University of Nigeria Research Publications

UGBAJA, Stella .I

Aut

hor

PG/MA/91/12205

Title

Mythmaking and Social Consciousness: A Study of Selected Poems of Soyinka, Okigbo and Awoonor

Facu

lty

Arts

Dep

artm

ent

English

Dat

e

November, 1996

Sign

atur

e

UNIVERSITY OF YIGERIA NSUKKA

DEPARTWENT OF ENGLISH

MYTHPIAKING ANU SOCIAL CONSCIOUSNESSt

A STUOY OF SELECTED POEMS OF S Q Y I N K A ,

OKIGbO AND AWCIONOit

THE REQUIAEMENT FOR THE DEGREE OF

MASTERS OF AHTS.

UGBAJA, STELLA IFGOMA

P G / M ~ i ( 9 1 j 1 2 2 0 5 '

CEHTIFICATZON

l Jgbaja , S t e l l a I f eoma , a p o s t g r a d u a t e s t u d e n t , i n

t h e Depa r tmen t o f E n g l i s h , and w i t h t h e R e g i s t r a t i o n

Number: PG/PAA/91/12205, h a s s a t i s f a c t o r i l y c o m p l e t e d

t h e r e q u i r e m e n t s f o r c o u r s e a n d r e s e a r c h work f o r t h e

d e g r e e o f Master of A r t s i n L i t e r a t u r e .

T h e work emaodied i n t h i s thesis i s o r i g i n a l a n d

h a s n o t b e e n s u b m i t t e d i n p a r t or f u l l for any o t h e r

d i p l o m a or d e g r e e of t h i s o r any o t h e r u n i v e r s i t y ,

b. b" e . 0 , - * - . y * . . , . o o .

I r M,C. Njoku ( S u p e r v i s o r ) '

DEDICATION

To my father , Mr Romanus Ugbaja Umewenike

A man of immense

l o v e and moral

v i s i o n to suppor t a

h i s c h i l d r e n ' s

academic p u r s u i t s .

ACKNOWLLUC;~.;I*IEN'I'S I I

My p r o f o u n d g r a t i t u d e goes t o my s u p e r v i s o r ,

Dr ivI.C. N j o k u f o r p a t ; i e n t l y g u i d i n g m e t o t h e s u c c e s s -

f u l c o m p l . e t i o n o f t h i s work ; a n d to my l e c t u r e r s , i n

D r N z c b u n a c h i Oji, the p r e s e n t Head of ' d e p a r t m e n t . I

My t h a n k s g o t o lVlr Ihiegbunam C , J. who allowed I

me t h e u s e of his l i h r a r y ; e s p e c i a l l y , for h i s m o r a l

s u p p o r t ; my f a m i l y fo r t h e i r u n f l a g g i n g moral a n d

f i n a n c i a l e n c o u r a g e m e n t ; t h e t y p i s t Mr P e t e r E j i o f o r

f o r h i s c a r e f u l ~ ~ n d s p e e d y t y p i n g of t h e m a n u s c r i p t .

My t h a n k s , a h v e all, g o t o t h e ~ l m i a h t y F a t h e r

who made the c i r c u ~ n s t a n ~ e s f o r t h e s u c ~ e s s of t h i s i work p o s s i b l e .

H e i s g o i n g t o p r o v i d e i n h i s w r i t i n g s a c e r t a i n a r t i c u l a t e v i s i o n wh ich must order h i s s o c i e t y b e c a u s e o t h e r w i s e s o c i a l l i f e would be a v e r y s t e r i l e and a v e r y f u t f l e e x e r c i s e

The c o n c e p t of myth which I c o n s i d e r r e l e v a n t to my

t h e s i s is v i s i o n . At tempt h a s been made t o u n d e r s t a n d what

i n f o r m s A f r i c a n p o e t i c s t a t e m e n t s . It is n o t e d t h a t t h e

a l i e n a t i o n f rom h i s c u l t u r a l root and t h e a f t e r m a t h o f

t h e c o l o n i a l e x p e r i e n c e h a v e s h a r p e n e d t h e A f r i c a n poet's

a w a r e n e s s . He a d v o c a t e s human i ty . I f h e seems i d e o l o g i c a l ,

t h e r e f o r e , i t is o n l y i n o r d e r t o f i n d t h e means to be

t r a n s c e n d e n t a l ; b e c a u s e real s u f f e r i n g is so t r a n s c e n d e n t a l

a human e x p e r i e n c e . I f t h e p o e t s s t u d i e d i n t h i s p a p e r

d i d n o t s u f f e r p h y s i c a l 1 y f r o m t h e t r a u m a s t h e i r o o u n t r i e s

e x p e r i e n c e d , t h e y s u f f e r e d p h y s i c a l l y , and t h i s i s worse.

They come f rom an e n d a n g e r e d c o n t i n e n t : t h e West d e a l t

wkth A f r i c a a n d h e r own s o n s now r e p l i c a t e t h e West. Corrup-

t i o n i s t h e h a l l m a r k o f the i n d e p e n d e n t n a t i o n s and t h e

ar t ist , who is a man of h e i g h t e n e d s e n s i t i v i t y , b e a r s t h e

b r u n t . H e f a s h i o n s a new image. The r e j e c t i o n of the

West i s m y t h i c and so is t h e r e t u r n to i n d i g e n o u s c u l t u r e ,

and t h e v i s i o n o f an or (1ered and p r o g r e s s i v e s o c i e t y , I

h a v e a r g u e d t h a t t h e p o e t s c r e a t e consciousness fo r t h e

West and t h e rest of u s ' . T h e i r a r t h a s s e r v e d a human

p u r p o s e . It shows t h a t l i t e r a t u r e i s conunitred t o t h e

p o l i t i c a l , social, and economic n e e d s o f the peop le .

T h e o n l y p r i n c i p l e o f s e l e c t f o n f o r t h e poems i s moral

c o n s c i o u s n e s s . A 1 t hough t h e pat tern of a w a r e n e s s for

S o y i n k a i s d i f f e r e n t - he n e v e r wrote a n y t h i n g i n t h e

s p i r i t o f - h i s p o e t r y i s l i n k e d t o t h e o t h e r

poems i n t h i s s t u d y f rom the a n g l e o f a v i s i o n o f p u b l i c

m o r a l i t y .

I n of t h i s , myth as t a l e , where i t i s u s e d , i s

s e e n o n l y as an a s p e c t o f t e c h n i q u e of e x p r e s s i n g cons-

c i o u s n e s s . The aim i s n o t t o h i g h l i g h t the m y t h i c a l p e r

se, but t o show t h n t t h e writers a r e engaged i n p i o u s

myth making whereby t h e y h a v e e x p r e s s e d their s i n c e r e a n d

p r o f o u n d u n d e r s t a n d i n g of l i f e a ~ ~ d of the hurnnr~ ,ondibLion.

The m y t h i c a l i s c o n s i d e r e d o n l y as a s e c o n d a r y aspect sf

t h e t o p h c ; i t o f t e n f o r m s the b a s i s o f mythmaking i n

l i t e r a t u r e , b u t mythmaking, s t r i c t l y s p e a k i n g , and more

i ? p o r t a n t l y , i s t a c k e d on r e a l i t y or t h e social o r d e r :

i t c a n n o t be t o o abstract, too d i s t a n t from t h e p e o p l e .

Of S o y i n k a , Okigbo a n d ' Avoonor, i t c o u l d be said t h a t t h e

g e n e r a l p a t t e r n f o u n d i n t h e i r poems i s o p p r e s s i o n - from

p h y s i c a l a n d human forces. It i s t h e r e f o r e , t o d e l i n e a t e

t h e m y t h i c i m a g i n a t i o n o f t h e poets and . n o t t o show t h a t

- v i i -

t h e y h a v e used t h e m y t h i c a l which i s t h e o b j e c t of t h i s

e s s a y . I n o t h e r words, t h e m y t h i c a l a r c h e t y p e s - t h e

ab iku /ogbanje , Job, Oedipus - for example, were n o t what

engaged t h e r e s e a r c h e r ' s a t t e n t i o n ; b u t r a t h e r , to show

" t h a t myth. is l i t e r a t u r e and t h e r e f o r e a m a t t e r of aes-

t h e t i c e x p e r i e n c e and t h e i m a g i n a t i o n N .

- v i i i -

ABSTRACT

Mythmaking i n v o l v e s t h r e e i s s u e s . * h e s e a r e v a l u a t i o n , .;,,

a e s t h e t i c s , a n d t h e h i s t o r i c a l q u e s t i o n , w h i c h of c o u r s e

a r e i n t e r - r e l a t e d . A s a p r o c e s s , i t e v a l u a t e s t h e myth-

m a k e r ' s e x i s t e n t i a l e x p e r i e n c e s a n d r e c o r d s h i s j u d g e m e n t s

i n t h e l a n g u a g e w h i c h h e t h i n k s able to carry t h e we igh t ;

o f these; t h a t is , i t e f f e c t i v e l y c o n ~ m u n i c a t e s them. It

i s to be u n d e r s t o o d t h a t mythmaking is a soc ia l f u n c t i o n .

L i t e r a t u r e , w h i c h i n v a r i a b l y c o n s i s t s i n m y t h m a k i n g , h a s

i n t e r p e r s o n a l a n d i n s t i t u t i o n a l d i m e n s i o n s . I t comments

on all a s p e c t s of l i v i n g a n d o f human r e l a t i o n s h i p s , u s i n g

l a n g u a g e w h i c h r e f l e c t s a n d a t t h e same t i m e i n f l u e n c e s

r e l a t i o n s w i t h s o c i e t y . T h i s work a t t e m p t s t o a n s w e r t h r e e

q u e s t i o n s w i t h r e s p e c t t o t h e p o e t s S o y i n k a , O k i g b o , a n d

Awoonorr What s t a t e m e n t s t h e y h a v e made, why a n d how.

It a r g u e s t h e r e f o r e a g a i n s t t h e n o t i o n of l i t e r a t u r e a s

non - r e f e r e n t i a l , n o n - i n t e r p e r s o n a l , a n d n o n - m e t a l i n g u i s t i c

mode of w r i t i n g , and u p h o l d s t h a t t h e r e i s a d i a l e c t i c a l

r e l a t i o n s h i p b e t w e e n c o m m u n i c a t i o n a n d s o c i e t y .

T i t l e Page .................... i

.......................... D e d i c a t i o n i i i

A c k n o w l e d g e m e n t s .................... iv

............................. P r e f a c e vii

A b s t r a c t ............................ v i i i

................... Table of C o n t e n t s i x

Chapter One: I n t r o d u c t i o n :

The Complex F o r m s o f ivlyth 1 - 1 2

C h a p t e r Two: S o y i n k a , O k i g b o and Awoonor : T h e Writer a n d N a t i o n a l C o n s c i o u s n e s s 1 3 - 2 4

C h a p t e r t h r e e : H S t u d y o f S e l e c t e d Poems o f S o y i n k a , b k i y b o .in d woon nor 2 5 - 59

C h a p t e r Four: T e c h n i c u e s o f iblyth- rnakivy 60 - 69

h o r k s C i t e d 74 - 77

CHAPTER 1

..- . . . - INTRODUCTION

C o w Forms of M v U t

From t h e e t y m o l o g i c a l meaning: myth c o u l d be c a l l e d

word. Mythos, a s e x p r e s s e d , f o r i n s t a n c e , i n t h e -- .:

~ ~ e d - ~ is word i n t h e sense of a d e c i s i v e ,

f i n a l pronouncement , I t d i f f e r s f r o m l o g o s , t h e word whose ,

v a l i d i t y or t r u t h can be a r g u e d a n d d e m o n s t r a t e d .

( ~ r i t t a n i c ~ , 793) H a r r y L e v i n s c l a r i f i e s i t e v e n b e t t e r

when h e s a y s t h a t "mythos i s u s e d f o r "wordw or " s p e e c h v

i n H o m e r a n d o t h e r Greek p o e t s , as d i f f e r e n t i a t e d f r o m '

l o g o s , " t a l e " o r t t s t o r y " . (Myth_, 104) He p u t s t h e i d e a

more p o i n t e d l y t h u s t

The o r i g i n a l meaning o f o u r word is "wordWt mythos. Add l o g o s , a n d you y e t "mythologyt t . Thus , i n a c e r t a i n s e n s e , t h e s c i e n c e o f myth a l so means " t h e word of words , which s h o u l d be a c a v e a t a g a i n s t t a n t o l o g i e s a n d o t h e r e x c e s s e s o f v e r b i a g e (103)

But f o r Homer a n d t h e Greek p o e t s , mythos i s n o t

e x p r e s s e d a s a r e l i g i o u s term, st d o e s n o t mean word

" i n t h e s e n s e of a d e c i s i v e , f i n a l p ronouncement t ' r *he

wocd came to be a n a l o g o u s w i t h " p l o t n . T h i s p e r h a p s i s

why "mythu , a c c o r d i n g to P a u l V a l e r y , "is t h e name f o r

e v e r y t h i n g t h a t e x i s t s , or s u b s i s t s , o n l y t o t h e e x t e n t

t h a t s p e e c h is i t s c a u s e " , (103) C o n c e i v i n g of t h e word

i n t h i s s e n s e , as p l o t , d e p i c t s t h e term as a s t r u c t u r a l

p r i n c i p l e . T h i s is because

an a u t h o r i s s a i d t o t r a n s f o r m a s t o r y i n t o a p l o t by t h e u s e of v a r i o u s dt- v i c e s t o i s o l a t e s e q u e n c e and t o deform and d e f a m i l i a r i s e t h e s t o r y e l e m e n t s ; t h e e f f e c t is t o d r a w a t t e n t i o n t o t h e n a r r a t i v e medium and devices themselves and to make p a t e n t t h e f i c t i o n a l i t y ot i t s s u b j e c t matter. ( ~ b r a m s , 157)

T h u s N o r t h r o p F r y e n o t e s t h a t " i n l i t e r a r y criticism

myth means u l t i m a t e l y my thos , a s t r u c t u r a l o r g a n i s i n g

p r i n c i p l e o f l i t e r a r y f o r m n , ( h t ~ m y , 341) and accor-

ding t o L e v i n s :

qv Mythos i s u s e d f o r "word" o r 5peec1?'' i n H o m e r and t h e G r e e k p o e t s , as d i . 7 f e r . m - tiat& f rom l o g o s , t t t a l c t t or ttst&ylv; As such , i t became a t e c h n i c a l t e r m of l i t e r a r y criticism, s i q n i f y i n g " p l o t " , wh ich A r i s t o t l e h e l d to be t h e mos t i m p o r t a n t f e a t u r e o f t r a g e d y . ( D a e d a l u s , 224)

