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ARIEL'S ETHOS
ON THE MORAL ECONOMY OF CARIBBEAN EXPERIENCE
Holger Henke
Truth is a pathless land, and you cannot approach it by any path whatsoever,
by any religion, by any sect. Truth, being limitless, unconditioned,
unapproachable by any path whatsoever, cannot be organized;
nor should any organization be formed to lead or to coerce people
along any particular path.
-Jiddu Krishnamurti
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34 | HOLGER HENKE
writers. This view will direct the way in which the Shakespearean
figures are deployed as a lens through which I choose to consider
issues pertaining to the moral economy of the Caribbean. Third, the
essay is an attempt to utilize different-sometimes deliberately dis-
jointed-registers of writing with which to map the moral landscape
of Caribbean existence. Since Caribbean existence is circumscribed
by a multiplicity of different discourses, themes, and cultural trad
tions-rationalist-positivist, mythopoetic, Afrocentric, Marxist, and
so on (see, e.g., Trouillot 2002)-rather than to settle for any one of
them, I consider it to be methodologically more appropriate to mov
back and forth between the epistemological registers implied in thes
discourses.
The connection between ethos and ethics throughout this essay
not arbitrary, but reflects the need to consider Caribbean people a
moral persons.1 This is to say that their actions and parameters of
thought should be regarded as a collective attempt of structuring an
making sense of the world in a culturally specific way that facilitat
the emergence of a certain measure of order and predictability
Unlike the moral agent of Kantian and utilitarian theories, the Carib
bean person should be regarded as a culturally embedded individua
and not an abstract "ghost" acting in a cultural vacuum (Hinma
n.d., 1). I intend to advance themes that, for a long time, have lin
gered in the discussions about Caribbean culture and identity b
in the past have been centered on demonstrating the commonaliti
between African or Asian cultures and those of the Caribbean. Whil
I firmly believe that these were utterly necessary in light of the r
quired reconstruction of self- and peoplehood and the budding pro
cesses of nation building, I am equally convinced that we hav
reached a point where it is appropriate to expand the parameters o
these debates in order to arrive at a definition of the Caribbean per
sona sui generis, i.e., without constructing parallel universes. This
attempt is neither denying the persistent validity of cultural herita
nor does it intend at the other extreme to promote a genetic argu
ment.2 However, it is my persuasion that the history, ontological co
ditions, epistemologies, and cosmologies of Caribbean peoples, i
their process of mutual attraction, rejection, and mixing, have creat
a unique intellectual space that has come to inform their habitual
ways of living and moral motivation.
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ARIEL'S ETHOS i 35
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44 1 HOLGER HENKE
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ARIEL'S ETHOS 1 45
ARIEL'S RETURN
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46 | HOLGER HENKE
ARIEL enters stage from the left, still. Looking around in wonderment, he doesn't
seem to find himself where he wanted to be. He leaves the stage to mingle with
the audience. Bob Marley's "Rastaman Chant" is playing from imaginative
loudspeakers between the reader's ears. While walking offstage, Ariel clears his
throat, then begins to speak: Anyone here named Pablo? Pablo Picasso? (No
reply from the audience.) Nobody? (Thinking) Well, anybody here who can
explain the origin of Cubism? (Pauses) Oh, perhaps it is too early to ask.
You're just enjoying 1611, 1838, 1933, 1989, or thereabout! (Loud, impa-
tient) Well, what are you staring at me for, then? Go home, people, the
show is over. Go back to Auschwitz, Bhopal, Chernobyl, Seveso, Soweto,
Gulag, Nagasaki, wherever you come from. (He disappears to the right,
now humming Marley's "Redemption Song.")
