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This article contends that Aimé Césaire’s Une tempête (an anti-colonialist adaptation of The Tempest), epitomizes translation as interpretation and creative revision. With a striking fidelity to Shakespeare’s play, Césaire engages with the racial and class conflicts intrinsic to The Tempest and gives voice to the occluded colonized and oppressed. Une tempête stands out as a translation through time (the era of black civil rights and African liberation movements), and space (creatively refashioning Shakespearean references into a francophone Caribbean location).
The Tempest is considered as his last writing. And also we come to know that the play was quite different from what normally Shakespearean play is. Atlast in the play we can find the character of a prospero who forgives his brother and also a very significant scene when he was breaking his magic stick. Through that is the different types of play by Shakespeare. We can see the tempest as the play of reconciliation. It was also a very disturbing play in postcoloniality.
The Journal for Early Modern Cultural Studies is the official publication of the Group for Early Modern Cultural Studies and regularly publishes articles and reviews on the cultural history of the early modern period, broadly defined. It provides a venue for exchange between scholars in such traditionally diverse fields as sociology and anthropology; history, economics, and political science; philology and literary criticism; art history and iconology; and African, American, European, and Asian studies. By extending its boundaries in the direction of cultural theory, gender studies, colonial and postcolonial studies, and postmodernism, JEMCS challenges the boundaries that separate such traditional scholarly disciplines while also bringing those disciplines into contact with each other.
This meeting however is meant to reconcile their differences and bring his plan to a close. Alonso restores Prospero's dukedom during their meeting and in turn learns of his son's survival and betrothal to Miranda. He more or less calls out Antonio for the traitor that he is but forgives him nonetheless. The play itself ends with Prospero appealing to the audience to release him from the island through applause. Aime Cesaire's A Tempest is a politicized take on Shakespeare's play created during the late sixties, a time of great social change. It is really a "post-colonial response to The Tempest" and as such deals much more with the story from the point of view of Caliban and Ariel. In this version Caliban is a black slave and the spirit Ariel is represented as a mulatto slave. This version more or less follows the same story however there are other differences from the play which influenced it. The dialogue on Caliban's part is much harsher and more frequent. In saying "I'll impale you! And on a stake that you've sharpened yourself! You'll have impaled yourself!” Caliban's aggression and hate towards Prospero is a bit more evident. There are clear lines drawn between characters based on race and even the formerly neutral Gonzalo is condescending towards what he views as a rebellious Caliban obviously in need of Christianity. Caliban's race and subsequent treatment as a result of is quite obvious and the same with Ariel in his role as the willing servant. Better treated but still a captive, Cesaire's decision to make him a mulatto slave was probably an obvious one as they are traditionally viewed as better treated.
That’s make our idea clear of colonization and with the concept of superiority. However, this play is substance of discussion. And Aime Cesaire give impact on the play and as flourishing the play he explaining with expanding his idea or realism too. After all by looking all the perspective and give nutshell views my attempt of this paper is justified.
Works Cited :-
Cesaire, Aime. A Tempest. Trans. Richard Miller. une Ternpêteby Editions du seuil, paris, France, n.d.
"Books and Writers." kirjasto. <http://www.kirjasto.sci.fi/cesaire.htm>.
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