T h i s p e r c e p t i o n o f myth as f i c t i o n a l Is opposed t o

t h e idea of t h e a n c i e n t s fo r whom t h e t e r m was syno-

nymous w i t h t r u t h . A s Vico p o i n t s out, n ~ y t h o s i s often

d e n o m i n a t e d Vera n a r r a t i o by t h e a n c i e n t s , (m, 1043 A c c o r d i n g to Henry A. Murray , t h e d e f i n i t i o n of myth i n

h a s no basis i n t h e t e r m h a v i n g b e e n i n i t i a l l y employed t o d e n o t e t h e e x a c t o p p o s i t e : a sacred s t o r y , or an h i e r o p h a n y , as L l i a d e h a s called it ,- an i m p r e s s i v e , compel ' ing mani- f e s t a t i o n o f a s p i r i t u a - l korce, a n e p i p h a n y of t h e superhuman p s y c h i c d e t e r m i n a n t of a critica: event. ( 3 3 5 )

J o s e p h Campbel l i n a s i m i l a r v e i n o S s t r v e s :

It would n o t be too much to say t h a t myth i s t h e secret o p e n i n g t h r o u g h which t h e i n e x h a u s t i b l e energies of t h e cosmos p o u r i n t o human c u l t u r a l mani- f e s t a t i c n , H c l i g f u ~ ~ s , p h i l o s o p h i e s , arts, t h e s o c i a l forms of p r i m i t i v e and h i s t o r i c man, p r i m e discoveries I n s c i e n c e and t e c h n o l o g y , t h e v e r y dreams : .h i t D l i s t e r s l e e p , bo i l u p f rom t h e basic, magic r i n g of myth, (Sun So-, 7 )

A n o t h e r p r o f o u n d s t u d e n t of myLh Ernest Cass i re r

' e q u a l l y c o n t e n d s t h a t

t h e r e i s n o s h a r p d i s t i n c t i o n i n t h e p r i m i t i v e mind be tween t h e o b j e c t i v e and s u b j e c t i v e way of p e r c e i v i n g t h e world, ana t h e m y t n s i t c r e a t e d e x p r e s s e d ~ t s r e l i g i o u s (or s u b j e c t i v e ) p e r c e p t i o n s , F o r t h i s form of " m y t h i c a l c o n s c i o u s n e s s " , . t h e r e i s n o c l e a r r??..r -,t l on be tween t h e symbol and object , be tween f a n t a s y and r e a l i t y , b e t w e e n w i s h and f u l f i l m e n t , (9)

C a s s i r e r ' s t h e o r y , i n e f f e c t , r e v e a l s t h e r e l a t i v e

n o t i o n s of r e a l i t y or t r u t h when a p p l i e d t o t h e m y t h i c a l

c o n s c i o u s n e s s m I t t e s t i f i e s to t h e " p e r s p e c t i v i s m " of

W e l l e k and Warren which s u g g e s t s t h a t v a l u e i s a

s y s t e m t h a t is c o n s t a n t l y u n d e r m o d i f i c a t i o n s . T h i s

i s b e c a u s e n o o n e g e n e r a t i o n c a n e x h a u s t a l l t h e

' p o s s i b l e i n t e r p r e t a t i o n s d e p i c t e d i n a symbol ,

A l t h o u g h " m y t h s . .. , c a r r y t h e force of a p r i m a r y

h a p p e n i n g , a n e v e n t uncompromised by logical o r r a t i o n a l

q u a l i f i e r a 8 ' . , w e c a n n o t c o n c l u d e t h a t a myth i s t r u e o r

f a l s e b e c a u s e i t s v a l u e c o n s t a n t l y changes w i t h s u c c e s s i v e

g e n e r a t i o n s a n d c i v i l i z a t i o n s . T h e r e i s a l w a y s t h e

p o s s i b i l i t y of a new i n t e r p r e t a t i o n . B e s i d e s , t h e

i dea s , c o n c e p t s , a n d b e 1 i e f . s i t i s m e a n t t o p r e s e r v e

a n d p r o p a g a t e c a n be a l te red , t h a t is made to be u n d e r -

stood i n t h e l i g h t o f new d e v e l o p m e n t s w i t h i n a c u l t u r e .

F o r t h e a n c i e n t s , i t was n e c e s s a r y t o r e g a r d the

s t o r y o f the f i r s t p e r f o r m a n c e o f some act as t r u e

because t h e y n e e d e d c e r t a i n basic a s s u m p t i o n s i n terms

of w h i c h t o l i v e .

Myth, aS so f a r d e p i c t e d is a n o t h e r word f o r v i s i o n ,

And v i s i o n , f o r t h e a n c i e n t s w a s synonymous w i t h t r u t h ,

T h i s s u p p o r t s t h e a s s e r t i o n t h a t "what w e t o d a y c o n s i d e r

" m y t h s M o n c e s u p p o r t e d t h e moral order, v i t a l i z e d se-

c u l a r a n d r e l i g i o u s i n s t i t u t i o n s , a n d s t i m u l a t e d t h e

c r e a t i v e i s i n a n c i e n t c i v i l i z a t i o n s " . (1.2 3 It

h a s i n f a c t , b e e n o b s e r v e d t h a t myth i s t h e v i s i o n a r y

s c r e e n upon w h i c h t h e human s p i r i t p r o j e c t s its destiny,

(15) S c h e l l i n g was c o n v i n c e d t h a t t h e a b s o l u t e i s

e x p r e s s e d i n myth. (w, 7 9 6 )

It i s safe t o a s s u m e , t h e r e f o r e , t h a t myth has

o r i g i n s i n r e l l g i o u n . However , t o d a y t h e w o r d myth has

s h i f t e d r a d i c a l l y f r o m its o r i g i n a l meaning. H e n c e

some t h e o l o g i a n s h a v e a r g u e d t h a t m y t h s , b e c a u s e sf

t h e i r close w i t h r i t u a l and r e l i g i o u s

b e l i e f s , a r e o n l y c o r r u p t i o n s o f s c r i p t u r e or e a r l y

r e l i g i o u s t r u t h s - ( s u n Sonq , 6 ) Some German s c h o l a r s

p o s t u l a t e d t h a t m y t h s w e r e e n t i r e l y p e r s o n i f i c a t i o n s

o f n a t u r e . Xn t h e e a r l y d a y s of p s y c h o l o g y , F r e u d i a n s

e x p l a i n e d myths as a mechanism of w i s h - f u l f i l m e n t

w h i l e J u n g i a n s c o n s i d e r e d them a s e x p r e s s i o n s o f un-

c o n s c i o u s , d reams . (7) O t t o Rank also c o n t e n d e d t h a t

"myth i s t h e c o l l e c t i v e dream of t h e p e o p l e N . (7)

Robinson and N i l s o n c o n s i d e r myth s i m p l y a t r a d i t i o n a l

or f a b u l o u s s t o r y t h a t c o n c e r n s s u p e r n a t u r a l e v e n t s o r

g o d s . ( 8 ) A n o t h e r v iew i s th;l t myth is a n o r a l , t ra -

d i t i o n a l , and e x p l a n a t o r y n a r r a t i v e of t h e o r i g i n Of

n a t u r h l phenomena i n t e r m s o f t h e a c t i o n s of g o d s and

supe rhuman f o r c e s . (Dav idson , 8 ) F r y e , i n t h e same

v e i n , S a y s t h a t a myth i s a s i m p l e a n d p r i m i t i v e e f f o r t

o f t h e i m a g i n a t i o n t o i d e n t i f y t h e human with the non-

human w o r l d , and i t s m o s t t y p i c a l r e s u l t i s a s t o r y

a b o u t a god. (The Educated, 4 5 )

Myth i s sometimes e q u a t e d w i t h ' t a l e ' , f a b l e o r

l e g e n d . The c o n f u s i o n g e n e r a t e d by t h i s k i n d of s y n c r e -

t i s m h a s o f t e n l e d s c h o l a r s t o a t t e m p t t o d i s t i n g u i s h

b e t w e e n t h e terms- But t h e o r i g i n a l meaning of myth

s u r v i v e s i n many medern u s a g e s of t h e term. lvlark

S c h o r e r t h u s s a y s t h a t " t h e term d e n o t e s , i n f a c t n e i t h e r

t h e n e g a t i o n n o r t h e c o n t r a r y o f ideas, b u t t h e i r b a s i s

and t h e i r s t r u c t u r e , t h e e l e m e n t b y which they are

a c t i v a t e d " . (Myth, 3 5 5 ) C i t i n g L e s l i e S t e p h e n , h e

p o i n t s o u t t h a t " t h e d o c t r i n e s w h i c h men o s t e n s i b l y

h o l d , d o n o t become o p e r a t i v e upon t h e i r c o n d u c t u n t i l

t h e y h a v e g e n e r a t e d an i m a g i n a t i v e symbolism". ( 3 5 5 )

S c h o r s r contends t h e r e f ore t h a t

m y t h s a r e the i n s t r u m e n t s b y w h i c h w e c o n t i n u ~ l l y s t r u g g l e to make o u t e x p e r i e n c e i n t e l l i g b l e t o o u r s e l v e s . A myth i s a large, c o n t r o l l i n g image t h a t g i v e s p h i l o s o p h i c a l mcanirlg to the f a c t s of o r d i n a r y l i f e ; t h a t i s w h i c h h i l s or g a n i s i n g v a l u e for ex- p e r i e n c e (355)

M u r r a y s u g g e s t s t h a t "myth", as M r S c h o r e r uses i t ,

i s a term t h a t nlay r e f e r n o t o n l y , as always, t o t h e

v i a b l e , c o l l e c t i v e "dreamsw, sacred a n d s e c u l a r , of

p r i m i t i v e societies but also t o t h e e m e r g i n g v i s i o n s

o f modern men". (m, 213) His own v i e w accords

somewhat w i t h S c h o r e r ' s . Says h e ,

"myth", h o w e v e r , does n o t eef er t o any p e r c e p t i b l e e v e n t as s u c h : t h e

m y t h i c e v e n t t h a t is d e s c r i b e d i n w o r d s c o n s i s t s of a p r o c e s s i o n of i m a y e s i n t h e s t o r y t e l l e r 5 s head, t h a t i s , it i s an i m a g i n e d e v e n t (or i r n a y e n t ) , o n e t h a t may be p a r t l y o r w h o l l y v i s i o n a r y , l i k e a d r e a m ur h a l l u c i n a t i o n , o r one t h a t may r e p l i c a t e yuS t-e closely t h e e s s e n - t i a l k e a t u r e s of some o b s e r v e d o v e r t o c c u r e n c e .. . A c c o r d i n g to t h i s d e f i n i - t i o n "myth" ' p o i n t s t o s o r n e t h i n q t h a t resides i n m i n d s - i n the m i n d s of i t s c o m p o s e r s , t r a n s m i t t o r s , r e c e p t o r s , c o n s e r v e r s , r e c o m p o s e r s - r a t h e r t h a n i n b o o k s , t o an iatagined event o r series of e v e n t s r i i t h e r t h a n t o a s i n g l e , s t a t i o n a r y " b a r g e c o n t r o l l i n i m a q e w , i n S c h o r e r ' s p h r a s e (214-23.5 7

I n t h e summary o f h i s a r g u m e n t , h e p o i n t s o u t

t h a t

myth is a s e n s i b l e a n d dramat ic r e p r c - s e n t a t i o n of a s u p p o s e d l y recurrent or u n i q u e e v e n t ( I n t h e p a s t , the p r e s e n t , o r t h e f u t u r e ) , an e v e n t w i t h a n impor - t a n t t h e m a , w h i c h i s r e p r e s e n t e d p r i - m a r i l y i n t h e mind ( i m a g i n e d m y t h ) , but s e c o n d a r i l y i n w o r d s ( n a r r a t e d m y t h ) , i n quas i a c t i o n s ( e n a c t e d m y t h ) , or i n some a r t i s t i c f o r m ( p o r t r a y e d m y t h ) . (225)

Plyth is t h e r e f o r e a c o n s t r u c t i o n of t h e mind and

c o n s e q u e n t l y s u s c e p t i b l e t o d i f f e rmt f o r m s a c c o , r d i n g

a s t h e m i n d moves t o w a r d s f a n c y o r h i s t o r y .

C o n c u r r i n g w i t h Ib iurray , I s i d o r e Okpewho c o n s i d e r s

myth as " s i m p l y t h a t c p a l i t y of f a n c y w h i c h i n f o r m s

t h e c r e a t i v e o r c o n f i g u r a t i v e power of the human mind

i n v a r y i n g d e g r e e s o f i n t e n s i t y " , ( ~ f r i c a n L i t e r a t u r e ,

19) H a adds t t iat w e are free t o call a n y n a r r a t - i v n of 3~ oral t r a d i t i o n - SO l o n g as it; l a y s e n ~ p h n i . j s 017 f a n c i f u l

p l a y - a myth. (19) T o him e v i d e n t l y myth i s n o t a

p a r t i c u l a r t y p e of t a l e . I n a n a r t i c l e , " R e t h i n k i n g

Mytht ' , h e a g r e e s w i t h tieda J a s o n ' s s u g g e s t i o n that

t a l e s be a r r a n g e d a l o n g a l i n e a r

c o n t i n u u m o f d e g r e e s o f 'realness, s h a d i n g to e x t r e m e s a t e i t h e r end. T h e t e x t s w i l l be d i s t r i b u t e d a l o n g t h e c o n t i n u u m , .nd w i t h each r e t e l l i n g o f a t a l e - p l o t , t h e t a l e may shift I t s p l ~ c e o n the l i n e .. , T h e r e l a t i o n s h i p mdy be e x p r e s s e d a p p r o x i m a t e l y as f o l l o w s :

t n e n e a r e r , better known, and more everyday t h e h i s t o r i c a l and geogra- p h i c a l s e t t i n g of t h e tale, and the n e a r e r i t s a c t o r s to t h e n a r r a t o r ' s p e r s o n a l e x p e r i e n c e , the more 'real' the h a p p e n i n g of the t a l e w i l l a p p e a r to the n a r r a t o r . (116

Okpewho's model of r e l a t i o n s suggest the position

of each ta l e i n t h e c o n t i n u u m and its t r a n s i t i o n a l

t e n d e n c y as t h e quality o f f a n c y i s added or

subtracted.

