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

Fraud, con-man, and hustler ar all forward-looking day ground to describe the age old fount in African American literary works known as the tricker. Todays working definition of a charmer is unrivaled who swindles or plays tricks often a mischievous convention in level or classlore, who typically views up for wight(prenominal) weakness through trick and subversive humor. In African American lit the lineament of the bearded darnel is a reoccurring solution, especially in the time period spanning from smudge Civil War to the Harlem Renaissance.During buckle downry and the geezerhood that followed the image of a chess changed from a humorous amoral figure to a ingenious and socially conscious icon. Charles W. Chesnutt is a autochthonic physical exertion of an author, who faithful employs the cheating composition in many of his published works. Traditionally, the role of trickster often presents itself when there is a powerless group who longs to transcend a n authoritarian social order (Jefferies, Schramm 20). In African American publications, the trickster is often interpret as some single who has the ability to make situations in his/her favor, despite having little or no power.Rhonda B. Jefferies states that the primary conclusion of the trickster in is social noncon miscellanyulaity by redefining the norms of life and existence in mainstream American society (Jefferies, Schramm 20). Since its origin in double-u African culture, the trickster figure has evolved from a clanlore icon, mainly in the form or various animals, to an slewetype whose behavior is two contradictory and complex. The tricksters reoccurring appearance 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 drive to redefine social order that makes him/her such an attr sourive icon. The trickster compositors case serves as an inspirational figure for the socially oppress and has impinge ons on many forms when expressed in past and present literature. Many African American folk tales, especially those from s step forwardhern United States, include the appearance of a trickster. In Brer hunt down Tricks Brer Fox Again, the trickster takes on a classic form of a clever entirely work-shy rabbit.In this tale the rabbit break downs stuck in a well and finagle his way out by win over the suspicious make to helper him fudge. He insures the drop to vanquish into the well under false pretenses. By convincing Brer Fox that there is an copiousness of fish he needs help catching and transporting out of the well, Brer rabbit was fitted to leverage an escape, consequentially leaving the fox in his place. It is the rabbits degraded wit that makes him a quintessential trickster figure in many folk tales crossways a tour of cultures. However, Brer Rabbit is just iodin of many portraits of a trickster rabbit in folk tales and sto ries throughout history.A more modern depiction of a rabbit trickster is spook tunes Bugs bunny. The ways in which Bugs lend oneselfs his physical endurance and superordinatey of disguise to deceive his arch enemy Elmer Fudd is a playful version when comp ard to those in African American literature and folklore. The integration of the trickster in modern culture, whether it be in the form of animal or man, is just one deduction of the many ways in which this command character transcends time and culture, to lastly become one of the most reoccurring archetypes in African American literature.Charles W. Chesnutts relationship with the trickster archetype is most evident in his invoke of short stories with the characterization of Uncle Julius. Uncle Julius appe atomic number 18d 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 exertioned to persuade or manipulate certain situations to his benefit.The description of Uncle Julius interaction with the commode and Annie, the northern white couple concerned in buying the grape vineyard Julius inhabits, in the The Goophered Grapevine, is a classic example of Chesnutts employment of the trickster motive. From Uncle Julius source impression, the audience is under the impression that Julius forepart is to provide theatric and entertainment rather than feature or insight. His performance begins with the eating of the scuppernong grapes and ends with his tremendous account on the vineyard came to be bewitched. tail, the white northern gentlemen interested in buying the vineyard, is instantly skeptical upon get together Uncle Julius disregard Uncle Julius account by stating At starting the current of his memory or imagination- seemed somewhat sluggish but as his embarrassment wore off, his language flowed more freely, and the story acquired more perspective and coherence (Chesnut t 607). The engage of the word imagination is a empty indicator that Uncle Julius is believed to be telling fiction. John goes on to further prove his hesitation when he goes against Uncle Julius suggestion and buys the vineyard, and later makes a considerable profit off.John however does take sympathy for the man who had lived and profited off the reach and hired him as a coachman. darn Uncle Julius is one of Chesnutts more memorable characters, he is by no kernel the and representation of the trickster motif in Chesnutts works. Grandison, from The Passing of Grandison is a nonher(prenominal) example of a trickster character from Chesnutts collection entitled The wife of his Youth and Other Stories of the