An Analysis of Oroonoko's Blackness

An Analysis of Oroonoko's Blackness

In her essay "Oroonoko's Blackness," Katherine Gallagher argues that there are three layers to "Oroonoko." These layers are Oroonoko's kingship, the relationship between Oroonoko's blackness and the black ink, and the commodofication of Oroonoko. Gallagher argues that Oroonoko's blackness not only illuminates the text itself but also the author's presence as well. She writes that, "…the gleaming blackness of the eponymous hero corresponds to the narrator's heightened presence."(DeMaria, BL Critical Reader, 88). Therefore, Oroonoko and Behn step into the light because of the black print and the jet-black skin of Behn's hero. In her essay Gallagher makes many assumptions regarding the audience who reads her text. She assumes that the reader has read and studied "The Unfortunate Bride;" knows biographical information about Aphra Behn; possesses knowledge about literary techniques; and knows how the slave trade worked in Africa. Despite these many assumptions made by Gallagher, her argument regarding the contrast of black and light in the text is applicable to the text. Her essay is well argued and is easily applied to the text of "Oroonoko."

Gallagher first assumes that the reader has read other short stories by Behn, namely, "The Unfortunate Bride." Throughout her essay, Katherine Gallagher continually refers to the story. For example, she states that the color of Mooria's skin represents her "dark designs." She then contrasts the notion of blackness in this story with the notion of blackness in "Oroonoko." Gallagher writes that the representation of blackness in "The Unfortunate Bride" is the opposite of the picture given in "Oroonoko." By reading these stories, the reader is able to un...

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...ied this Great Man, worthy of a better Fate, and a more sublime Wit than mine to write his Praise; yet, I hope, the Reputation of my Pen is considerable enough to make his Glorious Name to survive to all ages…."(BL Anthology, 461). Because she is part of the text and the text is illuminated by Oroonoko's "heavenly light," Behn's presence is also illuminated in the text.

The success of Gallagher's essay depends on conditions met by Behn in her work. Regardless of the many assumptions Katherine Gallagher makes in her work, the assumptions do not deplete the value of her words. Because Behn's story is extremely will crafted, Gallagher successfully argues that Oroonoko as well as the presence of Behn herself are illuminated by the blackness of the print and by Oroonoko's skin of "perfect ebony."

Works Cited

British Literature Anthology Edited by Robert Demaria