I n t h e c o n t i n u u m , t h e t a l e s w h i c h a r e d o m i n a t e d b y t h e

n a r r a t o r ' s s e n s e of h i s t o r y are p l a c e d a t o n e e x t r e m e ,

t h e c o n t r o l e n d , A t t h e o t h e r e x t r e m e a r e t h o s e tales

w h i c h h a v e t h e f a n c y a n d l i c e n c e marker . T h e h a l f of

t h e con t i .nuum t o w a r d s t h e c o n t r o l end i s t h e r e f o r e set

i n h i s t o r i c a l t i m e w h i l e t h e o t h e r h a l f t o w a r d s t h e

f a n c i f u l a n d f i c t i t i o u s is set i n m y t h i k a l t i m e .

Okpewho t h u s c o n s i d e r s i t p r o p e r t o p l a c e h i s t o r i c

l e g e n d and m y t h i c l e g e n d f i r s t a l o n g h i s t - o r i c a l t i m e ,

a n d a e t i o l o g i c a l t a l e a n d f a b l e a l o n g m y t h i c a l t i m e .

But, o f c o u r s e , t h e s a m e t a l e c a n , a c c o r d i n g as t h e

q u a l i t y of f a n c y i s a n a t t r i b u t e i n i t s cause, b e c ~ a b

l e g e n d or f a b l e or h i s t o r y . T h a t i s , the c o n t i n u u m i s

f l u i d a n d a n y t a l e c o u l d , w i t h r e t e l l i n g , g r a v i t a t e

towards e i t h e r d i r e c t i o n .

Okpewho ' s model of a l i n e a r c o n t i n u u m is most ges-

mane to my d i s c u s s i o n i n t h i s thesis because i t i n t e -

g r a t e s t h e c o n c e p t oi- myth as o r a l n a r r a t i v e , a n d t h e

n o t i o n of v i s i o n . T h a t i s , i t c o h e r e s w i t h t h e t ra-

d i t i o n a l d e f i n i t i o n o f r r~yth a n d the m o d e r n i s t r e d e -

f i n i t i o n of i t . b b i l w l a d ~ a k ~ r , , , u o t i n y Holman e t a l

n o t e s t h a t m y t h s , i n t h e t r a d i t i o n a l s e n s e , are

anonymous s to r ies h a v i n g t h e i r n a o t s i n t h e p r i m i t i v e f o l d beliefs of races o r n a t i o n s a n d p r e s e n t i n g s u p e r n a t u r a l epi- sodes as a m a n s of i n t e r p r e t . i n g n a t u r a l

e v e n t s i n an e f f o r t to make c o n c r e t e and p a r t i c u l a r a s p e c i a l p e r c e p t i o n o f man o r a cosmic v i e w . ( ~ e s e m , 2 1

" I n t h e m o d e r n i s t r e d e f i n i t i o n of the word" , he s a y s ,

myth i s s e e n as c o n t a i n i n g v e s t i g e s o f p r i m o r d i a l r i t u a l a n d c e r e m o n y , or the r e p o s i t o r y of r a c i a l memories, o r a s t r u c t u r e o f u n c o n s c i o u s l y held v a l u e s y s t e m s , o r a n e x p r e s s i o n o f t h e g e n e r a l beliefs o f 3 r a c e , social class or n a ~ i o n o r a u n i q u e embodiment of cosmir: view. (2)

T h e s e t w o d e f i n i t i o n s do n o t seem t o m e s i g n i f i -

c a n t l y d i f f e r e n t i n a n y way D e c a u s e t h e of w h i c h

o c c u r s f i r s t , t h e t a l e or t h e v i s i o n i s u n r e s o l v e d a n d

it does a p p e a r t h a t " t a l e " a n d f a n c y a r e c o n t i n u a l l y

r e a c t i n g u p o n e a c h o t h e r . T h e t w o s u p p o s e d s e n s e s of

t h e word s h o u l d t h e r e f o r e be u s e d s i m u l t a n e o u s l y i n

e x p l i c a t i n g t h e m y t h i c mode of a n y work. Pvladuakor

a g r e e s t h a t " t h e t w o u e f i n i t i o n s a r e r e l e v a n t t o

S o y i n k a ' s u s e of the t e r m myth b o t h i n h i s c r e a t i v e

w o r k s a n d i n h i s l i t e r a r y e s s e y s " . ( 2 )

My i n t e n t i o n i n t h i s p a p e r i s t o u s e myth i s t h e

broadest s e n s e as b o t h f a n c y and o r a l n a r r a t i v e s y n t h e -

s ized. I s h a l l l o o k a t myth a l s o as a p a r t i c u l a r t y p e

o f t a l e w h i c h is o n l y a n I n s t r u m e n t , among so many,

w h i c h h a s t h e f u n c t i o n o f o b j e c t i f y i n g . t h e w r i t e r ' s

s e n s i b i l i t i e s or c o n s c i o u s n e s s . lulyth as t a l e i s u s e d

t h e n to a i d or e n h a n c e t h e w r i t e r ' s communication of h i s

p a r t i c u l a r v i s i o n to t h e reader. T h i s i s why i n

f i c t i o n , w h i c h deals w i t h m y t h , " t h e a c t i o n m u s t b e

p u t i n a r e c o g n i z a b l e p l a c e a n d s o c i e t y w ( U a e d a l u s , '

335-6) i n s p i t e o f the f a c t t h a t " t h e r e i s l i t t ? e or

n o n a t u r a l l a n d s c a p e , n o r e c o g n i z a b l e c i t i e s i n myth

o r f a i r y t a l e " ( 3 3 6 ) I n o t h e r w o r d s , myth as o r a l

n a r r a t i v e i s a f f e c t i v e , S i n c e o t h e r forms of lite-

r a t u r e , s u c h 3s l e g e n d s , f o J L k t a l e s , f a i r y ta les , epics

c a n p e r f o r m t h i s f u n c t i o n , what t h e n are t h e f a c t o r s

t h a t d i s t i n g u i s h t h e s e from myth , Chima U a v i d s o n writes

i n h i s B.A, t h e s i s ,

myth as t a l e i s t h a t n a r r a t i v e w h i c h , l i k e t h e a e t i o l o y i c a l t a l e , e x p l a i n s t h e o r i g i n of c e r t a i n n a t u r a l phenomena, However , u n l i k e t h e a e t i o l o g i c a l t a k e , it does n o t ans8,~er t,,e q u e s t i o n 'how' a c e r t a i n phenomenon came about b u t r a t h e r ' w h s m z e g i t came. Myth h C l s a c e r t a i n r e l i g i o u s a u t h o r i t y w h i c h t h e a e t i o l o g i c a l t a k e , t t h e d a i r y tale, the f o l k t a l e , t h e f a b l e and l e g e n d cio not: h a v e .

Sagas a n d e p i c s are r e c o u n t i n g s o f e v e n t s w h i c h are . , ~ + c A LW US i n t i m e t h d n are mythical e v e n t s . 'l'hey deal w i t h t h e a d v e n t u r e s o f gods and s u p e r h u m a n s , b u t t h e y assurr~e a l r e a d y t h e e v e n t s t h a t h a v e t a K c n p l a c e i n m y t h s (ecj. t h e f o r m a t i o n of t h e h e a v e n s and t h e e a r t h ) T h e p e r l o d i n w h i c h m y t h i c a l e v e n t s t a k e p l a c e i s t h a t p e r l o d b e y o n d t h e t o r d e r s of memory ( 9

rs F i n a l l y , i t A m y c o n t e n t i o n t h a t myth is n o t syno-

nymous w i t h f a l s e h o o d i n s o f a r as t h e mythmaker is

p o s s e s s e d b y h i s idea a n d h e s h o w s w h a t P ia t thew A r n o l d

calls h i g h - s e r i o u s n e s s i n a r t i c u l ~ t i n g h i s v i s i o n ,

1 am i n t h i s sense c o n c e r n e d w i kl: t h e c o n r m i trnent o f

$ h e writer to h i s v i s i o n =nd to mankind. T h e s e two

factors must n c c e s s a r i l y n lerye to b r i n y about social

c o n s c i o u s n e s s . b o y i n k a , b k i y b o ,ind hwotsnor were not

closet wri ters . 'A'htty spoke to t h e b o r l d and p r o p o s e d

a b r o a d e r v i s i o n of l i f e . 2ocia l consclousncss in t h i s

c o n t e x t t h e r e f o r e rne~~ns t h i j t h i g h e r s e n s i t i v i t y w h i c h

t h e writer* possesses t h , ~ t ~ n ~ k e s hiln t h e c o n s c i e n c e o f

r 3 h i s society. l h i s a c c o r d s w i t h t h e d e f i n i t i o n o f

c o n s c i o u s n e s f j aCYQptcd Ly Kichard Lllrnan i n h i s book

'Consciousness' denotes t h e movement of t h e mind b o t h i n r e c o g n i s i r ~ g its own s h a p e and i n ~ r , ~ i r i t d i r r i n g tha r s h a p e i n t h e f a c e oL ,ttack ur c h ~ n g e . (1)

It was i m p e r a t i v e to discuss. t h e var!.ous m e a n i n g s

of t h e word myth because i t i s trbe t o u c h s t o n e f o r eva-

l u a t i n g A f r i c a n li t e r a t ; u r e . 'h'hunrils k. k n i p p o n c e c o n t a n -

ded t h a t t h e A f r i c d n b s means of corning t o terms with

t h e r e a l i t y of his l i f e i s a r n y t h o p o e i c process".

A s A f r i c a n s struggle w i t h t h e enormous p o l i - t i c a l , social arid economic p r o b l e m s t h a t beset their continent, t h e y dre a l s o i n t h e p r o c e s s of c r e a t i n g t h e i n t e l l e c t u a l millieu w i t h i n w h i c h they c o n f r o n t these problerri~ and d e f i n e t h e i r w o r l d a n d t h e r i i s e l v e s . (pf r l c a ~ L i t e r a t u r e , 39)

It i s u n l i k e l y t h a t K n i p p was r e f e r r i n g to the un-

educated masses oi A f r i c a i n t h e above s t a t e m e n t . It i s

the writers who are involved i n the m y t h o p o e i c process,

c r e a t i v e writers <ind i n t e l l e c t u a l s h a v e a s t r o n g v o i c e

i n s h a p i n g n a t i o n a l , I I C ~ continental r ea l i t i e s " ( 3 9 )

K o f i AwoonOr, a n o t a b l e A f r i c * n writer , s a y s of

, t h e A f r i c a n writer " h e i s y o i n g t o p r o v i u e i n h i s

his society tec;~i:;e o t h e r w i s e sucia l l i f e w o u l d b e a

v e r y s ter i le and a v e r y futile e x e r c i s e " ( b a s h i r ~ , 4 7

Awoonor i s a mythmaker ; so also are S o y i n k a and

O k g q ~ o . T h e s e writers have n o t o n l y a p p r o p r i a t e d o l d

m y t h s , b u t h a v e c t c a t e d new o n e s i n a b i d t o express

t h e i r d e e p e s t c o n v i c t i o n s , d e c a u s e , as kwoonor p u t s i t ,

" t h e a r t i s t 'celebrates ' a r e a s s e m ~ l e m e n t o f a i l t h i n g s

i n t h e jo 'urr iey t o w a r d a h a r m o n i c o r d e r " ( 2 7 )

I n t h e a r t i c l e , "lvLyth, H i s t o r y and t h e P o e t r y of

Kof i A W O O ~ Q ~ " , K n i p p comments :

The A f r i c a n h i s t o r i c a l myth w i t h i n w h i c h Awoonor f u n c t i o n s and to w h i c h he c o n t s i - D u t e s i s , i n a n i m p o r t a n t sense, a c o u n t e r - myth; a response n o t o n l y to experience but to a n u n a c c e p t a b l e pre-exist i n g m y t h i c i n t e r p r e t a t i o n of A h r i c a n expe- rience and t h e Af ricdn p a s t , w h i c h c a n be called t h e W h i t e or E u r o p e a n myth of Africa. (Afri-n !ditt:r&c=, 40

I1 H e adds, a s i n m o r a l i t y p l a y , t h e B r i t i s h and

A f r i c a n s are t h e e x e m p l a r s of c i v i l i s a t i o n and s a v a g e r y

r e s p e c t i v e l y , . . . . The image of A f r i c a remains t h e

n e g a t i v e r e f l e c t i o n , the s h a d o w , of t h e B r i t i s h s e l f

C o l o n i a l i s m and s l a v e r y were v e r y t r a u m a t i c

c . e x p e r i e n c e s for A f r i c a n s , l h e y a c t u a l l y i m p a i r e d t h e

black m a n ' s self - d e v e l o p m e n t t h r o u g h t h e d c s t r s c t i o n

o f h i s sense oi p e r s o n a l worth and d i g n i t y . Many

A f r i c a n writers h a v e l a m e n t e d the d e s p o l i a t i o n o f

A f r i c a n c u l t u r e s t h a t tollowed i n t h e h a k e of c o l o n i a l i s m ,

W h a t e v e r may be i t s meri ts , many b e l i e v e t h e c o l o n i a l

e x p e r i e n c e t h w a r t e d the ~ f r i c a n ' s p r o c e s s of h i s t o r i c a l

d e v e l o p r r ~ e n t. C h i n u a Achebe , f o r example , has observed

t h a t

A f r i c a n p e o p l e d i d n o t h e a r o f c u l t u r e for t h e f i r s t t i m e f ro rn E u r o p c ~ , n s ; t h a t t h e i r societies w e r e n o t m i n d l e s s but fre- q u e n t l y h a d a p h i l o s o p h y of q r e a t d e p t h and v a l u e a n d b e a u t y , t h a t t h e y h a d poetry a n d , a b o v e a l l , t h e y had d i g n i t y . It is t h i s d i g n i t y t h a t many A f r i c a n p e o p l e a l l b u t l o s t d u r i n g t h e c o l o n i a l p e r i o d , a n d i t i s t h i s t h a t t h e y m u s t now r e g a i n . ( K i l l a m , 8).

T h e p r o c e s s of s u b j e c t i v e c o n f e s s i o n " o r e x p r e -

s s i o n o f s e n s i b i l i t y f o r many A f r i c a n writers " h a s

been t h e p r o c e s s of s e e i n g - and t h e n seeing t h r o u g h - t h e w h i t e i m a g e a n d myth of ~ f r i c d " . ( U c n n L-

West, t h e writer was i n a p o s i t i o n t o a p p r e c i a t e t h e

w h i t e m a n ' s w o r l d and t o t a k e a f r e s h l o o k at h i s own

c u l t u r e . H e perceives h i m s e l l ' as a p r o d i g a l aban-

d o n i n g h i s r i c h c u l t u r a l h e r i t a y e , s a c r i f i c i n g h i s

t r a d i t i o n s a n d c u s t o m s a t t h e a l t a r o f W e s t e r n s u p e r - ,

s t r u c t u r e s . H e seeks t o r e b u i l d t h e d e s e c r a t e d s h r i n e

of h i s g o d s i n o r d e r to " r e c o n n e c t w i t h h i s rooted past-".

