An Analysis of the Darkness of Oroonoko In her essay "The Darkness of Oroonoko", Katherine Gallagher argues that there are three layers to "Oroonoko". These layers represent the kingship of Oroonoko, the relationship between Oroonoko's darkness and black ink, and the commodification of Oroonoko. Gallagher argues that Oroonoko's darkness not only illuminates the text itself but also the author's presence. He writes that “…the shimmering darkness of the eponymous hero matches the heightened presence of the narrator.” (DeMaria, BL Critical Reader, 88). Therefore, Oroonoko and Behn come into the light thanks to the black print and jet black skin of Behn's hero. In his essay, Gallagher makes many assumptions about the audience reading his text. It assumes that the reader has read and studied "The Unlucky Bride"; knows biographical information about Aphra Behn; possesses knowledge of literary techniques; and knows how the slave trade worked in Africa. Despite these numerous assumptions made by Gallagher, his argument regarding the contrast between black and light in the text is applicable to the text. His essay is well argued and easily applies to the lyrics of “Oroonoko.” Gallagher first assumes that the reader has read other Behn stories, namely "The Unlucky Bride." Throughout her essay, Katherine Gallagher continually references history. For example, he states that Mooria's skin color represents his "dark designs". He then contrasts the notion of darkness in this story with the notion of darkness in “Oroonoko.” Gallagher writes that the portrayal of darkness in "The Unfortunate Bride" is the opposite of the image given in "Oroonoko". By reading these stories, the reader is able to reveal... in the middle of the paper... this Great Man, worthy of a better Destiny and a more sublime Spirit than mine, to write his Praise; and yet, I hope, the reputation of my pen is considerable enough to make its glorious name survive through all ages...."(BL Anthology, 461). For she is part of the text and the text is illuminated by the "heavenly light " by Oroonoko ," Behn's presence is also illuminated in the text. The success of Gallagher's essay depends on the conditions Behn encountered in his work. Regardless of the many assumptions Katherine Gallagher makes in her work, the assumptions do not reduce the value of her words. Because Behn's story is extremely deliberate, Gallagher successfully argues that Oroonoko as well as Behn's presence herself are illuminated by the darkness of the print and Oroonoko's "perfect ebony" skin. Works Cited Anthology of British Literature edited by Robert Demaria