Identity In The Tempest And Soyinka's The

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African writers and intellectuals revolted against the oppression meted out to them and their nation by western opportunistic colonial system. They joined forces to erase the stigma attached to the black world and attempted to redefine and re-establish their identity. The French writer Jean Paul Sartre anticipated in Black Orpheus (1959) that an aggressive intellectual revolution has to take place among African people to pave the way for the dawn of the true African identity because “The Negro cannot deny that he is black nor claim for himself an abstract, colorless humanity: he is black. He picks up the word ―black that they had thrown at him like a stone; he asserts his blackness, facing the white man with pride.” Such an intellectual revolution came about in the 1930’s in France, when a group of intellectuals Aime Cesaire, Leopold Senghor, and Leon Dames—and other Caribbean and African writers, developed the literary and political ideology of Negritude. United in a …show more content…

Aime cesaire’s play A Tempest (1968) is written as a Postcolonial response to The Tempest (1610-11) by William Shakespeare and is aimed at advancing the tenets of Negritude movement. While The Tempest mirrors the rationale of colonization if one may say, unconsciously, Cesaire’s concept of Negritude is the essence of his play A Tempest wherein Cesaire delivers his idea of Negritude through Caliban and Ariel. Although Soyinka criticizes Negritude, his drawing on African myths, including those of his own Yoruba culture, does in fact define Negritude in the best sense. Thus there appears to exist a contradiction in his sentiments against Negritude. Wole Soyinka’s play Death and the King’s Horseman (1975) shows how the white imperialist tries to ‘civilize’ the ‘native’ by detaching him from his

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