T h i s c u l t u r , a l c o n s c i o u s n e s s i s wha t c o n d i t i o n e d t h e

m y t h i c i m a g i n a t i o n of Awoonor and Okigbo . I s i d o r e

Okpewho h a s p o i n t e d o u t t h a t t h e o r ' a l n a r r a t i v e t r ad i -

t i o n s h a v e b e e n s u b j e c t e d t o d i f k e r e n t k i n a s o f uses

i n A f r i c a n c r e a t i v e w r i t i n q s . H e ' s t ~ t e s t h a t t h e

f o l l o w i n g t e n d e n c i e s a r e d i s c e r n i b l e - t r d d i t i o n

p r e s e r v e d , t r a d i t i o n o b s e r v e d , t r d d i t i o n r e f i n e d , a n d

t r a d i t i o n r e v i s e a , (1) I b e l i e v e t h a t i f h e were to

s a y w h e r e Gkigbo nwoonor b e l o n g i n t t 1 6 s scheme, h e

would h a v e said t h a t t h e y f d l l w i t h i n t h e c a t e g o r y of

I I

' t r a d i t i o n p r e s e r v e d ' . l h i s i s b e c a u s e i n t h e i r poems,

as Knipp p u t s i t , " t h i s m y t h i c d e f i n i t i o n o f t h e self

i n t e r a c t s w i t h the l o n g e r m y t h i c e x p l i c a t i o n o f A f r i c a n ' s

p a s t , e s p e c i a l l y i t s h i s t o r i c a l e n c o u n t e r w i t h t h e West".

K o f i kwoonor h i m s e l f h a s hdd t h i s to s a y a b o u t

h i s w o r k :

My own work .s a p o e t owes a g r e a t deal t o t h e o ra l t r a d i t i o n out of w h i c h I grew* Ivby d e p e n u e n c e on i t has p r i m a r i l y b e e n m o t i v a t e d b y a desire to g i v e t h i s much n c g b e c t c ~ d poetry a voice and t o b r i n g into t o c u s r h e heme of c u l t u r a l c o n t a c t , c o n f l i c t and r e s o l u t i o n f o r t h e A f r i c m , (tiwoui;or, 2 1 b ?

An a p p r e n t i c d p o e t whose p a t h to p o e t r y b e g a n w i t h a f a s c i n a t i o n wi t.h t h e masters o f L n g l i s h a n d A m e r i c a n v e r s e a n d w i t h myth o t h e r t h a n h i s own, h e ~ ~ u i c k l y became h i s own master, q a i n i n c j power as a poet who r e t u r n s in his i d e a & a n d t e c h - n i q u e t o he o r a l s o u r c e s , a n d c o r n b i n i n y

t h e f u n c t i o n of t h e p o e t and t h e p r i e s t , h e g r e w i n t o a c1c.a - v o i c e d o i v i n e r w h o s e role a s a p o e t i n o l d h f r i c d h a s 3 1 ~ 3 ~ ~ been taken f o r q r d n t e d . (224-25)

T h e c o u n t e r - m y th i n w h i c h U k i g b o , Awoonor , ~ c h e b e

a n d other Airj.c;, ln writers are i n v o l v e d has taken v a r i o u s

forms. K n i p p o b s e r v e s t h a t

I n n ~ ~ r r a t i v e and c h r o n o l o y i c a l iorm - that is, ,s h i s t o r y - t h i s coubter- myth of h f r i c a c a n be c o n s t r u e d a s a p a r a d i g m , a c o n j u g a t i o n o f a pro- cess moving t h r o u g h t i m e . i t h a s , L suggest, t i v e ' t e n s e s ' . ( ~ f r i c a n L i t e r a t u r e , 4 3 )

He g i v e s the f i v e t e n s e s as

t h e r i c h b l a c k past ... sorwtimes warm, sometimes g l o r i o u s . , . i n w h i c h a s e c u r e black i d e n t i t y was a n d c a n a g a i n b e r o o t e d . ' l 'h i s r i c h p a s t e x i s t s i n a double sense: f i r s t as h i s t o r y , as t h e r e c o r d o k the p a s t g l o r i e s of k l c ~ l i a n d Ghana , o f B e n i n m d l i e ; a n d , s e c o n d , as the c u l t u r e , more or Less i n t a c t a n d accessible in t h e v i l l a g e s , of t h e p e o p l e from w h i c h t h e p o e t was t o r n by t h e process of w e s t e r n i z a t i o n ( a n u g l y word)

'l'he c y n i c a l c o n q u e s t o f t h e c o n t i n e n t dnd i t s c u l t u r e by g r e e d y and r a p a c i o u s E u r o p e a r r s .

The p e r i o d o f b o n d a y e d u r i n y w h i c h w h i t e s e x p l o i t e d A i r i c a and e x p o r t e d t h e enormous riches that were t h e r e and d u r i n y whi.ch t h e black personality w a s f u r t h e r p u r i - f i e d by r e d e m p t i v e s u f t - c r i r q .

T h e r e b e l l i o n and t r i u m p h of

r e s u r g e n t b l a c k s a g a i n s t o f t e n d e c a d e n t , always e x p l o i t a t i v e w h i t e d o m i n a t i o n .

T h e p r o d ~ c t i v e ~ n d c r e , t i v e f u t u r e i n w h i c h A f r i c a n g l o r y r e t u r n s a n d A f r i c a n l e a d e r s h i p enriches t h e q u a l i t y of l i f ' e n o t o n l y f o r A i r i c a n s b u t t o r t h e human f a r i ~ i l y ( 4 3 )

i rwoonor ' s m y t h i c i m a y i n ; , t i o n i s e s s e n t i a l l y a n

e x p r e s s i o n of h o p e f o r a b r i g h t f u t u r e " b u i l t o n t h e

r o o t e d past'.

S o y i n k a ' s c o n s c i o u s n e s s i s a t t u n e d t o t h e p r e s e n t . ,

but h e i s n o t a l t o g e t h e r u n c o n c e r n e d w i t h the p a s t , His

poems a n d p l a y s show this c o n c e r n i n t h e use of h i s t o -

r i c a l e v e n t s i n higt;r i ; l &nd t h e ordl t r d i t i . o n s of t h e

Yoruba. H e s e e s t h e p a s t as t h e r e f e r e n c e p o i n t f o r a

v i a b l e p r e s e n t or f u t u r e . For h i m , t h e . v a l u e - s y s t e m

o f h i s t r a d i t i o n ' i l : , o c i e t y se rv tbc l i t . 2 b u r p o s e a n d in

s t i l l r e l e v m t t o t h e c o n t e r i r p o r d r y society e v e n i f i t

n e e d s m o d i f i c a t i o r ~ . I t i s i ~ r t.r.is r e a s o n t h a t h e

a d a p t s t h e o r a l t r i i u i t i o n s 01 ir\e Yorut, t o i l l u s t r a t e

t h e n e e d r or re-oriert kclc t i o n oi con Ctrr:ikor-a y ~f r i c - a n

societies, his ter~cency i ~ r j o y i r k , , li,,s L e e n o b s e r v e d

b y I s i d o r e bkpewt~o wlio aescriLcd the p r o c e s s as t r a d i -

t i o n r e f i n e d . (1)

I t i s s a y i n g t h e o b v i o u s t h e n t h a t S o y i n k a ' s

m a n i i e s t i n t e l l e c t u ~ l b e n t i s f a r trom " a r t Lor a r t ' s

s a k e t t r a t h e r , i t i s a r t for man. H i s w o r k s are

soc ia l comments. k t t h e ~f r i c a n - s c a n d i n a v i a n writers'

C o n f e r e n c e of 1967 a t S t o c k h o l m , S o y i n k a asserts :

When t h e writer i n h i s own s o c i e t y c a n no l o n y e r f u n c t i o n as c o n s c i e n c e , he m u s t r e c o g n i s e t h a ~ h i s c h o i c e Lies b e t w e e n d e n y i n g h i m s e l f t o t a l l y or w i t h d r a w i n g to t h e p o s i t i o n of C h r o n i c l e r and p o s t - m o r t e m s u r g e ' o n , b u t there c a n be n o f u r t h e r d i s t r a c t i o n s ' w i t h u n i v e r q q t c o n c e r n s whose balm i s spread o h $Xt rac t wounds , n o t o n t h e g a p i n g yaws' o f g lack i n h u m a n i t y , A c o n c e r n with c u l t u r e s t r e n y t h e n s s o c i e t y , b u t n o t a c o n c e r n w i t h m y t h o l o g y . T h e a r t i s t h a s a l w a y s f u n c t i o n e d i n k f r i c a n s o c i e t y a s tile r e c o r d o f t h e rrioses a n d e x p e r i e n c e of h i s s o c i e t y hnd a s t h e v o i c e of v i s i o n i n h i s own t i m e . L t i s time f o r h i m to r e s p o n d to t h i s e sswct o f h i m s e l f . h e r , 21).

S o y i n k a ' s h i s t o r i c a l c o n s c i o u s n e s s i n f o r n s h i s

m e t a p h y s i c s f r o m w h i c h s t a t e m e n t s o f u n i v e r s a l signi-

f i c a n c e emerge. H i s i d e a s a r e n o t time bound , 'l'he

w o r k s o f t h i s a u t h o r e x e m p l i f y t h e s a y i n g t h a t out of

e v e r y s e r i o u s c r i s i s i n t h e l i f e of a p e o p l e there comes

a d e e p e n i n g o f i n s i y h t i n t o t h e n a t u r e of man and o f

t h e human s o c i e t y , T h e soc ia l r e a l i t i e s of t h e N i g e r i a n

s o . c i e t y --- t h e c i v i l war and t h e e v e n t s t h a t l e d t o i t ,

c o r r u p t i o n i n p r i v a t e and p u b l i c sectors, h a d l e f t t h e i r

i n p r i n t o n t h e c o n s c i o u s n e s s o f Y o y i n k a . A ~ c o r d i n g t o

E u s t a c e P a l m e r h e was p r e p a r e d to e x p o s e h i s s o c i e t y ' s

s h o r t c o m i n g s a n d s u g g e s t a l t e r n a t i v e s c a l e s o f v a l u e

.. \

(241). It i s f o r t h i s r e a s o n t h a t h e h a s p e r s i s t e n t l y I

I

c ondemned t h e A f r i c a n writer's p r e - o c c u p a t i o n w i t h t h e I

p a s t . There i s t o be f o u n d i n much A f r i c a n l i t e r a t u r e I

a n e x p r e s s i o n of f e e l i n y s a n d a t t i t u d e s d i r e c t e ' d o u t w a r d s A

a g a i n s t t h e E u r o p e a n . W h i l e t h u s e n g a g e d i n d e n o u n c i n g

w e s t e r n i m p e r i a l i s m a n d e u l o y i s i n g t h e A f r i c a n p a s t ,

A f r i c a n writers h a v e l a r g e l y i g n o r e d "t ! !ose forces whic,h

t h r e a t e n t h e d i s i n t e g r a t i o * of A f r i c a n s o c i e t y " .

S o y i n k a ' s major t h e m e i s t h e s p i r i t u a l i n t e r - d e p e n d e n c e I i I

b e t w e e n t h e p a s t , t r l e p r e s e n t , ;ind the f u t u r e . he !

o n c e t o l d a g r o u p of A f r i c a n xr i ters t h a t t h e t r u e

A f r i c a n s e n s i b i l i t y e s t a b l i s h e s t h a t t h e p a s t e x i s t s '

i n t h e p r e s e n t , ' i t i s c o - e x i s t e n t i n p r e s e n t a w a r e n e s s .

I t c l a r i f i e s t h e p r e s e n t a n d e x p l a i n s t h e f u t u r e '

( K i n g a n d O g u n y b e s a n , 1 7 5 ) I n a n article

c o m c n t s o n S o y i n k a " s cseative e x p e r i e n c e :

S o y i n k a ' s i n t e r e s t i n Af t i c a n m a P h o l o g y , o f w h i c h h e h a s made a deeper u s e t h a n a n y o t h e r A f r i c a n writer, r e v e a l s his a w a r e n e s s of t h e v a l i d i t y of t h e p a s t , b u t h e does n o t a t t e m p t t o recreate t h e p a s t r o r ' t h e p u r p o s e of e n s h s i n e - m e n t , n o r does h e m e r e l y stress cul- t u r a l c o n t i n u i t y . U n l i k e Achebe who is . n o s t a l g i c t h e p a s t , S o i n k a d iY7 f o c u s e s more d i r e c t l y on t h e . , Of t h e l i v i n g , t o e n a b l e h im t o a . i i t i c i p a t e a n d safeguard t h e f u t u r e , w h i c h h e c o n s i d e r s t h e p r i m a r y c o n c e r n of t h e w r i t e r . (1'15 )

