Contrast The Representation Of Friday In Foe And Robinson Crusoe English Literature Essay

Contrast The Representation Of Friday In Foe And Robinson Crusoe English Literature EssayAccording to G Scott Bishop, it is important to read post-colonial literature in English, and memorise the reactions to the discussion of colonialism held by the English, as they reflect the way our historical actions created the world. Taking the plot of the father of the novel (Judith Hawley, spoken, 7th October 2010), and a novel focussed slightly colonialism, Robinson Crusoe, the post-colonial Foe deconstructs it to expose the lies and injustices that are seen in Robinson Crusoe, but neer challenged. The change in cultural norms, from Britain in 1719 to South Africa in 1986 has been vast, and the challenging differences between the twain novels purported to tell the same story is shocking. The central point of these differences is not, as some would suggest, Susan Barton, the interloper character, and female narrator, but more Friday, a character who is the same crosswise the books, and y et incredibly divergent. Defoe employ Friday to explore themes of religion, sla very and subjugation, all of which were supposed to a natural state of being at that magazine in history, and Coetzee uses him to explore more strongly themes of slavery, black identity, and the voice of the oppressed. In neither book is Friday left simply to be a character, he is instead always used as a device through which the reader give the sack explore other topics.Your master says the slavers cut your tongue out but I have never heard of such a practice Is it the truth that your master cut it out himself and blamed the slavers? (Coetzee, J.M, Foe.)The fact that this question is never answered, and that all attempts to force Friday to snuff it fail drastically leave the reader wondering whether the slavers that captured Friday removed his tongue, or whether that was done by the colonialist Cruso, who felt there was no need of a abundant stock of words, (Coetzee, J.M, Foe). This contrasts vast ly with Defoes Crusoe, who saidI began to keep my journal of which I shall here give you the copy (though in it will be told all these particulars everyplace again) as long as it lasted for having no more ink, I was forced to leave it off.This implies clearly that Defoes Crusoe gave a lot more care and interest to address than Coetzees Cruso. Defoes Crusoe, much as he appreciated journaling in his own style whilst alone, also took pleasure in teaching Friday to speak,In a little time I began to speak to him and teach him to speak to me I as well taught him to say Master and then let him know that was to be my name I likewise taught him to say Yes and No and to know the meaning of them.Defoes Crusoe was certainly concerned with language, but never investigated the language that was Fridays own, erasing Fridays history by naming him, and teaching him English. In this way, he could only voice the thoughts that Crusoe had given him language to speak. This was challenged by the voice less Friday in Coetzees work, a character who literally couldnt speak. In this, it could be argued that Coetzee was asserting that it was not his mightily to give voice to an oppressed black character, and let Friday stand for the victims of apartheid and slavery, where Defoe (due to the beliefs of society at his time) believed that it was right and natural for Crusoe to claim the position of Master to Friday, and to speak for him. auditory modality the voice of the ethnic minorities in both Foe and Robinson Crusoe is important, but so is acknowledging their different racial identities. Friday in Foes work, in standing for the victims of apartheid and slavery, is a black African character he was black, negro, with a head of fuzzy wool (Coetzees Foe), whereas Crusoes Friday, not standing for those causes, is portrayed as being an anglicised version of a Caribbean man, who had all the sugariness and softness of a European in his countenance. This implies that Friday was somehow bett er than the average Caribbean tribesman by dint of looking somewhat European, but at the same time, the first language Crusoe taught him was that he was his master. He was an improvement on the average uncivilized, since his appearance was somewhat European, but still his race left him to be the natural servant of Crusoe. This Friday is very much a dramatic device used to portray Crusoes development as a unearthly man Crusoe began to instruct him Friday in the knowledge of the dead on target God. This allowed Defoe to expand on Crusoes earlier mentions of religion, in his conversion, and in the hegemony of the time, caused Crusoe to be seen as a good and moral character, who treated his slave well, and brought him up to be religious (McInelly Colonialism, the novel and Robinson Crusoe). In Coetzees work, Friday is allowed to be sullen and unpleasant, easy to see, but hard to like, he is created to be the embodiment of all the oppression experienced by a racial group, to only be a ble to take in, never to give out ideas or understanding, to be central to a story he can have no part in. The silence of Coetzees Friday could also be said to reflect the reader, who, like Friday can only react and respond to situations. Katherine Wagner however argues against this, verbalize that criticism and silence are mutually exclusive terms. Coetzees Friday can only be silenced, but Defoes Friday has no room to criticise, and no part in making decisions for Crusoe, because in that time, a slave wouldnt have that option at all, Coetzees Friday can take no part, being unable to speak. His isolation and treatment as sulfur class is made far more visible by his disability, a device Coetzee used to avoid speaking the black voice, as a interior white man, whilst still drawing attention to the plight of slaves.Crusoe, Cruso and Barton were all seen to treat Friday very differently, but all see him as a possession in their own way. Crusoe did this most blatantly, in claiming, nam ing Friday and instructing him to call him Master, with Defoes Friday being portrayed as making signs of subjection, servitude, and submission to Crusoe without even any bidding. This added to the moral message of Robinson Crusoe, because it showed the savage being tamed, and later taught religion. This contrasts strongly with the Cruso created by Coetzee, who was sullen (J M Coetzee, Foe) in his service, who obeyed Cruso, but did not have the childish excitement or comically evince pidgin (Chris Boignes, wooly in a maze of doubtin) portrayed in places by Defoe. Barton also claimed him, in spite of trying to treat him as an individual if Friday is not tap to set free, whose is he (J M Coetzee, Foe), and on some level saw him clearly as her property, forgetting that maybe it was not her right to set him free either. (Chris Boignes, Lost in a maze of doubtin).The representation of Friday in these two texts is vastly different, and one could hardly believe that the two were in fact the same character. With different histories, and different personalities, in fact all both have in common is playing the role of the non-white slave in the text, to serve a literary purpose, in both reflecting the views of wider society towards non-white people, and in showing the development of other characters. This is not to say that either Friday was one-dimensional, in particular Coetzees Friday was multi-dimensional and complex, but more that despite the character complexity, despite his being resistant to being interpreted (Bishop C Scott, J. M. Coetzees Foe), and how central they were, both were created to serve only a purpose.1. Bishop, C. Scott. J. M. Coetzees Foe. World Literature directly 64.1 (1990) 54. Print.http//www.jstor.org/sici?origin=sfxsfxsici=0196-3570(1990)641%3C54JMC%22%3E2.0.CO2-H2. Wagner, KM. Dichter and Dichtung + Foe by Coetzee, John Susan Barton and the truth of autobiography. English studies in Africa 32.1 (1989) 1-11. Print.http//pao.chadwyck.co.u k/articles/displayItem.do?QueryType=articlesResultsID=12B06460CF2F1F413filterSequence=0ItemNumber=1journalID=42733. Joanna Scott. Voice and trajectory An interview with J. M. Coetzee Salmagundi.114/115 (1997) 82.22. Print.http//lion.chadwyck.co.uk/searchFulltext.do?id=R01511343divLevel=0area=abellforward=critref_ft4. Bongie, Chris. Lost in the Maze of Doubtin J. M. Coetzees Foe and the government of (Un)Likeness. Modern Fiction Studies 39.2 (1993) 261-0. Print. http//pao.chadwyck.co.uk/PDF/1286892456412.pdf5. Brett C McInelly. 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