Carefully Constructed Pictures of Nobodies: Shakespeare\u27s and Cesaire\u27s Ariels

Critical scholarship of William Shakespeare\u27s The Tempest and AimŽ CŽsaire\u27s adaptation Une Tempte frequently neglects to examine Ariel\u27s place within colonialist discourse. Ariel\u27s ambiguity in both texts undoubtedly contributes to this unjust marginalization. An understanding of the function of Ariel within the texts is critical in understanding the placement of both plays in colonialist discourse. This thesis proposes a reading of the Ariels that reestablishes their place within the dialogue. Shakespeare\u27s Ariel problematizes views of the colonized as content to live under the domination of the colonizer. Using subversive tactics--principally his invisibility--Ariel disguises himself as unimportant and attains his freedom. Caliban, on the other hand, spends much of the text resisting Prospero\u27s authority, but ultimately convinces himself of the wisdom of his own servitude. In moving from Shakespeare to CŽsaire, it is necessary to examine the place of other discourses in the creation of CŽsaire\u27s adaptation. Just as his mulatto Ariel represents the physical interconnectedness of races, CŽsaire\u27s negritude represents the intermingling of black liberation discourses. CŽsaire\u27s Ariel complicates the idea of an embracement of negritude as the best method by which to gain freedom. Although CŽsaire\u27s portrayal of Caliban illustrates his dissatisfaction with Shakespeare\u27s portrayal of the colonized, CŽsaire\u27s portrayal of Ariel highlights the implications inherent in the original text. My reading of Ariel ultimately suggests that he, by virtue of his ambiguity, is similar to The Tempest--open to any number of readings