Оroonoko: Корольдік құлдың тарихы

Work of fiction, published in 1688

Oroonoko: or, the Royal Slave is a work of prose fiction by Aphra Behn (1640–1689), published in 1688 by William Canning and reissued with two other fictions later that year. It was also adapted into a play. The eponymous hero is an African prince from Coramantien who is tricked into slavery and sold to European colonists in Surinam where he meets the narrator. Behn's text is a first person account of Oroonoko's life, love, rebellion, and execution. Behn, often cited as the first known professional female writer, was a successful playwright, poet, translator and essayist. She began writing prose fiction in the 1680s, probably in response to the consolidation of theatres that led to a reduced need for new plays. Published less than a year before she died, Oroonoko is sometimes described as one of the first novels in English. Interest in Oroonoko has increased since the 1970s, with critics arguing that Behn is the foremother of British female writers, and that Oroonoko is a crucial text in the history of the novel. The novel's success was jump started by a popular 1695 theatrical adaptation by Thomas Southerne, which ran regularly on the British stage throughout the 17th and 18th centuries.

Oroonoko: or, the Royal Slave is a relatively short novel set in a narrative frame. The narrator opens with an account of the colony of Surinam and its inhabitants. Within this is a historical tale concerning the Coramantien grandson of an African king, Prince Oroonoko. At a very young age Prince Oroonoko was trained for battle, becoming an expert captain by the age of seventeen. During a battle the best general sacrifices himself for the Prince by taking an arrow for him. In sight of this event, the Prince takes the place of General. Oroonoko decides to honorably visit the daughter of the deceased general to offer the "Trophies of her Father's Victories", but he immediately falls in love with Imoinda and later asks for her hand in marriage. The king hears Imoinda described as the most beautiful and charming in the land, and he also falls in love. Despite his Intelligence saying she had been claimed by Oroonoko, the king gives Imoinda the royal veil, thus forcing her to become one of his wives, even though she is already promised to Oroonoko. Imoinda unwillingly, but dutifully, enters the king's harem (the Otan), and Oroonoko is comforted by his assumption that the king is too old to ravish her. Over time the Prince plans a tryst with the help of the sympathetic Onahal (one of the king's wives) and Aboan (a friend to the prince). The Prince and Imoinda are reunited for a short time and consummate their marriage, but they are eventually discovered. Imoinda and Onahal are punished for their actions by being sold as slaves. The king's guilt, however, leads him to lie to Oroonoko that Imoinda has instead been executed, since death was thought to be better than slavery. The Prince grieves. Later, after winning another tribal war, Oroonoko and his men visit a European slave trader on his ship and are tricked and shackled after drinking. The slave trader plans to sell the Prince and his men as slaves and carries them to Surinam in the West Indies. Oroonoko is purchased by a Cornish man named Trefry, but given special treatment due to his education and ability to speak French and English (which he learned from his own French mentor). Trefry mentions that he came to own a most beautiful enslaved woman and had to stop himself from raping her. Unbeknownst to Oroonoko, Trefry is speaking of Imoinda who is at the same plantation. The two lovers are reunited under the slave names of Caesar and Clemene. The narrator and Trefry continue to treat the hero as an honored guest. The narrator recounts various entertaining episodes, including reading, hunting, visiting native villages, and capturing an electric eel. Oroonoko and Imoinda live as husband and wife in their own slave cottage, and once she becomes pregnant, Oroonoko petitions for their return to the homeland. After being put off with vague promises of the governor's arrival, Oroonoko organizes a slave revolt. The slaves, including Imoinda, fight valiantly, but the majority surrender when deputy governor Byam promises them amnesty. After the surrender, Oroonoko and Tuscan, his second in command, are punished and whipped by their former allies at the command of Byam. To avenge his honor, Oroonoko vows to kill Byam. He worries, however, that to do so would make Imoinda vulnerable to reprisal after his death. The couple both decide that he should kill her, and so Imoinda dies by his hand. Oroonoko hides in the woods to mourn her and grows weaker, becoming unable to complete his revenge. When he is discovered, he decides to show his fearlessness in the face of death. Oroonoko cuts off a piece of his own throat, disembowels himself, and stabs the first man who tries to approach him. Once captured, he is bound to a post. Resigned to his death, Oroonoko asks for a pipe to smoke as Banister has him quartered and dismembered.

