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The first-generation Romantics developed an existing topos in a way that manifests great tension with regard to a polite audience and its likely social position. They also developed an existing poetic genre in a similar way. Coleridge's and Wordsworth's Lyrical Ballads have often been put in the context of domestic radicalism. Wordsworth's claim to be speaking the real language of rural labourers made poetic style an issue in the politics of culture. The poems challenged, in form and diction as well as subject-matter, the values by which the governing classes legitimized their power. Yet whilst this challenge has been clearly understood, it is still too often assumed that Wordsworth and Coleridge derived their lyrical ballads from the folk ballad, which Percy's Reliques had revived.[40] It is arguable, however, that Cowper's popular 'The Negro's Complaint' (1788) was just as relevant an influence, as well as a more recent one. In this poem, written in response to the request of John Newton for
popular verse in support of abolition, Cowper presented the voice of a slave in deliberately simple form and diction. He thereby rendered his enslaved African a victim whose brutal exploitation had not destroyed his innocence. That innocence both demands compassion from the reader and assures him/her that the slave is not a violent - or savage - threat. It allows the slave to question the colonialist's hypocrisy without alienating the reader in the colonizing nation:
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Is there, as ye sometimes tell us,
Is there one who reigns on high?
Has he bid you buy and sell us,
Speaking from his throne the sky?
Ask him, if your knotted scourges,
Matches, blood-extorting screws,
Are the means which duty urges
Agents of his will to use? |
Having gained the readers' compassion and appealed to their religious conscience, Cowper's Negro is able to overturn their racist assumption of moral superiority:
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Deem our nation brutes no longer
Till some reason ye shall find
Worthier of regard and stronger
Than the colour of our kind.
Slaves of gold, whose sordid dealings
Tarnish all your boasted pow'rs,
Prove that you have human feelings,
Ere you proudly question ours![41] |
Here, as in Blake's Songs of Innocence and in Lyrical Ballads, the innocence of the voice and simplicity of the style lull the readers, allowing a challenge to their prejudices to succeed because it is unexpected. The Negro's complaint becomes an inquisition, the slave, first victim, and then, interrogator. In an age when Reason, as Cora Kaplan has argued, was 'marked from the beginning by exclusions of gender, race, and class',[42] Cowper's attribution of powers of rational enquiry to the Negro is exceptional. Of course, Cowper's Negro is characterized in terms of the debate of the time. 'Fleecy locks and black complexion / Cannot forfeit nature's claim' defensively concedes the point made by racists such as Edward Long that the African's physical features should be read as animalistic.[43]
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William Blake's awareness of the slavery issue and his verbal and visual representations of it have been well discussed by David Erdman.[46] As well as 'The Little Black Boy', Blake also produced his illuminated poem Visions of the Daughters of Albion in 1793, making explicit the connection between racial and gender oppressions. It has been argued that Blake elaborated Mary Wollstonecraft's questioning conflation of the issue of race and slavery in her A Vindication of the Rights of Woman (1792). Wollstonecraft, commenting on the racial and gender exclusions of 'Reason' had asked:
Is sugar always to be produced by vital blood? Is one half of the human species, like the poor African slaves, to be subjected to prejudices that brutalize them, when principles would be a surer guard, only to sweeten the cup of man? Is not this indirectly to deny woman reason?[47]
Blake elaborates on the psychology of the colonialist Theotormon's own mental oppression and on his oppression of both woman and African in the person of Oothoon who is the victim of colonial and sexual violence. Erdman argued that Blake's Theotormon functioned as a critique of John Gabriel Stedman who, in 1796, published his A Narrative, of a Five Years' Expedition, against the Revolted Negroes of Surinam, in Guiana, on the Wild Coast of South America; from the year 1772 to 1777. Blake produced, at Joseph Johnson's behest, around fourteen plates for Stedman's Narrative between 1792 and 1793, the time of his etching of Visions of the Daughters of Albion.[48] Erdman claimed that the momentum of the poem is
. . . supplied by the oratory of Oothoon, a female slave, free in spirit but physically bound; Bromion, the slave-driver who owns her and has raped her to increase her market value; and Theotormon, her jealous but inhibited lover who fails to recognize her divine humanity . . . the frustrated lover . . . being analogous to the wavering abolitionist who cannot bring himself openly to condemn slavery although he deplores the trade.[49]
Erdman's historicization of Visions is convincing in locating the poem as a response to the debate about the slave revolt in St Domingue (Blake's 'vales of Leutha'). Blake's slaver certainly repeats Said's later explication of the cliches of Africanist discourse in his proprietorial claim:
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Stamped with my signet are the swarthy children of the sun;
They are obedient, they resist not, they obey the scourge;
Their daughters worship terrors and obey the violent.[50] |
Erdman's historical insights into the revolutionary potential of Visions have, however, been problematized in Steven Vine's recent account of the occlusions made by the poem, an account which 'maps the struggle of the poem to expose structures of sexual and colonial enslavement in the name of visionary Enlightenment' yet also shows how, 'while affirming its radical potential', Blake's language 'dramatizes the historical and ideological uncertainty of its own limitations'.[51] Certainly Blake had a tendency to subordinate issues of race and gender to the dictates of his own highly-developed symbolic structures, so much so that in The Song of Los (c. 1795) skin colour is a sign of the fall into materialism and rationalism:
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Adam shuddered; Noah faded. Black grew the sunny African,
When Rintrah gave abstract philosophy to Brahma in the East.[52] |
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