With reference to different interpretations and the context in which the texts were written,
compare the ways in which writers present the importance of place.
Throughout both the novel Small Island and the play Translations, place is important in
relating the power dynamic between the coloniser and the colonised. This comes from the
domination of the coloniser over the homela�f the colonised. Levy demonstrat�s that
the relationship between the coloniser and the colonised may change in her depiction of the
1948 Windrush emigration. The importance of place in representing the colonial imperative
is significant in both texts.
Place is used in both texts to represent the domination of the coloniser, representing
ownership of vast amounts of land. Friel uses Volland to demonstrate that even the
coloniser is the hapless victim of imperialism, and was simply 'lucky' to 'be here and not in
Bombay'; this demonstrates the expanse of power of 'the British Empire', and the fact that
� 7"J"\.....
places are indistinguishable from one another and meaningless to the coloniser. Both texts
further demonstrate that the colonised do not perceive that they are inferior to England,
where Friel has Hugh say 'we tend to overlook your island'; through the concept of a 'small
island', the power of the coloniser seems to be dismantled �y Levy, as the title of the book�.S
/ '
.
�"t..(:-
..
may be seen to be referring to either Jamaica or England. Although, Levy equally
.. ..
demonstrates the domination of the coloniser when Bernard describes that 'inch by inch
we'd have to go' that it would _be just like 'the Yanks ir:i the pacific- island by island'; the
repetition of the word 'island' demonstrates the slow domination of lands by 'the British �
Empire' and emphasises the slow domination of the coloniser over place, of which Bernard
is just a tool. Similarly, Volland seems to be a tool of 'the British Empire', who actually
demonstrates a sympathy for the Irish land through his.interest in place names and the
story behind 'Tobair Vree'; Lee argues that Volland, 'although sympathetic... is also
, /<'O.S cyjiSable'i, therefore because of Yolland's colonial involvement, he meets his demise at the
end of the play. Levy uses the character of Queenie to implicate the ownership of the
coloniser over its colo�n the prologue, where she refers to 'the Empire Exhibition' which
'housed every country we British owned'. The 'Empire Exhibition' of Wembley park in
. ✓ ' 7h13
London between 1924-5, was thought to evoke 'a great imperial revival'2, therefore
demonstrating the colonial imperative in�- It is clear that Levy is suggesting that the
coloniser is unaware of their appropriation of other cultures and she uses place to make this
/ mJ2-.
a physical concept, where the representation of other cultures in 'the Empire Exhibition' is
as meaningless as other attractions such as at 'Blackpool' or 'the zoo'.
Levy particularly demonstrates the importance of place in developing this idea of cultural
domination by 'the British' through the concept of 'building after building that housed every
'
/
country we British owned' iri 'the Empire Exhibition'; whereas Friel is more subtle in his
�
references to the expanse of 'the British Empire', demonstrating 'the perfect colonial
servant' in the figure of Yolland's father who 'builds ro�hopping from one end of the
empire to another'. The use of the verb 'hopping' suggests that the countries of 'the British
7h) 2..
Empire' are in close-proximity to each other, and th� presence of the imperial troops
�<oJ
are of such ance that they can stretch one leg over several countries as if becoming �)
d7
£'_
one enlarged being. Similarly, by 'housing' the countries which make up 'the British Empire'
in one place, Levy is using place to demonstrate the 'own[ership]' of �lonies by the
J
British, which epitomises the subjugation of countries under British control. Both texts �
emulate the concept shown in the 1892 cartoon of The Rhodes Colossus depicting Cecil.
� �
Rhodes' domination of Africa by having an enlarged being 'striding from Cape Town to
1
Josephine Lee, 'Linguistic Imperialism, the Early Abbey Theatre, and Translations of Brian Friel', quotes in
Scott Boltwood, Brian Friel (London: Palgrave MacMillan, 2018) p. 90.
' Kenneth Walthew, 'The British Empire Exhibition of 1924', History Today, 31.8 (1981), p. 1.
compare the ways in which writers present the importance of place.
