The Role of Slavery in 'Oroonoko'. Aphra Behns Oroonoko, published in the late 1600s, was undoubtedly progressive for its time. Not only is the story written by a woman and incorporates some traces of feminism (i.e. Imoinda is depicted as a fearles

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Veronica Gorlovsky

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Professor Dulgarian

June 7, 2011

Analyzing Oroonoko: An Anti-Slavery Text?

Aphra Behn's Oroonoko, published in the late 1600s, was undoubtedly progressive for its time. Not only is the story written by a woman and incorporates some traces of feminism (i.e. Imoinda is depicted as a fearless woman), but most importantly, it deals with issues of slavery, depicting a royal and noble African prince taken captive. Although Behn's work may be perceived as an abolitionist narrative, in my opinion, Oroonoko is far from an anti-slavery text. In introducing the text, the editor, Catherine Gallagher states: "In Oroonoko, slavery is portrayed as a practical, economic matter..." (p 16). In fact, it seems that the narrator of the story, who is arguably based on Behn herself, does not oppose the institution of slavery itself but instead is appalled at the British slave traders' and plantation owners' brutality toward the slaves, specifically towards Oroonoko, heir to the throne of Coramantien. A modern-day understanding of racism complicates any scrutiny of the story. Gallagher affirms that "Oroonoko's narrator assumes that she must overcome her readers' biases, especially their refusal to believe that Africans could be truly heroic, and yet many of her efforts themselves now strike us as racist" (p 15). This predicament is evident throughout the piece, as the narrator's respect for Oroonoko is undermined by her lack of concern for common slaves and by themes of European superiority.

As the narrator initially describes Oroonoko, her Eurocentric values become apparent. Much emphasis is placed on Oroonoko's education and appearance, deliberately distinguishing him from other slaves and making him valuable based on European ideals. With English readers in mind, Behn describes Oroonoko in a favorable, even glorified, manner so that these readers can acknowledge him as a heroic prince. For example, Oroonoko has a French tutor to educate him in all areas, from science to etiquette. The narrator is clearly impressed by his title and his knowledge of European customs as she states: "He had nothing of Barbarity in his Nature, but in all Points address'd himself, as if his Education had been in some European Court" (p 43). Here, one can already get the sense that the narrator views Oroonoko as elite and exceptional, unlike common black people. Her physical description of him further emphasizes this discrepancy: "His face was not of that brown, rusty Black which most of that Nation are, but a perfect Ebony, or polish'd Jett" (p 43). Although this portrayal does, in fact, make Oroonoko's character more accessible to the English readers of the 17th century, it also contributes to the understanding that the story's theme is not anti-slavery. As the story progresses, the reader begins to sympathize with Oroonoko and Imoinda, but since they are not like the majority of their own people and possess more intelligence and beauty (in terms of European values), the reader sees them as the exception to the rule.
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Behn's unmistakable separation between Oroonoko and Imoinda versus the common slave substantiates the idea that the piece is not anti-slavery. Although Oroonoko and Imoinda are enslaved, they are repeatedly portrayed as characters of "quality," while the majority of slaves are depicted as inferior, and, as a result, their plight is rarely described. Behn asserts: "Oroonoko was first seiz'd on, and sold to our Over-seer, who had the first Lot, with seventeen or more [slaves] of all sorts and sizes, but not one of Quality with him" (p 66). There is no further mention of these slaves sold with ...

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