The novel is written in a mixture of first and third person, as the narrator relates events in Africa secondhand, and herself witnesses, and participates in, the actions that take place in Surinam. The narrator is a lady who has come to Surinam with her unnamed father, a man intended to be the new lieutenant general of the colony. He, however, dies on the voyage from illness. The narrator and her family are put up in the finest house in the settlement, in accord with their station, and the narrator's experiences of meeting the indigenous peoples and slaves are intermixed with the main plot of Oroonoko and Imoinda. At the conclusion of the narrative, the narrator leaves Surinam for London. Structurally, there are three significant pieces to the narrative, which does not flow in a strictly biographical manner. The novel opens with a statement of veracity, wherein the narrator claims to be writing neither fiction nor pedantic history. She claims to be an eyewitness and to be writing without any embellishment or agenda, relying solely upon real events. A description of Surinam and the Southern American Indians follows. The narrator regards the indigenous peoples as innocent and living in a golden age. Next, she provides the history of Oroonoko in Africa: the betrayal by his grandfather, the captivity of Imoinda, and his capture by the slaver captain. The narrative then returns to Surinam and the present: Oroonoko and Imoinda are reunited, and Oroonoko and Imoinda meet the narrator and Trefry. The final section describes Oroonoko's rebellion and its aftermath.

Oroonoko is now the most studied of Aphra Behn's novels, but it was not immediately successful in her own lifetime. It sold well, but the adaptation for the stage by Thomas Southerne (see below) made the story as popular as it became. Soon after her death, the novel began to be read again, and from that time onward the factual claims made by the novel's narrator, and the factuality of the whole plot of the novel, have been accepted and questioned with greater and lesser credulity. Because Mrs. Behn was not available to correct or confirm any information, early biographers assumed the first person narrator was Aphra Behn speaking for herself and incorporated the novel's claims into their accounts of her life. It is important, however, to recognise that Oroonoko is a work of fiction and that its first person narrator—the protagonist—need be no more factual than Jonathan Swift's first person narrator, ostensibly Gulliver, in Gulliver's Travels, Daniel Defoe's shipwrecked narrator in Robinson Crusoe, or the first person narrator of A Tale of a Tub.

Researchers today cannot say whether or not the narrator of Oroonoko represents Aphra Behn and, if so, tells the truth. Scholars have argued for over a century about whether or not Behn even visited Suriname and, if so, when. On one hand, the narrator reports that she "saw" sheep in the colony, when the settlement had to import meat from Virginia, as sheep, in particular, could not survive there. Also, as Ernest Bernbaum argues in "Mrs. Behn's 'Oroonoko'", everything substantive in Oroonoko could have come from accounts by William Byam and George Warren that were circulating in London in the 1660s. However, as J. A. Ramsaran and Bernard Dhuiq catalogue, Behn provides a great deal of precise local colour and physical description of the colony. Topographical and cultural verisimilitude were not a criterion for readers of novels and plays in Behn's day any more than in Thomas Kyd's, and Behn generally did not bother with attempting to be accurate in her locations in other stories. Her plays have indistinct settings, and she rarely spends time with topographical description in her stories. Secondly, all the Europeans mentioned in Oroonoko were really present in Surinam in the 1660s. Finally, the characterization of the real life people in the novel does follow Behn's own politics; Behn was a lifelong and militant royalist, and her fictions are consistent in portraying virtuous royalists and put upon nobles who are opposed by petty and evil republicans/Parliamentarians. Byam and James Bannister, both actual royalists in the Interregnum, are characterized as malicious, licentious, and sadistic, while George Marten, a Cromwellian republican, is reasonable, open minded, and fair. In the novel, Oroonoko plans to kill Byam and then himself, and this matches a plot that Allin had to kill Lord Willoughby and then commit suicide, for, he said, it was impossible to "possess my own life, when I cannot enjoy it with freedom and honour". He wounded Willoughby and was taken to prison, where he killed himself with an overdose. His body was taken to a pillory,

