CHANGING SELVES AS A MODE OF SURVIVAL: TRICKSTERISM AND SHAPESHIFTING IN CHITRA BANERJEE DIVAKARUNI’S THE MISTRESS OF SPICES
Dr Sulagna Mohanty
(Assistant Professor, Amrita School of Engineering, Amrita University, Coimbatore,Tamil Nadu) sulagna2008@gmail.com ABSTRACT
In the scenario of socio-economic, political, and cultural globalization, myth is used as a postcolonial tool to connect various Native cultures together from a regenerative perspective. In the contemporary literary context, while discussing mythical characters in numerous hues and forms, human and animal, natural and supernatural as they coexist in the postcolonial texts, the element of camouflage, deception, disguise, changing selves, and shapeshifting become significantly
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In contemporary literature, the trickster survives as an archetypal character that develops into more than a supernatural or divine character. Tricksters play an important role in the folklores and culture of many ancient Native traditions as they are equally famous and infamous for playing tricks on people while displaying unconventional behavior and breaking traditional norms. Contemporary postcolonial literature has successfully used the figure of trickster as a metaphor of resistance who is capable of overcoming a system of oppression. While the trickster crosses various cultural traditions, there are significant differences between tricksters in the traditions of many indigenous peoples and those in the European traditions. Few of the important and famous trickster figures from all over the Native traditions are Anansi, Brer Rabbit, Eris, Hermes, Jack, John the conqueror, Kuma Lisa, Kyprioth the Trickster, Loki, Maui, Pan, Satan, Raven and Coyote and many others. Divakaruni, in the text The Mistress of Spices, retells the tale of the indigenous, mythical Native American figure of Raven, the trickster, and Indian Tilo by maneuvering both the characters as culture heroes and …show more content…
The name Raven itself is a very important name in Native American culture. Raven is the trickster figure in many Native American stories. As one from the stories, Raven is subtly aware of his own magical-mythical abilities. Critic Jeffrey R Gudzune makes this observation about the trickster figure in Native American storytelling tradition: … Having their origins in the oral tradition of early Indian tribes, these tricksters have evolved into powerful symbols. The transformative powers of the trickster make such an entity transcend the physical and metaphysical world (Gudzune np).
In Native American mythology, there are many figures which are known as tricksters—they are the entities who contribute in creating the world, bringing fire and helping humanity. In general, the trickster is usually a male character, though not always. In the book, Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit, Jo-ann Archibald
In the article “Reeling in the Demon: An Exploration into the Category of the Demonized Other as Portrayed in ‘The Journey to the West’”, a deeper understanding of the inner demon found in the characters of the ancient Chinese novel is discovered. The article is written by Laurie Cozad and is part of the Oxford Journals in Oxford University Press. Cozad makes the point of “one begins to unravel the conundrum of why demons, at once so dangerous and impure, are so often required by the pure,” (Cozad, 117). An issue Journey to the West makes quite evident would be the inner demons that these characters face, causing them to act in a way that is out of their nature. Laurie Cozad repeatedly discusses her main point of inner demons and the effect these demons had on the characters of Journey to the West.
They similarly shared the idea that without the roles of these characters, the plots would not have a conflict due to the fact that the characters drive the action. These fairytale beings serve up such great abilities in the beginning; however, once they cease to provide valuable income they are questioned as to their continued use. When Tony receives his communion he believed God would finally answer all of his questions, but when he hears silence Tony continues to cast doubt upon his belief. Likewise, as a traditional angel is supposed to perform miracles the old angel alters the imperfections of people, and they question whether he has anymore use to them. However, the creatures of Marquez’s short story are seen as forms of entertainment, whereas Anaya’s Ultima is praised for her powers.
