, but also from Paul, she “began to tremble”. That was the moment when she changed, when her innocence had finished. The sentence “(…) they were just about ready to be born” describes a moment when the tiny rabbits are dead. Miranda faced death of her innocence and birth of her knowledge about real life. She then, goes home to have a shower, to change her clothes, wear a dress and the ring which represents also death and a moment of transformation from a child to a grown up girl.
Because the chronological time is not linear, is hard at the first reading realize all that. But, when reading carefully again, we can perceive the events. The paragraphs starting with Then, Now, When give the impression that the time is no linear but full of flashbacks. In the first paragraph it seems that the story is been told many years after, from someone who belong to the family, a granddaughter of Miranda, maybe. But after, it seems that Miranda is the one telling the story, because she describes her thoughts, which are unfamiliar to her daughter. How could she know that? Symbolism is very strongly represented through the senses – smell, vision, taste and touch. When she sees her brother at the end, “Instantly upon this thought the dreadful vision faded, and she saw her brother, whose childhood face she had forgotten” is a confirmation that she had not seen him since that day and that he was shot. The senses and smell of death were there again. Miranda had maybe been hit by a car, or maybe because the city “was strange” she had been murdered by that Indian vendor, it is not very clear for me. But the same feeling and smell of “Dyed”, sweet and raw flesh indicates that she was dying too. The word Dyed sweet can be also read as dead of her innocence, a moment when she gets into the adulthood. When she dressed that dress and let the clothes of boys behind, she realizes that from that moment she is no longer the same. The events had changed her somehow she can never be an innocent child anymore. Even though she tried she never forget what her conscious accumulated, “those thousand impressions” that tormented her mind for twenty years. The thoughts tormented her so much, that she moved from place to place, by she could not take the remembrances out from her own. In her last attempt to find a new place to live she found also death and why not peace, represented from the dove in her brother’s hand. She was finally freed from the feelings of guilty.
During childhood Miranda and her brother Paul used to hunt small animals such as doves and rabbits It was a common situation for them, a moment of enjoyment. She did not realize that their moment of enjoyment was also a moment of killing, until that day, when the “rabbit” was killed. Miranda even said that what she really liked about shooting was “pulling the trigger and hearing the noise”. The fact that she was not aware of what she was doing shows how innocent and naive she was. She was only nine years old at that time, and her brother was 12. The narrative shows that her brother maybe had some knowledge about what he was doing, and how dangerous it could become, but for them it was a kind a natural habit to killing animals. It seems that child at that age, on that part of US were used to haunt with guns, for them the fact that she wore male clothes instead of girl’s dresses could be considered a bigger sin than kill small animals. The third person omniscient narrator described many times that her brother was more efficient on hunting, that he was more precise, more skilled, and that “he may have seen all that before”. Paul “killed it (animals) with one shot” can mean that he was good with guns, but also indicates that she may also had shot her brother when is said that “they fired at the same moment” and “He did it very cleanly and quickly least of what he knew”. Those sentences confirm not only that he was more experienced on hunting; but also that he knew exactly what he was doing.
The final scene, when the smells are described reveals how omniscient the narrator is. He knew Miranda more hidden thoughts. Although the narrator uses third person it seems that is Miranda the one who is telling the story. All the details are more related to her than to him. Also, it makes the reader very close to the scene, twenty years before, and also after when she remember all that feelings she had. She felt the same smell of dead roses, the sweet smelling, like vanilla, smell of death. Every time that senses of smell is described, is a moment of death, and rebirth – a moment of change and awareness. At the begging describing her grandfather grave opened, also when her brother was shot and at the end when she herself was dying. The evidence that he was shot is the sentence “His voice dropped on the last word”, as if he had shot the rabbit and she had shot him at the same time. He made her promise that she would never tell anybody about what had happened that day. But that secret was in her mind for the rest of her life. She remembered not only the hotness of the day, but also the smell of raw flesh and wilting flowers. “The corruption she had smelled” is based not only in the fact that her childhood was corrupted, that she had changed forever. Before it was corruption the fact that she knew her treasure had a small value compared to the Gold ring her brother had found, but after was the fact that she knew she had killed her brother, but she could not tell anybody. Miranda was, at first, very interested and not afraid to see her brother with the tiny rabbits, she wanted to see. But when she realized that the blood running was not only from the rabbit, but also from Paul, she “began to tremble”. That was the moment when she changed, when her innocence had finished. The sentence “(…) they were just about ready to be born” describes a moment when the tiny rabbits are dead. Miranda faced death of her innocence and birth of her knowledge about real life. She then, goes home to have a shower, to change her clothes, wear a dress and the ring which represents also death and a moment of transformation from a child to a grown up girl.