blockquote|where a Barbicue was erected; his Members cut off, and flung in his face, they had his Bowels burnt under the Barbicue his Head to be cut off, and his Body to be quartered, and when dry barbicued or dry roasted his Head to be stuck on a pole at Parham (Willoughby's residence in Surinam), and his Quarters to be put up at the most eminent places of the Colony. their cases were hopeless, and both slaves, indentured servants, and local inhabitants attacked the settlement. There was no single rebellion, however, that matched what is related in Oroonoko. Further, the character of Oroonoko is physically different from the other slaves by being blacker skinned, having a Roman nose, and having straight hair. The lack of historical record of a mass rebellion, the unlikeliness of the physical description of the character (when Europeans at the time had no clear idea of race or an inheritable set of "racial" characteristics), and the European courtliness of the character suggests that he is most likely invented wholesale. Additionally, the character's name is artificial. There are names in the Yoruba language that are similar, but the African slaves of Surinam were from Ghana. Alternatively, it could be argued that "Oroonoko" is a homophone for the Orinoco River, along which the colony of Surinam was established and it is possible to see the character as an allegorical figure for the mismanaged territory itself. Oroonoko, and the crisis of values of aristocracy, slavery, and worth he represents to the colonists, is emblematic of the new world and colonisation itself: a person like Oroonoko is symptomatic of a place like the Orinoco. The name "Oroonoko" is also associated with tobacco.

According to biographer Janet Todd, Behn did not oppose slavery per se. She accepted the idea that powerful groups would enslave the powerless, and she would have grown up with Oriental tales of "The Turk" taking European slaves. Although it has never been proven that Behn was actually married, the most likely candidate for her husband is Johan Behn, who sailed on The King David from the German imperial free city of Hamburg. This Johan Behn was a slaver whose residence in London later was probably a result of acting as a mercantile cover for Dutch trade with the colony of Suriname under a false flag. One could argue that if Aphra Behn had been opposed to slavery as an institution, it is not very likely that she would have married a slave trader. At the same time, it is fairly clear that she was not happy in marriage, and Oroonoko, written twenty years after the death of her husband, has, among its cast of characters, no one more evil than the slave ship captain who tricks and captures Oroonoko. It can also be argued that Behn's attitude towards slavery can be exemplified through her characteristics of Oroonoko and Imoinda, both characters given significantly positive attributes. Oroonoko was a strong, brave, heroic figure, while Imoinda was beautiful and pure in her ways. The final words of the novel are a slight expiation of the narrator's guilt, but it is for the individual man she mourns and for the individual that she writes a tribute, and she lodges no protest over slavery itself. A natural king could not be enslaved, and, as in the play Behn wrote while in Surinam, The Young King, no land could prosper without a king. Charles II had died in February 1685, and James II came to the throne later in the same year. James's purported Roman Catholicism and his marriage to an avowedly Roman Catholic bride roused the old Parliamentarian forces to speak of rebellion again. This is the atmosphere for the writing of Oroonoko. One of the most notable features of the novel is that Oroonoko insists, over and over again, that a king's word is sacred, that a king must never betray his oaths, and that a measure of a person's worth is the keeping of vows. Given that men who had sworn fealty to James were now casting about for a way of getting a new king, this insistence on fidelity must have struck a chord. Additionally, the novel is fanatically anti Dutch and anti democratic, even if it does, as noted above, praise faithful former republicans like Trefry over faithless former royalists like Byam. In as much as the candidate preferred by the Whig Party for the throne was William of Orange, the novel's stern reminders of Dutch atrocities in Surinam and powerful insistence on the divine and emanate nature of royalty were likely designed to awaken Tory objections. Behn's side would lose the contest, and the Glorious Revolution would end with the Act of Settlement 1701, whereby Protestantism would take precedence over sanguineous processes in the choice of monarch ever after. Indeed, so thoroughly did the Stuart cause fail that readers of Oroonoko may miss the topicality of the novel.

Claims for Oroonoko's being the "first English novel" are difficult to sustain. In addition to the usual problems of defining the novel as a genre, Aphra Behn had written at least one epistolary novel prior to Oroonoko. The epistolary work Love Letters Between a Nobleman and His Sister predates Oroonoko by more than five years. However, Oroonoko is one of the very early novels of the particular sort that possesses a linear plot and follows a biographical model. It is a mixture of theatrical drama, reportage, and biography that is easy to recognise as a novel. Recently (and sporadically in the 20th century) the novel has been seen in the context of 17th century politics and 16th century literature. Janet Todd argues that Behn deeply admired Othello, and identified elements of Othello in the novel. In Behn's longer career, her works center on questions of kingship quite frequently, and Behn herself took a radical philosophical position. Her works question the virtues of noble blood as they assert, repeatedly, the mystical strength of kingship and of great leaders. The character of Oroonoko solves Behn's questions by being a natural king and a natural leader, a man who is anointed and personally strong, and he is poised against nobles who have birth but no actual strength.

