“My soul frets in the shadow of his language”: The Poetics of Decolonization in the Works of W. B. Yeats and Ngũgĩ wa Thiong’o
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Edward Said exemplifies W. B. Yeats as a poet of decolonization in relation to the downfall of imperial domination in Ireland as Yeats revitalizes the Irish heritage with patriotism and nationalism. The similar writing strategy of decolonization is employed by the Kenyan writer Ngũgĩ wa Thiong’o, who writes about the transition from precolonial reality to postcolonial modernity. This essay reads these two national playwrights by examining the poetics of decolonization in theatrical representations. Yeats’s play Cathleen ni Houlihan (1902) depicts the suppressed condition of the Irish peasantry that directly responds to Irish nationalism and decolonization of the Irish mind. In Decolonising the Mind (1986) and other Gikuyu plays, Ngũgĩ examines how cultural imperialism uses the colonialism as a psychological conquest in Africa and beyond. Conceptualizing the African theater as a site for resistance, Ngũgĩ traces the origin of drama in precolonial Kenya and contrasts the Kenyan theater with the British theatrical regime that destroys the indigenous empty space. Both authors stage politics and politicize the stage against British colonialism to bring their own heritage and language to revival. Both highlight the vernacular in theatrical performance while stressing such precious heritage to decolonize the mind of the audience.
Abstract
Edward Said exemplifies W. B. Yeats as a poet of decolonization in relation to the downfall of imperial domination in Ireland as Yeats revitalizes the Irish heritage with patriotism and nationalism. The similar writing strategy of decolonization is employed by the Kenyan writer Ngũgĩ wa Thiong’o, who writes about the transition from precolonial reality to postcolonial modernity. This essay reads these two national playwrights by examining the poetics of decolonization in theatrical representations. Yeats’s play Cathleen ni Houlihan (1902) depicts the suppressed condition of the Irish peasantry that directly responds to Irish nationalism and decolonization of the Irish mind. In Decolonising the Mind (1986) and other Gikuyu plays, Ngũgĩ examines how cultural imperialism uses the colonialism as a psychological conquest in Africa and beyond. Conceptualizing the African theater as a site for resistance, Ngũgĩ traces the origin of drama in precolonial Kenya and contrasts the Kenyan theater with the British theatrical regime that destroys the indigenous empty space. Both authors stage politics and politicize the stage against British colonialism to bring their own heritage and language to revival. Both highlight the vernacular in theatrical performance while stressing such precious heritage to decolonize the mind of the audience.
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