The common t h e m e which u n i f i e s the w r i t i n g s o f

S o y i n k a , O k i g b o , a n u Awoonor i s se l f a w a r e n e s s . T h u s ,

w h i l e S o y i n k a may n o t be i n v o l v e d i n t h e c o u n t e r - m y t h

i n t h e s p i r i t t h a t i n f o r m e d the n e g r i t u d e movement, h e

sees t h e at h.tnd as b a s i c a l l y t h e a c q u i s i t i o n

of a s e l f - a w a r e n e s s for t h e ~ f r i c ~ n world bn p a r t i c u l a r

and modern man i n g e n e r a l . Consequently, i .n t h e y r e -

h e s p e a k s of h i s "co:lcern t o t r a n s m i t , t h r o u g h a n a l y s i s

of m y t h and r i t u a l , Lhe s e l f - a p p r e h e n s i o n of t h e A f r i c a n

w o r l d " . ? 'h i s i s o b v i o u s l y , s t a t e m e n t o f a socio-

p o l i t i c a l comrni t n ~ e n t. b u t S o y i n k a h;id even before

this t i m e l a m e n t e d tile d e p l o r a b l e c o n d i t i o n of many

A f r i c a n s t a t e s * h n y A f r i c c J n n a t i o n s thdt h a d a t t a i n e d

i n d e p e n d e n c e w e r e o n the v e r g e o f c o m p l e t e c o l l a p s e as

a r e s u l t o f i n n u m e r a b l e v i c e s t h a t b e t r a y e d lack of any

s e n s e o f d i r e c t i o n , He sought t o r e d i r e c t t h i s t r e n d

o f e v e n t s b y h i y ! ~ l i g h k i n g them t h r o u y h ridicule and

p r o t e s t , A s 1 have a ireddy p o i n t e d o u t , his v i t r i o l i c

a t t a c N d i d n o t spaE.e rhe wri te rs ~ h o showed l a c k o f

s o c i a l awarenesi; ,,nu d i d n o t h i n g t o check the f a l l o f

t h e i r n a t i o n states. H e a p p a r e n t l y had t h e N i g e r z d n

cr is is i n mind when i n 3.967 h e s a i d ,

... t h e stsye at w h i c h w e f i n d o u r s e l v e s i s a staye o f d i s i l l u - s s i o n m e n t , a n d i t i s t h i s w h i c h p r o m p t s an h o n e s t e x a m i n a t i o n of w h a t h a s b e e n t h e f a i l u r e o f the A f r i c a n ( f i i c j er - ian) w r i t e r , as a writer. ~ n d t h i s is n o t to s a y t h a t , i f t h e A f r i c , l n writer h a d t r u l y r e s p o n d e d t o the: p o l i t i c a l moment, of h i s s o c i e t y , n e w o u l d n o t s t i l l be faced w i t h d i s i l l u - s i o n m e n t . For t h e s i t u a t i o n i n Africa t o d a y i s t .he same as i n the: rest of t h e world; i t i s oite oi: t h e t r a g e d i e s w h i c h come of i s o l a t e d human i a i l u r e s , but t h e v e r y c o l l a p s e of h u m a n i t y , never- t h e l e s s t h e African writer h a s d o n e n o t h i n g t o v i n d i c a t c ~ t h i ~ t h e i s e v e n aware: t h a t t h i s c o l l a p s e h a s t a k e n p l a c e . F o r h e h a s g e n e r a l l y beerr w i t h o u t v i s i o n . (The idriter, 11)

H e i s e v e n more hi t ter a n d s a r c a s t i c i n a n o t h e r

s t a t e m e n t . #

I n t h e movement t o ~ i i r d s c h i r o s i n h o d e r r . A f r i c a , t h e writer d i d n o t a n t i c i p a t e . Yhe u n d e r s t a n d i n g l a n g u a c j e or the o u t s i d e w o r l d , b i r t h p a i n s , t h a t n e d r - f a t d l e u p h e n ~ i s m l o r u e c t h t h r o e s , ab- s o l v e d him f r o m r e s p o n s i b i l i t y . H e was c o n t e n t t o t u r n his e y e b a c k w a r d s i n t i m e and p rospec t i n a r c h a i c fields f o r t o r g o t t e n gems w h i c h w o u l d d a z z l e a n d d i s t r a c t t h e p r e s e n t . h u t n e v e r i n w r d s , n e v e r t r u l y i n t o t h e p r e s e n t , n e v e r i n t o o b v i o u s symptoms oi t h e n i g g l i n g , w a r n i n g , p r e d i c t a b l e p r e s e n t f r o m w h i c h a l o n e l a y t h e s ~ l v a t i o n of i d e a l s . (11)

G e r a l d Ivioore h a s p o i n t e d o u t t h a t S o y i n k a sees

h i s t o r y n o t 2 s " a p r o c e s s w i t h a n i n n a t e t e n d e n c y

t o w a r d s chancje, b u t r a t h e r w i t h a t e n d e n c y t o w a r d s

c y c l i c r e p i t i t i o n * . (218) His n y t h i c a l c o n s c i o u s -

n e s s d e l i n e a t e s human e x i s t e n c e a s t r a g i c and h e ex-

t e n d s t h i s t r a g i c e s s e n c e e v e n to t h e w o r l d of n a t u r e .

F o r h i m , human h i s t o r y i s n o t h i n g but. a c y c l e o f d e s -

t r u c t i v e n c s s a n d sclcri l e g e a g a i n s t n i \ t i ~ ~ ' e a n d h u m a n i t y .

h o w e v e r , h e does n o t , d e s p i t e the t r a g i c i n e v i t a b i l i t y

t h a t o v e r w h e l m s h i s s e n s i b i l i t y , t o t a l l y d e s p a i r , f o r

h e b e l i e v e s th,+t t h i s c y c l e c a n be o c c a s i o n a l l y arres-

t e d b y t h e a c t i o n s o f a h e r o i c i n d i v i d u a l , *or t h e

d e s t r u c t i o n i s w r o u g h t b y man h i m s e l f . I t i s i n t h e

l i g h t o f t h i s h o p e f o r s a 1 v ; ; t i o n t h i i t S o y i n k a ' s i n d i c t -

m e n t o f w r i t e r s a n d t h e c,ll t o a c t i o n make s e n s e .

U l t i m a t e l y linked t o t h e writer is t h e a b i l i t y to speed

u p t h e s e l f - r e j ~ v e n i ~ t i o n o f s o c i e t y , T h i s kind o f

commi tment t h a t b o y i n k a u n d e r s c o r e s f o r m s t h e b a s i s o f

Okigbo's p o e t r y . he h a s b e e n described as a writer

who p r o g r e s s e d t rom n c s s to c o r r ~ m i t ~ n e n t w i t h t h e

poems i n t t ~ e s e q u e n c e " P a t h of T h u n d e r : Poems

. Y r o p h y s y i n g War", u u t has bkiybo e v e r a l o o f ? What

w i t h " H e a v e n s g a t e " ? C e r t a i n l y h i s own w x d s made him

o u t so, but tit: c , r c ~ : s l y m i s r e p r e c e n i e d himself when he

i n s i s t s t h a t "1 d o n ' t t k , i r ~ k 1 l i k e w r i t i n g t h a t i s

'committed' " ; he e x p a n d s o n t h i s l a t e r

... the w r i t e r i n A r r i c a d o e s n ' t h a v e a n y f u n c t i o n . ' t h a t i s , p e r s o n a l l y 1 c a n o n l y s a y w h a t I c o n c e i v e as my own f u n c t i o n . 1 h a v e n o f u n c t i o n as a writer; 1 t h i n k 1 m e r e l y express m y s e l f , and t h e p u b l i c c a n use t h e s e t h i n $ s for a n y t h i n g they l i k e ... I d o n ' t , i n fa%$, t h i n k t h a t i t is n e c e s s a r y tor, w r i t e r t o assume a p a r t i c u l a r f u n c t i o n as tile i V k s s i a h or a n y t h i n g l i k e t h a t . A S an . ' r~d i - v i d u a l h e c o u l d a s s u m e t h i s sort of r o l e , but: 1 d o n ' t t h i h k t h a t the f a c t t h a t h e is a writer s h o u l d e n t i t l e h i m t o a s s u m e a p a r t i c u l a r r o l e a s an e a u c a t o r . If h e &ants to educate pec-Q.de h e s h o u l d w r i t e t e x t b o o k s . I f h e w a n t s to p r e a c h a g o s p e l h e s h o u l d write r e l i g i o u s t rac t s . If h e w a n t s t o p r o p o @ n d a c e r t a i n i d e o l o g y h e s h o u l d write p o l i t i c a l t r a c t s (Majo#y W h i t e l a w , 3 3 )

One m i y h t say t h a t h e was i n d u c e d t o h a v e a be t ter

p e r s p e c t i v e of h i m s e l f ' b y the g r a v i t y of t h e N i g e r i a n

s i t u a t i o n g . ne ever\ cal led h i m s e l f ll'tok~n C r i e r " . I n

h i s a r t ic le , ' I i i t e r a t u r e a s H i s t o r y 1 ' i n u t e r a t u and

c o m n ~ e n t s o n O k i g b o ' s i n i t i a l seerrring a l o o f n e s s and l a t e r

c o m m i t m e n t :

A t t h d t s t a g e , b k i g b o was p r e o c c u p i e d w i t h e x p l o r i n g p e r s o n a l e m o t i o n s and v i s i o n s a s d i s t i n c t frorn a r t i c u l a t i n g commundl e x p e r i e n c e s t h r o u g h t h e medium o f v e r s e , B u t t h e crisis o v e r - t o o k him and l i k e many o t h e r writers h e was o v e r w h e l m e d b y t h e g r a v i t y o f t h e N i g e r i a n s i t u a t i o n . H e appro- p r i a t e d i n t o t h e s y s t e m o f h i s a p o c a l y p t i c v e r s e many aspects of t h e n a t i o n a l e x p e r i e n c e , He s e n s i t i z e d , analysed a n d

iEMmsmwMI- - - - ?& f l l ~ 0 A P ~

ref lect-ed or: v a r i o u s i n c i d e n t s r e l a t i n g to crises from h i s c u r s o r y tredtrrncnt of ,

t h e emercjency i n t h e N e s t r i y h t t h r o u g h t o t h e C i v i l war. ' the poems i n the sequence ' P a t h of Thunder: Poems P r o p h e s y i n g W a r ' a re r e m i r k a b l e i n ttiis s e n s e thdt they p r e s e n t v i v i d buL h o r r i f y i n g vision of n a t i o n a l d i s a s t e r which t h r e a - t e n e d t h e body p o l i t i c . de c a n feel the , impact of t h e e v e n t s orr O k i g b o ' s s e n - s i b i l i t y a s a w r i t e r and h i s r e a d y commitment i n s p i t e of those c y n i c a l views w h i c h he expressed edrlicr o n t h e r e l r v t ~ n c e of p o l i t i ~ a l ur soc i a l commitment i n l i t e r a t u r e (105-06).

In summdry, t i r e w o r k s or s o y i n k a , b k i y b o and

nwoonor d e l i n e a t e t h e i r c o n s c i o u s n r s s , and t h e root of

o u r c o n s c i o u s n e s s w h i c h is t h e m y t h s and h i s t o r i c a l

e x p e r i e n c e s . They seek to p r e s e r v e and e x p r e s s our

s o c i a l , r e l i q i o u s , a n d c u l t u r a ' : un ic luencss . T h e i r

goal i s t h u s to : i t imulat -e prirnilri!.y n a t i o n a l conscious-

Awoonor

A f u n d a m e n t a l i s s u e i n t h e s t u d y of t h e p o e t r y , .

o f S o y i n k a , Okigbo, and Awoonor i s the relation of

n a t i o n a l ~ ~ n s ~ i o u s ~ e s s , J a m e s Coleman ,' i n Nia~ , i . a :

a c o n s c i o u s n e s s O f b e l o n g i n g t o a n a t i o n ( e x i s ~ e n t or i n t h e realm o f of a s p i r a t i o n ) or a n a t i o n a l i t y , a n d a desire, as m a n i f e s t i n s e n t i m e n t or a c t i v i t y , t o s e c u r e o r m a i n t a i n i t s w e l f d r e , p r o s p e r i t y and i n t e g r i t y , and to m a x i m i z e i t s p o l i t i c a l a u t o n o m y ( 4 2 5 )

Emeka Nwabueze c o m m e n t i n g o n Colemanf s a s s e r t i o n

o b s e r v e s :

C o n s c i o u s n e s s c a n t h e r e f ore i n v o l v e a n e n t i r e c o n t i n e n t , a c o u n t r y , or e v e n a t r i b e . O n e c a n be a n A f r i c a n a n d a t t h e SaNW time a N i g e r i a n , S o m e t i m e s , too, t r i b a l n a t i o n A i i s m c o i n c i d e s w i t h

N a t i o n a l c o n s c i ~ u s n e s s , of c o u r s e i m p l i e s c u l t u r a l ,

p a l i t i c a l and e c o n o m i c n a t i o n a l i s m . These aspects o f

n a t i o n a l i s m a r e r a i s e d t o t h e level of a r t b e c a u s e writers

g e n e r a l l y propose a b r o a d e r v i s i o n of l i f e w h i c h t a k e s

man b e y o n d the n a r r o w c o n f i n e s of h i s i m m e d i a t e e n v i r o n -

m e n t a n d makes him a p p r e c i a t e t h e w o r l d o f o t h e r s ,

e rad i ca t e s p e t t i n r a s l ; a n d p r o v i c e s hLl;hi .r k n o w l e a s e

a s c o n d i t i . o n s f o r n ~ a n t o come t o term5 w i t h h i s

e n v i r o n m e n t . I n t h i s c h , - \ p t e r , w e s h a l l , t h r -ough

t h e v e h i c l e of selected poems, h i c ; h l i c j h t t h c t r c i n s -

c e n d e n t a l v i s i o n and mora i i s t i c f u n c t i o n of t k poets,

T h e f o c a l . point o: t h e c h a p t e r w i l l be t h e m y t h m a k e r

a n d m o r a l i t y .

B e c a u s e L o y i n k a seek 2; t o r e q e n c r , ~ t c . , s o c i e t y , he

i s p r e o c c u p i e d w i t h t ' v , i r i o u a forms of d c ~ t h a n d d e c a y ,

c o r p o r e a l and s p i r i t u a l , as they ;!re made v i s i b l e i n

d a y t o d a y l i v i n ~ j " . (Chomoyel '~, 6 2 ) H e i s e s p e c i a l l y

w o r r i e d a b o u t t h e i n n u m e r a b l e dee,. ths t h r l t occur t h r o u g h

road a c c i d e n t s . He u e d l s k i t h suck e e a t h s i n t h e poems

" I n memory of seyun ~ w o l o w o " and " U e ~ t h i~ the b a w ~ " ,

p u b l i s h e d i n t l is c o l l e c t i o n Id t ~ r 2 d q 3 Other ~oc\ rn~.