Because the chronological time is not linear, is hard at the first reading realize all that. But, when reading carefully again, we can perceive the events. The paragraphs starting with Then, Now, When give the impression that the time is no linear but full of flashbacks. In the first paragraph it seems that the story is been told many years after, from someone who belong to the family, a granddaughter of Miranda, maybe. But after, it seems that Miranda is the one telling the story, because she describes her thoughts, which are unfamiliar to her daughter. How could she know that? Symbolism is very strongly represented through the senses – smell, vision, taste and touch. When she sees her brother at the end, “Instantly upon this thought the dreadful vision faded, and she saw her brother, whose childhood face she had forgotten” is a confirmation that she had not seen him since that day and that he was shot. The senses and smell of death were there again. Miranda had maybe been hit by a car, or maybe because the city “was strange” she had been murdered by that Indian vendor, it is not very clear for me. But the same feeling and smell of “Dyed”, sweet and raw flesh indicates that she was dying too. The word Dyed sweet can be also read as dead of her innocence, a moment when she gets into the adulthood. When she dressed that dress and let the clothes of boys behind, she realizes that from that moment she is no longer the same. The events had changed her somehow she can never be an innocent child anymore. Even though she tried she never forget what her conscious accumulated, “those thousand impressions” that tormented her mind for twenty years. The thoughts tormented her so much, that she moved from place to place, by she could not take the remembrances out from her own. In her last attempt to find a new place to live she found also death and why not peace, represented from the dove in her brother’s hand. She was finally freed from the feelings of guilty.
The Description of Oroonoko as a Strategy to Attract European Readers
Oroonoko by Aphra Behn is one of the most significant post-colonial books in our history. Its significance, especially for women, is enormous. She was one of the precursors of women literature and one of the first women who had writing as a profession. The authors, at that time had a closer attachment to their works, much more than nowadays. That kind of approach was a way to attract more readers, or to repel them. The connection between the reader, the writer and the book was somehow problematic, since the author had an “obligation” and a responsibility to cover the reader’s expectative. The relations between reader and writer were closer, the names were much more emphasized, and the market was more restricted. “Nowadays it is clear that the author is not the narrator.” (Barthes, 1973), and that “the experience of reading is a game.”(Poe apud Cíntia, 2004). And even more, that “in the interior of the story is, apparently, another story.”(Piglia apud Cíntia, 2004).
In Oroonoko, using the first person narrator, the writer explores that image of someone more reliable and trustful. The use of the first person narrator and the way the narrator is introduced and characterized in the plot as someone who has been in those exotic places, and seen or talked to the characters, is perfectly mixed with the use of the “suspension of disbelief”. Coleridge recalled:
“... It was agreed, that my endeavors should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth on the other hand was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us ...” (Coleridge, 1953)
In this game to attract the reader’s interest and sympathy, the first person narrator is set in a place of the most reliable person, the one who is really aware of the on goings. Since the beginning we find the narrator calling the reader’s attention to the credibility of that story.
“I was myself an eye-witness to a great part of what you will find here set down; and what I could not be witness of, I received from the mouth of the chief actor in this history, the hero himself, who gave us the whole transactions of his youth: and though I shall omit, for brevity's sake, a thousand little accidents of his life, which, however pleasant to us, where history was scarce and adventures very rare, yet might prove tedious and heavy to my reader, in a world where he finds diversions for every minute, new and strange. But we who were perfectly charmed with the character of this great man were curious to gather every circumstance of his life.” (Chapter 1.8)
The narrative is very detailed. One of the most impressive aspects of her work is actually the way she describes that new land - Suriname. It is a mixture of amazement and detachment. The narrator describes this new land, so detailed as a “scientific report”, making the reader - mainly the aristocratic English people in the post-colonial age - very curious about that new founded land and culture, which was a new discovery very familiar to their real lives. Some of the events and the places are described in a way to make the reader doubt about its veracity.
The descriptions have a mixture of admiration and criticism. At the same time the narrator seems to be amazed about that new culture, she(the narrator) is detached from them as a alien in that land. There are that colonizer perception, surrounded by amazement and a keen eye, searching every single detail and pointing out the differences that make the natives so uncivilized. Maybe they were not seen as inferior people, but different ones. She even compares them to the non-fallen man in paradise, as if “civilization” was the way for corruption of people’s souls.