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ARIEL'S ETHOS | 47
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48 | HOLGER HENKE
the ideal toward which human selection ascends, the force that wields
life's eternal chisel, effacing from aspiring mankind the clinging ves-
tiges of Caliban, the play's symbol of brutal sensuality. (1988, 31)
His discourse is rooted in the belief that the imagination at its most
intensive strives beyond moral, political, and sexual divisions for an
androgynous wholeness. (56)
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ARIEL'S ETHOS | 49
dreadful riddim in his song?: "Full fadom five thy father lies; / Of his
bones are coral made; / Those are pearls that were his eyes" (1.2.399-
400). There is even clearer evidence that Ariel has Maroon character:
If Ariel is not dubbing to a dub plate, his pied piper stage presence
still conjures up the cosmology of African peoples. He is clearly not of
the same flesh and blood as Prospero, Caliban, or Trinculo. Together
with Prospero he both invokes and revokes a different time experi-
ence: "My charms I'll break, their senses I'll restore, / And they shall
be themselves" (5.1.31-32; see also 3.3). As indicated above, Ariel's
ghostly appearance also carries a morality of its own:
Spirits as a group have more power than men, just as in a physical sense
the lions do. Yet, in some ways men are better off, and the right human
specialists can manipulate or control the spirits as they wish. Men para-
doxically may fear, or dread, the spirits and yet they can drive the same
spirits away or use them to human advantage. (Mbiti 1999, 78)
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50 | HOLGER HENKE
ARIEL: Now, you're still here, bewitcher? Has'd somehow missed thy
last boat home? Backra no longer, much smaller thy frame look'd now.
The golden chain around your paunch is gone, can't stop my time no
more. How doest thou feel this day without thy horsemen, bible, can-
non, bare now and face to face with me alone?
PROSPERO: Oh Ariel, my good spirit. Thy tone speak'd of mistrust, dis-
content even. Thou didst not doubt my commitment ever, to you, the
fair isle we chose to share. Say I am right! Few moments in time I in-
tended just to borrow, to help you, even now, brighten your days, ours.
ARIEL: Hush up now, where is your style, the good taste you once pre-
tended? Like sugar it appears to have dissolved to nothing, sweet van-
ity, foaming on your somersaulting lips. (Frowns) Quite unappetizing!
Speaking of jumps and rolls; did mine eyes not glimpse last night one of
your European companions, jumping on his toes' tips, quite obviously
contrary to the drum 'n' bass's riddim? Quite a sight, I confess
to you. And thou should'st tell the fool that, for the most part, he and
his party have not gotten in their veins what some would call a poly-
rhythm. Not born to be a prodigy to music, the sweetest of all arts;
remember, the waves of air are my domain. Quite obviously, my clumsy
one, no Sly Dunbar, Max Roach, or Elvin Jones yet from your seed
sprang forth.
Thus, or similar, the Bard might have felt compelled to write, had he
been born in the West Indies-and black.
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ARIEL'S ETHOS | 51
But perhaps no one has expressed the need to write back and the
determination to reclaim the moral authority over the destiny of the
Caribbean and its peoples more eloquently and forcefully than Mon-
sieur Cesaire himself:
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52 I HOLGER HENKE
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ARIEL'S ETHOS | 53
in the region show how the peoples of this region have both used and
refused elements of both their "autochthonous" value coordinates
and those imposed by the colonial project. If, as I believe it has, the
imposed colonial moral economy-perpetuated in numerous differ
ing ways in the postcolonial Caribbean-was a conscious attempt
to confuse and corrupt the moral stage on which the colonial and
postcolonial dramas were acted out, a reconfigured moral economy
cannot be gained by choosing between African, Anglo-European,
and-to a lesser extent-Indo-Asian values. Instead, the way forward
appears to be in attempts to "normalize" a deeply creolized economy
of emotions and values.26
And yes, there are definite attempts to unlearn the bi- and tripolari-
ties imposed on the people of the region. Some of these attempts
go beyond the "simple" use of language, text, and spoken word, and
make their statements in the realm of music and the creative arts
(see also Forbes 2001, 66). Others-important for a "social science"
analysis-stay dedicated to the use of words and language, but at the
same time attempt to transcend the inherited materials and re-create
an original language and discourse about Caribbean ethics/ethos.