Throughout both the novel Small Island and the play Translations, place is important in
relating the power dynamic between the coloniser and the colonised. This comes from the
domination of the coloniser over the homela�f the colonised. Levy demonstrat�s that
the relationship between the coloniser and the colonised may change in her depiction of the
1948 Windrush emigration. The importance of place in representing the colonial imperative
is significant in both texts.
Place is used in both texts to represent the domination of the coloniser, representing
ownership of vast amounts of land. Friel uses Volland to demonstrate that even the
coloniser is the hapless victim of imperialism, and was simply 'lucky' to 'be here and not in
Bombay'; this demonstrates the expanse of power of 'the British Empire', and the fact that
� 7"J"\.....
places are indistinguishable from one another and meaningless to the coloniser. Both texts
further demonstrate that the colonised do not perceive that they are inferior to England,
where Friel has Hugh say 'we tend to overlook your island'; through the concept of a 'small
island', the power of the coloniser seems to be dismantled �y Levy, as the title of the book�.S
/ '
.
�"t..(:-
..
may be seen to be referring to either Jamaica or England. Although, Levy equally
.. ..
demonstrates the domination of the coloniser when Bernard describes that 'inch by inch
we'd have to go' that it would _be just like 'the Yanks ir:i the pacific- island by island'; the
repetition of the word 'island' demonstrates the slow domination of lands by 'the British �
Empire' and emphasises the slow domination of the coloniser over place, of which Bernard
is just a tool. Similarly, Volland seems to be a tool of 'the British Empire', who actually
demonstrates a sympathy for the Irish land through his.interest in place names and the
story behind 'Tobair Vree'; Lee argues that Volland, 'although sympathetic... is also
, /<'O.S cyjiSable'i, therefore because of Yolland's colonial involvement, he meets his demise at the
end of the play. Levy uses the character of Queenie to implicate the ownership of the
coloniser over its colo�n the prologue, where she refers to 'the Empire Exhibition' which
'housed every country we British owned'. The 'Empire Exhibition' of Wembley park in
. ✓ ' 7h13
London between 1924-5, was thought to evoke 'a great imperial revival'2, therefore
demonstrating the colonial imperative in�- It is clear that Levy is suggesting that the
coloniser is unaware of their appropriation of other cultures and she uses place to make this
/ mJ2-.
a physical concept, where the representation of other cultures in 'the Empire Exhibition' is
as meaningless as other attractions such as at 'Blackpool' or 'the zoo'.
Levy particularly demonstrates the importance of place in developing this idea of cultural
domination by 'the British' through the concept of 'building after building that housed every
'
/
country we British owned' iri 'the Empire Exhibition'; whereas Friel is more subtle in his
�
references to the expanse of 'the British Empire', demonstrating 'the perfect colonial
servant' in the figure of Yolland's father who 'builds ro�hopping from one end of the
empire to another'. The use of the verb 'hopping' suggests that the countries of 'the British
7h) 2..
Empire' are in close-proximity to each other, and th� presence of the imperial troops
�<oJ
are of such ance that they can stretch one leg over several countries as if becoming �)
d7
£'_
one enlarged being. Similarly, by 'housing' the countries which make up 'the British Empire'
in one place, Levy is using place to demonstrate the 'own[ership]' of �lonies by the
J
British, which epitomises the subjugation of countries under British control. Both texts �
emulate the concept shown in the 1892 cartoon of The Rhodes Colossus depicting Cecil.
� �
Rhodes' domination of Africa by having an enlarged being 'striding from Cape Town to
1
Josephine Lee, 'Linguistic Imperialism, the Early Abbey Theatre, and Translations of Brian Friel', quotes in
Scott Boltwood, Brian Friel (London: Palgrave MacMillan, 2018) p. 90.
' Kenneth Walthew, 'The British Empire Exhibition of 1924', History Today, 31.8 (1981), p. 1.