“And though they are all thus naked, if one lives forever among 'em there is not to be seen an indecent action, or glance: and being continually used to see one another so unadorned, so like our first parents before the Fall, it seems as if they had no wishes, there being nothing to heighten curiosity;” (Chapter 1)
The Characterization of the new place expresses the differences between this whole new world and the place the narrator comes from. The narrative is attractive for the differences, as the similarities with the European culture. When the narrator describes the new land, she seems admired with all the colors, shapes, animals, behavior that an European reader would find, as she does, very interesting. For the Europeans, during that period of post-colonization, and even nowadays, to visit expositions and event where animals, clothing, as other foreign elements are brought closer to the public had become an event. Said that, the different ways used to approach the reader to the text are very effective, since it was something already known as effective when Oroonoko was written.
“for those we live with in perfect amity, without daring to command 'em; but, on the contrary, caress 'em with all the brotherly and friendly affection in the world; trading with them for their fish, venison, buffalo's skins, and little rarities; as marmosets, a sort of monkey, as big as a rat or weasel, but of marvelous and delicate shape, having face and hands like a human creature; and cousheries, a little beast in the form and fashion of a lion, as big as a kitten, but so exactly made in all parts like that noble beast that it is it in miniature. Then for little paraketoes, great parrots, mackaws, and a thousand other birds and beasts of wonderful and surprising forms, shapes, and colors. For skins of prodigious snakes, of which there are some threescore yards in length; as is the skin of one that may be seen at his Majesty's Antiquary's; where are also some rare flies, of amazing forms and colors, presented to 'em by myself; some as big as my fist, some less; and all of various excellencies, such as art cannot imitate. Then we trade for feathers, which they order into all shapes, make themselves little short habits of 'em and glorious wreaths for their heads, necks, arms, and legs, whose tinctures are unconceivable.” (Chapter 1)
Even in the text, the narrator comments about the Majesty's Antiquary's, as something very sophisticated and reserve to very few people. Somehow, to read all those details and talk about those discoveries were not only attractive, but very fashionable at that time.
“For skins of prodigious snakes, of which there are some threescore yards in length; as is the skin of one that may be seen at his Majesty's Antiquary's; where are also some rare flies, of amazing forms and colors, presented to 'em by myself; some as big as my fist, some less; and all of various excellencies, such as art cannot imitate.”(Chapter 1)
On the other hand, the description of familiar elements, such as the physical and behavioral characteristics of The Prince Oroonoko are “apparently” unconscious comparisons between her own aristocratic European background and culture, with that one she is describing as an exotic place.
“(…) His face was not of that brown rusty black which most of that nation are, but of perfect ebony, or polished jet. His eyes were the most awful that could be seen, and very piercing; the white of 'em being like snow, as were his teeth. His nose was rising and Roman, instead of African and flat. His mouth the finest shaped that could be seen; far from those great turned lips which are so natural to the rest of the negroes.”
The comparison and contrast are elements used to attract the reader for its differences and similarities. She compares not only the Prince, a black man, with her own people, but also compares him to his own people, from Suriname. When she makes the parallel, she approaches Prince Oroonoko to the European side. The comparison could be seen as prejudice, but I prefer to call it as her way to catch the reader and familiarize them to the protagonist. Maybe, if she had portrayed him in an ordinary way, the approach from the readers would be different.
