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Aimé Césaire's Reworking of Shakespeare:
Anticolonialist Discourse in Une Tempête
LAURENCE M. PORTER
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CÉSAIRE'S REWORKING OF SHAKESPEARE 361
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362 COMPARATIVE LITERATURE STUDIES
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CÊSAIRE'S REWORKING OF SHAKESPEARE 363
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364 COMPARATIVE LITERATURE STUDIES
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CÊSAIRE'S REWORKING OF SHAKESPEARE 365
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366 COMPARATIVE LITERATURE STUDIES
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CÊSAIRE'S REWORKING OF SHAKESPEARE 367
tween the King's virtuous counselor and the other nobles. During th
storm, in Césaire's version, Gonzalo remains calm while Antonio fear
hell; Gonzalo advises seeking the eye of the hurricane to secure a bri
respite to find harbor, while Antonio and Sebastian ignorantly derid
him as a foolish old man. 2.2 gives him a much greater role than in
Shakespeare. Césaire suggests he is superior to the other whites becau
he is more in touch with nature; yet even his attitude toward the isl
which he, like the other Europeans, sees as a potential colony, will
exposed as exploitative and self-centered. His interest in finding guan
to use as fertilizer betrays the lowest common denominator of material-
ism. His reasoning, conforming to the fallacy "like causes, like effect
("C'est clair: une terre merveilleuse ne peut porter que des êtr
merveilleux"), unwittingly mocks both himself and Shakespeare. He
does not seek conquest by force, but his very restraint is based on th
condescending myth of the "noble savage," a form of admiration tha
attempts to relegate the other to an ornamental, peripheral role. H
remarks: "si l'île est habitée, comme je le pense, et que nous la c
Ionisons [note the self-confident, indicative mood - where French wou
more often use the subjunctive - in the second of two successive if
clauses], comme je le souhaite, il faudra se garder comme de la peste d
apporter nos défauts, oui, ce que nous appelons la civilisation. Qu'ils
restent ce qu'ils sont: des sauvages, de bons suavages, libres, sans com
plexes ni complications. Quelque chose comme un réservoir d'éternel
jouvence où nous viendrions périodiquement rafraîchir nos âmes vieilli
et citadines" (2.2.39-41).
Gonzalo's opening advice to seek the eye of the storm, added b
Césaire, corresponds symbolically to his aspirations, suggested later i
both plays, to find an outside to power while remaining within huma
society. He wishes to enjoy domination without guilt, to evade t
violence stirred up by inequality while continuing to benefit from it
a member of a privileged class. Shakespeare had overtly denounced th
delusion (Gonzalo: ... no sovereignty. - Sebastian: Yet he would b
king on't. [2.1.152]). However benevolent, any appropriation of t
Noble Savage effectively erases the other, even via the blandness of
uncritical admiration, in the very act of treating him or her as
protected species. Césaire underscores this point by ascribing to Go
zalo a comical failure to exorcise Caliban, when, after his aborti
revolt, he proves unrepentant (3.5.86): the native who fails to recog
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368 COMPARATIVE LITERATURE STUDIES
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CÉSAIRE'S REWORKING OF SHAKESPEARE 369
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370 COMPARATIVE LITERATURE STUDIES
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CÉSAIRE'S REWORKING OF SHAKESPEARE 371
because the latter, as he openly admits, had tried to rape Miranda: "Thou
didst prevent me. I had peopled else / This isle with Calibans."31 Césaire's
Caliban, in contrast, diagnoses in Prospero the phenomenon of psych
projection: "Violer! violer! Dis-donc, vieux bouc, tu me prêtes tes idée
libidineuses. Sache-le: je n'ai que faire de ta fille" (1.2.27). Césaire, to b
sure, preserves ambiguity regarding Caliban's desires by having Miran
characterize him as "l'affreux Caliban, lequel me poursuit de ses assiduités
et hurle mon nom dans ses rêves idiots!" (3.1.54). But overall, Césaire'
satire depends on questioning Prospero's motives. That these motives a
represented as unconscious, refutes Ariel's argument that the colonize
can change for the better, and that attentisme - opposition rather tha
resistance32 - is therefore justified.
Both Shakespeare's slaves will choose compliance, Ariel from the begin-
ning. Faced with an insurmountable power differential, he only begs for
justice and does not protest that justice deferred is justice denied. Césaire
depicts him similarly, but with a message that becomes pointed when Ari
argues with Caliban. From the Martinican leader's viewpoint, Ariel's sub-
servient attitude is explained by the preferential treatment he has receiv
from Prospero, and from the lure of eventual emancipation that Prospero
has dangled before him. In short, with reference to slavery in the United
States, Caliban is the "field Negro" and Ariel is the "house Negro," th
white-collar slave (so to speak) who, unlike Caliban, need not do heav
work with his hands (Hale, 25);33 with reference to the Caribbean, Ariel i
the collaborationist mulatto class, privileged owing to his lighter skin.