With Oroonoko, Aphra Behn took on the challenge of blending contemporary literary concerns, which were often separated by genre, into one cohesive work. Restoration literature had three common elements: the New World setting, courtly romance, and the concept of heroic tragedy. John Dryden, a prominent playwright in 1663, co wrote The Indian Queen and wrote the sequel The Indian Emperour. Both plays have the three aspects of Restoration literature, and "Behn was certainly familiar with both plays", influencing her writing as seen in the opening of the tale. Behn takes the Restoration themes and recreates them, bringing originality. One reason Behn may have changed the elements is because Oroonoko was written near the end of the Restoration period. Readers were aware of the theme, so Behn wanted to give them something fresh. Behn changed the New World setting, creating one that readers were unfamiliar with. Challenging her literary abilities even further, Behn recreates the Old World setting. Behn gives readers an exotic world, filling their heads with descriptive details. Behn was the first person to blend new elements with the old Restoration essentials. The New World was set in the contemporary Caribbean, not in Mexico as previous centuries were accustomed to. The New World gave readers knowledge of a foreign place, "a colony in America called Surinam, in the West Indies". Behn paints a picture perfect New World unspoiled by natives—one that contrasts with Dryden's previous work. Behn's New World seems almost utopian as she describes how the people get along: "with these People, we live in perfect Tranquility, and good Understanding, as it behooves us to do." This New World is unique during this period; it is "simultaneously a marvelous prelapsarian paradise and the thoroughly commercialised crossroads of international trade". It seems hard to believe that in such a romantic setting Behn can blend heroic tragedy, yet she accomplishes this effect through the character of Oroonoko. The Old World changes as Behn recreates the trade route back across the Atlantic to Africa, instead of Europe, becoming "the first European author who attempted to render the life lived by sub Saharan African characters on their own continent." Therefore, Behn describes Oroonoko's native beauty as a spectacle of 'beauty so transcending' that surpassed 'all those of his gloomy race'. She completely romanticizes Oroonoko's figure by portraying him as an ideal handsome hero; however due to the color of his skin, his body is still constricted within the limits of exoticism. Oroonoko has all the qualities of an aristocrat, but his ebony skin and country of origin prevent him from being a reputable European citizen. The idea that Behn attempts to present within the work is that the idea of royalty and natural kingship can exist even within a society of slaves. Although Oroonoko himself is a native who later becomes a slave, he possesses the traits of those typically required of a king within a typically civilized society. He is admired and respected by those who follow him, and even in death he keeps his royal dignity intact—as he would rather be executed by his owners than surrender his self respect. Oroonoko's death can be viewed as being unjustified and outrageous as the death of any king would be when caused by those who fall below him, as even though the whites are the ones who enslaved him, they are portrayed as being the ones who are the true animals.

The view of slavery and other forms of forced servitude in Oroonoko is intentionally mixed. While Oroonoko himself is shown as wrongly imprisoned by the whims and cruelty of his European captors, the character himself comes out in direct support of slavery multiple times throughout the text. Slavery is depicted as a natural order of things, the weak overcoming the strong and using these lower people as tools in order to conduct busywork such as manual labor and chores in order to free the betters of society into perusing the more important work that must be done. Oroonoko goes from being a warrior and prominent figure in his society to being captured and turned to slavery at his own expense. Oroonoko is seen as unjustly held in bondage as a singular entity rather than as a moral imperative for the evils of slavery in itself.

Despite having little dialogue in Oroonoko, Imoinda is a multifaceted character; she exhibits both traditionally feminine and masculine traits. On one hand, Imoinda is characterized as submissive and frail, for instance, when she faints into Oroonoko’s arms on two occasions. However, when the slaves make an effort to escape from their masters, Imoinda acts as a heroine and injures one of the slave masters that chased after them.