The descriptions of the people, their aspect, behave and manner is based in comparisons between the narrator’s values and background, which were much closed to the reader’s values. The readers of Oroonoko come from the same European aristocratic background as the narrator. To describe The prince Oroonoko as a black man, very tall and strong, but caring those delicate features, such as a thin nose and small mouth, it seems to be an attempt to portray a very handsome man, very closed to the previous reference of General Othello, in Shakespeare’s play. The description of both characters, Prince Oroonoko and Othello, emphasizes their noble attitude towards their background. Compared to their own people, Africans or South-Americans. When doing that, the narrator describes those important men above the average, as special beings. Even when she tried to be polite to describe it, using the terms “(…) for they have all that is called beauty, except the color, which is a reddish yellow (…)” she demonstrates through her words sympathy, but a feeling that those natives were inferior to her own people, the Europeans. That comparison can be more evident when she is describing the Prince Oroonoko, but he is portrayed as an outstanding figure. The narrator says:
“I have often seen and conversed with this great man, and been a witness to many of his mighty actions; and do assure my reader, the most illustrious courts could not have produced a braver man, both for greatness of courage and mind, a judgment more solid, a wit more quick, and a conversation more sweet and diverting. He knew almost as much as if he had read much: he had heard of and admired the Romans: he had heard of the late Civil Wars in England, and the deplorable death of our great monarch; and would discourse of it with all the sense and abhorrence of the injustice imaginable. He had an extreme good and graceful mien, and all the civility of a well-bred great man. He had nothing of barbarity in his nature, but in all points addressed himself as if his education had been in some European court. (…) This great and just character of Oroonoko gave me an extreme curiosity to see him, especially when I knew he spoke French and English, and that I could talk with him. But though I had heard so much of him, I was as greatly surprised when I saw him as if I had heard nothing of him; so beyond all report I found him.” (Chapter 1)
Emphasizing the Prince’s manners and knowledge, she creates in the reader a curiosity about Prince Oronooko’s background. An atmosphere of mystery and nobility very closed to the idealized man – a hero. All that extensive characterization of the Prince and setting is made in order to create sympathy between the protagonist and the reader. That is not a coincidence, but a very smart strategy used by the author. The reader is invited to believe in that idealized person and place. The possibility to create a magic land and story, as if it was so closed to their reality that it becomes irresistible. That probably explains the huge success of the book and how that strategy it was used by many other authors, since writer became a way of living or a matter of make an idea spread worldwide.
BIBLIOGRAPHY
COMPAGNON, Antonie. O Demônio da Teoria – Leitura e Senso Comum. O Leitor. Belo Horizonte: Editora UFMG, 2001.
COMPAGNON, Antonie. O Demônio da Teoria – Leitura e Senso Comum. O Mundo. Belo Horizonte: Editora UFMG, 2003.
GENETTE, Gerard. Fronteiras da Narrativa. In: BARTHES, Rolland (org.). Análise da Estrutura Narrativa. São Paulo: Vozes, 1973.
JOHNSON, S. F., 'Coleridge's The Watchman: Decline and Fall', The Review of English Studies, 1953.
LIMA, Luiz Costa. Teoria da Literatura em suas fontes. A Questão dos Gêneros. Vol. I 3ª. Edição. Civilização Brasileira. Rio de Janeiro, 2002.
MOSCHOVICH, Cíntia. De Poe a Piglia: Em busca das teorias sobre o conto e o encontro de uma gramática do silêncio. In: Veredas, 2005.
Librivox: “Librivox.org” Oroonoko at LibriVox (audio book). Web
Lynch, Jack. An Annotated Bibliography on Aphra Behn's Oroonoko, 1997. Web.
O autor - http://www.unicamp.br/~hans/mh/autor.html. Web.
The University of Adelaide Library. University of Adelaide. South Australia. 2009. Web. http://ebooks.adelaide.edu.au/b/behn/aphra/b42o/index.html.
“Wapedia” Oroonoko at Wapedia.mobi. Web.
In Oroonoko, using the first person narrator, the writer explores that image of someone more reliable and trustful. The use of the first person narrator and the way the narrator is introduced and characterized in the plot as someone who has been in those exotic places, and seen or talked to the characters, is perfectly mixed with the use of the “suspension of disbelief”. Coleridge recalled:
“... It was agreed, that my endeavors should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth on the other hand was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us ...” (Coleridge, 1953)
In this game to attract the reader’s interest and sympathy, the first person narrator is set in a place of the most reliable person, the one who is really aware of the on goings. Since the beginning we find the narrator calling the reader’s attention to the credibility of that story.
“I was myself an eye-witness to a great part of what you will find here set down; and what I could not be witness of, I received from the mouth of the chief actor in this history, the hero himself, who gave us the whole transactions of his youth: and though I shall omit, for brevity's sake, a thousand little accidents of his life, which, however pleasant to us, where history was scarce and adventures very rare, yet might prove tedious and heavy to my reader, in a world where he finds diversions for every minute, new and strange. But we who were perfectly charmed with the character of this great man were curious to gather every circumstance of his life.” (Chapter 1.8)
The narrative is very detailed. One of the most impressive aspects of her work is actually the way she describes that new land - Suriname. It is a mixture of amazement and detachment. The narrator describes this new land, so detailed as a “scientific report”, making the reader - mainly the aristocratic English people in the post-colonial age - very curious about that new founded land and culture, which was a new discovery very familiar to their real lives. Some of the events and the places are described in a way to make the reader doubt about its veracity.
