Of Rites of Narration and Representation of the Orient and the Occident in Thomas Heywood's The Faid Maid of the West

Writing both in prose and verse, Thomas Heywood was one of the most prolific playwrights in the period as was Shakespeare in particular. Heywood was well informed about Morocco and could write in greater detail about a possible dialogue among cultures. As it is a historical platform for power relations, The Fair Maid of the West recalled the heroism and excitement of English counterattacks against Spain in the Post-Armada period. This paper therefore pins down the acts of narration and representation of Morocco and Moroccans and attests to the metamorphosis the plot undergoes in Part I and Part II. As an adventure play, The Fair Maid of the West teaches about, informs of and confirms the existing patterns of virtue in European voyages and at the same time it asserts how honor and chastity are European par excellence whereas villainy and wickedness are Oriental assets by distinction. Once taken captive, these virtues and traits are put into task as the plot disentangles. This paper also examines how the play in both parts generates a whole history of stereotypes about Morocco and unexpectedly subverts this Orientalist tradition; such a biased mode of narration of the Orient the playwright took up at first was played down at a later phase in the narrative. Keywords— Heywood; adventure play; Representation; stereotype; Orientalism; virtue.


I. INTRODUCTION
This article examines how Thomas Heywood's The Fair Maid of the West: Part I and II fits within a constant development of our understanding of Islam and early English drama. It also pins down the tactics being deployed by English dramatists as early as earlier theatrical to help understand an essentialist anti-Turk and anti-Muslim bias through an examination of the play and the playwright himself (McJannet et al., 2009:184, 188). From a Saidian point of view, the west has managed from then on to produce many versions of the east. Such an approach, as seminal as Said's, has contributed to our understanding of this everlasting conflict between the Orient and the Occident. Although it has been from then contested and challenged, such a theory would help identify the many ways to examine how Moors, Turks, and even Persians are different at first glance, but all are images of this very other: Although they are identical, they have always resulted in the demonization of the other (2009:185). It was rapidly challenged by Nabil Matar's reading of early modern, Western Europe and the Islamic Mediterranean World. Others emphasized that the claim of cultural, economic, and military superiority at the heart of Orientalism could not apply to the Muslim of North Africa. In line with his objections to Said's theory, Matar (2009:183) still argued that dramatic literature was mainly responsible for generating anti-Islamic and anti-Muslim sentiments among the English. Said and his critics would be useful to a deconstructive reading of Thomas Heywood two parts of his text. This article offers a full view of Thomas Heywood, who has been described by Louis B. Wright (1935: 650) as the greatest theatrical figure of the Bourgeois ideals of the time, and suggests an examination of his The Fair Maid of the West I and II as two plays that explore how to deal with the social and sexual threats that transglobal commerce is perceived to entail. Thomas Heywood's The Fair Maid of the West, Part I and Part II explore how to exchange with cultural others, and how to do so without establishing exchange generated bonds that corrupt, or more interestingly, compete with and win out over the exchange relations among Englishmen and those between Englishmen and Englishwomen. (Barbra Sebek, 1998: 184) In a controversial study, Claire Jowitt's Voyage Drama and Gender Politics (Claire Jowitt: MUP2003) explores the use of allegory in Renaissance travel drama. Such a seminal study, as I always like to describe it, describes how travel writing tells two stories. It offers a close ready of events in colonial locations and tells the wishes of the home nation. Jowitt is therefore helpful to our reading of Heywood as her book further develops our understanding of the nature of colonial discourse by critically focusing on the tactics and negotiations between gender and monarchy in geographic or travel drama.

