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The interesting narrative of the life of olaudah equiano, or Gustavus Vassa, the african, written by himself, 1791

J.M.W. Turner’s painting, The Slave Ship (1840), representing the Zong Massacre of 1781

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The interesting narrative of the life of olaudah equiano, or Gustavus Vassa, the african, written by himself, 1791. J.M.W. Turner’s painting, The Slave Ship (1840), representing the Zong Massacre of 1781. Solicitor General for England and Wales, Mr. John Lee:. - PowerPoint PPT Presentation

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Page 1: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

The interesting narrative of the life of olaudah equiano, or Gustavus Vassa, the african, written

by himself, 1791

The interesting narrative of the life of olaudah equiano, or Gustavus Vassa, the african, written

by himself, 1791

Page 2: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781
Page 3: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781
Page 4: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781
Page 5: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

J.M.W. Turner’s painting, The Slave Ship (1840), representing the Zong Massacre of 1781

Page 6: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

Solicitor General for England and Wales, Mr. John Lee:

• “What is this claim that human people have been thrown overboard? This is a case of chattels or goods. Blacks are goods and property; it is madness to accuse these well-serving honourable men of murder. They acted out of necessity and in the most appropriate manner for the cause. The late Captain Collingwood acted in the interest of his ship to protect the safety of his crew. To question the judgement of an experienced well-travelled captain held in the highest regard is one of folly, especially when talking of slaves. The case is the same as if wood had been thrown overboard.”

Page 7: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

Cape Coast Castle, Ghana

Page 8: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781
Page 9: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

A citizen of the world

Page 10: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

Interesting Narrative

•How does he challenge the commodification/objectification of African slaves?

•How does he “fashion” himself to readers and for what purpose?

Page 11: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

The interesting narrative of the life of olaudah equiano, or Gustavus Vassa, the african, written

by himself, 1791

The interesting narrative of the life of olaudah equiano, or Gustavus Vassa, the african, written

by himself, 1791

Page 12: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“We are almost a nation of dancers, musicians, and poets” (1216).

“We are almost a nation of dancers, musicians, and poets” (1216).

Page 13: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“Adultery, however, was sometimes punished with slavery or death, a

punishment which I believe is inflicted on it throughout most of the nations of

Africa, so sacred among them is the honor of the marriage bed, and so

jealous are they of the fidelity of their wives” (1215).

“Adultery, however, was sometimes punished with slavery or death, a

punishment which I believe is inflicted on it throughout most of the nations of

Africa, so sacred among them is the honor of the marriage bed, and so

jealous are they of the fidelity of their wives” (1215).

Page 14: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“Those prisoners which were not sold or redeemed, we kept as slaves; but how different was their condition from that

of the slaves in the West Indies!” (1219)

“Those prisoners which were not sold or redeemed, we kept as slaves; but how different was their condition from that

of the slaves in the West Indies!” (1219)

Page 15: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“Does not slavery itself depress the mind, and extinguish all its fire and every noble

sentiment? But above all, what advantages do not a refined people

possess, over those who are rude and uncultivated? Let the polished and haughty european recollect that his ancestors were

once, like the africans, uncivilized, and even barbarous. Did Nature make them

inferior to their sons? and should they too have been made slaves?” (1222)

“Does not slavery itself depress the mind, and extinguish all its fire and every noble

sentiment? But above all, what advantages do not a refined people

possess, over those who are rude and uncultivated? Let the polished and haughty european recollect that his ancestors were

once, like the africans, uncivilized, and even barbarous. Did Nature make them

inferior to their sons? and should they too have been made slaves?” (1222)

Page 16: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“O, ye nominal Christians! Might not an african ask you - Learned you this from your God, who says unto you, do unto all men as you would men should do

unto you?” (1231)

“O, ye nominal Christians! Might not an african ask you - Learned you this from your God, who says unto you, do unto all men as you would men should do

unto you?” (1231)

Page 17: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“For that purpose I have often taken up a book, and have talked to it, and then put my ears to it, when alone, in hopes it would answer me; and I have been very much concerned when I found it

silent” (1235).

“For that purpose I have often taken up a book, and have talked to it, and then put my ears to it, when alone, in hopes it would answer me; and I have been very much concerned when I found it

silent” (1235).

Page 18: J.M.W. Turner’s painting,  The Slave Ship  (1840), representing the Zong Massacre of 1781

“Operations on sea and land, from mutiny to insurrection, made the motley crew the driving force of a revolutionary crisis in the 1760s

and 1770s. Such actions helped to destabilize imperial civil society and push America toward the

world’s first modern colonial war for liberation. ” (212)

“Operations on sea and land, from mutiny to insurrection, made the motley crew the driving force of a revolutionary crisis in the 1760s

and 1770s. Such actions helped to destabilize imperial civil society and push America toward the

world’s first modern colonial war for liberation. ” (212)