Earl Lovelace’s novel “The Dragon Can’t Dance” is a powerful allegory that explores themes of community, tradition, and resistance. Set in the postcolonial Trinidad, the novel follows the life of Aldrick Prospect, a man who spends the entire year recreating his dragon costume for Carnival. Through Aldrick’s interactions with other people who live in his neighborhood, including Fisheye, a local hoodlum, and Pariag, a rural Indian, Lovelace depicts the struggles of the Afro-Trinidadian community to maintain their cultural identity in the face of social and economic oppression.
The novel is a testament to Lovelace’s skill as a chronicler of the Afro-Trinidadian culture and traditions. It is also a powerful critique of the postcolonial Trinidad and Tobago’s national cultures. Lovelace’s use of allegory is particularly effective in highlighting the ways in which Carnival, a symbol of Trinidadian culture, has been co-opted by the ruling elite for their own purposes. By exploring the tension between tradition and modernity, Lovelace offers a nuanced commentary on the complexities of postcolonial identity and the struggle for self-determination.
Overview of ‘The Dragon Can’t Dance’
‘The Dragon Can’t Dance’ is a novel written by Earl Lovelace and published in 1979. Set in Port of Spain, Trinidad, the story revolves around the life of Aldrick Prospect, a man who spends the entire year recreating his dragon costume for Carnival.
The novel explores the themes of poverty, politics, and identity through the lives of the residents of Calvary Hill neighborhood. The story is an allegory for the political and social struggles faced by Trinidad and Tobago during the 1970s.
Lovelace’s writing style is descriptive and vivid, immersing the reader in the sights and sounds of Carnival and the struggles of the characters. The novel is a poignant representation of the Afro-Trinidadian culture and traditions, and the impact of colonialism on the island’s history.
The Allegorical Significance
Carnival as a Metaphor
In “The Dragon Can’t Dance,” Earl Lovelace uses the Trinidadian Carnival as a metaphor for the struggles of the working-class people in the Calvary Hill neighborhood. The Carnival symbolizes the people’s desire for freedom and escape from their difficult lives. The extravagant costumes and lively music represent the community’s resilience and their ability to find joy in the face of adversity.
The Carnival also serves as a symbol of rebellion against the ruling class. The people of Calvary Hill use the Carnival as an opportunity to express their discontent and challenge the status quo. The Carnival is a time when the marginalized can speak out and be heard.
Characters and Their Symbolic Roles
The characters in “The Dragon Can’t Dance” also have symbolic roles that contribute to the allegory. Aldrick, the protagonist, represents the hope and determination of the working-class people. He is a symbol of their desire for a better life and their willingness to fight for it.
The Dragon, a character in the Carnival, represents the ruling class and their oppression of the people. The Dragon is a powerful and imposing figure, but ultimately, he is unable to dance. This symbolizes the ruling class’s inability to understand and connect with the working-class people.
The character of Mrs. Hereira represents the corrupt and exploitative nature of the ruling class. She uses her wealth and power to manipulate and control those around her. Her actions are a reflection of the wider societal issues that the people of Calvary Hill face.
Cultural and Historical Context
Post-Colonial Trinidad
The Dragon Can’t Dance by Earl Lovelace is set in post-colonial Trinidad, a time when the country was struggling to find its identity after gaining independence from Britain. The novel explores the social and economic challenges faced by the people of Trinidad, particularly those living in the impoverished areas of Port of Spain. Lovelace uses the character of Aldrick Prospect, a man who spends the entire year recreating his dragon costume for Carnival, to symbolize the cultural and political struggles of Trinidadian society.
African Heritage and Identity
One of the major themes of The Dragon Can’t Dance is the African heritage and identity of Trinidadian people. Lovelace portrays the rich cultural traditions of Trinidad, including the music, dance and costumes of Carnival. He also highlights the struggles of Afro-Trinidadians to assert their identity and cultural heritage in a society that has been heavily influenced by colonialism. Through characters like Aldrick and Fisheye, Lovelace shows how the people of Trinidad are trying to reclaim their cultural identity and assert their place in the post-colonial world.
Themes and Motifs
Power and Disempowerment
One of the central themes in Earl Lovelace’s The Dragon Can’t Dance is power and disempowerment. The novel depicts the struggle of the marginalized people in Trinidad and Tobago, who are often disempowered by the ruling class. Through the character of Aldrick Prospect, Lovelace illustrates the effects of colonialism and economic inequality on the people of Port of Spain. Aldrick’s quest for power through his dragon costume is symbolic of the people’s desire to assert their agency and resist oppression.