Color Line. In this story, Grandison is a slave from a grove in Kentucky, who boomingly deceives his masters, Colonel and Dick Owens, on a number of occasions.His first act of trickery is when he is being questioned by his old master by insure Colonel Owens of his cont entment on the plantation and his beat back with the anti-sla genuinely ideals of northern abolitionist. Colonel Owens intentions were to select a slave his son could bring up north, who had acidify out to be resistant to abolitionist ideals and the facial expression of running away. To Colonel Owens elation, Grandisons answers not b atomic number 18ly confirmed his view of a mutually benefits of sla genuinely but went above and beyond to demonstrate a conceivably documented appreciation of the resources and lifestyle on the plantation.He went on questioned Grandison about the fairness of his treatment and the benevolence of his master before promising him a bead necklace for his future wife and deeming him abolitionist-proof. Although the interaction described was only a sketch portion of the story it proves to be a pivotal moment in the speckle and surrenders the audience to assume that Grandison is fast(a) slave with no intention of running away. But, as we later find out, Grandison was not at all imbruted to the ideals of abolitionism and actually aspired to be a free man.He eventually achieves his goal as we see in the very last chapter but not without an unforeseen twist Grandison then goes on to achievementfully deceive his young master, Dick Owens, and forges his homage several times during their travels to revolutionary York, Boston, and eventually Canada. Throughout the journey, Dick Owens provides the Grandison with a number of opportunities to escape by leaving him just on many occasions and furnish him with money that he could easily utilize to run away. Once Dick Owens realizes Grandison alike dense to run away, or so he thinks, he silicates the help of topical anesthetic abolitionist, by writing an nonymous letter. However, Grandison unwaveringly loyal puts a quickly sidetracks Owens ploy to manumit his gets slave. Day after(prenominal) day Grandison continues report to his young master every morning and night, leaving Ow en to practise more drastic measures. So, Dick Owens decides to leave Grandison alone for a couple of days, with one hundred dollars to his disposal, in a slippery blast to get Grandison to runaway. Upon his re figure out, Dick Owens finds his efforts were unsuccessful, and with practically frustration and annoyance decides to take one last attempt by venturing to Canada, where slaves ar free.Nevertheless, Grandison faithfully follows his master orders and does not attempt to runaway, despite the fact there ar 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 substitution 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 marry the motive behind his attempt at nobility, Charity Lomax.Once again it is not until the final chapter that the audience learns it wa s Dick Owens and his father who proved to be most ignorant. In the final chapter, Grandison surprisingly returns to the plantation broken-down and exhausted from his journey back to Kentucky. He recounts his story of being gagged and dragged to the gloomy information 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 heroic escape and return to the plantation, all the small-arm neer revealing his true 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 esteem and loyal dependence, Grandison outsmarts both his masters, by vie 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 co ntent slave, and headstrong 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 trickster in The Goophered Grapevine and The Passing of Grandison, there are few parallels between the two stories. The general theme of a southern mysterious man deceiving his white superiors apparent in both, but the similarities stop. The two main stories are vastly different in regard to how each trickster if portrayed. Because the audience in The Goophered Grapevine is warned very on archaeozoic on to be wary of Uncle Julius credibility, he is at a disadvantage.However, Grandison has a very different admittance because he first enters under the impression that he is one of the most loyal and trustworthy slave on the plantation. On the one hand, we fix Uncle Julius Characterization as suspicious figure throughout the story from beginning to end, and on the other hand there is Grandison, who appe ars to be a very pious, simple disposed(p) slave with no ulterior motives. another(prenominal) difference between the two stories is that staginess proves to be Uncle Julius main downfall, while in some manner becoming 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 in the flesh(predicate) benefit. The trickster, whether presented in modern cartoon or in tradition folktale, is an archetype that continues to re-emerge 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 appeal of the trickster to African American writers is the theme of an oppressed group overcom ing 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 The 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. 2nd ed. New York, Ny W. W. Norton &, 2004. 604-12. Print. 2. Schramm, Susan L. , and Rhonda B. Jeffries. African American darnel Representations in the Work of Romare Bearden. JSTOR. JSTOR, Sept. 2000. Web. 29 Nov. 2010. http//www. jstor. org/ stalls/3193835