According to Seamus Deane Essay Example for Free

According to Seamus Deane leavenAccording to Seamus Deane, Translations is a play about the tragedy of English Imperialism. How far would you agree with this statement in relation to both Translations and Heart of Darkness? INTRO Although the location, language and structure of Brian Friels Translations differs unmistakably from that of Joseph Conrads Heart of Darkness, the return of colonisation cadaver central to both.While the supposed sophistication of civilised colonists is deconstructed in Conrads novella to endanger mans common darkness, Friels play deals with the ways in which the consciousness of an entire culture is fractured by the transcription of star landscape (Gaelic, classical and traditional) for another (Anglo-Saxon, progressive and Imperialistic). 1 Friel uses the apparently passive plotting of an Ordnance Survey function to emphasise the loss of indigenous Irish tradition, social history and heritage felt by the natives of County Donegal in Ireland.The translation of the short letter- breaks automatically eliminates the secrets buried within the certain name it distorts rather than restores the ontological nature of the place-name. Friel uses Owen to waylay the Imperialist outlook on standardisation during his battle with Yolland over Tobair Vree He begins a long give-and-take on how Tobair Vree came to acquire its name, identifying a well that once existed nearby and has long since dried up, with Vree an erosion of the Irish Brian.He then asks Yolland do we keep piety with a man long dead, long forgotten, his name eroded beyond recognition, whose trivial little story nobody in the parish remembers? til now as he attempts to demonstrate the invalidity of Tobair Vree as rightful place-name by dint of its seemingly illogical associations, Owen contradicts his own argument. The reality that Owen himself remembers the record behind the name reinstates the fact that as insignificant as this narrative may be to him, it remains t he carrier of history and memories, both public and private.The name not except retells the anecdote which defined Brians Well, simply overly evokes Owens memories of his grandfather. The Irish place-names had developed into historical, cultural and social storehouses through their varied associations and values. The reduction of such ontological knowledge to an epistemological referent through colonial dispossession therefore reduces individuality in an eviction of sorts. 2 The destructive force of English Imperialism is echoed in Conrads Heart of Darkness and is revealed to us through Marlows portraying of the Africans he encounters and the treatment they are subject to.Forced to work under the conditions of European mechanical labour, the natives acquired expressions of the deadly indifference of unhappy savages as they became reduced to nothing but black shadows of disease and starvation. The civilised colonists place the savages in chain gangs, enslaving them eliminating their identities and breaking their spirit as a people. Throughout the entire novel we, the indorser do not learn a single of the Africans names.They are collectively labelled niggers, creatures, rebels, savages, enemies, ants and criminals by the colonisers. Even the individual natives Marlow babbles of remain unnamed, distant and alien. This is exposed through the portrayal of the helmsman although Marlow shared with him a winsome of partnership, he is nevertheless reduced and objectified as merely an instrument. Conrad discloses the dying identity of the Congos indigenous inhabitants through Marlows initial observation of the blind, white flicker which died out slowly in their enormous and vacant eyes. 3 Friel illustrates Imperialisms instal on identity unequivocally in his play through the function of Sarah. My name is Sarah. Unable to speak her own name previously, Sarahs identity finally emerges and begins to flower. Language is demonstrated to be the key to memory identi ty is formulated through language. Through Sarahs speech, a hidden landscape of consciousness has been unlocked by Manus, prompt to be explored.Sarahs name is crucial in her self-definition and identity, just as with the names of places her name encapsulates not single an identity, but also an origin and a lineage. Sarah blurts out Sarah Johnny Sally to Owen when asked her name, thus providing not only her Christian name but in addition those of her parents. Owen does not hesitate to reply Of course From whorl na hAbhann and complete this marker of the clan. He responds furthermore with his own identity, parentage and place of origin Im Owen Owen Hugh Mor.From Baile Beag. Irish names in Translations quickly become linked not only with identification of an entity, but also with the narrative history associated with that identity through lineage and society. While Friel insists that the play is about language and only language, the fact that Sarah is conquerd again by the colo nisers could represent the suppressive and inconsiderate treatment imposed on the Irish people by the English Imperialists, denying them their freedom of expression and thus their right to an identity.4 Conrad mirrors Sarahs silence and consequent absence of identity in Heart of Darkness through his creation of Kurtzs mistress who although describe as superb, wild-eyed and magnificent in her deliberate progress, reveals the suffering she has endured under colonial domination through her visibly wild sorrow and fear of some struggling, half-shaped resolve. Her formidable silence contrasts wholly with Kurtzs ability to talk.As a musician, politician, poet and humanitarian his inextinguishable gift of noble and lofty expression is equated with political power, thus freehand Kurtz a sense of real presence which is evidently lacking amongst the native Africans who have become disassociated from their past, their origins and their govern over the future. Their only capability in express ing themselves is through their appearance of dumb pain. Exactly like Friels natives, the original inhabitants of the Congo are imprisoned in a linguistic contour which no longer matches the landscape of fact.