Once you endure past the blatantly misogynistic and racist language that accompanies most European novels written in the 17th century, Oroonoko introduces the surprisingly insightful paradox regarding the simultaneous experience of superiority and powerlessness.
More specifically, the first thing that stands out from Oroonoko is that it is written by a female author, and this fact is not even cleverly concealed with a pseudonym or hidden behind the curtains of anonymity. Rather, the author and narrator Aphra Behn is known for her scandalous and even sexual works in society, and this is one of the selling points of the novel. Nevertheless, as a female writer during the 1600s, despite having extensive knowledge of the world beyond Europe and the unique ability to convey a narrative through words, she repeatedly practices self-effacement and humility throughout the novel to demonstrate to her readers that she is still inferior, rather than equivalent, to her male counterparts. In fact, she dedicates this novel to the noble Lord Gaitland, and praises him in an exaggerated manner to appeal to her audience and conform to the societal standards regarding gender.
Furthermore, this theme of voided authority is echoed within the novel itself as Behn describes the protagonist Oroonoko as both a respected African prince and a mere slave in Surinam, an English colony located in South America. During this time, it was unusual for an African slave to be lauded as the main character of a novel, yet nevertheless, despite Aphra Behn’s heroic depiction of Oroonoko as he tries to lead an insurrection against the plantation owners and escape toward freedom, his efforts are ultimately in vain, as he is mercilessly punished and killed by the European colonists as a horrific example for demonstrating disobedience and agency.
Finally, I wanted to shed light on the female character Imoinda, the lover and eventually impregnated wife of Oroonoko. She is given a relatively one-dimensional character by Behn, and her entire existence revolves around Oroonoko as Imoinda is the sole instrument in progressing his development from docile African to rebellious slave. Yet I believe that by being an invaluable plot device, Aphra Behn is subtly acknowledging Imoinda’s concealed power. She is the singular reason for his ‘coming-of-age,’ and without her, this novel would not exist. In fact this novel, supposedly revolving around the titular character Oroonoko, actually ends on the “the Brave, the Beautiful, and the Constant Imoinda.”
So is Oroonoko a radical abolitionist or feminist piece by any means? Wholeheartedly, no. But it does bring up an interesting dialogue about power and its shrouded nature. Today, as a generation deeply intertwined with activism and doing ‘what’s right,’ it’s increasingly important to realize that we do have power, in fact, more than we recognize. Collectively, our voice matters, and we are heard despite others’ efforts to dismiss them as illegitimate or ignore them. The world is inherently oppressive, and we will inevitably encounter inertia and resistance to change, but remember, we have power. Black power. Female power. Your power.
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