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Essay about Oroonoko, by Aphra Behn

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Aphra Behn’s novel, Oroonoko, gives a very different perspective on a slave narrative. Her characters embody various characteristics not usually given to those genders and races. Imoinda’s character represents both the modern feminist, as well as the subservient and mental characteristics of the typical eighteenth-century English woman. Oroonoko becomes an embodiment of what is normally a white man’s characteristic; he is the noble, princely, and sympathetic character that is not usually attributed to black men in general throughout most novels of slavery. The complete opposite character style is given to the slavers; the English are viewed as the barbaric, cunning, brutal characters that are usually portrayed in opposite and more generous …show more content…

Contrary to the natural and proper place of women within the era, during the mutiny while “the Women and Children seeing their Husbands so treated, being of fearful cowardly Dispositions, […] all run in […] and hung about them, crying out, Yield! Yield! And leave Caesar to their Revenge” (64), to which the other slaves consent, thus abandoning Caesar and Tuscan to the white men’s wrath. Yet, there stands a largely pregnant Imoinda “press[ed] near her Lord, having a Bow and a Quiver full of poisoned Arrows, which she managed with such dexterity, that she wounded several, and shot the Governor in the Shoulder” (64-65). Her slave name is given to be Clemene, yet unlike Oroonoko’s Caesar, Imoinda is rarely referred to as such; she becomes her own person rather than the English slavers property.
Through all the strengths that she conveys, Imoinda is still portrayed as similar to her English counterparts when she supports Oroonoko in all of his decisions, including in his suggestion that he kill her to escape her slavery and possible “ravish[ing]” (71) followed by a painful death. Her support for her own death at his hand is not given from her point of view, she agrees to his justification and not just asks to be killed, but begs for it. She is filled with joy at the idea of his killing her, that “she so tenderly loved, and […] truly ador’d in this” (72). In Imoinda’s eyes her husband is like her deity, that the greatest love is to die by his hand. She willingly lays

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