IJELS
In her other study The Culture of Piracy, 1580-1630: English Literature and Seasborne Crime (2010:118, 119), Claire Jowitt draws inter-textual attention to the piracy model in Thomas Heywood's play. Bess's piracy, in Part I in particular, is the driving narrative force in the play. Part I also represents, following Claire Jowitt, connections between piracy and Englishness and draws allusion to how pirates helped shape story line in Heywood's narrative.
Together with the plays of the period, Heywood's The Fair Maid of the West I and II has a dreamlike adventure plot which moves from England to Fez to Florence and the plot involves Englishmen -and English women as well-, Moors and Italians; (Lawrence Dawson, 2002: 2). Through pinning down the acts of narration and representation of the Oriental who is caught in an ongoing conflict with the Occident other inherent in The Fair Maid of the West I and II, the article also takes up an approach where the plays seem to be considered as a modern allegory of the confrontation of the imperial and the capitalist economics of desire in the commercial, sexual and racial exchanges between the characters. (Garcia, 88:1, 56-69: 58). L. Garcia Garcia (Garcia, 88:1, 56-69: 58) falls in line with Deleuze and Guattari's thorough explanation of desire as the constant production of affective and libidinal energy generated by the unconscious in various forms to help understand how Garcia manages to examine how the rites of representation of Moors in the play in question were fueled with the desire to contain the fate of the English. For Garcia's perspective, Heywood could be described as the spokesman of this economy of desire which seems to have been informed in both its imperial capitalist and primitive forms.
The article also deems it pertinent to look at different instances of how the value of Bess's fair appearance -the fair English maid-increases once Bess's fairness is exported to foreign lands. Although there is a huge historical gap between the two parts of the play, both seem to suggest that the fair appearance of Bess is exceedingly esteemed by Mullisheg for its superior quality derived from the racialized envisagement. Although of irresistible white form, as it has been described in Orientalism, Heywood seemed to anticipating such Orientalist froms of this irresistible form of desire on the part of the Moors; which confirms the stereotype that Englishwomen could draw immediate attention from Moors. (Garcia, 88:1, 56-69: 62). In the two parts of the play, the whiteness of Bess has particularly been contrasted to Tota's and Barbary's blackness. This article examines the acts of narration and representation of the English, Italians and Moors Heywood used in the two parts. It also aims at describing how the academic life of the playwright contributed to the development of the story and it examines how the rhetorics 1 of desire has become an asset both the English and Moors portrayed, explored and finally tested.

II. THE PLAYWRIGHT
To start with, any reading of the two parts of the play would make use of Charles Lamb. Charles Lamb (Ed. Robert K. Turner, Jr. N., 1968: IX) spoke of Thomas Heywood as a sort of prose Shakespeare. 2  "There is virtue in that name. The virgin queen. So famous through the world, The empress of the maiden isle, Whose predecessors have o'rrun great France, Whose powerful hand doth still support the Dutch And keeps the potent king of Spain in awe. " (1968: 8) This citation is solid evidence that the setting of the play was distinctively Jacobean. Thomas Heywood, in this play, alludes to how Clem undergoes castration at the court of Fez. This seems to be clear evidence of how the play stands as a historical record of the relationship between Moors and Englishmen and English women. As Dawson (Dawson, 2002: 17) has it, in the royal court of Fez are certain Christian captives and a Moroccan king keeps white slaves who are kept by physically-maimed black slaves.
There are two parts in this play; each contains five acts. A reading of the two parts raises the question of their difference; which is due to the circumstances of publication. The play in its entirety is Heywood's, and no piece of evidence is found to determine the exact period of either parts. Part II, as Clark thought in this introduction to the play, might have been written as a sequel to the first in consequence of the court performance. In fine, part II was written some twenty five or thirty years after part I. (1968: XIII) Authenticity in Heywood is an equivocal issue, provided that the play had not been based on any specific source and its characters' verisimilitude is not even original. 5 The Life and Pranks of Long Meg of Westminister (1590), an Elizabethan pamphlet, was a first meeting place of Heywood's characters. It could have been of much avail to Bess's initial outline.

