Oroonoko by Alphra Behn, 1688; p 878-914

 

    

    Oroonoko proves to be a controversial reading still today as scholars attempt to determine what the author’s intent and message was behind creating this anti-slavery, feminist, travel, etc. novel. For the purpose of this anthology, I am going to focus on the female tropes and influence—or lack thereof—throughout the story. In this tale, the women never truly found themselves in control of their situation no matter how innocent or evil they were. For example, our narrator, through sympathetic of the slaves’ wish for freedom, was not able to do anything even as a white plantation dweller. Her voice alone was not capable of change. In another instance, when poor Imoinda acted for herself, she was sold into slavery! This message of feminine injustices is still applicable today, and this story can be referenced as an example of using your voice to represent the voiceless. The particular excerpt below narrates the reactions of the white plantation owners when they realized the lovers had been reunited (note that the relationship was ill fated even with full support):

      “Trefry was infinitely please with this novel, and found this Clemene was the fair mistress of whom Caesar had before spoke, and was not a little satisfied that heaven was so kind to the Prince, as to sweeten his misfortunes by so lucky an accident, and leaving the lovers to themselves, was impatient to come down to Parham House (which was on the same plantation) to give me an account of what had happened. I was as impatient to make these lovers a visit, having already made a friendship with Caesar, and from his own mouth learned what I have related, which was confirmed by his Frenchman, who was set on shore to seek his fortunes, and of whom they could not make a slave, because a Christian, and he came daily to Parham Hill to see and pay his respects to his pupil Prince. So that concerning and interesting myself in all that related to Caesar, whom I had assured of liberty as soon as the governor arrived, I hasted presently to the place where the lovers were, and was infinitely glad to find this beautiful young slave (who had already gained all our esteems, for her modesty and her extraordinary prettiness) to be the same I had heard Caesar speak so much of. One may imagine then, we paid her a treble respect; and though from her being carved in fine flower and birds all over her body, we took her to be of quality before, yet, when we knew Clemene was Imoinda, we could not enough admire her.” (p 899)