One of the things I appreciated about Cesaire’s version of “A Tempest” was his interpretation of Gonzalo. Gonzalo, in the original “Tempest”, was a kind-hearted old man who made sure to do his duty to his king and the princess. He was written as a charming optimist, meant to be lovable by all those who are not active evil-doers. In Cesaire’s “A Tempest”, this view about Gonzalo doesn’t change much – excepting one major point. Gonzalo is still a kind-hearted old man. And yet, in this play, he is explicitly made a white kind-hearted old man, who believes that white skin inherently means superiority. The first sign we see of this is when he’s discussing with the others he is ship-wrecked with about the possibility of the island having inhabitants. He wants to be careful to “civilize” them “properly”; he literally uses the term colonization. And again we see at the end of the play, Gonzalo makes an attempt to “save” Caliban with religion; but Caliban’s rejection of this action “forces” Gonzalo to leave him to the secular arm. This redefining of Gonzalo was, I believe, one of the most poignant parts of the play. It showcases the very dilemma that Ariel and Caliban are trying to force Prospero to face, but for the audience’s perspective. Gonzalo’s “kind actions” are not kind at all; they are a way of controlling those who he considers inferior to himself, under the guise of kindness and “civility.” He represents the white savior complex.<\/p>\n","protected":false},"excerpt":{"rendered":"
One of the things I appreciated about Cesaire’s version of “A Tempest” was his interpretation of Gonzalo. Gonzalo, in the original “Tempest”, was a kind-hearted old man who made sure to do his duty to his king and the princess. He was written as a charming optimist, meant to be lovable by all those who … <\/p>\n