Shakespeare's Caliban moves from attempted resistance to compliance,
seeking "grace" from his master. His initial intransigence causes a typicall
Shakespearean disturbance of the social nexus followed by a restoration of
equilibrium, when the naturally inferior subject submits to his rightf
lord. Césaire, in contrast, decenters Prospero by endowing Caliban wi
greater lucidity than his master. To dramatize it, he adds to Shakespeare's
version (where Caliban may not even be aware of Ariel's - or, for th
matter, Ferdinand's existence) a formal debate scene between the tw
slaves to reinforce his portrait of them as rational adults, not childre
whose weak impulse control makes them require constant surveillanc
and discipline. Moreover, "splitting the ambivalence" of the oppresse
person's reactions between Ariel and Caliban allows the creation of
character (Césaire's Caliban) who is entirely and inspiringly resolute
his defiance:
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372 COMPARATIVE LITERATURE STUDIES
CALIBAN
ARIEL
CALIBAN
Césaire has inverted Shakespeare's terms so that it is the master, not the
slave, who proves irredeemable (a condition underscored by Prospero's
choosing to remain on Caliban's isle at the end). In the context of the
1960s, Caliban's temptation to violence recalls Frantz Fanon. Confront-
ing Prospero, however, weapon in hand, Caliban will not strike unless his
master defends himself, and Prospero taunts "Tu vois bien que tu n'es
qu'un animal: tu ne sais pas tuer" (3.4.79). As at the conclusion, Prospero
equates civilization with murder. In contrast, Ariel's nonviolence recalls
Martin Luther King.34 Together, these two figures reflect Césaire's ambiva-
lence, determined by his own ambiguous, problematical role in founding
the D. O. M. so as to preserve a French presence, like Prospero's at the
end of the play. Césaire insisted that he saw himself in both Caliban and
Ariel.35 Caliban himself eventually abjures violence in favor of separa-
tism, which he - unlike Césaire, as a political leader - can achieve at
once: Caliban's outcome may involve wish-fulfillment.
In Shakespeare, Caliban never appears on stage at the same time as
either Ariel or Ferdinand (except when, in 3.2, Ariel remains invisible
and unrecognized). For Césaire to depict Caliban and Ariel's debate is to
represent them as part of a social class, to deexoticize them, and to
reinforce their added allegorical function as a symbol of oppressed peoples
everywhere. Caliban's cries of "Uhuru!" ("Freedom!" in Swahili), "Free-
dom now!," and his allusion to Malcolm X, who dropped his white "slave
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CÉSAIRE'S REWORKING OF SHAKESPEARE 373
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374 COMPARATIVE LITERATURE STUDIES
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CÉSAIRE'S REWORKING OF SHAKESPEARE 375
had a lofty model, and that he himself deserves little credit for an indep
dent linguistic sensibility. Césaire's Caliban, however, knows his mother
language, is fluent in French, and has at least shreds of English a
Swahili.
Césaire's ending remains indeterminate, since Ariel has been freed but
Caliban officially has not. Césaire thus implies that there may alway
enslaved peoples somewhere in the world, but that they can preserve th
dignity by continuing to fight for liberation. That Caliban can ran
untrammeled over the island at the conclusion, celebrating his autonom
depends on Césaire's own magic. Unrealistically - in political terms -
eliminates from his version the acolytes through whom power is mediat
(that is the mulattoes) throughout the colonial history of the Caribbean
and the commercial powers that presently keep the Third World in a st
of economic dependency. Ariel and the Europeans (other than Prosp
simply depart. Then Césaire's Caliban has only to reject the myth of
inferiority for it to disappear. Thus he figures a mental liberation that
Césaire knows, must precede a political one.
Reflecting the awkward, embarrassing, and continuing presence of th
French, Césaire's Prospero remains on the island, with his weapons
his "mission civilisatrice," and Caliban cannot drive him away
Caliban remains involuntarily within the European orbit, but he is
longer of it. His master/slave symbiosis with Prospero now exists only
the latter's imagination. Indeed, Césaire suggests that French power
ultimately fade, when he has Prospero momentarily sense the vanity
power: "Tout cela passera un jour comme l'écume . . . Ma puissance
froid!" (3.3.71; one recalls that Caliban's major task in Shakespeare w
to gather firewood). At the end of the play, Césaire's Caliban goes
own way, pursuing his own, unmediated projects, and the last words of
text are "La liberté!" The same words in the monster's comical, drunken
and deluded shout at the end of Shakespeare's 2.2 - in the powerf
ironic context of absolute submission to a substitute, less worthy maste
have been transformed by Césaire into the lucid affirmation of a n
found dignity.