III. THE PLAY AS ADVENTURE DRAMA OR AS PART OF ELIZABETHAN BOURGEOIS LITERATURE
In Turner's introduction (1968: XV), Nearly all great fictions are fundamentally adventures… adventure drama proper uses incident to cancel matters of philosophical concern. As adventure drama, the play starts with the celebration of the English navy achievements, probably in the post Armada era. Heywood has it that Carrol points out The great success at Cales under the conduct of such a noble general hath put heart into the English. (1968: I-I, 7) By the same token, the captain goes on to declare that the English defeated the Spanish Armada.
He points out: "How Plymouth swells with gallants! How the streets glister with gold! You cannot meet a man but trick'd in scarf and feather that it seems as if the pride of England's gallantry were harbor'd here." (1968: I-I, 7).
These several real samples confirm that the play is an example of adventure drama. There was first a historical allusion to the English power in the sea. In the play, Carrol asks the following question: Can you not guess the purpose of this voyage? (1968: I-I, 7). To initiate into any analytical work of western (mis)representation of Moorish culture and character, Said seems very relevant. In his Orientalism (Said, 1978: 2), he writes defining Orientalism as: A style of thought based upon an anthological and epistemological distinction made between the Orient and (most of the time) the Occident. In brief, the ideology Said seems to advocate hinges upon a binary opposition. One pole is oriental, taken in its broad meaning and the other is occidental, in a representation that is, for the most part, Orientalist. In the same vein, the orient exists in western discourse as an invention, a creation, a representation, hence, a misrepresentation. (Bekkaoui, 1998:16) The oriental is lascivious, backward, over sensual, inaccurate and incapable of change. This is yet an example of what he calls theatricization of the Orient. On the other hand, the west is rational, developed, humane, and superior. (Said, 1978: 300-301) Given this dyadic image, the orient is at bottom of something either to be feared…or to be controlled. In consequence of this dichotomy portrait of the victorious occident as opposed to the aberrant orient, I will try to display how excellent Heywood had been at sketching out this dichotomy.
By reading the Fair Maid of the West, this article aims at deconstructing the Orientalist stereotype about the alien Moor. The Moor has been measured against western norms (1991:1). To argue that the stage is a space where Orientalist ideology is subverted rather than confirmed is another of many objectives for this paper (Bekkaoui, 1998:35). Before embarking on an analysis of the play, This paper consists of two parts. The first is concerned with the representation of the occidental (western). It offers a close reading of the western heroism and pattern of virtue and a celebration of the dominant discourse over the submissive. The second part deals with the representation of Moorish culture and character in the two parts. It will be an endeavour to spot how lust in the Amorous King of Fez will melt into honor, unprecedented for a Moor. Moreover, this very particular part in the play will trace the emergence of the noble nature in a character like Joffer, who though a Moor proved a noble.
In a later stage in this paper, I will try to look at the fact that in Thomas Heywood's play, the main characters carry with them a cultural perspective that is tested but never fundamentally challenged. (1991:98) Western values remain the norm upon which everything is to be measured.
In 'The Racialized Economy of Desire in The Fair Maid of the West', Garcia dramatized the relationship between Moors and Europeans governed by what is described in the article as the economy of desire where he argued that Bess, for example, prototypically represents the first economy of desire and he wrote about how Bess changes clearly towards a much more passive and submissive female. The article also speaks about the mobilization of this desire that would be the driving force in the two parts of the play. The English desire for Money is later balanced by a black desire to the English whiteness. 7 Thomas Heywood, unlike other Renaissance playwrights who worked out the stereotypical image on Moors, is a good example of the playwright whose style of writing is incomparable. In his writing, we find a playwright who knew more about the Moroccan world and who could use that knowledge to begin a dialogue of cultural perspectives (1991:84) In short, his play is a meeting place for English culture with the Moorish.  ,158). A re-reading of this will only confirm the metamorphosis of the moral tone the play undergoes. Her beauty becomes but a stimulus that extracts the saliva of the Moor.

IV. THE OCCIDENTAL IN THE FAIR MAID OF THE WEST: THE ENGLISH MAN: A GIRL WORTH GOLD
Her captivity in Barbary must have been critical, where Bess bursts into tears whenever she comes to remember that experience there in. 'I cannot speak it without tears' is her response to Florence's request to have her Spencer's story told at his presence, (1968: IV. I,158) Though being tortured throughout the play, Bess excels in keeping up her sublime nature. This is nowhere best exemplified than in the last words of the play. The fairest maid me'er pattern'd in her life, / so fair a virgin and so chaste a wife. (1968: V. IV, 196). In brief, Bess, together with Spencer, remains a pattern of virtue (1968: 85) given that their values must triumph 11 because power, chastity and honor remain English. In the following section, I will shed light on the hero of the piece, whose values are in common with Bess's.

V. THE ENGLISHMAN IN THE FAIR MAID OF THE WEST
In most regards, western values must represent the norm.

VI. ONE CENTER AND MANY WESTS
As Lawrence Dawson puts forward that English drama suggests some ways in which the English idea of Islam had to encompass a range of otherness, Heywood's play seems to be a meeting place of the various parts of the occident. Heywood, inspired by his sense of belonging to the English race, seems to be biased, to my own view, in favour of his nation.
About the English man, Heywood has that Tota, Mullisheg's spouse, admires them. In the play, she confesses that she'll marry one/ of this brave nation, if a gentleman. They are such sweet and having bed fellows (1968: III. I, 136). Dawson's critical analysis of these stories complicates the idea of a monolithic Englishness versus a subaltern Islamic Empire (Dawson, 2002: 4).
On the other hand, the Spaniards are badly depicted in the play. Here's no security, / for when the beaten Spaniards shall return, they'll spoil whom they can find (1968: II. V, 40). If England is the heaven, Spain is sketched out as the hell, for its safety. In the same vein, Heywood also presented the Italians at a later stage in the play. The biased discourse of the English is confirmed in Goodlack's speech about the Italian race: Be aware of these Italians, / they are by nature jealous and revengeful (1968: IV. VI, 172). The standard by which the world is judged is therefore English, whereas any exposure to the foreign, non-English and even non-protestant must be challenged. (1991: 85) The challenge seems to be therefore against Muslims and Catholics.