O n e is n poem t o C, y o \ l n g i r i c n d k i l l e d i n an , ? c c i d e n t .

a n d t h e o t h e r i s a poem a b o u t ,i t r . - d v e l l e r . T h e t r a v e l l e r , I , I

sets o u t a t dLiwn when t h e g r a s s i s s t i l l kedewed, and

d a r k n e s s s t i l l covers c v e r y w h e r c . U u t soon, " t h e s k y I

l i g h t " p i e r c e s t h r o u q h t h e d L 1 r k n e s s ;nd s o f t 'y i l l u n i n e s

t h e w o r l d . I n the z o f t l i g h t o f d:y lxeak, market-Sound

p a s s e n g e r s , c a r r i e d i n t h e "burdened hulks'' a r e driven

a l o n g " g r e y byways" , Appa ren t1 y to w x d o i f t h e

o n e o f t h e h u l k s a n o is rnang lec i n a s h o w e r o f w h i t e

f e a t h e r f l a k e s :

On t h i s C o u n t e r p a n e , i t w a s - S u d d e n w i n t e r a t t h e d e a t h O f dawn's l o n e t r u m p e t e r , c a s c a d e s O f w h i t e feather - fl,:ik~s ,.. (Idanre- , 10)

The Yoruba d r i v e r s b e l i e v e t h a t t h e d e s t h o f a cockered?

or a dog i s p r o p i t i ~ u s f o r t h e i r bus iness ; i t i s a n

i n v o l u n t a r y s u b s t i t u t o r y sacrifice t h a t shobld appease

Uqun, t h e Yoruba god o f t h e road, who w o u l d now allow

I r o n i c a l l y , t h e cockerel * s d e a t h " p r o v e d / ~ f u t i l e r i te",

as i t became, i n f a c t , a t r a g i c Omen o f t h e t r a v e l l e r ' s

d e a t h .

b u t such a n o t h e r W r a i t h 1 B r o t h e r , S i l e n c e d i n t h e s t a r t l e d hug of Your i n v e n t i o n - i s chis rrrockt!d q r i r n a c e T h i s c l o s d c o n t o r t i o n - 1'2 (10)

B o t h poems seen, to i n d i c t Ugun, " t h e g o d o f t h e

road by w h o s e c a p r i c e men d i e i n car c r a s h e s " , A t

l e a s t , E l d r e d Jones th in ics so. t h ~ t t h i s w o u l d be somewhat

a m i s r e a d i n g of S o y i r r k a , who i s 1 a r g c I . y a r n y t h o c l a s t , His

p e r s o n a l m y t h o l o g y admits o f t r a d i t i o n a l m y t h s when

t h e y s u i t h i s a r t i s t i c p u r p o s e , b u t d i s c a r d s them when

t h e y do n o t . l'hus h i s a t t i t u d e towc1rds t r a d i t i o n i s

a m b i v a l e n t . he appears t o v a c i l l a t e i n h i s a c c e p t a n c e

of t h e e x i s t e n c e of h i s p a t r o n d e i t y , ugun and t h e

m y t h i c a t t r i b u t e s of t h i s god. James Booth n o t e s

t h a t t h e a t t i t u d e t o t h e god i n t h e poem " D e a t h i n

Dawnw i s a complex o n e , and i n s i s t s t h & t two q u e s t . i o n s

arise from t h e poems:

Is bgun p u n i s h i n q h u m a n k i n d , as Goodwin s u g g e s t s , for an '

l i i n s a t i a b l e d e s i r e for t e c h n o l o g i c a ? p r o g r e s s , " a forrn of Hubris a g a i n s t the qotl of i r o n 7 (Jr i s h e simply capricious? Oc_cse+rcb, 68)

H e does n o t t h i n k it i s e i t h e r , u u t seems r a t h e r

t o a g r e e w i t h l ' h o n ~ ; ~ s K. K n i p p whom h e p o i n t s o u t " d e t e c t s

i n t h i s poem, and t h r o u g h o u t t h e "For the koadl ' s e c t i o n ,

a rad ica l s k e p t i c i s m a b o u t t h e n a t u r e , or even the

exisLcnce, of the gods, a p e r v a d i n g L e n s e of t h e

rience" (6d) 'i't~e river believes t n , , t t h e d e a t h o f a

w h i t e c o c k o n his w i n d s c r u e n i s a sacrif ice to b g u n

ward inc ; o f f h a r m ; s t i l l an , c c i d e n t o c c u r s and a man

d i e s . Does b g u n t h e r e f o r e exist? S o y l n k a uses wh;it I

would ca l l t h e s h o c k t h e r a p y h e r e t o i n d u c e people out

of t h e i r c o m p l a i s a n c e t h e r e b y l n t r o u u c i n y a m o r e critical,

b a l a n c e d v i e w ot l i f e , His t e c h n i q u e of i r o n i c j u x t a -

p o s i t i o n i n g oi opposites i s for t h i s purpose e f f e c t i v e l y

u s e d , H e i s , as Uooth p u t s i t i n h i s e x p l i c a t i o n of

K n i p p ' s conrment s ,

a m y t h o p o e i c writer i n a more o r g a n i c s e n s e , c r e d t i n g new mythic p a t t e r n s o u t o t t h e c o n t f a d i c t i r s n betwec:n t r a d i t i o n and m o d e r n i t y . He i s "a t r a g i c i r o n i s t t ' w h o constantly t h e eas ic r forms o f m y t h (e.q th r r t o f t h e " g o l c e n aye" of t h e t r a d i t i o n h l p a s t , d e b u n k e d i n A Dance of t h e i v ' o r e s t s . (67)

I n e f f e c t Soyinka i s u n e a s y w i t h rvyth; h e i s a lways

q u e s ~ i o n i n g i n a b i d t o d i s c o v e r t h e real n a t u r e o f

t h i n g s , For t r~ i s reason, K n i p p c l e a r l y states t h a t

he i s enveloped i n " m y t h o p o e i c s t r u g g l e a n d d o u b t " , (6)

p o e t ' s r h e t o r i c v 1 , ( 6 8 ) I f o n e s h o u l d y o by w h a t o n e

knows of t h e background of t h i s p o e t , i t seems r e a s o n a b l e

t o s u g g e s t t h a t t h i s p r o b l e m p e r se i s c a u s e d b y t h e

f a c t t h a t h i s s e r ? s i i j i l . i t y was n u r t u r e d by c o n f l i c k h n g

c u l t u r e s , and h i s t o r i c a l forces. T h u s , a c c o r d i n g t o

O b i a j u r u Maduakor, ' l ' I ' iqhe does n o t f i n d t h e p o e t i c

e x p r e s s i o n of t h e t e n s i o n s b e t w e e n A f r i c a n and

h e s t e r n , t r a d i t i o n a l and m o d e r n , i n S o y i n k a ' s work

wholly ef f e c t i v e t ' . ( 69 ) An other w o r d s , t h e v o i c e s

o f S o y i n k a ' s education ,,, t h e t r a c d i t i o n a l a n d Western

... h a v e n o t h a r r n o n i s e d , a n d he r e f u s e s c o m p f o m i s e i n

s e a r c h o f t h e t r u t h . T h i s i s the reason a c l e a r - c u t

s t a t e m e n t a p p a r e n t l y e l u d e s him. And this i s i n t h e

n a t u r e o f a r t f o r a r t must take c*re o f all t h e rami-

f i caaions of h r l m ,n n w n r \ r Z n+-- - I L .

However , t h e r e i s l i t t - ?e d o u b t t h a t S o y i n k a he-

l i c v e s i n t h e existence of k p n ; *,nd as f a r a s I can

see, i t i s n o t so much Ugun ?,s Nic;eri.ans t h a t Soyinka

l a s h e s i n t h e poem " D e a t h i n the Dawnv. N i g e r i a n s

are r e c k l e s s d r i v e r s . B e s i d e s , b e c a u s e o f c o r r u p t i o n

i n t h e c o u r ! t r y o n e f i n d s l i c e n s e d d r i v e r s w h o h a v e

n e i t h e r h a d e n o u g h d r i v i n y lessons n o r passed a n y

d r i v i n g tes ts on o u r roads. Under s u c h circ~rmstances

there i s bouna t o ~e accidents o n t h e roads, s a c r i f i c e s

t o Ugun or n o t . A pertinent q u e s t i o n which arises from

this i s , wha t i s t h e p l ~ ~ c e or man i n n a t u r e ? T h e myth

o f Oqun i s u s e d h e r e t o i l l u s t r d t e tha t i n s o c i e t y , man

i s t h e a r c h i t e c t o f h i s own f o r t u n e , S o y i n k a b e l i e v e s

i n t h e freedom of the i n d i v i d u a l , W h i l e

r e c o q n i s i n g t h e t r a d i t i o n s of h i s p e o p l e , S o y i n k a i s

s t i l l a n i c o n o c l a s t . H e wishes t o stop t h e c y c l e of

d e s t r u c t i v e n e s s by c r e a t i n g a n a w a r e n e s s w h i c h h e

d e e m s c a p a b l e o f sd1vagin9 s o c i e t y . H e t h e r e f o r e , employs

myth t o educate, He draws a t t e n t i o n t o t h e wave of

a c c i d e n t s o n o u r rodds i n t h e belief t h a t a c o r r e c t i v e

m e a s u r e w o u l d b e t a k e n t o a r res t the pehnornenon, A l l

t h e n e g a t i v e f o r c e s , , human a n d p h y s i c a l , , t h a t

i m p i n g e o n t h e welfare of t h e p e o p l e should be d i s -

m a n t l e d . L v i d e n t l y , S o y i n k a b e l i e v e s i n self-

r e j u v e n a t i o n of s o c i e t y . T h i s t h e s i s i s c o n t i n u e d i n a

r a t h e r paradox ica l m a n n e r i n t h e poem . " I d a n r e " .

T h i s poem e m p l o y s

S e v e r a l Yoruba m y t h s a n d d i v i n i t i e s t o s t a t e S o y i n k a ' s c o n c e p t i o n a b o u t t h e n a t u r e o f t h e u n i v e r s e a n d t h e f u n c t i o n o f t h e a r t i s t i n s o c i e t y . .. T h e c e n t r a l t h e s i s of t h e poem is that t h e f o r c e s of n a t u r e o p e r a t e i n an u n e n d i n g cycle of d e s t r u c t i v e v i o l e n c e and r e g e n e r a t i o n , s b s o c i e t y and h u n ~ a n i t y d e v e l o p as a r e s u l t of d i a - l ec t i ca l p u l l s i n d e s t r u c t i v e and c r e a t i v e d i - r e c t i o n s . The poem, i n o t h e r w o r d s , h a s t h e t h e m e of the self- r e j u v e n a t i o n of s o c i e t y , 'l'he career o f Ogun i s m y t h i c p r o o f of t n i s p r i n c i p l e , I n t h e s o c i e t y , t h e art ist bears t h e r e s p o n s i b L l i t y o f e n s u r i n g a h u m a n i s t i c s y n t . h e s i i ? t h r o u g h h i s c r e a t i v e r e b e l i i o n a g a i n s t t h e s t a t u s quo(Owomoye la , 62

T h e l a s t s e n t e n c e i n t h e above c ;uo ta t iOn c e r t a i n l y

c a p t u r e s t he s p i r i t t h a t i n f o r m s S o y i n k a ' s c o n c e p t

of a c o l l e c t i v e soc ietb A c c o r d i n g to him, a c b l l e c t i v e

s o c i e t y m e a n s t h a t

, ,, y o u do n o t t o l e r a t e a n y a c t of a r r o g a n c e or o f e x p l o i t a t i o n f r o m a n y side of t h e c o m m u n i t y , You do n o t accevt t h e s e t t i n y b y i t s e l f of a p a r t i c u l a r class of s o c i e t y . And you h a v e t h e c o u r a y e t o cri t ic ise a n d t o a r t i c u l a t e t h e v o i c e a n 3 t h e protest of s o c i e t y i n t h i s r e s p e c t , (A-fsic,?n t ! 2 p ~ n . i ti- 22'2)

" T h e v o l u m e l d d n r e b r i n g s o u t " , a s bruce k i n g

and K o l awole b g u n g b e s s n p u t i t , ' ' i n st a r k n a k e d n e s s ,

the p o e t ' s a n g u i s h i n the fdce o i society's y e r l w r a l

l a c k o f a w a r e n e s s " (5 ~ e l ~ t ! r ~ i c 1 n ( 1 8 1 ) - o f t h e

c a p a b i l i t y of t h e i n d i v i d u a l , ' l 'hus i n the poem " E a s t e r v ,

D o w e n o t t r u l y f e a r t o b l eed We h u n t Pale t i s s u e s of t h c palm, i i . n y e r s g r o p i n g E v e r cautious o n t h e c r o w n , Q&ani.-e, 21)

T h e s e 1 i n e s i n d i c t N i g e r i a n s t o r c o w a r d i c e , s l o t h

and i n d e c i s i o r r , 'l 'hey s u g g e s t t h a t i f be h a v e t o s u r -

v i v e a s a n a t i o n , t t r en w e h a v e t o bear p a i n s both

i n d i v i d u a l l y a n d c o l l e c t i v e l y , S o y i n k a seems t o be

r e m i n d i n g u s of o u r d u t i e s a n d r e s p o n s i b i l i t i e s t o p u t

o u r economy o n a s o u n d f o o t i n y . H e seems to be c h a r g i n g

u s t o h a v e t h e c o u r C 3 g e o f o u r c o n v i c t i o r , s , a n d t h u s

t r a n s f o r m o u r p o l i t i c a l c l i r n r i t e w h e n e v e r t h e n e e d arises,

I n o t h e r words, h e ~ p p e a r s to be s a y i n g t h a t s t e p s

s h o u l d be t a k e n t o o u r s o c i a l problems; pro-

grammes a n 3 m e a s u r e s h a v e t o be a r t i c u l a t e d , We s h o u l d

n o t ' g r o p e ' but must g r a s p o p p o r t u n i t i e s f o r c h a n g e .