How will this dignity be exercised, and how will it lead eventually
full independence? The one major character that Césaire added to
central play, the Yoruba trickster-god Eshu, suggests a gradualist appro
in laying the groundwork for a new, black society, through the rediscov
of authentic, African cultural values. The white master, in Césair
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376 COMPARATIVE LITERATURE STUDIES
NOTES
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CÊSAIRE'S REWORKING OF SHAKESPEARE 377
2. Notably by Raphaël Confiant in his Aimé Césaire: une traversée paradoxale du siècle
(Paris: Stock, 1993). Edouard Glissant forcefully claimed that departmentalization of t
Antilles in 1946 was a "Concrétisation la plus achevée de la peur et du déni de soi, elle marque
limite extrême de V aliénation, " but he does not blame Césaire, whom he elsewhere mentio
respectfully (Le Discours antillais [Paris: Seuil, 1981] 154).
3. For background and additional documentation on this particularly tumultuous pe
riod in Césaire's legislative career, see Mbawil a Mpaang Ngal, Aimé Césaire: un homme à
recherche d'une patrie (Dakar: Nouvelles Editions Africaines, 1975) 208-14; and Thomas A.
Haie, Les Ecrits d'Aimé Césaire: bibliographie commentée (Montréal: Presses de l'Universit
de Montréal et Etudes françaises, numéro spécial, 14/3-4, 1978, 251-77).
4. The title of the French original (Paris: Seuil) does not include the revealing name
of Shakespeare's characters, included in the English and the American editions.
5. The execution of the movement's leaders as an expiatory sacrifice; for a cogent
critique of this argument, see Maurice Bloch, forward to [Dominique] Octave Mannon
Prospero and Caliban: The Psychology of Colonization (Ann Arbor: U of Michigan P, 1990
The French version was published by Seuil in 1950.
6. Paris: Editions Réclame, 1950; republished by Présence Africaine, 1955.
7. He was to break with Thorez after the Soviet invasion of Hungary in 1956.
8. See his "Crise dans les départements d'Outre-Mer, ou crise de la depart-
mentalisation," Présence Africaine 36: 1 (1961): 109-11: "le grand mal dont souffrent
Antilles est d'être encore des colonies, les seules, les dernières colonies françaises." Social a
economic discrimination persists, he continues, ilV assimilation n'étant pas autre chose qu'u
forme de la domination et peut-être la plus absolue" (109-10).
9. Among others, those who come to mind are Kateb Yacine, who, as of 1976, stopped
writing novels in French in order to create popular theater in Arabic; Ngugi wa Thiongo
who now composes his novels and plays in Gikuyu instead of English; and Gabriel Gar
Marquez, who provisionally changed his style from esoteric to journalistic (he is an accom
plished political journalist) in writing the lucid, propagandistic El Secuestro (1983).
10. Editions used are Aimé Césaire, Une tempête; d'après "la Tempête" de Shakespear
Adaptation pour un théâtre nègre (Paris: Seuil, 1969), with reference in the for
Act. Scene. Page; and William Shakespeare, The Tempest, ed. Frank Kermode (London
and New York: Routledge, 1992 [1954]), with references in the form Act. Scene. Verse.
For definitions and discussions of parody, see, among others, Michel Foucault, "Do
Quichotte," 60-64 in Foucault, Les Mots et les choses: une archéologie des sciences humain
(Paris: Gallimard, 1966); Sandor L. Gilman, Nietzschean Parody (Bonn: Grundmann
1976); Linda Hutcheon, A Theory of Parody: The Teachings of Twentieth-Century Art Form
(New York: Methuen, 1985); and Margaret A. Rose, Parody I Metafiction: An Analysis
Parody as a Critical Mirror to the Writing and Reception of Fiction (London: Croom Helm
1979), and Parody: Ancient, Modern, and Postmodern (New York: Cambridge UP, 1993
11. According to Chantai Zabus, "A Calibanic Tempest in Anglophone and Franc
phone New World Writing," Canadian Literature 104 (1985): 35-50 (40)- not counti
such versions in other media as the Royal Swedish Ballet Company's Stormen, called to m
attention by Eric Sellin, nor the many very free interpretations of the original. For the
latter, with illustrations, see Stephen Orgel, éd., The Tempest (Oxford: Clarendon, 198
"Introduction," 1-87.
12. See A. James Arnold, "Césaire and Shakespeare: Two Tempests," Comparative Litera
ture 30 (1978): 236-48; Aimé Césaire, "Le Noir, cet inconnu," Les Nouvelles littéraires, Ju
17, 1969, 12 (reprinted in S. Belhassen, "Aimé Césaire's A Tempest,n in Lee Baxandal
éd., Radical Perspectives in the Arts (Middlesex: Penguin, 1972); Francis Barker and Pet
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378 COMPARATIVE LITERATURE STUDIES
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CÉSAIRE'S REWORKING OF SHAKESPEARE 379
20. Henry Louis Gates, Jr., "Talkin' That Talk," in Gates, éd., "Race," Writing, and
Difference (Chicago: U of Chicago P, 1986) 402-20.
