Oroonoko: Behn As an Agent of Colonialism

Towards the beginning of Oroonoko, Behn paints a detailed picture of the biophysical and cultural features of modern-day Suriname but calls specific attention to the people she encounters:

“Then we trade for feathers, which they order into all shapes, make themselves little short

habits of them, and glorious wreaths for their heads, necks, arms, and legs, whose

tinctures are inconceivable. I had a set of these presented to me, and I gave them to the

King’s Theatre, and it was the dress of the Indian Queen, infinitely admired by persons of

quality, and were inimitable. … We dealt with them with beads of all colours, knives,

axes, pins and needles, which they used only as tools to drill holes with in their ears,

noses and lips, where they hang a great many little things, as long beads, bits of tin, brass

or silver beat thin, and any shining trinket” (10).

Behn’s attraction to the ornate ensembles donned by the Surinam people was striking, particularly the last few sentences in which she is taken by their jewelry and piercings. Moreover, I was intrigued that Behn’s fascination with the feather headdresses she was gifted compelled her to repurpose them as a costume design for the “Indian Queen” in her play, The Widow Ranter. Behn’s inability to see the exaggerated couture of the Surinamese as nothing more than a costume demonstrates the subtle violence of colonialism and can lend itself to even being considered culturally appropriative. The image generated by the LUNA: Folger Digital Image Collection of the “Indian Queen” depicts a woman donned in intricate pearls and a plush feather headdress holding a fan of feathers whilst two slaves, who are wearing slightly less posh feather headwear, are holding the train to her dress and a parasol over her head. Such an image demonstrates the sheer backwardness of colonialism－ how is it that the people who introduced her to such ostentatiousness end up behind her? It is possible Behn did truly appreciate the headdresses and believed she was demonstrating her gratitude by using it as a costume for her play, but intentions do not obscure meaning. In many cultures, elaborate headdresses are worn to demonstrate authority and command respect, so for Behn to find it appropriate to reduce an accessory of such magnitude to a costume is just a small example of the negative impact of colonialism on indigenous culture. Not only does the image of the Indian Queen and her slaves make it difficult to find Behn’s act as culturally appreciative, but also the fact she only finds it of value because it was “infinitely admired by persons [from the King Theatre] of quality” solidifies Behn’s actions as nothing short of parasitic－ indigenous cultures and traditions should not have to be qualified by white persons to be considered valuable.