Journal of Positive School Psychology http://journalppw.

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2022, Vol. 6, No. 3, 10307-10313

Aspects Of Jungian Psychology: A Study Of Derek Walcott’s Dream

On Monkey Mountain
Dr. Meenu Kumari

Assistant Professor of English, Govt. P.G Nehru College, Jhajjar, Haryana, India
Email: [email protected]

Abstract:
The evident connotation of the term post-colonial is that it attributes to an era coming after the end of
colonialism. The remnants of colonialism can still be perceived in the postcolonial period, for colonialism
unleashed an immense wound on the psychology, culture and identity of the once conquered people. The
current situation of once colonized people is attributed to colonialism which has accorded a set of problems
including identity crisis, displacement and mimicry. In this social turmoil the oppressed have lost their
native selves. The present article focuses only on the concept of "dream," and the present article, which
acknowledges and reflects on some of the main relevant interpretations (all about dreams), tends to add that
the identity, and thus the destiny, of a (colonized) nation is also shaped by its collective unconscious which
belongs to the psychic heritage of all members of the human family.

Keywords: Post-Colonial, Psychic Heritage, Identity.

Content: emerged as an important branch of literary

studies. After the publication of Edward Said’s
Like Freud, Jung viewed the psyche as consisting Orientalism (1978), it became a matter of great
of a number of separate but interacting systems. interest to view critically how the Western
The three most important of these were the ego, literary discourse describes the non-European
the personal unconscious, and the collective cultures and their natives. A brutal kind of
unconscious. According to Jung, the ego misrepresentation has been underlined in
represents the conscious mind, as it comprises the categorizing the native, to use Hasting’s words,
thoughts, memories, and feelings of which a “as an alien ‘other,’ not part of the universal
person is aware. The ego is largely responsible for culture of the West” (“Historical”). Hence, a dire
the sense of identity and continuity. Carl Jung's need was felt to re-read critically the classical
foremost contribution to myth criticism is his works of English literature. Many such works like
“theory or racial memory and archetypes.” In Joseph Conrad’s Heart of Darkness (1902) and E.
developing this concept, “Jung expanded Freud's M. Forster’s A Passage to India (1924) have been
theories of the personal unconscious, asserting re-interpreted “as examples of the imperialist
that beneath this is a primeval, collective discourse in English literature” (1). Thus, the
unconscious shared in the psychic inheritance of present scenario of literary studies has undergone
all members of the human family” (Guerin et al., a radical change of emphasis in which most of the
1985, p. 176). J canonical works of English literature are being
After the independence of India, we scrutinized by postcolonial critics. Along with
entered a realm of literary curiosity and critical their literary merits it is also a matter of immense
interest for the critics to survey their imperialist
spectrum. Since then, postcolonial studies has
Dr. Meenu Kumari 10308

inclinations and how these texts have contributed European imperial aggression.
in the justification of imperialist rule. (2)

