The postcolonial theory focuses on the analysis of the relationships between representatives of “developed civilization” and local colonists. Historically, they were typically unequal and were accompanied by the imposition of norms and values of the dominant nation on “uncivilized” savages. The notion of the superiority of “civilized” people resulted in the acceptability of restriction of rights and exploitation of colonists. According to Ahmed (2018), the basic value that the representatives of anti-colonial movements advocated was the freedom of individuals and whole nations, and these ideas subsequently formed the foundation of postcolonial theory. These problems have been present throughout human history and not just during the European colonial era. Heart of Darkness and The Tempest describe the events of the nineteenth and seventeenth centuries, respectively, while the plot of The Epic of Gilgamesh takes place long before the common era. At the same time, all these writings raise the issue of the notions of “civilized” and “uncivilized” and the relationships between representatives of both groups, ranging from friendly to exploitative. This paper argues that the authors reveal the relativity of these concepts and argue the inadmissibility of justifying superiority and exploitation.
Superiority of “Civilized”
The superiority of civilization and its representatives is reflected in all three works to some extent. For example, in The Tempest, Prospero actually becomes the governor of the island and the leader of all its inhabitants. Meanwhile, the spirit Ariel serves the rightful Duke of Milan out of gratitude for his salvation, and Caliban is “Prospero’s unwilling servant” (Shakespeare, 2004, p. 4). Thus, the author demonstrates that the characters who came from civilization have the power that they can use in any way in relation to “uncivilized” creatures on the island. At the same time, Prospero does not use this force to inflict suffering on the characters, although Caliban is dissatisfied with the magician’s ruling.
The same opposition is present in The Epic of Gilgamesh. The protagonist is a demigod and ruler, “surpassing all other kings, heroic in stature, brave scion of Uruk” (George, 2000, p. 2). On the contrary, the wild Enkidu is made of clay and lives among savage animals, and “knows not a people, nor even a country” (George, 2000, p. 5). Enkidu is created as a counterbalance to Gilgamesh and is not inferior to him in strength, as evidenced by their fight. However, the benefits of civilization, such as Shamhat the harlot, delicious food, and alcohol, allow Gilgamesh to draw the savage into civilized life. In the ideological sense, Enkidu was defeated because he did not continue to defend the wild animals and did not defeat Gilgamesh, but became his companion.
Unlike other writings, the plot of the Heart of Darkness has no fantastic elements and is based on the authentic experiences of Joseph Conrad. It describes the real colonial relationships between the British Empire and the African natives, where the latter were brutally exploited. At the same time, Conrad remains a loyal citizen of England and finds something “uncivilized” in the savages, describing the strangeness of the thought of his “remote kinship with this wild and passionate uproar” (Conrad, 2002, p. 72). The main character, Captain Marlow, who is much autobiographical, thinks that Europeans are cruel to Africans, although, in the civilizational sense, they are superior.
Relativity of the Labels “Civilized” and “Uncivilized”
The division of people into “civilized” and “uncivilized” is the root of the idea of the acceptability of superiority and, as a consequence, exploitation. This happens because being “civilized” is associated with virtue, although the authors of the mentioned writings disprove this thesis. For instance, in The Tempest, “civilized” Sebastian and Antonio conceived the assassination of King Alonzo, and Prospero says he could expose them “to the king as traitors” (Shakespeare, 2004, p. 87). At the same time, the “uncivilized” Ariel serves and protects Prospero, demonstrating the virtues of loyalty and gratitude. In The Epic of Gilgamesh, Enkidu was created by the goddess to end the oppressive reign of Gilgamesh, “so Uruk may be rested” (George, 2000, p. 5). Thus, the wild “uncivilized” Enkidu was supposed to be the savior of the inhabitants of Uruk, that is, a positive character. “Civilized” Gilgamesh, in this case, acts as a despot, although later, he became friends with Enkidu.
The relativity of the term “civilized” is most clearly demonstrated by Conrad in the Heart of Darkness. Even though some customs and beliefs of savages are unacceptable to Conrad, he condemns the abuse of Europeans against indigenous people, which he calls “greedy without audacity and cruel without courage” (Conrad, 2002, p. 60). Moreover, the story describes a scene with severed “heads on the stakes,” which were part of some wild ritual by which the “civilized” European Kurtz reached power over the natives (Conrad, 2002, p. 119). Thus, the author illustrates that representatives of civilization do not always behave in a virtuous or even socially normal way.
Unacceptability of the Right of Exploitation
All authors are unanimous in their conviction that the exploitation of the “uncivilized” leads to injustice and inequality and has adverse consequences. The mentioned pieces of art are three different versions of this situation. The Epic of Gilgamesh describes a situation in which “civilized” Gilgamesh and “uncivilized” Enkidu, who were supposed to be enemies, became companions. None of them could win the fight with another, and together they performed many feats. Enkidu’s death is a tragic event for Gilgamesh, who claims that “sorrow has entered” his heart (George, 2000, p. 70). Thus, the author demonstrates how a strong friendship was established between an unsociable savage and the “civilized” king of Uruk.
Prospero in Shakespeare’s The Tempest saved Ariel, and the spirit throughout the play was faithful to the legitimate Duke of Milan. At the same time, Caliban served the magician against his will and believed that Prospero had seized the island, which rightfully belongs to him. Eventually, he persuades Stephano and Trinculo to “take revenge on” Prospero and become lords of the island (Shakespeare, 2004, p. 62). Thus, the magician’s friendly approach to the “uncivilized” spirit served him better than exploiting “uncivilized” Caliban.
The most adverse and illustrative example of exploitation is given in the Heart of Darkness by Conrad, ironically based on the real events of the author’s life. Europeans used the involuntary labor of Africans to obtain ivory, which was in high demand and of considerable value on the Western market. Conrad describes how people who were neither criminals nor enemies were brutally exploited and experienced “pain, abandonment and despair” (Conrad, 2002, p. 31). Thus, the civility of these people is significantly questioned, and exploitation is deeply condemned by the author.
Conclusion
It may be concluded that the notions of “civilized” and “uncivilized” have been severely criticized within the framework of postcolonial theory as justifying cruelty and exploitation. The seeming superiority of the civilization representatives is refuted by a number of deeds they perform in both civilized and wild environments. Thus, the exploitation of “uncivilized” people is a deeply negative phenomenon that violates the values of equality and freedom. At the same time, friendly and collaborative relationships lead to an advantageous situation for both parties.
References
Ahmed, S. (2018). Postcolonial theory. In D. H. Richter (Ed.), A companion to literary theory (pp. 261–274). John Wiley & Sons Ltd.
George, A. (Trans.). (2000). The epic of Gilgamesh: A new translation. Penguin Classics.
Shakespeare, W. (2004). The tempest. Saddleback Educational Publishing.
Conrad, J. (2002). Heart of darkness. Planet PDF.