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A Cultural Diffusion

In Judith Holland Sarnecki's analysis of Cesaire¶s "The Tempest," Sarnecki

argues that the main purpose of Cesaire¶s spin on the play is to exemplify the power of

creolization as both a form of language and a means to overcome oppression. While this

argument remains the corner stone of her article, Sarnecki later mentions that this use of

Creole by Cesaire -- someone of African descent -- to replace the language of

Shakespeare -- a man looked upon as the figure head example of the English literary

cannon-- can be seen as an allegory for the notion that Creole as a cultural substance is

superior to its predecessor. By this, I believe that while Sarnecki makes a valid claim, her

claim does not expand far enough to suppose that by Cesaire's use of Creole language by

Caliban to "conquer" Prospero, he is alluding to African-American culture overcoming

the white suppression of that time. Numerous examples of this can be seen in both the

way the play ends, as well as various dialogues throughout the play. This does not go to

say that Cesaire is suggesting that African culture is superior, rather, he is implying that

the only means in which American society will improve is by combing African and

American cultures together -- a creolization of culture per say.

Modern critics make the claim that Cesaire does not use Creole or symbolize the

use of creolization in his version of the play, however, through numerous accounts of

dialogue utilizing the ideas of Creole, Cesaire renders these arguments invalid. For

instance, as seen in a conversation between Prospero and Caliban, Caliban says, "Every
time you summon me it reminds me of a basic fact, the fact that you've stolen everything

from me, even my identity! Uhuru!" (Cesaire 20). Later in her article, Sarnecki even

points out this very same quote, thus solidifying the argument. With Caliban¶s addition of

the word "Uhuru," he is combing parts of his native language with that of his oppressor -

or master - a style of language known as Creole. However, while this style and meaning

of Creole remains the focus of her argument, I believe that this analysis of Cesaire's "A

Tempest" can be stretched even further: to include a Creole-submerged culture.

Amid the very beginning of Sarnecki's "Mastering the Masters," she points out a

very important element to be considered throughout the reading: "Aime Cesaire takes

Shakespeare at his word when he rewrites 'The Tempest,' taking on the 'master' in a

political and artistic quest to free himself and his people from the oppression they have

suffered at the hands of their colonizers" (Sarnecki 1). While this interpretation requires

the reader to extrapolate information about Cesaire outside of the novel, it is still a valid

argument. Though it appears that Cesaire is using the Creole form of language in his play

to demonstrate both his mastery of the language as a tool by his characters, the

underlying message to be interpreted is that of political gain by "his people," referring to

other well-educated and well-versed oppressed or former enslaved members of the

black/African community, thus asserting the argument that by the use of Creole as more

than simply a form of language and instead a way of approaching culture assimilation, a

higher standard of life can be achieved. Further, Sarnecki later points out that by making

Caliban a "sorcerer," Cesaire is not only giving the oppressed more power than his or her

overseer, but that this transfer of power can be taken as a literal depiction of what should

occur with the black/African community in obtaining justice and equality:

presented as a witch in Shakespeare's play. The Martinican playwright ironically

juxtaposes 'black magic' to 'white magic,' making Caliban and Prospero equal adversaries

in a clash not only of wits, but of languages and cultures as well" (4).

By making this comparison, Cesaire is asserting that by the two opposing cultures - in

this, one can assume that white-Angelo Saxon and Africans are meant to be combined - a

greater form of cultural superiority can be obtained, one including both sides.

A major contribution to this expansion of Sarnecki's claim can be seen in her

comparison of Cesaire and Shakespeare as one another's "alter egos." Sarnecki is seen

here arguing that Cesaire¶s take on the play is a metaphor for the real life creolization that

he is imposing upon Shakespeare. "What Caliban does to Prospero in Cesaire¶s play

becomes the mirror image of what Cesaire has done to Shakespeare: mastering the

master...Cesaire implicitly makes this comparison, recognizing that the like playwright,

like Prospero, is a kind of magician who uses words to conjure up images to entertain and

mystify spectators" (4). While comparing Prospero to Shakespeare, the logical

connection can be made that Cesaire is comparatively the alter ego of Caliban and thus

the victor when all is said and done. It is more than just a mere coincidence that Cesaire

is well-educated and practices the use of Creole to overcome his oppression and those

who seek to ridicule his use of the French language while his version of Caliban

simultaneously overcomes a very similar oppressive environment by using an almost

identical method: learning then mastering the language of his master to surpass him both

mentally and culturally.

A more contextual approach to the argument that Cesaire uses Creole as a

the novel; furthermore, various character's, as well as what they symbolize, give an

entirely new meaning to the story, thus strengthening Sarnecki's point of view. For

instance, in Cesaire¶s version, it is widely accepted that a clear connection can be made

between Caliban and Malcolm X, as well as comparing Ariel to Martin Luther King Jr.:

"By making Ariel a mulatto, Cesaire reproduces Martinique's racial hierarchy with all of

its inherent tensions. The dialectic between the two is reminiscent as well of the

ideological differences between Malcolm X and Martin Luther King, differences to

which Cesaire was keenly attuned because they reflected many of the ambiguities in his

own position" (6). While before these two characters may have stood for just the basic

form of slavery and obedience that was expected to follow, they now take on the roles of

'heroes,' or simply those seeking to right what has been made wrong. Furthermore, the

fact that these two characters fit so well in comparison to strong activists such as King

and X only strengthens the argument that they is meant to be interpreted as such, thus

alluding to progress in the black community. Having established this metaphor, one can

reasonably assume that Cesaire, as being identified with Malcolm X through a connection

to Caliban is attempting to persuade his audience that a more radical means of obtaining

freedom and liberty should be taken - one that would bring about a creolization of

society, combining the former master's culture and the newly liberated culture. Moreover,

a more precise approach to Cesaire¶s ideology on revolution can be seen in the very title

of his rendition on Shakespeare's play. Sarnecki states that, "Cesaire's initial attack on

Western culture comes in his subtle reworking play's titles. Whereas Shakespeare calls

his play 'The Tempest,' Cesaire names his play more modestly 'Une tempete'...it suggests
that the storms (a common occurrence on the island, not the result of delusional

magician's ravings) are not an end in themselves. Rather, they are part of an ongoing

process that brings about change in the form of destruction and renewal" (5). The keys

phrase from this analysis is "destruction and renewal," which, when applied to the

context of cultural diffusion and assimilation, may stand for the literal concept of

abolishing one idealistic form of culture, and renewing humanity in an even greater one.

While Sarnecki focuses her article on the argument that Cesaire did in-fact utilize

Creole in his play, for a brief moment she opens discussion for the possibility that Cesaire

is implying more than simple language-barrier adaptation. Cesaire indeed uses

Creolization of language and culture in his play, though perhaps this was not his primary

intention. If one were to examine his intentional changes to "The Tempest" through the

appropriate scope, one would discover an underlying message of drastic cultural change

through radical actions. Whereas most will perceive Caliban's struggle for freedom as an

allegory for the power of the spoken word, the true intentions of Cesaire's work will be

noted by the few -- a hope for humanity to achieve cultural creolization.

Cesaire, Aime. R
. New York: TCG Translations, 2002. Print.

Sarnecki, Judith H. "Mastering the Masters." 22 (2004): 276-86.