Dream on Monkey Mountain is one of

Edward Said has underlined in his book the best-known plays of Derek Walcott. Its first
Orientalism (1978) that the entire empire of performance was held in 1967, at the Central
colonialism stood on the ideology of creating Library Theatre in Toronto, Canada. Walcott
hierarchies and their sustenance by making the received an Obie Award after its first
native feel ashamed of its own existence. During performance New York City in 1971. It is a one
the colonial age, the Western world created a of the most performed plays of Walcott, which is
hierarchy which put Westerners at a way more in the form of an allegory, concerning racial and
privileged position to the colonized to separate cultural identity. He here gives voice, to his
the two in order to legitimize their superiority earlier concerns regarding the struggles of
over the colonial subjects. Western colonization Trinidadian peasants. As far as the form of the
was founded upon binary oppositions such as “the play is concerned, Walcott has made some
colonizer and the colonized, the Occidental and significant changes. Here, in a poetic way, he
the Oriental, the civilized and the primitive, the proposes a psychological cultural investigation
scientific and the superstitious, the developed and and the desire for freedom. He follows the same
the underdeveloped” (Prakash, 3). It can be pattern in his other play Ti- Jean and His
inferred from the above statement that the West Brothers. He takes into consideration the issue of
has not only undermined the people and the Caribbean cultural identity and fuses it with a
culture of the colonial countries but has also wide range of cultural inter-texts.
glorified its own mission of imperialism by The opening of the play is with a mime
creating certain stereotypes. which combines dance, movement and song in
order to bring to the foreground its main themes.
Postcolonial discourse usually refers to a Through mime, a lament sung by a storyteller and
mode of resistance against the culture that has chorus is introduced which presents to the readers
colonized the subjects and provided them with a play’s central character, Makak. Thus, before
colonial legacy that they are not able to shake off starting the narrative action of the play, Walcott
completely. The adverse effects of this legacy can creates an oral folk context for the drama.
be seen in the emergence of problems like Thus, the play Dream on Monkey Mountain falls
hybridity, identity-crises, displacement and into the category of dream plays popular during
mimicry. Thus, an attempt can be made to make the twentieth century. This feature of the play
the term “postcolonial” more comprehensive by connects it with similar works written by
referring to the observation of Ashcroft, Griffiths playwrights like the Swedish playwright August
and Tiffin: Strindberg, the Irish dramatist John Millington
The term should be used to cover Synge and Soyinka. Derek Walcott himself
all the culture affected by the defines, “the play is a dream, one that exists as
imperial process from the much in the given minds of its principal
moment of colonization to the characters as in that of its writer, and as such, it is
present day. This is because illogical, derivative, and contradictory. Its source
there is a continuity of is metaphor and it is best treated as a physical
preoccupations throughout the poem with all the subconscious and deliberate
historical process initiated by borrowing of poetry” (Walcott, Dream on
10309 Journal of Positive School Psychology

Monkey Mountain 290). Therefore, it becomes Lord, is this rage for whiteness that does drive
imperative to examine the significance of dreams niggers mad” (Walcott, DOMM 228). Many
in the play which paves way for a better writers have examined the modes in which
understanding of the play. oppressive ideologies destabilize personal
identity and even sometimes lead to madness. It
As in a dream, there is a resistance in the seems ironic that the source of ‘back-to-Africa’
play to description and interpretation and thus it idea originates from a white person.
is replete with multiple meanings for different Makak’s journey is not a single whole
readers. The narrative of the plays features rather it bears the echoes of some legendary
Makak who is an old black charcoal burner. He leaders. The echoes of Haile Selasse can be
comes to town and gets drunk. Corporal Lestrade, noticed in the character of Makak: he is compared
who is a mulatto guard and is the custodian of law to the Lion of Abyssinia and who is claimed to be
and order at that time, arrests Makak and takes answerable only to God. Emperor Haile
him to prison. The play has a dream scene of a Selassie’s complete name was “His Imperial
mock trial in which Makak is being accused by Majesty Haile Selassie I, Conquering Lion of the
Lestrade for getting drunk and damaging the Tribe of Judah, King of Kings and Elect of God”.
premises of a local salesperson. Moreover, in These days the followers of the Rastafari
another dream series, Makak is shown as the movement consider Haile Selassie I as God
crowned king in the exotic land of Africa with his incarnate. This Rastafari Movement belonged to
wives, his warriors, and the masks of pagan gods. Jamaica where in the 1930s “back to Africa”
There is also another mock trial in which many movement under the influence of Marcus Garvey
renowned Western personalities like Plato, became popular. There Haile Selassie I is hailed
Aristotle, Shakespeare, Ptolemy, and Dante are as the Black Messiah who can lead the natives of
charged for neglecting other races and sentenced Africa and the African Diaspora to freedom. A
to death by African tribes. In this way, Lestrade comparison can also be drawn between Makak
pays his tribute to the western world. He proudly and Christ. Some similar incidents join them
shares his black inheritance and declares his together like two robbers follow him in prison,
loyalty to Makak. Thus Makak is set free from his and on Easter Sunday he looks forward to
accuses and can go back to his native place with resurrection. Prison cell symbolizes both life and
a strong sense of identity. colonial rule. Moustique is urged by Makak to
Dream on Monkey Mountain can be leave everything and accompany him. Even the
described as a kind of political allegory of the sick Josephus is cured by Makak who motivates
condition of the blacks both in the postcolonial him to believe. Moustique also tells the peasants
world in general and in the Caribbean in that Makak “breathe resurrection” and he is
particular. Blacks are set off from their roots. “God’s messenger” (Walcott, DOMM 251).
Makak, the central character of the play, is Moreover, the wonder stories related to Makak,
burning with a desire to return back to Africa as a and the doubts people encounter about him, are
part of his dream. It is interesting to note the suggestive of Gospel accounts. In addition to this,
source of the dream. It is described by Makak Makak is accompanied by two thieves both in
himself when he tells about a white woman, who prison and in his escape to Monkey Mountain as
also represents the white mask produced by two Christ on the cross. Souris changes his faith under
other characters of the play, Lestrade and the influence of Makak. Whereas Tigre remains
Moustique. When Makak sees a vision in the outside with his vision of souls tormented in hell,
prison of the white Goddessn, Lestrade says, “My Makak tells Tigre:
Dr. Meenu Kumari 10310