The descriptions have a mixture of admiration and criticism. At the same time the narrator seems to be amazed about that new culture, she(the narrator) is detached from them as a alien in that land. There are that colonizer perception, surrounded by amazement and a keen eye, searching every single detail and pointing out the differences that make the natives so uncivilized. Maybe they were not seen as inferior people, but different ones. She even compares them to the non-fallen man in paradise, as if “civilization” was the way for corruption of people’s souls.
“And though they are all thus naked, if one lives forever among 'em there is not to be seen an indecent action, or glance: and being continually used to see one another so unadorned, so like our first parents before the Fall, it seems as if they had no wishes, there being nothing to heighten curiosity;” (Chapter 1)
The Characterization of the new place expresses the differences between this whole new world and the place the narrator comes from. The narrative is attractive for the differences, as the similarities with the European culture. When the narrator describes the new land, she seems admired with all the colors, shapes, animals, behavior that an European reader would find, as she does, very interesting. For the Europeans, during that period of post-colonization, and even nowadays, to visit expositions and event where animals, clothing, as other foreign elements are brought closer to the public had become an event. Said that, the different ways used to approach the reader to the text are very effective, since it was something already known as effective when Oroonoko was written.
“for those we live with in perfect amity, without daring to command 'em; but, on the contrary, caress 'em with all the brotherly and friendly affection in the world; trading with them for their fish, venison, buffalo's skins, and little rarities; as marmosets, a sort of monkey, as big as a rat or weasel, but of marvelous and delicate shape, having face and hands like a human creature; and cousheries, a little beast in the form and fashion of a lion, as big as a kitten, but so exactly made in all parts like that noble beast that it is it in miniature. Then for little paraketoes, great parrots, mackaws, and a thousand other birds and beasts of wonderful and surprising forms, shapes, and colors. For skins of prodigious snakes, of which there are some threescore yards in length; as is the skin of one that may be seen at his Majesty's Antiquary's; where are also some rare flies, of amazing forms and colors, presented to 'em by myself; some as big as my fist, some less; and all of various excellencies, such as art cannot imitate. Then we trade for feathers, which they order into all shapes, make themselves little short habits of 'em and glorious wreaths for their heads, necks, arms, and legs, whose tinctures are unconceivable.” (Chapter 1)
Even in the text, the narrator comments about the Majesty's Antiquary's, as something very sophisticated and reserve to very few people. Somehow, to read all those details and talk about those discoveries were not only attractive, but very fashionable at that time.
“For skins of prodigious snakes, of which there are some threescore yards in length; as is the skin of one that may be seen at his Majesty's Antiquary's; where are also some rare flies, of amazing forms and colors, presented to 'em by myself; some as big as my fist, some less; and all of various excellencies, such as art cannot imitate.”(Chapter 1)
On the other hand, the description of familiar elements, such as the physical and behavioral characteristics of The Prince Oroonoko are “apparently” unconscious comparisons between her own aristocratic European background and culture, with that one she is describing as an exotic place.
“(…) His face was not of that brown rusty black which most of that nation are, but of perfect ebony, or polished jet. His eyes were the most awful that could be seen, and very piercing; the white of 'em being like snow, as were his teeth. His nose was rising and Roman, instead of African and flat. His mouth the finest shaped that could be seen; far from those great turned lips which are so natural to the rest of the negroes.”
The comparison and contrast are elements used to attract the reader for its differences and similarities. She compares not only the Prince, a black man, with her own people, but also compares him to his own people, from Suriname. When she makes the parallel, she approaches Prince Oroonoko to the European side. The comparison could be seen as prejudice, but I prefer to call it as her way to catch the reader and familiarize them to the protagonist. Maybe, if she had portrayed him in an ordinary way, the approach from the readers would be different.