Eileen Kane’s insightful work, Trickster: An Anthropological Memoir, illuminates the cultural atmosphere and life of the Northern Paiute people of Yerington, Nevada, during the early 1960’s while reflecting on the many contrasts and parallels to her own upbringing in Youngstown, Ohio. Guided by her research topic, documenting the religious beliefs the Paiute people practiced after the death of Jack Wilson (Kane, p. 155), Eileen Kane depicts the acculturative effects on Paiute religion occurring at this time. For those living on the reservation, the traditional-native spirituality had already witnessed the indoctrination of Christian beliefs by missionaries and whites among many Native American groups, though conservatory attempts to maintain
“The confession of Tituba during the trial had elements that were both English and Arawak”. The Arawak folklore helped her give shape to the tale she imparted. “The records in Barbados suggest that Tituba was likely of Arawak descent”. A particular characteristic that the Arawak culture had, was the personification of evil that could change shape to an animal or human. “Tituba 's young world was informed by these beliefs practices and fears.
Trickster myths have been present in our society since the first stories were written down. Trickster gods serve an important function in every pantheon; they break through conventional methodology in order to solve problems using wit, craftiness, and cleverness. In some myths, Trickster gods serve a destructive force, getting humanity in trouble and prompting punishment from greater powers, such as that which occurs in the Prometheus myth. The ultimate purpose of the trickster character in mythology is to satisfy the human urge to erode the boundaries imposed by traditional values in order to achieve what one desires. One example of a trickster serving this purpose is the myth of how Raven brought light to the world.
Native American Trickster tales are told to children of the tribes orally and have morals and lessons within the tales to help teach its listeners how to behave and right from
After reading Edgar Allen Poe’s “The Raven,” connotations were noticeably used. With love of writing horror and dark stories, Edgar Allen Poe wrote “The Raven” about a loss of a member of his life along with other miserable stories in his life. Dreary is an important connotation because it gives a dull, bleak, and lifeless like the poem expressed. In stanza one, the narrator mentions how dreary the midnight sky is. “Once upon a midnight dreary, while I pondered, weak and weary,” continues the feeling of a dull tone to fellow readers.
In the lore of Tlingit, Haida and other northern Native Americans a raven was both a trickster spirit and the creator of the world. The most interesting story about the raven in Tlingit folklore is the one concerning his responsibility for placement of the Sun in the sky. The story starts with Naas-sháki Shaan – The Old Man, who was very rich. Among his riches were three legendary boxes.
The trickster is a source of life lessons throughout the copious myths that exist, from behaviors to morals. The character filling this role is generally neither virtuous or evil and shows duality in human nature. They are primarily perplexing and abnormal,
Mali is illustrated as a polytheistic society which comprises of African indigenous traditions rooted in voodoo, and Islam. Throughout the epic characters are seen dabbling in sorcerery or black magic. Some of the characters are referred to as soothsayers. Soumaoro Kanté’s character is a perfect example of voodoo in the text. His character is notorious for his disappearing acts during a battle, this added a mythical element as well as took away from the epic’s credibility.
Furthermore, the author uses elaborate details in this short story to make the segments about tradition more descriptive. According to Pfeiffer, “the author infuses her works with vivid and distinctive features of Indian culture . . . .” An example of the culture is when Lilia’s mother brought out a plate of “. . . mincemeat kebabs with coriander chutney” (Lahiri 458). Jhumpa Lahiri’s “Indian identity is certainly not marginal in her work . . .”
Whereas in other stories, the trickster character is displayed as a mythical creature, always changing form or almost always being in the form of an animal. This makes the trickster character seem much more spiritual or religious. The religious aspect is displayed very well in the
Furthermore, the point in the story in which the good mind creates humans from his image and blows into them to give them souls draws similarity to the idea of how humans are believed to be created in the creation story of Islam. In conclusion, Native Americans have frequently been
In this way the trickster is a cautionary morality tale and an instructive tool warning them not to act like him. The most central trait to the trickster figure portrayed, besides these, is the contrary use of his creative and destructive powers which speaks to the very message of ambiguity and liminality within the tradition of trickster mythology. Beyond the combination of opposite concepts, the trickster represents the chaos of all contrasting elements of the world which these tales attempt to
Decadent in social and cultural dualisms, and existing amidst the struggle between idealized conduct and corrupted morals and lifestyles, this literature creates atmosphere necessary for the imaginative conception of the spirits and demons that haunt beyond the