Foremost, in my mind, is the poetic work of Brathwaite who has
developed, as Bobb puts it, "a style and form that transform the mar-
ginality of the past into a centralizing force" (1998, 46). The key word
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54 | HOLGER HENKE
Kin
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56 i HOLGER HENKE
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ARIEL'S ETHOS | 57
believe that these issues can be avoided, since they may be able to
code-switch through the new options that are evolving. And perhaps
that might even work. But, as mentioned before, something else is
also eroding; the (imperfect) fundamentals of humanism such as
human dignity, inviolability of life, the integrity of the person, and so
on are quite possibly fighting a lost battle against the overwhelming
"tyranny of the possible" implicit in these new life-changing tech-
nologies. Like it or not, these humanist fundamentals have affected
the Caribbean-a creation of European, African, and Asian cultures
-to a great extent. If we are indeed on the verge of becoming our
own project, how will the Caribbean elect to shape itself and its
future? How will its moral economy evolve if humanism's lure is
fading? If hitherto the Caribbean was a hybrid of Europe and Africa
(and, to a lesser extent, parts of Asia and the Near East), what will
be the long-term effects of the possible disappearance of the argu-
ably most substantial influence, the European humanistic system? In
whose image will the Caribbean create itself following these epochal
changes? Will we witness a showdown between-to analogize with
Aristotle's classification of knowledge-an Afro-/Indo-centric mythic
poiesis (as the basis of a new thrust of Caribbean nationalisms) and
a U.S.-inspired quick-buck praxis (i.e., globalization), while the Euro-
humanistic rationalist theoria falls by the wayside? Ariel will have to
be on the move again and can no longer afford the same degree of
"philosophical liming" as in the past.29
Notes
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58 | HOLGER HENKE
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ARIEL'S ETHOS | 59
that Caribbean thought is at different times and for different groups influenced by
a variety of contending cosmologies, ontologies, and epistemologies. Any con-
structive in-depth and prolonged communication between these systems is likely
to encounter implicit or explicit definitional boundaries at which point the dis-
course inherently tends toward a resolution in irony and humor.
11. Yet another important, and often underappreciated, strategy in the
Caribbean context is the marginality suffered by nonconforming individualism
and eccentricity or the more or less real escape of (post)colonial "madness." See,
for example, Henke 1996, 69-71; and Price 1998, 157-217.
12. Despite several attempts to secure a copyright permission for the few
lines that the original version of this article intended to quote from his song, Spar-
row was not willing to produce this permission. The reader is therefore asked to
read the lyrics of the song on-line, where it can be found reproduced at a variety
of locations, e.g., at socanews.com/music/lyrics/melda(obeahwedding).shtml or
at arts.yorku.ca/english/creet/ lyrics.html.
13. Cunumunu is a Trinidadian term for a stupid person. The word is also
known in Jamaica (and possibly other Caribbean countries) and is therefore prob-
ably of West African origin. In Sparrow's song, the term is pronounced with an
"1" in place of the second "n" in cunumunu (koo-noo-mooloo).
14. Mbiti's claim that African society does not know "future" (1999, 16) has
been proven wrong by a number of authors and subsequently intense debates
have developed over the nature of the African concept of time. See, for example,
Beyaraza 2000.
15. The notion of ascetic rationalism was, of course, introduced by Weber
(1973, 380). Since Protestant asceticism is fundamentally opposed to the danger of
a free and hedonistic enjoyment of wealth, the subversive power of liming is eas-
ily discernible. Despite the impression given by Weber, however, we also have
to note that both privacy and the concomitant concept of individualism origi-
nated in the aristocratic classes of feudal Europe. Only gradually, and with the tri-
umph of capitalism, did these concepts become "public goods" in Europe.
16. Although Birth (1999, 130) mentions this aspect, his treatment of it does
not get adequate coverage and is not sufficiently emphasized.
17. Exceptions support this general rule; in the case of Nevis, Abrahams
(1968) mentions that "there is very little community activity or feeling."
18. Other important instances of Caribbean communalism are child shift-
ing, rotating savings and credit associations ("partner" or "susu"), family land,
day-for-day labor, conviviality, and so on.
19. While community plays a strong role in Hinduism, there seems to be a
stronger emphasis on individualism than in traditional African culture and phi-
losophy (see Khan 1996, 6). Community in Hinduism, moreover, seems to tran-
scend anthropocentrism and to suggest a communion with the universe, a less
concrete and more abstract or transcendental form of community.
