She explains that the natives have all run away into the hills and she's the only one left. Likewise, his performance as an actor is of great variety and bottomless charisma. Jones insults Lem and says he's not scared, and that Lem will die if he gets in Jones's way. There is Squire Western's marriage, Mr. One morning, the palace is empty of servants. Smithers asks scornfully if the woman has been stealing, and she insists she hasn't.
As rebel drums beat, Jones flees into the forest where he is haunted by visions from his past. He does not give in to the visions, however, and instead shoots at them, causing him use all his ammunition, leaving him defenseless against the islanders armed with silver bullets. The little stealing lands people in jail, while big stealing gets a person crowned emperor. He makes some money in a deal with a rich businessman on the train. Jones walks to the main entryway and looks around, and Smithers asks if Jones is really going to go out the front. This shows again that Jones has an impressive grasp on what it means to be human and violently oppressed and afraid, even if he is supposedly superhuman and relatively free himself at the moment. Eugene O'Neill was born in a hotel in New York City to Irish immigrants.
Though exploitation like Jones carried out is absolutely part of the history of Christianity, it's also not Christ-like at all. Smithers seems to miss that his point is the point—Jones believes that this ruse guarantees his safety, given that it's unthinkable that the natives will ever be able to come up with the one thing that can supposedly kill Jones. Once on the train, Jeff, a porter, shows Jones the ropes. Matthew Fox's thin voice and chiseled looks make him seem more like a veteran of campus life than the worst war the world has ever known, but he nonetheless gives a solid performance as Gen. However, the fact that both the white throne room and the uniform are things that aren't inherent to Jones, or an intrinsic part of him, suggests that this is just a role he's filling or has created for himself.
The next time he wields his revolver… 1305 Words 6 Pages brought him public awareness is The Emperor Jones. He asks Jones if the rumors are true that he actually had a silver bullet made, and Jones explains that he did. It wasn't until Jones saw the illusions of the people identifying him as a black person that he realized that he was colored. Ascensio: Dark Musicals: Harsh Sacrifices for Personal Gains Demand Justice for Teens Sexually Assaulted by Juvenile Counselor International Literacy Day. Advertisement Whether Fellers is interviewing various Japanese officials during his investigation or reflecting on his romance with the niece the lovely of a Japanese general, we're constantly reminded of the vast differences between the American and Japanese cultures. Jones hasn't just turned himself into a god: he's gone so far as to consider the natives barely human.
Through the arched doors, hills covered in palm trees stretch for miles. This shows that Jones himself has internalized many racist ideas, especially those he experienced as a Pullman porter. After O'Neil presents his theme of denial, he supplies following scenes with the consequences of illusions, displaying his true lineage. When Jones asks, Smithers explains that the natives are holding a meeting, dancing a war dance, and generally working up their courage before they start after Jones. He shares that he learned this listening to white passengers on the trains, and now that he's had the chance to steal big, he's become emperor in only two years. He is, so to speak, the lady among the races.
Jones finally realizes his actions and shoots the apparition, which immediately disappears. He closed his eyes to stop imagining it, but it was the same, picturing the glass going into him, needing to do it. This can also be viewed at the evil in Christ. Now doing hard labour, Jones kills a white prison guard and escapes. He notices Smithers again and composes himself, laughs, and says he probably became overconfident. Then, he suggests that he might've gotten in an argument with a prison guard while working on a road, and when the guard whipped him, Jones hit him with a shovel. As he heads for the door, Smithers says that all the horses are gone.
Menacingly, Jones reaches for his revolver and tells Smithers to speak politely, since Jones is the boss now. Advertisement Indeed, this big-picture tale occasionally pauses for a star-crossed romance about an American college student turned soldier and the Japanese woman he continues to love even after their countries are at war. He boasts that he can outrun, outfight, and outguess anyone, anywhere, anytime. Jones asserts that it'll take more than charms to scare him, but sensing that Jones is actually shaken, Smithers says quietly that later, when the forest is pitch black, the natives will send ghosts after Jones. Despite the fact that O'Neill was white, The Emperor Jones was immensely popular among people of color because it featured a black actor in a leading role in a white theatre company.
Again, however, the way that Jones couches his narrative doesn't give the reader solid evidence either way that Jones did or didn't do these things, which creates the sense that Jones's personal history is still unknown and murky. Ironically, Jones proudly claims to be a white man and is portrayed as a powerful man in this first scene. Jones very clearly lays out a hierarchy of black people, and situates himself at the top. He says that if he meets a ghost with money, he'll tell it to not haunt Smithers so that Smithers doesn't steal the ghost's money. Jones refuses to tell Smithers where he'll go, and Smithers says knowingly that Jones certainly won't go back to the states. First Jones confronts a slave auction.
The Emperor Jones is a commentary on the United States' occupation of Haiti, and the play comments in broader terms on American imperialism around the globe. Jones replies that he has six months before the natives become sick of him, and at that point he'll be ready to escape. This shows that Jones associates this kind of success with whiteness specifically, and makes it abundantly clear then that his emperorship offers him the opportunity to perform whiteness. This is also an early hint that Jones will be unable to escape this race-based oppression on any level. He pauses for a moment before admitting that Smithers did give him his start, but it didn't take long at all to subdue the natives. There were a number of influential Germans living in Haiti at that time and because they married Haitians, they were able to circumvent Haitian laws forbidding foreigners from purchasing Haitian land.
Smithers learns that the natives of the island, led by a former native chief named Lem, have stolen all the horses and have headed to the nearby hills to plan a revolt against their oppressive emperor. Smithers blushes and changes the subject. Sarcastically, Smithers inquires as to the whereabouts of Jones's court, but Jones replies that they're where they always are when he sleeps: in town, drinking rum. The play opens onto the emperor's throne room. Jones says it's time to resign right now. He bids Smithers goodbye and says he might see him in jail sometime.