Voices in the Noises of the Isle”: Marina Warner’s Indigo and Re-Visioning Shakespeare’s The Tempest | ||
| Crossroads: Pharos International Journal of Languages and Translation | ||
| Volume 2, Issue 1, December 2025 PDF (372.85 K) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/cpijlt.2025.460705 | ||
| Author | ||
| Hany Helmy | ||
| Faculty of Arts, Tanta University | ||
| Abstract | ||
| Marina Warner’s Indigo, or, Mapping the Waters (1992) joins the tradition of "writing back" to Shakespeare's The Tempest, but distinguishes itself by moving beyond the well-trodden Manichean division of Prospero/colonizer and Caliban/colonized. This paper argues that Warner’s re-visioning consciously shifts the narrative perspective from Prospero's presiding consciousness to the "noises of the isle"—the voices of the silenced and marginalized. It focuses on her construction of a matriarchal trinity—Sycorax, the original ruler; Ariel, reimagined as an Arawak girl; and a swarthy Miranda—whose intertwined stories, bridged by the Caribbean nanny Serafine, explore the displacements and dislocated identities resulting from British colonialism across the 17th and 20th centuries. Central to Warner's narrative is the concept of hybridity, depicted as a spectrum of colors that challenges rigid binaries. The novel's fairy-tale atmosphere is intentionally deployed to "speak for hope against despair," an emancipatory wish embodied in the newborn Serafine. However, the paper also critiques this very choice, suggesting that Warner's "magical" resolution to political crises—such as a terrorist coup and the subsequent pro-World Bank governance—risks a romanticization that loosens her grasp on the gritty realities of post-independence politics and neo-colonialism, ultimately jeopardizing her own skeptical historical reading. | ||
| Keywords | ||
| Marina Warner’s Indigo; Shakespeare’s The Tempest; Post-colonialism; Revision; Hybridity; Fairy Tale | ||
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