Of c o u r s e , t h e r e i s a c o n f l u e n c e of o p i n i o n between

S o y i n k a a n d l a t e C h i e f Cibafemi kwolowo. T h e l a t re r

s a y s , " a b i l i t y t o r prompt d e c i s i o n . ,. and t h e c o u r a g e

f o r q u i c k i m p l e m e n t a t i o n n o ~ c ~ a t t e r tia at a s s a i l s are

t w o of t h e q u i e n t - e s s e n c e s o f a g o o d g o v e r n m e n t a n d

d e p e n d a b l e l e f i d e r s h i p " ( ~ i c : h i e , 25)

N i t h i n S o y i n k a ' s m y t h i c i m a g i n a t i o n , t o be s u r e ,

i s a n " a w a r e n e s s t h , j t p a i n is i n e x t r i c a b l y i n t e r w o v e n

w i t h f u l f i l m e n t " . ' l ' h i s i s " p a r t of a deeper c o n s c i o u s n e s s

of dea t k ~ as a n i n e v i t a b l e pirt o f lif el'. For h i m , how-

ever , d e a t h i s not t o be fedred . H e t rea ts t h e s u b j e c t

r a t h e r m e t a p h o r i c a l l y . I n 'Season ' human b e i n g s are !

l i k e n e d t o reapers w a i t i n g to r t h e f r u i t s o f life to !

r i p e n , so t h a t t h e y c a n g a t h e r them a n d move o n t o d e a t h ,

t h e f r u i t of l i i e a t i t.s ~ o s t m d t u r e perQdd. ' l h e poem

o p e n s w i t h t h e p h r a s e ' k u s t i s r i p e n e s s ' a n d c o n c l u d e s

w i t h a s t a t e m e n t of what s h o u l d be o u r a t t i t u d e t o t h i s

h a r v e s t o f l i f e w h i c h is d e d t h . (A C ~ l ~ t - ~ r a t . ! , ~ , 182)

U e a t h s h o u l d n o t t h e r e f o r e t a k e o n e u n a w a r e s -

N o w , garnerers w e A w a i t i n ¶ r u s t o n tassels, d r a w L o n g shaaows f r o m Lhe d u s k , w r e a t h e D r y t t l , , t c h i n wood srtroke. Laden s t a l k s H i d e t h e germ's d e c a y - We a w a i t T h e p r o m i s e o f t h e r u s t , (Idimr&, 45)

H e s u g g e s t s t h a t i f w e f e a r t o d i e , t h e n w e do n o t

w i s h t o l i v e life to t h e tullest, In e f f e c t ,

W e s h o u l d a c c e p t the f a c t o f d e a t h , s h ~ u l d i n d e e d e x n o u r d e a t h b y conf r o n t i n y w i t h p a s s i o n t h e c o n u n d r u m o f l i fe . We dre res- p o n s i ~ l e to l i f e ; i t i s a road w e

s h o u l d n e g o t i a t e as n o b l y a s possible in order to d e s e r v e fully ' t t \c prurrii:;e of tho r u s t ' . (A C e l e i r~i~i . t ; f i , 5 6 2 )

t h a t d e a t h h a s a p o s i t i v e v d l u e . ~ i e a t t i c o n s c i o u s l y

= w a i t e d , acts a s a c a t a l y s t t h a t energises t h e c r e a t i v e

i m p u l s e . I n o t h e r w o r d s , d e a t h and g r o w t h a r e o p p o s i t e

sides o f t h e same c o i n , Ln "Abikuw, t!rc reader is t o l d

t h a t " t h e r i p e s t f r u i t was s a d d e s t " , t h u s m e t a p h o r i c a l l y

c o n v e y i n g t h e i d e a t h a t . life, a t its f u l l e s t , i s closest

t o d e a t h a n d w h a t g i v e s r i s e to pLc!asure $ s of en re- of Soy l n i d ' s k e c h n l c p e is - thq 1

! g a r d e d as a sad e v e n t . An aspect sonetirnes h e s t a t e s

t h e common belief a n d t h e n c o u n t e r s i t with h i s own' myth.

I n s h o r t , t h e p o e t ' s p h i l o s o p h y i s t h a t d e a t h and

g r o w t h c o e x i s t i n a z y m b i o t i c r e l a t i o n s h i p . I f you l i v e

w e 1 1, you d i e w e l l t o l i v e a g a i n . I f you h i v e well you

h a v e earned y o u r u e d t h ... d e a t h i s n o t decay b u t

r i p e n e s s ( ~ u s t i s r k p e n e s s ) . And w h a t is r i p e n e s s b u t

g r o w t h ? D e a t h g i v e s b i r t h t o l i fe! It i s f r o m t h i s

t h o u g h t p r o c e s s t h a t S o y i n k a ' s belief i n r e i n c a r n a t i o n

A f r i c a n c o s m o l o g y ,

D e a t h does n o t t e r m i n a t e a m a n ' s existence; r a t h e r , i t i s t h e ga'teway to the . ~ p r i t u ~ ! . w o r l d . T h e dead man is expected to r e t u r n to t h e p h y s i c a l world t h r o u g h t h e process

of r e . i n c a r n a t i o n . 6ut: r e i n c a r n a t i o n i s n o t a u t o r n a t i . ~ . It is assured If the deceased man l i v e d a w o r t h y l i i e and was p r o p e r l y buried, (Ijama, 117)

S o y i n k a ' s c o n s i s t e n t remaric t h t ~ t t h e p a s t informs

t h e p r e s e n t e m a n a t e s f r o m h i s p h i l o s o p h y of life - , .

T

d e a t h - . l i f e , or g r o w t h - d e c a y - g r o w t h , c r r l p e n e s s - rust - ripeness c y c l e . Nwoga says of h i m :

T h e " w i s d o m " w h i c h h e finds, w h a t I th ink e m 2 r q e s from h i s noelas anci qives s i g n i f i c a n c e to t h e m , I s r e c o g n i t i o n of t h e c y c l i c n a t u r e of d e a t h a n d r e s u r r e c - tion, of d e s t r u c t i o n and new c r e a t i o n - I f t h e n t h e s i t u a t i o n i s c a t a s t r o p h i c and l a r q e l y s a d , the informed v i s i o n h o l d s o n t o t h e promise of rerlewal ( C r i t i c d , 183)

D e a t h i s used m e t a p h o r i c a l l y i n a sense, and

r a t h e r d e l i b e r a t e 1 by S o y i n k a i n t h e p o e m "Post P i o r t e r n " . J' That i s , U e a t h can mean not physical u e s t h or e x t i n c t i o n

o f l i f e , but s u f f e s i n y and h a r d s h i p . H e u r g e s u s :

Let u s l o v e al.1 t h i n g s of g r e y ; g r e y slabs g r e y s c a l p e l , o n e , g r e y sleep a n d f o r m , g r e y i m a g e s . (1d.qn1, 31)

T h i s h a r d s h i p w i l l b r i n g life, t h a t i s d e v e l o p m e n t .

. H i s t h e m a t i c focus in t h e poe.1 is n a t i o n a l d e v e l o p m e n t ;

t h e a w a k e n i n g of moral a n d nations: c o n s c i o u s n e s s .

' there i s a r e 1 a . t i o n s h i . p b e t w e e n Soyinka's a t t i t u d e

t o d e a t h a n d Lhe ro le h e has p l a y e d as a writer. I am,

of course, t i l i n k i n g oi h i s dynar~lisil1, a n d his e f f o r t s t o

imbLe a r e v o l n t i ~ n a r y s p i r i t i n man g e n e r a l l y , and

f e l l o w writers i n p a r t i c u l a r * F o r h i m , man s h o u l d n o t

l e a d a w a s t e a l i f e ; e s [ ) e c i a l l y b h e n i t i s a p p a r e n t t h a t

p e r s o n s who c o n s t i t u t e t h e m s e l v e s i n t o t h e 'powers-

t h a t - b e ' t r y t o c b a n i p u l a t e his l i f e . I n his e s s a y ,

' ' from a Common b l a c k C l o t h " h e dec la r ' t . : .~ :

be c a n r e s p e c t and b e o v e r p o w e r e d by t h e t r a g e d y o f t h e man who c l k s t r o y s h i m s e l f asser k i n g t h e l a t t e r , b u t w e c a n n o t be a n y t h i n g o t h e r t h a n i m p a t i e n t ,,. w i t h a modern d r i f t w o o d m a n i p u l a t e d b y e v e n t s a n d m a k i n g n e v e r a show o f r e s i s t a n c e , (Owornoye1 a , 65 )

H e a d v o c a t e s r e v o l u t i o n , b u t h i s b r a n d o f r e v o l u t i o n I

h a s n o t h i n g to do w i t war . If w e take a f u r t h e r l o o k

a t S o y i n k a ' s a t t e m p t s t o s a v e s o c i e t y t h r o u g h m y t h ,

w e s h a l l n o t e t h a t i n h i s " l d a n r e " , h e r e e n a c t s a m y t h

of Oqun t o w a r n N i g e r i a n s a n d t h e e n t i r e h u m a n i t y t h a t

w a r i s a f u t i l e u n d e r t a k i n g , t o t h e w i n n e r s a n d t h e

losers a l i k e * It i s Soyinka's rne&,sage t h a t war i n v o l v e s

d e s t r u c t i o n a l w a y s , a n d n e v e r c o n s t r u c t i o n . War i s

n e v e r p r o d u c t i v e . It i s t h e r e f o r e an act o f b r u t a l i t y

g n d w i c k e d n e s s ; a b l i n d a c t ; a mad v e n t u r e . T h e p e o p l e

o f Ire i n v i t e d Ogun, t h e i r g o d of w a r , to f i g h t o n

t h e i r s i d e , b q u n , ' d r u n k w i t h wine a n 3 b l i n d e d b y

g o r e a , i n s t e a d o r f - i g h t i n y f o r h i s men a l o n e , a l so

d e s t r o y e d t h e men h e w a s s u p p o s e d to be d e f e n d i n g amidst

s h o u t s of :

L u s t - b l i n d yod, g o r e - d r u n k H u n t e r M o n s t e r a e i t y , you d e s t r o y your men! ( I d - , n r e , 75)

and,

i k i u r d e r e r , s t a y y o u r i r o n h a n d Your men l i e s l a i n - Canhiua l? (76)

But i t was too late; trw s h a m e f u l a c t had b e e n

carried o u t . kit f o r t s s h o u l d b e made L y all a t t h e h e l m

of a f f a i r s t o a v o i d war a n d to e rnbrace p e a c e . khen

there i s heed l o r revolution, t h e r e v a l u t i a n s h o u l d be

a c r e a t i v e o n e a s h e a l s o t e a c h e s w i t h t h e s y m b o l i s m

o f t h e myth of H t u ~ ~ d a . A t u n d a , a slave, o u t o f " p i q u e

or r e v o l u t i o n a r y ia.e,sN "rolled a r o c k down unt.0 h i s

u n s u s p e c t i n g m a s t e r , s m a s h i n g him t o b i t s and c r e a t i n g

t h e m u l t i p l e g o d h e a d t t (87). S o y i n k a p r a i s e s A t u n d a

f o r his c r e a t i v e r e v & l u t i o n a r y s p i r i t :

A1 1 h a i l S a i n t A t u n d a , E'ir s t r e v o l u t i o n a r y G r a n d i a o n o c l a s t at g e n e s i s ( 8 3 )

'l 'hus i n " l d a n r e " Soyinka emphasises thd t pass ive

a c c e y t a n c e is u n r e g e n e r a t i v e , Says h e ,

H a h b e r , may w e celebrdte t h e s t r a y e l e c t r o n defiant. ,, Up t h e h i l l i n t i m e s unwind. ( 8 2 )

Actu311y , Soyirlka b e l i e v e s t h e way of life for il

a w r i t e r i s c o n s t a n c y of p u r p o s e a n d c o n s i s t e n t commit-

ment . One c a n i r n n c j l ne t h e great e n i o t i c n a l f o r c e w h i c h

w h i c h p r o d u c e d "A s h u t t l e i n t h e C r y p t " , a v o l u m e of

p o e t r y h e wrote i n j a i l . I n " C o n v e r s a t i o n at N i g h t w i t h

a C o c k r o a c h " , t h e c o c k r o a c h a r g u e s t h a t t h e k i l l i n g o f

t h e l g b o s was a m a t t e r o f c o u r s e , - a n i n e v i t a b i l i t y -

T h u s i t j u s t i f i e s t h e k i l l i n g w i t h i n t h e c y c l e o f

n a t u r e . I t i s t h u s a r e s t a t e m e n t o f t h e &xiom, w h i c h

S o y i n k a b e l i e v e s s t r c ~ n g l y , t h d t d e s t r u c t i o n i s a n

i n e v i t a b l e p a r t of r e g e n e r a t i o n , w h i c h h e s u g g e s t s

with t h e s y n i b o l i s m of A t u n d a , n r e n t i o n e d above , a n d

w h i c h u n d e r s c o r e s h i s a b b i v ~ l e n t a t t i t u d e t o w a r d s v i o -

l e n c e . But t h e c o c k r o a c h w i n s a t l a s t :

A l l was w e l l , A11 wzs e v e n AS i t was i n t h e b e g i n n i n g , (A s h t ~ t : t l < , 13)

T h e r e f o r e , S o y i n k a sees t i m e a.'j hav inc j a c y c l i c or

rhyt t - ,mic p a t t e r n , b u t " c a n n o t see when t h e c y c l i c

p a t t e r n of d e s t r u c t i o n w i l l work i t s e l f o u t , " (g

C e l e m , 186) ' i ' h i s t r a i n of t h o u s h t c o n t i n u e s i n

t h e poem "When 2 e i ; s o n s Chanqe" , w h e r e t h e p o e t , r a t h e r

i n a mood o f d e s p a i r , a d m i t s t h , . i t l i f e goes o n i n

e n d l e s s circlet. tie u n d e r s c o r e : ; t , h e l a w of c y c l i c r e b i r t h I

! i n t h e s e l i n e s : ,

S h e d ycur h a r d t e a r s , i t i s s n o l d e a r t h S t i r r i n g t o f r e s h t o u c h o f o l d p r e t e n s i o n s . (A : ; h u t t l c , 16)

P a r a d o x i c a l l y , t h e p o e t draws hope f r o m t h e r h y t h m s

of e x i s t e n c e . So , e v e n t h o u q h h i s mind c o n t i n u o u s l y

' soars i n f l i g h t / u p o n a d u a l f l i g h t of p l a n e s ' , b e t w e e n commi tment anti r e n u n c i a t i o n o f w i l l , he

c o u n s e l s a g a i n s t d e s p a i r , b a s i n g h i s faith o n t h e

186) T h u s h e s t a t e s :

T h i s p r o g r c s i i o n h a s been source F o r g r e a t t r u t h s i n s p i t e o f s t a m m e r i n g P l a n e s t o r c,reat: b u i l d i n g i n spite O f crooked s i g h t s , f o r p l a s t i c s t r e n g t h Oespi t e c o r r o s i v e f u m e s o f t r c , 3 c h e r y And s p i r i t s grow d e s p i t e the m i d w i f e r y 6 f dwarfs; s p i r e s , r o o t e d i n q u a g m i r e s Of t h e human mind rise tcj p u r e r l i g t - l r s And w i n g a l o f t a salvaged e s s e n c e T r a n s c e n d i n g d e a t h , legacy of s e a s o n s ...(A bhuttle, 16-17)

S o y i n k a r e c o g n i s e s t h e n e e d to i d e n t i f y w i t h and

work w i t h i n t h e b o u n d a r i e s a n d r h y t h m s o f t h e n a t u r a l

world. And so with c o n t i n u i t y o f c o n s c i o u s n e s s , a n d i n

t h e s p i r i t o f t r u e c c m m i t r r ~ e n t , he decries t h e w a n t o n

d e s t r u c t i o n o f human l i v e s t h a t o c c u r e - d d u r i n g t h e i

N i g e r i a n C i v i l War. A s d a y f o l l o w s n i c t r t , r e g e n e r a t i o n

f o l l o w s d e s t . r u c t i o n and human h i s t o r y h a s been a c y c l e

o f . d e s t r u c t i v e n e s s , and sac r i l ege . 'I'he m a s s a c r e of t h e