The descriptions of the people, their aspect, behave and manner is based in comparisons between the narrator’s values and background, which were much closed to the reader’s values. The readers of Oroonoko come from the same European aristocratic background as the narrator. To describe The prince Oroonoko as a black man, very tall and strong, but caring those delicate features, such as a thin nose and small mouth, it seems to be an attempt to portray a very handsome man, very closed to the previous reference of General Othello, in Shakespeare’s play. The description of both characters, Prince Oroonoko and Othello, emphasizes their noble attitude towards their background. Compared to their own people, Africans or South-Americans. When doing that, the narrator describes those important men above the average, as special beings. Even when she tried to be polite to describe it, using the terms “(…) for they have all that is called beauty, except the color, which is a reddish yellow (…)” she demonstrates through her words sympathy, but a feeling that those natives were inferior to her own people, the Europeans. That comparison can be more evident when she is describing the Prince Oroonoko, but he is portrayed as an outstanding figure. The narrator says:
“I have often seen and conversed with this great man, and been a witness to many of his mighty actions; and do assure my reader, the most illustrious courts could not have produced a braver man, both for greatness of courage and mind, a judgment more solid, a wit more quick, and a conversation more sweet and diverting. He knew almost as much as if he had read much: he had heard of and admired the Romans: he had heard of the late Civil Wars in England, and the deplorable death of our great monarch; and would discourse of it with all the sense and abhorrence of the injustice imaginable. He had an extreme good and graceful mien, and all the civility of a well-bred great man. He had nothing of barbarity in his nature, but in all points addressed himself as if his education had been in some European court. (…) This great and just character of Oroonoko gave me an extreme curiosity to see him, especially when I knew he spoke French and English, and that I could talk with him. But though I had heard so much of him, I was as greatly surprised when I saw him as if I had heard nothing of him; so beyond all report I found him.” (Chapter 1)
Emphasizing the Prince’s manners and knowledge, she creates in the reader a curiosity about Prince Oronooko’s background. An atmosphere of mystery and nobility very closed to the idealized man – a hero. All that extensive characterization of the Prince and setting is made in order to create sympathy between the protagonist and the reader. That is not a coincidence, but a very smart strategy used by the author. The reader is invited to believe in that idealized person and place. The possibility to create a magic land and story, as if it was so closed to their reality that it becomes irresistible. That probably explains the huge success of the book and how that strategy it was used by many other authors, since writer became a way of living or a matter of make an idea spread worldwide.
BIBLIOGRAPHY
COMPAGNON, Antonie. O Demônio da Teoria – Leitura e Senso Comum. O Leitor. Belo Horizonte: Editora UFMG, 2001.
COMPAGNON, Antonie. O Demônio da Teoria – Leitura e Senso Comum. O Mundo. Belo Horizonte: Editora UFMG, 2003.
GENETTE, Gerard. Fronteiras da Narrativa. In: BARTHES, Rolland (org.). Análise da Estrutura Narrativa. São Paulo: Vozes, 1973.
JOHNSON, S. F., 'Coleridge's The Watchman: Decline and Fall', The Review of English Studies, 1953.
LIMA, Luiz Costa. Teoria da Literatura em suas fontes. A Questão dos Gêneros. Vol. I 3ª. Edição. Civilização Brasileira. Rio de Janeiro, 2002.
MOSCHOVICH, Cíntia. De Poe a Piglia: Em busca das teorias sobre o conto e o encontro de uma gramática do silêncio. In: Veredas, 2005.
Librivox: “Librivox.org” Oroonoko at LibriVox (audio book). Web
Lynch, Jack. An Annotated Bibliography on Aphra Behn's Oroonoko, 1997. Web.
O autor - http://www.unicamp.br/~hans/mh/autor.html. Web.
The University of Adelaide Library. University of Adelaide. South Australia. 2009. Web. http://ebooks.adelaide.edu.au/b/behn/aphra/b42o/index.html.
“Wapedia” Oroonoko at Wapedia.mobi. Web.
Comments on Milton's Paradise Lost
The representation of Death and Sin can be compared to the representation of Life through the Son of God, Jesus, in the Bible. Satan “generated” Death and Sin, as his key, or argument to go out from hell. In that sense, the allusion of going out from hell to the “paradise in earth” would only be possible, if Satan could connect himself to man, as he did. The approach he had from hell to man was the idea that man could commit a sin and, as a consequence die. That can be seen, not as a figure of a person, but a representation of his thoughts and ideas, created by him. Out of God’s haven, this completely new place (or reign) had to be constructed. Satan would have to create by himself the ideas that did not exist in haven, as Death, Sin, and everything else. That moment when Satan goes out from hell, can be seen as a moment of creation of his own word – a terrible one, but his own, brand new world. Even if it is based on haven’s architecture, hierarchy, and even philosophical pattern, he seems to wonder, into this process of idealization of his new world. Based on Milton’s ideas, Satan is portrayed not only as a King, but specially, as a creator. His ideal to be as God goes beyond the power of haven under his control, but even, the power and ability to create - creatures, concepts, sensations. The creation of Sin and Death could not be seen, in this perspective, as an involuntary consequence of Satan’s rebellion, but as his own creation. And, it is only possible because that man was created vulnerable to live or to die. Then, man was his key out from hell; otherwise he would not be able to go out from it. Considering that, man would be seen as a powerful instrument for his freedom. In order to consider my analogy as plausible, I would have to think that God was aware of such possibility of rebellion and failure– the idea of destiny, when he first announces the creation and failure of the man to the angels. Or the opposite idea - the essence of democracy and free will - when God give to all his creatures the power to make their own decisions, to rebel or not, to commit sin or not, to believe or not in whatever they want.
