Black and White Comedy: Trade and Race in Bredero's Moortje (1617)

Abstract

Moortje ( Little Moor, 1617) is an adaptation of Terence’s The Eunuch, in which the Dutch playwright Gerbrand Adriaensz Bredero replaced the castrate with a ‘Moor’. Scholars have demonstrated how Moortje renders an early modern discourse of race that, at the threshold of Dutch participation in colonial trade, facilitated the enslavement and trafficking of African people. This article aims to do justice to the polyphonic discussion on colonial trade in the seventeenth-century Republic, arguing that Moortje can also be read as a foreshadowing of postcolonial shame and ‘white innocence’. It does so through an analysis of race at the intersections with gender, focusing on the distinct processes through which two women in the play – one black and one white – are commodified on the market and appropriated by their new owner. It also analyses two paratexts in which Bredero compares the cultural appropriation of classical comedy to colonial appropriation. Together, the analyses indicate that racial thinking, although closely intertwined with the discourse on trade, does not in all respects facilitate the commodification and appropriation of the black woman. Rather blackness in Moortje represents the unknown, both in terms of colonial trade and its effects for the conscience of the white merchant.