MAKAK. Think, Tigre, money It seems as if the dream in this play

in not what you want. I know primarily belongs both to Makak and to collective
now you cannot reach that ambiance of the entire plot. At the same time as
rainbow weighted like scales Makak’s dream of Africa is presented, Makak has
with your bags of fool’s gold. been shown remembering a dream in which a
(Walcott, DOMM 303-304) white Goddess takes care of him at the same time
Echoes of Gandhi can also be found in the play: when his dream of Africa is presented.
WIFE. They say he is on a long Notwithstanding, he abandons this dream by
walk, going through every harshly cutting the head of the woman with an
village, on his way to the sea, African sword. This sacrifice is a clear expression
looking across to Africa, and that of a strong reaction against a fantasy life which is
when he get there, God will tell miles away from reality.
him what to do. [She sings a In Dream on Monkey Mountain, Walcott
hymn. The others join her, takes the task of interpreting the nature of
working] (Walcott, DOMM Caribbean identity. Colonialism has been a
303-304) crucial factor in damaging the human soul and
The Monkey Mountain where Makak humiliating the lives of the natives of this
lives is mentioned in the Prologue as “volcanic”. particular region. However, it is not productive to
A volcano can be defined as an unpredictable, take flights of fancy as Makak dreams of
hiding violence, and suppressed energies that will regaining his African roots. In the epilogue of the
one day blow it free. Makak’s in his dream echoes play, Makak is left free, whereas Western
these hidden energies and tries to give them form civilization dies a death of sacrifice. Apart from
and substance in such way that neither the this, revenge and hate are insignificant factors to
criminality of Tigre or Souris nor the oppressive Walcott.
mentality of the Corporal can give. Makak The setting of the play is on an unknown
constantly emphasizes that his dream is not only island somewhere in the West Indies. The period
a dream whereas others describe it as a bad is also unspecified. It can be assumed to be
dream. Corporal addresses certain charges similar to the time in which the play was written.
against Makak which clearly include “incitement In the same fashion, the location of the action of
to rebellion” (Walcott, DOMM 224-225). Even the play is both real and imagined. The play
though Makak himself announces that it is “better begins and ends at the same location – the prison
to die, fighting like men, than to hide in this run by Corporal Lestrade – which is the most real
forest,” (Walcott, DOMM 242), Dream on place in the play. There is a strong defense of the
Monkey Mountain does not support revolution in English law done by Lestrade but paradoxically
its confined political sense. The play is a clear the same law is employed to abuse justice when
expression of the central concerns of Walcott’s Lestrade tries to maintain a mechanical
attitude to the political, racial and psychological justification of Makak’s readiness to face the
problems in his postcolonial world. What is trial. Lestrade discourses about the necessity to
Walcott’s perception about colonialism, racism, have a pistol to maintain order. He longs to have
oppression is clearly manifested in the play. someone who can challenge the law and can
According to him, the solution does not lie in contradict him. In Makak’s dream, the action
politics, instead “The future of West Indian begins from his residence on Monkey Mountain
Militancy lies in art” (“What the Twilight Says” to a village road where he cures a sick person and
18). then the action shifts to the public marketplace
10311 Journal of Positive School Psychology