2 1 . Césaire makes it clear that Caliban belongs on the island as no European could. Whe
the slave leads Trinculo and Stephano to attack his master, the insects and animals of th
forest, summoned by Ariel at Prospero's bidding, block Caliban's path. But, unlike i
Shakespeare's version, Caliban can dismiss them with a friendly word and then celebrate h
affinity with nature, whereas, as he observes, "Prospero, c'est l'anti-Nature. Moi je dis: A
l'anti-Nature! Voyez, à ces mots, notre hérisson se hérisse? Non, il rentre ses piquants! C'e
ça, la Nature! C'est gentil, en somme! Suffit de savoir lui parler!" (3.4.74-75).
More broadly, Césaire's island functions like a mirror: how individuals respond to i
discerning either beauty or ugliness, reveals their character. Early in the play, when Pr
pero insults Caliban's mother, Sycorax, and exults in her death, Caliban retorts: "Tu ne l
crois morte que parce que tu crois que la terre est chose morte . . . C'est tellement pl
commode! Morte, alors on la piétine, ou la souille, on la foule d'un pied vainqueur! Moi, je
la respecte, car je sais qu'elle vit ..." (1.2.25-26). In Shakespeare, the sound of thunder
(stage directions at the outset of 2.2) represents a threat to Caliban, a reminder of Pr
pero's mastery over nature and the spirits that inhabit the isle. In Césaire's scene wit
Caliban, Stephano, and Trinculo (immediately following the encounter with the hedg
hog), Caliban communes ecstatically with the thunder god, Shango, and with the spirit o
the sea. His effusions are incomprehensible to his debased companions, who cannot distin
guish between nature and Prospero's technological disruption of nature (2.4.75-76; cf
3.5.89). To Césaire, nature represents a power higher than, and unrecognized by, Prosper
As Bonneau points out (79), Prospero's daughter Miranda, unlike him, lives in harmon
with nature and appreciates its beauty, which she wishes to share with Ferdinand (1.2. 1
20, 31). It is precisely when she expresses the latter sentiment that Prospero brusque
uncomprehendingly silences her.
22. See O. B. Hardison, Jr., "Shakespeare's Political World," 2-26 in Frances McNeel
Leonard, ed. , Politics, Power, and Shakespeare (Arlington: Texas Humanities Resource Ce
ter, 1981) 23-25; and Kott, 193 and passim.
23. See Merivale, "Learning the Hard Way: Gothic Pedagogy in the Modern Romant
Quest," Comparative Literature 36 (1984): 146-61. In Shakespearean Negotiations: The Circ
lation of Social Energy in Renaissance Engfand (Berkeley: U of California P, 1988), Steph
Greenblatt discusses this strategy in The Tempest (42-47), tracing it back further to Ar
totle's Poetics and its doctrine of effecting purgation of unworthy feelings through inspirin
pity and fear.
24. See Gates, "Editor's Introduction," in Gates, éd., 2-15; and Michel Leiris, "Le
préjugé racial," in Leiris, Contacts de civilisations en Martinique et en Guadeloupe (Paris:
Gallimard, 1955) 126-60.
25. See Heinrich Heine, "Das Sklavenschiff," Poetry and Prose, ed. Jost Hermand and
Robert C. Holub (New York: Continuum, 1982) 84-95.
26. See Greenblatt, Marvellous Possessions, 184-91.
27. Compare the railway strike leader Bakayoko negotiating with the French administra-
tors in Sembene Ousmane's Les Bouts de Bois de Dieu; "étant donné que votre ignorance
d'au moins une de nos langues est un handicap pour vous, nous emploierons le français,
c'est une question de politesse. Mais c'est une politesse qui n'aura qu'un temps" (Paris: Le
Livre contemporain, 1960) 277. For general considerations on the use of an official lan-
guage as an instrument of power, see Pierre Bourdieu, "The Production and Reproduction
of Legitimate Language," in Bourdieu, Language and Symbolic Power (Cambridge: Harvard
UP, 1991) 43-65.
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380 COMPARATIVE LITERATURE STUDIES
ARIEL
Je vous ai obéi, mais pourquoi le cacher, la mort au coeur. C'était pitié de voir sombrer
ce grand vaisseau plein de vie.
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CÉSAIRE'S REWORKING OF SHAKESPEARE 381
PROSPERO
Allons bon! Ta crise! C'est toujours comme ça avec les intellectuals! . . . Ecoute
une fois pour toutes. J'ai une oeuvre à faire, et je ne regarderai pas aux moyens!
(1.2.22-23)
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