20. For the aspects of universality and particularity in East Indian commu-
nities in Trinidad, see Schwartz 1964.
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60 | HOLGER HENKE
21. See, for instance, Cesaire's A Tempest (1999), Retamar's Caliban y otros
ensayos (1979), Toumson's Trois Calibans (1981), or the creative oeuvre of George
Lamming, which centers on The Tempest.
22. It is important to note at this point that Brathwaite introduces what he
calls the "Aerial" persona. Aerial functions in his argument as a kind of prototype
Ariel, an Ariel who aspires to, but cannot achieve, becoming his full self. Only in
exceptional cases and for exceptional individuals (e.g., Jamaica's national hero
Sam Sharpe) was the successful entrance "into the Euro-creolizing or ac/cultura-
tive process" made possible (Brathwaite 1977, 59/60). Still, the relationship
Ariel/Aerial is not applied consistently throughout Brathwaite's text. In his Con-
versations with Nathaniel Mackey, Brathwaite describes Ariel as "Prospero's spying
eyes, his communication apparat, police and television aerials" (1999, 188). Ariel
has a similarly (potentially) reactionary role in Retamar's (1988) interpretation.
23. This seems also to be the way Cesaire reads Ariel (see 1999, 20-23).
24. Edouard Glissant has consciously and brilliantly incorporated this as-
pect into his oeuvre. Consider, for example, Glissant's thoughts about the land:
"I am struck by the fate of flowers. The shapeless yielding to the shapely. As if the
land had rejected its 'essence' to concentrate everything in appearance. It can be
seen but not smelt. Also these thoughts on flowers are not a matter of lamenting
a vanished idyll in the past. But it is true that the fragile and fragrant flower
demanded in the past daily care from the community that acted on its own. The
flower without fragrance endures today, is maintained in form only. Perhaps that
is the emblem of our wait? We dream of what we will cultivate in the future, and
we wonder vaguely what the new hybrid that is already being prepared for us
will look like, since in any case we will not rediscover them as they were, the
magnolias of former times" (1989,52). While in the context of the hybrid, ambigu-
ous moral situation of the Caribbean the dream for the flower's fragrance
becomes the dominant register of thought and action, the rampant materialism of
much of the rest of the world appears to rush in a pseudoteleological frenzy from
one invention to the next, from one record to the next, from growth to more
growth, with inner and external peace of woman/man with herself and between
woman/man and nature being as remote as ever before. While much of the
Caribbean is certainly infected by the same bug, it nevertheless seems to run
against its deep inner being. If Novalis's mythic Blue Flower was ever to be
found, it would grow somewhere in the rainforest or along the seashores of the
Caribbean islands.
25. This is also an obvious concern of Scott. See, for example, his introduc-
tion to Refashioning Futures (1999).
26. "Creole" and "creolization" are by no means clear and unambiguous
concepts. Space considerations prevent a problematization of these terms, and
I am using them here simply in order to point to the fundamentally hybrid, inter-
mediary, and multilayered nature of Caribbean social systems. For a more
comprehensive treatment, see Shepherd and Richards (2002), in particular the
excellent chapters by Nigel Bolland and Carolyn Allen.
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ARIEL'S ETHOS 1 61
27. The operative word here is "may." Obviously the debate about whether
what is technologically possible shall also be what is morally allowed is currently
in full swing.
28. I am thinking here in particular about a highly controversial speech in
1998 by the German philosopher Peter Sloterdijk (his "Elmau Lecture"), replies by
Juiirgen Habermas, Robert Spaemann, and subsequent interventions by the Ger-
man chancellor and Bundesprasident, among others (see also Jongen 2001). As far
as I can see, the Sloterdijk lecture is not yet available in English, at least not on the
Internet; however, one source that includes debate about his ideas and more
recent texts can be found at http://www.goethe.de/uk/los/symp/enindex.htm.
29. I am well aware that there are exciting new developments under way
with regard to the development of a Caribbean philosophy, some of which were
alluded to in this text.
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62 | HOLGER HENKE
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