before he could return to the jail. After Makak’s straighten their backbone, and
escaping along with two other black prisoners start walking upright, but there
namely Tigre and Souris he spends time in the was one tribe unfortunately that
forest before going to a most unreal setting where lingered behind, and that was the
he becomes a king. All these changing settings nigger. Now if you apes will
hint towards Makak’s journey which incorporates behave like gentlemen, who
his real existence, which is harsh, to reach self- knows what could happen?
awareness and finally back to a reality where he (Walcott, DOMM 216-217)
becomes a better person. Makak urges the Corporal to set him free
The opening scene of the play is set in a from the prison. He has some hidden money to
prison. The prologue of the play which introduces offer him for his release. Makak has no idea that
us Makak “is itself a ritual, presided over by Souris and Tigre are after his money. They
Lestrade. All present, except the bewildered encourage him to kill the Corporal. Motivated by
Makak, know how to play their roles in it, having them, Makak draws a knife and kills the Corporal.
been taught them by long experience with the But the Corporal astoundingly returns back to life
colonial code” (Breslinl36). What Makak goes and begins to chase Makak for revenge.
through in the prison is an epitome of the mental It can be seen that at the very centre of
tortures caused by colonialism. He is recently Dream on Monkey Mountain is a search for and
arrested for getting drunk and destroying a local acceptance of one’s own identity, as at the
cafe for imagining himself to be the King of beginning of the play when Makak is questioned
Africa. Tigre and Souris attempt to contest by the Corporal Lestrade about his real name, he
Lestrade when he arrests Makak. This infuriates does not know much about himself. Dream on
The corporal and he calls them equal to animals. Monkey Mountain is a powerful critique of “the
Corporal Lestrade, who is a mulatto, becomes a various ways in which racism defines an
representative of the complicity of certain unlivable identity for oppressed people, an
elements that the black community shares with identity that pushes toward madness” (Hogan,
the colonizers. Otherwise, he should stand by the 45). At different instances, Walcott deals with
side of other blacks. He ridicules three black this theme explicitly. For example, he obtains the
prisoners: epigraph for part one from Sartre’s prologue to
CORPORAL. Animals, beasts, Frantz Fanon’s The Wretched of the Earth:
savages, cannibals, niggers, stop because of “always being insulted” the self
turning this place to a stinking becomes “dissociated, and the patient heads for
zoo! (Walcott, DOMM 216) madness” (Walcott, DOMM 211). On the other
He addresses black people a clan of apes: hand, there is a dialogue between the mulatto
CORPORAL. In the beginning Corporal Lestrade and Basil; Lestrade here asks:
was the ape, and the ape had no “My mind, my mind. What’s happened to my
name, so God Call him man. mind?” and Basil replies: “It was never yours,
Now there were various tribes of Lestrade” (Walcott, DOMM 297). It suggests that
the ape, it had gorilla, baboon, his mind never belongs completely to him
orang-outan, chimpanzee, the because it was always affected by the pre-defined
blue-arsed monkey and categories of racism. Similarly, his identity has
marmoset, and God looked at his always been a matter of dispute for it was a
handiwork, and saw that it was definition of him given by others.
good. For some of the apes had
Dr. Meenu Kumari 10312