Could Prospero, in The Tempest, be compared with the writer or with Shakespeare himself?
It is very interesting to compare Prospero – the one who could control the nature, the supernatural and the men - with a writer. The writing process gives to the writer power to create and to manipulate stories as he wishes. The writer carefully plans and develops his thoughts, as if he was the god of his own world, able to make his creatures act in accordance to his desires. I found under the musicality of The Tempest, Prospero as The Regent of an orchestra, leading the musicians (characters) to achieve The Greatest Melody – his plan accomplished. The music is used many times to hypnotize characters or get from them what he wanted. But as the writer, also the reader has his power. And from the Epilogue, on The Tempest I can see a writer wishing that his work could remain alive through the readers.
“(…) now, 'tis true, I must be here confined by you, or sent to Naples. (…) dwell in this bare island by your spell; (…) but release me from my bands with the help of your good hands: Gentle breath of yours my sails must fill, or else my project fails, which was to please.”
Love through literature, eternalizing Shakespeare’s works that would remain forever. Prospero did not want his Dukedom back. Instead, the writer’s desire was to be eternalized through his works on the reader’s minds and “good hands”. In Prospero, I found a writer planning, creating, developing, and manipulating his audience. The plan was “to please”, going beyond the borders of the Island – England, and get “released with the help of the reader good hands.” The definition of the word Prospero infers to the one who could make it better, make it grow, and make it richer. The imagery of a reader receiving the power to make the work of an artist to prosper, while taking a “Gentle breath” of inspiration, and then keep his legacy and his works alive, is remarkable. The reader is the one who has the power and freedom to make, not only Shakespeare’s work remain alive, but mainly, Literature.
“(…) now, 'tis true, I must be here confined by you, or sent to Naples. (…) dwell in this bare island by your spell; (…) but release me from my bands with the help of your good hands: Gentle breath of yours my sails must fill, or else my project fails, which was to please.”
Love through literature, eternalizing Shakespeare’s works that would remain forever. Prospero did not want his Dukedom back. Instead, the writer’s desire was to be eternalized through his works on the reader’s minds and “good hands”. In Prospero, I found a writer planning, creating, developing, and manipulating his audience. The plan was “to please”, going beyond the borders of the Island – England, and get “released with the help of the reader good hands.” The definition of the word Prospero infers to the one who could make it better, make it grow, and make it richer. The imagery of a reader receiving the power to make the work of an artist to prosper, while taking a “Gentle breath” of inspiration, and then keep his legacy and his works alive, is remarkable. The reader is the one who has the power and freedom to make, not only Shakespeare’s work remain alive, but mainly, Literature.
O amor é o maior mito que já existiu...
Falar de amor é falar de gente.
As estórias mais lindas e mais trágicas são as que falam de amor. O Mito de Orfeu, as peças de Shakespeare, as novelas mais bregas, os poemas mais tocantes, as tragédias mais gregas, as comédias mais interessantes, tudo tem amor, e gente. A procura pelo amor e a constante falta dele. A eterna busca pelo conhecimento e entendimento das razões, todas as que se conhece e desconhece, tudo gira em torno do amor.
O amor é um mito que perseguimos como o ar que respiramos.
Ele faz tudo valer a pena.
O amor move o mundo, já se dizia isso. Mas com mais clareza começo a perceber como essa frase é intrigante.
O amor que tanto perseguimos muitas vezes é apenas uma justificativa, um disfarce, uma razão criada, um momento de sonho, uma muleta pra vida. Vivemos em busca de algo porque esse algo - o amor, é o que nos torna mais reais, mais próximos uns dos outros, e mais eternos também.
Criamos o amor para viver pra sempre!
O amor pelo meu filho vai viver com ele pra sempre. E assim será com meu neto, meu bisneto que ainda nem conheço mas já amo.
