The Representation of Tricksters in the Works of Charles W. Chesnutt

Fraud, con-man, and wheeler dealer ar all modern day terms to describe the maturate gray character in African American literature know as the cheating. Todays working definition of a cut-up is one who swindles or plays tricks often a mischievous figure in myth or folklore, who typically makes up for somatogenetic weakness through with(predicate) cunning and subversive humor. In African American literature the fictitious character of the deceiver is a reoccurring theme, especially in the time period spanning from authority Civil War to the Harlem Renaissance.During hard workerry and the years that followed the image of a bearded darnel changed from a humorous amoral figure to a cunning and brotherlyly intended icon. Charles W. Chesnutt is a primary example of an author, who faithful employs the darnel motif in umteen of his published works. Traditionally, the role of oilskin often presents itself when in that respect is a powerless group who longs to transcend an o ppressive social order (Jefferies, Schramm 20). In African American literature, the trickster is often depicted as somebody who has the ability to manipulate situations in his/her favor, despite having little or no power.Rhonda B. Jefferies states that the primary goal of the trickster in is social nonconformity by redefining the norms of life and existence in mainstream American society (Jefferies, Schramm 20). Since its origin in West African culture, the trickster figure has evolved from a folklore icon, mainly in the form or various carnals, to an specimen whose behavior is both distant and complex. The tricksters reoccurring appearing in African American folklore, narratives, poems, novels and pop culture is no coincidence.It is the tricksters pursuit of wisdom, cunning or power in an attempt to redefine social order that makes him/her such an attractive icon. The trickster character serves as an inspirational figure for the socially oppressed and has takes on many forms w hen expressed in past and present literature. Many African American folk narrations, especially those from s come inhern United States, include the appearance of a trickster. In Brer Rabbit Tricks Brer disconcert Again, the trickster takes on a classic form of a clever just lazy rabbit.In this tale the rabbit becomes stuck in a well and finagle his way out by convincing the suspicious corn dodger to help him escape. He manipulates the dodger to get into the well low false pretenses. By convincing Brer Fox that there is an abundance of fish he needs help transmitted and transporting out of the well, Brer rabbit was able to leverage an escape, consequentially leaving the fox in his place. It is the rabbits quick wit that makes him a quintessential trickster figure in many folk tales across a number of cultures. However, Brer Rabbit is just one of many moving pictures of a trickster rabbit in folk tales and stories throughout hi tale.A more than modern personation of a rabbit trickster is Looney tunes Bugs bunny. The ways in which Bugs utilizes his physical endurance and subordinatey of disguise to deceive his arch enemy Elmer Fudd is a playful interpretation when compared to those in African American literature and folklore. The desegregation of the trickster in modern culture, whether it be in the form of animal or man, is just one demonstration of the many ways in which this popular character transcends time and culture, to eventually become one of the or so reoccurring archetypes in African American literature.Charles W. Chesnutts relationship with the trickster archetype is almost evident in his collection of short stories with the characterization of Uncle Julius. Uncle Julius appeared in seven of the thirteen short stories that make up Chesnutts The Conjured Women. In the collection of stories, Uncle Julius often conjures up his tales from old folklore, in an attempted to extend or manipulate certain situations to his benefit.The description of Uncle Julius interaction with the John and Annie, the blue white couple interested in buying the grape vineyard Julius inhabits, in the The Goophered grape, is a classic example of Chesnutts employment of the trickster motif. From Uncle Julius outset impression, the earshot is under the impression that Julius presence is to provide theatric and diversion rather than fact or insight. His performance begins with the eating of the scuppernong grapes and ends with his fantastical grudge on the vineyard came to be bewitched.John, the white northern gentlemen interested in buying the vineyard, is instantly skeptical upon meeting Uncle Julius disregard Uncle Julius account by stating At first the current of his memory or imagination- foregathermed somewhat slothful simply as his embarrassment wore off, his language flowed more freely, and the story acquired more perspective and coherence (Chesnutt 607). The use of the word imagination is a sluttish indicator that Uncle Juliu s is believed to be telling fiction. John goes on to further stand up his disbelief when he goes against Uncle Julius suggestion and buys the vineyard, and later makes a considerable win off.John however does take sympathy for the man who had lived and profited off the land and employ him as a coachman. While Uncle Julius is one of Chesnutts more unforgettable characters, he is by no means the precisely representation of the trickster motif in Chesnutts works. Grandison, from The Passing of Grandison is a nonher example of a trickster character from Chesnutts collection entitled The Wife of his offspring and Other Stories of the Color Line. In this story, Grandison is a knuckle down from a orchard in Kentucky, who successfully deceives his senior pilots, Colonel and bastard Owens, on a number of occasions.His first act of trickery is when he is being questioned by his old master by assuring Colonel Owens of his contentment on the plantation and his disgust with the anti-sl avery ideals of northern abolitionist. Colonel Owens intentions were to select a slave his son could bring up north, who had go game up to be resistant to abolitionist ideals and the prospect of turnning away. To Colonel Owens elation, Grandisons answers not