Community and Isolation
Another important theme in The Dragon Can’t Dance is community and isolation. The novel portrays the sense of community that exists among the people of Calvary Hill, where Aldrick lives. Despite their struggles, the people of Calvary Hill come together during Carnival to celebrate their culture and traditions. However, the novel also highlights the isolation that many of the characters feel. For example, Aldrick’s wife, Rita, feels isolated from her husband’s obsession with the dragon costume, while Fisheye, a local hoodlum, is ostracized by the community.
Masculinity and Femininity
Lovelace also explores the themes of masculinity and femininity in The Dragon Can’t Dance. The novel portrays traditional gender roles and the expectations placed on men and women in Trinidadian society. Aldrick’s desire to assert his masculinity through his dragon costume is contrasted with the more nurturing role of his wife, Rita. The novel also depicts the experience of women in a patriarchal society, particularly through the character of Cleothilda, who is forced to marry against her will and struggles to assert her agency.
Literary Devices Used
Imagery and Language
The Dragon Can’t Dance by Earl Lovelace is a novel that uses vivid imagery and language to convey its themes. Lovelace uses a variety of metaphors and similes to describe the characters and their experiences. For example, he describes the character Aldrick as “a dragon, fierce and proud, with a heart that burned like fire.” This metaphor not only conveys Aldrick’s personality but also his role in the Carnival festivities.
Lovelace also uses descriptive language to create a vivid picture of the setting. He describes the Calvary Hill neighborhood as “a place of narrow alleys and steep hills, where the houses leaned against each other like drunken sailors.” This simile not only conveys the physical appearance of the neighborhood but also its social and economic conditions.
Narrative Structure
The narrative structure of The Dragon Can’t Dance is another important literary device used by Lovelace. The novel is divided into three parts, each with its own distinct narrative arc. The first part introduces the characters and their relationships, while the second part focuses on the preparations for the Carnival festivities. The third part is the climax of the novel, where the characters’ conflicts come to a head.
Lovelace also uses flashbacks and foreshadowing to create tension and suspense in the narrative. For example, he foreshadows Aldrick’s fate by describing his dragon costume as “heavy and cumbersome, like a suit of armor.” This description hints at the danger that Aldrick will face during the Carnival festivities.
Impact and Reception of the Novel
The Dragon Can’t Dance by Earl Lovelace has been well received by readers and critics alike. The novel’s vivid portrayal of life in a poverty-stricken neighborhood in Port of Spain, Trinidad, has resonated with many readers. Lovelace’s use of allegory to explore themes of identity, community, and resistance has also been praised.
The novel has been recognized with several awards, including the 1980 Commonwealth Writers’ Prize for Best Book. It has also been included in the curriculum of many schools and universities, both in Trinidad and abroad.
The Dragon Can’t Dance has been noted for its contribution to Caribbean literature and its representation of Afro-Trinidadian culture. It has been compared to other works of Caribbean literature, such as V.S. Naipaul’s A House for Mr. Biswas and Derek Walcott’s Omeros.
Comparisons to Other Works
When it comes to postcolonial literature, comparisons are often drawn between different works. In the case of “The Dragon Can’t Dance,” some similarities can be found with V.S. Naipaul’s “A House for Mr. Biswas,” which also focuses on the struggles of a Trinidadian protagonist. Both novels explore themes of identity, community, and the effects of colonialism on Trinidadian society.
However, while “A House for Mr. Biswas” is a more introspective and individualistic work, “The Dragon Can’t Dance” is more community-focused and explores the cultural traditions of Trinidadian Carnival. In this sense, it could be compared to other works that explore the cultural significance of Carnival, such as Derek Walcott’s “Dream on Monkey Mountain” or Wilson Harris’s “The Carnival Trilogy.”
In terms of allegory, “The Dragon Can’t Dance” could be compared to George Orwell’s “Animal Farm,” which also uses animal symbolism to comment on political and social issues. However, while “Animal Farm” is a more overtly political work, “The Dragon Can’t Dance” is more subtle in its allegorical elements. It could also be compared to Gabriel Garcia Marquez’s “One Hundred Years of Solitude,” which similarly uses magical realism to explore the history and culture of a particular community.