O amor pela literatura, pelas artes em geral é um amor pelo humano, pela capacidade de criação que é uma expressão da alma do outro em nós, sempre que admiramos uma tela, um texto, uma expressão...
O amor é o mito mais amado e o mais sublime. Não me canso dele, nem quero.
O amor me conecta a Deus e me torna tão humana que não há nada mais existencial do que unir a supremacia do Divino com a plenitude de ser humano.
Pelo amor eu toco as mãos de Deus e Ele,
Ele se torna tão real e impressíndível quanto o amor.
As estórias mais lindas e mais trágicas são as que falam de amor. O Mito de Orfeu, as peças de Shakespeare, as novelas mais bregas, os poemas mais tocantes, as tragédias mais gregas, as comédias mais interessantes, tudo tem amor, e gente. A procura pelo amor e a constante falta dele. A eterna busca pelo conhecimento e entendimento das razões, todas as que se conhece e desconhece, tudo gira em torno do amor.
O amor é um mito que perseguimos como o ar que respiramos.
Ele faz tudo valer a pena.
O amor move o mundo, já se dizia isso. Mas com mais clareza começo a perceber como essa frase é intrigante.
O amor que tanto perseguimos muitas vezes é apenas uma justificativa, um disfarce, uma razão criada, um momento de sonho, uma muleta pra vida. Vivemos em busca de algo porque esse algo - o amor, é o que nos torna mais reais, mais próximos uns dos outros, e mais eternos também.
Criamos o amor para viver pra sempre!
O amor pelo meu filho vai viver com ele pra sempre. E assim será com meu neto, meu bisneto que ainda nem conheço mas já amo.
O amor pela literatura, pelas artes em geral é um amor pelo humano, pela capacidade de criação que é uma expressão da alma do outro em nós, sempre que admiramos uma tela, um texto, uma expressão...
O amor é o mito mais amado e o mais sublime. Não me canso dele, nem quero.
O amor me conecta a Deus e me torna tão humana que não há nada mais existencial do que unir a supremacia do Divino com a plenitude de ser humano.
Pelo amor eu toco as mãos de Deus e Ele,
Ele se torna tão real e impressíndível quanto o amor.
O Poeta é um sem vergonha
Abrir um livro e encontrar se nele.
Entender que um as vezes é dialogo.
Outros ecos, incontáveis egos.
Tantas vozes expressas num pensamento.
Tradução do ego. Habilidade de gênio.
Seria dom? Expressão do ego em mim.
Alma irrestrita que transita no restrito, nos pensamentos secretos, particulares.
O poeta é um sem vergonha.
Não tem medo da luz nem da sombra.
Talvez protegido pela liberdade de expressão,
Ou pelo desprendimento, ou pela percepção
De que somos todos muito parecidos
E mesmo assim diferentes.
Uma linha revela uma alma.
E tantas mais.
E com tanta verdade,
Que não cabe julgamento, nem juízo
Mas entendimento.
Pela coragem, capacidade,
Pela abrangência.
Não quantas, mas quanto...
E em meio a tanto, sou parte.
O poeta tem o dom de tocar a alma
Sem olhos, nem boca, nem mãos...
sem mesmo intencionar.
O poeta vê o ponto
E o transforme em tanto,
Que se perde no fim
Mediado por Mim - Leitor.
Mediado por Ti - Leitor.
Mediado por nos.
Entender que um as vezes é dialogo.
Outros ecos, incontáveis egos.
Tantas vozes expressas num pensamento.
Tradução do ego. Habilidade de gênio.
Seria dom? Expressão do ego em mim.
Alma irrestrita que transita no restrito, nos pensamentos secretos, particulares.
O poeta é um sem vergonha.
Não tem medo da luz nem da sombra.
Talvez protegido pela liberdade de expressão,
Ou pelo desprendimento, ou pela percepção
De que somos todos muito parecidos
E mesmo assim diferentes.
Uma linha revela uma alma.
E tantas mais.
E com tanta verdade,
Que não cabe julgamento, nem juízo
Mas entendimento.
Pela coragem, capacidade,
Pela abrangência.
Não quantas, mas quanto...
E em meio a tanto, sou parte.
O poeta tem o dom de tocar a alma
Sem olhos, nem boca, nem mãos...
sem mesmo intencionar.
O poeta vê o ponto
E o transforme em tanto,
Que se perde no fim
Mediado por Mim - Leitor.
Mediado por Ti - Leitor.
Mediado por nos.
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