only confirmed his view of a mutually benefits of slavery but went above and beyond to demonstrate a conceivably genuine discretion of the resources and lifestyle on the plantation.He went on questioned Grandison about the fairness of his treatment and the forgivingness of his master before promising him a bead necklace for his future married woman and deeming him abolitionist-proof. Although the interaction described was only a brief portion of the story it proves to be a pivotal moment in the plot and affords the audience to assume that Grandison is loyal slave with no intention of running away. But, as we later find out, Grandison was not at all vile to the ideals of abolitionism and in reality aspired to be a free man.He eventually achieves his goal as we see in the very last chapter but not without an unexpected worm Grandison then goes on to successfully deceive his young master, Dick Owens, and forges his homage several times during their travels to New York, Boston, and eventually Canada. Throughout the move around, Dick Owens provides the Grandison with a number of opportunities to escape by leaving him alone on many occasions and supplying him with money that he could easily utilize to run away. at once Dick Owens realizes Grandison too dense to run away, or so he thinks, he silicates the help of local abolitionist, by writing an nonymous letter. However, Grandison securely loyal puts a quickly sidetracks Owens ploy to liberate his fathers slave. Day after day Grandison continues report to his young master each morning and night, leaving Owen to pursue more drastic measures. So, Dick Owens decides to leave Grandison alone for a couple of days, with one hundred dollars to his dispo sal, in a sly attempt to get Grandison to runaway. Upon his return, Dick Owens finds his efforts were unsuccessful, and with much frustration and pain decides to take one last attempt by venturing to Canada, where slaves are free.Nevertheless, Grandison reliably follows his master orders and does not attempt to runaway, despite the fact there are no laws binding Grandison to Dick Owens in Canada. At this point, the young master decides to gives up his efforts and solicits three men to kidnap Grandison. During this exchange Owens escapes and return to Kentucky alone. Dick Owens concludes that Grandison is too ignorant to recognize his opportunity for freedom and goes on to follow the motive behind his attempt at nobility, Charity Lomax.Once again it is not until the final chapter that the audience learns it was Dick Owens and his father who proved to be most ignorant. In the final chapter, Grandison surprisingly returns to the plantation tattered and exhausted from his journey back to Kentucky. He recounts his story of being gagged and dragged to the gloomy depth of a Canadian forest, where he was locked in a hut and given only bread and water. He appeases his curious spectators by ending his story with his grand escape and return to the plantation, all the while never revealing his square(a) motives.It is not until Grandison, along with his new wife, family and friends disappears that his intentions to liberate true intentions are revealed. Once thought to be a model servant, blinded by his regard and loyal dependence, Grandison outsmarts both his masters, by playing into slaveholder stereotypes and common misperception of the south. Grandisons successful escape with family and friends exposes him as the true trickster. Because of his convincing portrayal of an ignorant and content slave, and willful patients he was ultimately able to turn the tables on his masters and end up the victor in an unlikely turn of events.When comparing the presence of the tric kster in The Goophered Grapevine and The Passing of Grandison, there are few parallels between the two stories. The general theme of a southern black man deceiving his white superiors apparent in both, but the similarities stop. The two main stories are vastly different in esteem to how each trickster if portrayed. Because the audience in The Goophered Grapevine is warned very on early on to be wary of Uncle Julius credibility, he is at a disadvantage.However, Grandison has a very different introduction because he first enters under the impression that he is one of the most loyal and trustworthy slave on the plantation. On the one feed, we have Uncle Julius Characterization as suspicious figure throughout the story from beginning to end, and on the other hand there is Grandison, who appears to be a very pious, simple minded slave with no ulterior motives. Another difference between the two stories is that theatricality proves to be Uncle Julius main downfall, while somehow becomin g Grandisons greatest asset.The introduction and characterization, of Uncle Julius and Grandison, manipulates the audience perception and ultimately determines their success in deceiving and manipulating their audience for their own personal benefit. The trickster, whether presented in modern cartoon or in tradition folktale, is an archetype that continues to reappear in art and literature. The classic depiction of a trickster as a rabbit in old folklore and myths while common is not the only form a trickster may take.Overtime and across cultures, the definition of a trickster changes, but not so much so that it unable to provide an entertaining lesson. The ingathering of the trickster to African American writers is the theme of an oppressed group overcoming the challenges of social norms. Charles W. Chesnutt is a prime example of the tricksters mass appeal, in African American literature. By representing the trickster as Uncle Julius and Grandison in The Goophered Grapevine and Th e Passing of Grandison, Chesnutt adds to the long history of the trickster as an icon.Work Cited 1. Chesnutt, Charles W. Literature Of The reconstruction To The New Negro Renaissance, 1865-1919. The Norton Anthology of African American Literature. Ed. Henry L. Gates and Nellie Y. McKay. second ed. New York, Ny W. W. Norton &, 2004. 604-12. Print. 2. Schramm, Susan L. , and Rhonda B. Jeffries. African American Trickster Representations in the Work of Romare Bearden. JSTOR. JSTOR, Sept. 2000. Web. 29 Nov. 2010. http//www. jstor. org/stable/3193835