Examining the Tragic Mulatto as a Social Critique on Identity Conflict

Examining The Tragic Mulatto As A Social Critique On Identity Conflict

In Victor Sejour's The Mulatto and William W. Brown's Clotel one may notice a similar theme of the tragic mulatto explored in the stories of two different characters sharing only the similarity of their mixed heritage. Both authors seem to use their tragic mulatto character as a launching point for a larger underlying social critique. Although explored in a variety of ways the underlying social critique of the identity conflict that exists within the mulatto characters seem to be a consistent theme contained not only within these stories, but most stories of the period with such tragic characters. While this social critique is not superficially expressed in these tales it seems to be cleverly intertwined in the story beneath the surface allowing the reader to make their individual assumptions or inferences as to what the authors are trying to relay of their own understanding and experiences.

As Victor Sejour narrates his tale of The Mulatto he recounts the surface story of a very tortured character in Georges. This character suffers from the very beginning of Sejour's account with the condition of his unknown parentage. Sejour makes this apparent when he narrates, "Georges grew up without ever hearing the name of his father; and when at times, he attempted to penetrate the mystery surrounding his birth, his mother remained inflexible, never yielding to his entreaties" (Sejour 356). This sets the stage for a heartrending story of a man tormented by his unknown paternity resulting in the search for finding his true self. Sejour expands on this idea and the premise of the tragic mulatto as the events in Georges' life continue to develop. As Georges takes a wife who makes his torment subside greatly in her virtue and beauty it almost seems inevitable for him to lose her to continue the unfortunate theme that exists within his character. To further this premise it seems fated that he would lose her as a result of the betrayal of his Master whom he cared for to such an extent that he had saved his life. As the chronicle continues the Master's betrayal leads to Georges' incessant need for revenge which he seizes upon the ideal opportunity. Georges expresses his torment over his wife's death to his Master before he exacts his revenge when he says, "Master, isn't it horrible to die when you're happy; to lie down in the grave at the moment you see your fondest dreams coming true" (Sejour 363). Superficially it can be assumed that Georges is speaking of his wife, but it can also be inferred that Georges is speaking of his own feelings of her death, as he went into waiting to get his revenge. A story so wrought in tragedy and revenge seems almost Shakespearian in nature. With these Shakespearian undertones and the notion that as Shakespeare did with his own work, there is a cryptic message or critique at the subconscious level. This is best evidenced by The Mulatto's tragic ending. As Georges completes exacting revenge upon the man who has wronged him he also learns in his death that same man is his father. After Georges confirms the man's identity who he has slain he cries out, "I'm cursed" (Sejour 365), and then kills himself. Georges, a man who is in search of his identity all his life, finds out the man he has murdered is his own father and then takes his own life. This Shakespearian ending leads a reader to