The dream reaches its climax in the form The final tone of experience
of parody and pantomime in Act Two Scene differentiates Makak and the Corporal. Makak’s
Three known as the ‘Apotheosis scene.’ The experience is acceptance of his original identity
device a dream-within-the-dream has been used but the Corporal’s tune remains the same. As he
in this scene. The Corporal has invoked the was at the beginning, he emerges again as the
statues and they celebrated at the end of the same colonial administrator. What this suggests
previous scene, they begin to appear again. The is that the idea of accepting hybrid origin and
scene is introduced by the Chorus giving it a identity is a matter relevant to all Caribbean
shape of a collective fantasy. In this scene, the people:
Chorus referred as “the tribe” which seems to take CORPORAL. Niggers,
on a communal African identity. Makak is sitting cannibals, savages! Stop turning
on his throne and the Chorus sings and dances in this place into a stinking zoo.
his praise. As Makak’s humility in calling himself Believe me, old man [Unlocking
only a shadow enrich his glorification as the the cell], it have no salvation for
“inventor of history”. On the one hand, Walcott them, and no hope for us.
ridicules Caribbean mimicry of European (Walcott, DOMM 323-324)
standards; on the other hand he makes fun of the Makak ultimately denies accepting the
African Movement. The evidence of it is the mask of the white apparition which is represented
portrayal of Corporal Lestrade who earlier was a by the Corporal. The Corporal’s last realization
staunch defender of “Roman Law” (Walcott, is, “Here is a prison. Our life is a prison.”
Dream 219), and later became an advocate of However, what Makak realizes at the end of the
“tribal law” (Walcott, DOMM 311). play is very different from Corporal. The play
There are many historical Western ends with Felix Hobain’s/Makak’s realization:
personages referred to as “accused” – such as MAKAK. [Turning to them]
Aristotle, Plato, Shakespeare, Ptolemy, Tarzen, God bless you both. Lord, I have
Sir Francis Drake, Sir Cecil Rhodes, and Dante. been washed from shore to
The crime they have all been charged with is said shore, as a tree in the ocean. The
to be their whiteness but in some cases the crime branches of my fingers, the roots
becomes more specific. For instance, both Sir of my feet, could grip nothing,
Cecil Rhodes and Sir Francis Drake are thought but now, God, they have found
to be pro-colonialist of archetypal type. Many ground. Let me be swallowed up
considered Sir Francis Drake a pirate who was in mist again, and let me be
also an English Privateer, navigator, slave trader, forgotten, so that when the mist
and politician in the Elizabethan age. On the other open, men can look up, at some
hand, Sir Cecil Rhodes was considered to be a small clearing with a hut, with a
politician born in Britain who also had business signal of smoke, and say, “
in South Africa. He has a firm faith in colonialism Makak lives there. Makak lives
and became the colonizer of the state of Rhodesia. where he has always lived, in the
This country has been named after him. In fact, dream of his people.’’ Other men
all of the “accused” here in some way or the other will come, other prophets will
have contributed to repress black people. They come, and they will be stoned,
did it either by appropriating their own culture or and mocked, and betrayed, but
excluding the black from official versions of now this old hermit is going back
history or by exploiting them economically. home, back to the beginning, to
10313 Journal of Positive School Psychology

the green beginning of this • Fanon, Frantz. Black Skin, White Masks.
world. Come, Moustique, we Trans. Charles Lam Markmann. New
going home. (Walcott, DOMM York: Grove, 1967. Print.
326) • Guerin, Wilfred L., et al. (1985). A
Thus, Makak’s whole speech, at the end Handbook of Critical Approaches to
of the play, is a powerful critique of the idea of a Literature. 2nd Ed. New York,
return to Africa as for him, the Caribbean land Hagerstown, Philadelphia, San
becomes the real home. He, now, considers it “the Francisco, London: Harper & Row
green beginning of this world”. Publishers.
• Prakash, Gyan, ed. After Colonialism:
Works Cited: Imperial Histories and Postcolonial
Displacements. Princeton: Princeton UP,
• Ashcroft, Bill, Gareth Griffiths, and
1994. Print.
Helen Tiffin. The Empire Writes Back:
• Said, Edward. Orientalism. London:
Theory and Practice in Post-Colonial
Vintage, 1978. Print.
Literatures. London: Routledge, 1989.
• Walcott, Derek. Dream on Monkey
Print.
Mountain and Other Plays. New York:
Farrar, Strause & Giroux, 1970. Print.