VII. ONE ORIENT OR MANY: THE ORIENTAL AND THE MOOR
Has the west been represented as the possessor of power, the advocator of the oppressed and the true representative of honour and virtue, the Moor in The Fair Maid of the West wavers between lust and nobility. (1991: 85) In this respect, the stereotype of the Moor as lascivious is confirmed then reconstructed. The Moor as the villainous pagan takes a new form of the noble Moor. 15 Throughout history, the word Barbary implies the land of captivity and rape. This is very factual in the piece under study in that Heywood's very first reference to Barbary has been associated with piracy and captivity. The

VIII. THE MOOR AND THE STEREOTYPE
A major goal of this article is to examine how the Renaissance Moor is stereotypically represented as barbarous, infidel, devil though the tone of these negative images has been reduced to meet the requirements of self interest. (1991: 7) The Moor as villain turns to be a suitable locus for those dark forces that threaten European society. (1991: 2) I should point out that there moments where the other can take this power to dominate used in western narratives can be subverted and could be used to generate forms of spectacular resistance, to borrow Khalid Bekkaoui's book title Signs of Spectacular Resistance.
The image of the Moor takes one monolithic form as the quintessential strange, an object to be feared. (1991: 77) This stereotype on the moor is nowhere better presented than in the character of The Amorous King of Fez, Mullisheg. We are introduced to a king who is tainted  IJELS-2021, 6(3), (ISSN: 2456-7620 Being lascivious is not a mere stereotype attached to the Moor, but the entire stereotype will be bequeathed to the Moorish queen. 16 Tota is also running after her lust. She refutes her husband, given that she cannot love him. Thinkest thou I could love a monkey, a baboon. Heywood draws an analogy between the west and the orient, but his success is still questionable, because for an oriental to uncover his true virtue, he must rid himself of his own culture. To be noble, you must be an English protestant. Joffer's conversion is therefore celebrated as he has liberated himself from the religion of pleasure to embrace the new faith of the noble Saracens, to use his words.

X. CONCLUSION
In Heywood's version, the Islamic Moor had, at last, to be judged as more than a simple Barbarian, no longer a pagan in need of conversion. (1991: 75) His The Fair Maid of the West, part I and part II articulates the aggressive struggle between the west and the orient. This struggle is, however, minimized and curtailed to a small proportion. The Moor is amorous and lustful in part I, but in the second, he becomes a noble Moor, who is capable of firing back and creating his own counternarrative.
The west Heywood envisages remains the standard of judgment. It is the west of Bess, a girl worth gold and the west of Spencer, the noble stranger. The west which is incarnated in the teacher, as in Orientalism sermonizes the best values of virtue and honor. On the other part, Heywood makes use of an orient that is so much a student to emulate the western heroes. In the play, Mullisheg confirms this claim: those virtues you have taught us by your deeds, we futurely will strive to imitate. In The Fair Maid of The West, we are introduced, for the first time, to a dramatist who puts much of the ingredients of the traditional stereotypes about the Moor into use and in a later stage of the play, he presents the western values agonizing. Heywood's play is therefore the acid test for Christian values. These values have been tested every now and then throughout the narrative but never challenged. The western values are ultimately the standards of measurement. When the amorous king of Fez takes a kiss on Bess's lips, he is mocked as the lustful and the lascivious moor, but Bess, the fairest of her sex, is said to have set to the standards.
This comic reconciliation between the westerner and the oriental is so much a caricature of a cultural dialogue Heywood is so keen on advocating. The imaginary dialogue comes in favour of one part, at the expense of the other. Heywood, albeit he presents his occidental hero in competition with a Moor in honor, privileges the faith of Christianity and diminishes Islam, the religion of pleasure, for him. He tried to give birth to a world in harmony, but all deemed to failure, in a representation of the Moor stereotypical at best and Orientalist at worst.