1 g b 0 s C o u l d have been a v e r t e d . H e i s at o n c e a r a t i o n a l i s t

a n d a n i m e q e m a k e r - a committed Nan can i n d e e d

a r r e s t t h e c y c l e of d e s t r u c t i v e n e s s f o r h e is t h e cause

o f t h i s .

s o y i n k a t s p o l i t i c a l i n t e r e s t s r an5e b e y o n d h i s

locdl c o n s t i t u e n c y . ?'he poem ' 'Uqun A b i b j r n a ~ t t i s about

r e s i s t a n c e t o p o l i t i c a1 t y r e n n y , At: t r e a t s , speclf i-

tally, t h e t y r a n n y o f w h i t e o v e r black. S o y i q k a , how-

e v e r , a d v o c s t e s r e v o l u t i o n a r y v i o l e n c e a s a way o f

r e s o l vj. ng t h e con f l ic t between whi te ri,cisrri a d the

s t r u g g l e f o r B l a c k f r e e d o m , I-{e places prmium o n i t

e v e n t h o u g h h e i s f u l l y a w a r e i t will o c c a s i o n pain

and pangs , T h e subject o f t h e peom i s t h e a p p r o a c h i n g

l i b e r a t i o n of t h e ~ 1 a C . k ~ of S o u t h Africa, s y m b o l i s i n g

the f i n a l l i b e r a t i o n of t h e rJlack N a t i o n , ( B o o t h , ,165)

The poem, w h i c h w a s i n s p i r e d by I*~ezambique's war

a g a i n s t t h e h h i t e KhodesFan r e g i m e , i s r a t h e r a m e t a p h o r

f o r battle; It i s G poem o f p r o t e s t ; a c a l l to

is a u o u t tu d W a K e and* like t h e Z u l u leader S h a k a ,

raise ' t h e c i t y of man i n common w e a l '," (165) ?'he

need o f r e v o l u t i o n is p l a i n . D e f i n i t e l y , a s

h a p p e n e d w i t h S h a k a , the O c c a s i o n of l i b e r a t i o n w i - I 1

b.e v i o l e n t . . , 'Xhe symbo l i caL use of S h a k a i n t h i s p o e m

points o u t clearly- t h a t S o y i n k a a rees w i t h 24a0 Tse T u n a , t h a t r e v o l u t i o n i s n o t d - d f ~ e a

/ b y k i d g lov ; s , b u t by blood, p a i n and p a n g s v . ( ~ i c h i e , 3 )

Kof i Awoonor i s a n o t h e r co rnmi t t e d A f r i c a n poet,

H i s commi tment is to t r a d i t i o n a l A f r i c a . His purpose is

- 41 -

t o cr i t icise A f r i c a n r e n e g a d e s from t h e i r c u l t u r e s o r

t o l a m e n t t h e d e s p o i l a t i o n o f t h e c o n t i n e n t b y t h e

West. A s Byekan bwomoyela s e e s i t , t h e p o e t s h o u l d

n o t be m i s c o n s t r u e d a s a j u d g e m e - k i n g out condemnation

and a n a t h e m a ; h i s d e s i r e is m e r e l y to s e r v e as a g u i d e

who l e a d s his p e o p l e to s e l f - d i s c o v e r y . (57) I n h i s

poems, h e u s e s t h e m y t h of a q u e s t f o r i d e n t i t y . H e sees

h i m s e l f a s h a v i n g journeyed t o t h e West and h e seeks

t o i d e n t i f y w i t h h i s people's way of l i f e t h r o u g h h i s

p o e t r y . He p l e a d s w i t h h i s a n c e s t o r s t o come a n d h e l p

t h e p e o p l e r e a s s e r t t h e i r i d e n t i t y . In k e e p i n g w i t h

t h i s , K o f i Awoonor d r a w s l a r g e l y o n o r a l t r a d i t i o n

- - h i s Ewe t r a d i t i o n , he poem ' S o n g s o f 5 o ~ r o w ' t a k e s

t h e f o r m o f t h e Ewe d i r g e i n its s t y l e , t h e m e s and

g e n e r a l t o n e . It i l l u s t r a t e s t h e G h a n a i a n p e o p l e ' s

v i e w o f t h e s p i r i t u a l w o r l d : t h e a n c e s t o r s c o u l d

be s e n t a m e s s a g e t h r o u g h a man who h a s j u s t d i e d a n d

t h e y c a n i n t e r f e r e i n t h e a f f a i r s o f t h e l i v i n g , I n

k e e p i n g w i t h t h i s t r a d i t i o n a l b s l ief , K o f i woo nor ' s

v i e w o f t h e ancestors, i n tlreir r e l d t i o n s h i p w i t h the

l i v i n g , i s t h d t t h e y dre p a r t l y g u i l t y . B e c a u s e o f t h e i r

d e a t h , t h e y a r e closer t o t h e g o d s , a n d o u g h t t o h a v e

made l i f e easier for t h e i r o f f s p r i n g . 'I'he t r i b u l a t i o n s

w h i c h t h e a n c e s t o r s C o u l d h a v e a v e r t e d a r e c a p t u r e d i n

i n t h e . l i n e s :

S o m e t h i n g T h e t h i n g I h a v e n o

h a s h, ,ppened t o m e so g r e d t t h a t I c a n n o t weep; s o n s to fire t h e gun when I d i e

e..

L e t t h o s e g o n e b e f o r e take n o t e T h e y h a v e t r e a t e d t h e i r o f f s p r i n g s b a d l y woono nor, 203-04)

T h i s poem h a s a c e r e m o n i a l i n c a n t a t o r y q u a l i t y of

t h e tradit i o n d l oral p o e t r y , Awoonor u s e s o r a l l i t e r a r y

t r a d i t i o n s , a s he i n s i s t s , " t o b r i n g i n t o f o c u s t h e

t h e m e O f c u l t u r a l contact, c o n f l i c t , and r e s o l u t i o n %

for t h e modern A t - r i c a n " ( 2 16) 1 H i s p r e o c c u p a t i o n w i t h c u l t u r a l c o n f l i c t i s

o b v i o u s i n t h e poem "bde H a v e Found a N e w Land" , T h e

p o e t s u f f e r s a n q ! ~ i s h o v e r t h e A f r i c a n s who l o o k for

E u r o p e a n a c c e p t a n c e by d o n n i n g t h r e e p i e c e s u i t s e v e n i n

t h e h e a t . They h a v e a b d i c a t e d t h e i r b e i n g .nd have s o l d

the ir s o n g s , t h e e s s e n c e of t h e i r b e i n g , to " t h e o t h e r

sideN, T h e r e i s a t t , c i t i n s i n u a t i o n t h a t t h e k f r i c a n ' s

i n f a t u a t i o n w i t h t h e c u l t u r e o f the o t h e r s i d e i s o n l y

t e m p o r a r y , b e c a u s e t h e r e i s t h e e t e r n a l , e v e n i f n o t

u n h e r s a l , "wisdom o f o u r f d t h e s s " to g i v e g u i d a n c e a n d

d i r e c t i o n .

We h a v e f o u n d a new l a n d This s i d e o f e t e r n i t y Where o u r blackness d o e s n o t m a t t e r And o u r s o n g s are dying o n o u r l i p s . * * .

T h o s e who w a n t t o Le seen i n t h e b e s t company Have abjured t h e magic of b e i n g t h e m s e l v e s R e a c h i n q f o r t h e s t a r s w e s t o p a t t h e h o u s e o f t h e Moon And p a u s e ko r e l e a r n t h e wisdom o f o u r f a t h e r s . (A S e l e c t i o n , 147-48)

"The A n v i l a n d t h e H a m m e r " r e f l e c t s t h e p o e t ' s a n x i e t y o v e r new A f r i c a and h e r r e s o l v e to d e s t r o y h e r African o v e r new A f r i c a a n d h e r r e s o l v e t o c l e r ~ r o y h e r A f r ' can

w a y s , - n a t u r a l c h a r a c t e r i s t i c s o r t r a d i t i o n a l ways

,,for the W e s t e r n t r a d i t i o n s . 'L'he poem i s t h e r e f o r e

a c o n t i n u e d p o r t r a y a l o f t h e bitter feelings e x p r e s s e d

i n "We h a v e Found a N e w Land" . T h e r e i s a p a l p a b l e

f e e l i n g o f loss i n t h e poem. There i s a s e n s e o f pain.

" l ' r a d i t i o n ia w e a k w h i l e t h e l u r e of g l i t t e r i n g moder-

n i t y is s t r o n g , and t h e p o e t feels t h e p a i n o f m e t a l behng

b e a t e n i n t o new s h a p e s i n t h e s m i t h y , " ( ~ w o m o y e l a , 5 8 )

C a u g h t b e t w e e n t h e a n v i l and the hammer I n t h e f o r g i n g h o u s e of a new l i f e T r a n s f o r m i n g t h e p a n g s t h a t d e l i v e r e d m e I n t o t h e joys o f new s o n y s . T h e t r s p p i n c s o f t h e p a s t , tender and t e n u o u s hoven w i t h t h e f i b r e of s i s a l and Washed i n t k b l o o d o f the g o a t i n t h e fetish h u t A r e Ic3ced w i t h t h e f l i m s y g l o r i e s of p a v e d streets The jc i rgon o f a new d i 3 1 e c t i c ccmes wLth t h e Charism;, of t h e p e r p e t u a l s e a r c h on t h e o u t l a w ' s h i l l . ( 5 8 )

Awoonor c h d r ~ c t e r i v t i c a l l y , p l e a d s with t h e

a n c e s t o r s t o i n t e r v e n e ; asks t h e m t o t e a c h t h e i r c h i l d -

ren t h e wisdom of a d o p t i n s w h a t e v e r i s b e n e f i c i n t i n

will join t f i c i r sony s o f c c l e ~ ~ r . . ~ rion:

of t h e s p i r i t u ; l l i i n g u i s h of modern nlsn - a p r o d u c t of

c r i s i s ; t o r n h e t w e e n t w o o ? p o s i n q iorcc:s - modern civilization ~ n d the ~ t t r i t c t i o n s of his t r a d i t i o n a l

i n h e r i t a n c c . 'L'he PCIF? t , who h i m s e l l , is c, v i c t i m of

t h i s c u l t u r e c c ~ n f l i c t ; i:; t h 4 p roL: i ; ; a r l i~ t ir, t h i s

poem i n which h e i s c leyic tc td as on-? wklo rc;?ceivi?d " 3

call"; one uridcr p e r c r n p t o r y o r d e r s frorr? his a n c e s t o r s

t o r e t u r n to ibis roo t s , T'kie poet l;ii!\erits h i s

p r e d i c a m e n t i n t h e l i n e , i 1 t h e y l-?t !r:c yo?" ' I 'h: ,~t is,

he wonders i f h e cdn t:r-t2sk loose from t h e c h z i n s nf

modernity, o v e r come his western educ~ t ion . , to be

r e u n i t e d with h i s a n c e s t o r s . I t i s too much t o do a n d

SO

I car1 s n e a k a l o r l ~ l i k e t h e c r a w l i n g beetles S e e k l n q t h r o u y h dust a n d dirt t h e l o n e l y rnir&cle of r e d e m p t i o n I w i l l s i t by t h e r o a d s i d e , break ing t h e palm kernel, eating of t h e w h i t e w i t h the v i s i t i n g m i c e t h r o w i n y t h e C h a t f t o ;:he e a s t e r n l y wind . (2 S c l t ? c t i c 3 149)

T h e word ' s n e a k ' sili;gests f u r t i v e l o n e l y s e a r c h

w i t h o u t a i a oi- the a n c e s t o r s . it c o n n o t e s g u i l t .

There i s a s e n ; = e of i n n e r c o n f l i c t and t h e p r o t a y o n i s t

is a w a r e t h a t h e i s i s o l ~ t e d . H e n c e , t h e u s e of t h e

word ' l o n e l y ' i n l i n e 5 ; i t w i l l ue a miracle if

h e f i n d s s a l v l t l o n i n i s o l a t i o n o f h i s c o u r ' t r y - f o l k s a n d t h e c o l l e c t i v e c o n s c i o u s n e s s w T h e sense of

a l i e n a t i o n i s c o n c r e t i s e d i n t h e imagery of t h e a b o v e

l i n e s . It p a t h e t i c t k ~ a t the p r o t a y o n i s t ! ~ o n l y

k e r n e l w i t h hi.nr: i~ iz s,:!d ti.,,it hi: is n o t u s e f u l l y

e n g a g e d when t r i ! could i c i e n t i f y w i t h the cor~~rril;nal

a n d p u r s u i t s o f h i s peop le . H e d e l i n c a h c s

tt,e d e g r e e of h i s e s t r a n ~ e r n e n t and a t the same time

shows t h a t h e Ir~s answered the c a l l w l ~ e n hc s t a t e s

t h a t h e w i s h e s t o wa tch

the s u n l i g h t f a l l on t h e g r e e n waters .nd t h e f e r . rymen h u r r y i n g home dcross w i t h t h e i r h e a v y cargoes of man f l e s h , hhild f l e s h 2nd wo@an f l e s h . D O

Bick t h e c u r i n g h e r b s behind f a l l e n huts to m a k e o u r c u r e , t h e i r cure? w e *

to hoe nly own f i e l d s , p l a n t my own corn to w a i t for r a i n to come? (150)

a n c e s t o r s , h e o b s e r v e s t h o dcbi li t 6 - , t i n g erfecl; o! t h e

c o l o n i z i n g forces on his coir~rnunity. 'l'he per!? e n d s on

c u r s i o n of a l i e n forces ica ~ a p t u r e d i n ' c h e 3ir ics:

Colonid1 r o r ce s h , ~ v e crusht$d t i l e ' a g r i c u l t u r a l

c o m r ~ ~ u n i t y w i t h i t s fraternal . u n d e r staricli ng and coslrnu-

The we , jverbird b u i l t i n o u r house And l , + i d i t s w3qs on our only tree vde did n o t w , i n t to scnd it . ~w,~y And t h e hedver returnt:d i n tkre (j:tise of the o w n r ? r Preaching r . , i l v a t i o n to us t.h i t owned t . h e h o u s e (&est ibLric. .:! Vcsc, '1'7)

The weaverb i rd symbolizes t h o n i s s i o r l a r i e s who

c a p i t a l i z e d on ht'ric:+,n hospi. tal. i t y to i inpose themselves

o n t h e i r h o s t s ; moreover , they urrdtlrmincd the ances t ra l

i s e v i d e n t i n the l i n e

T h e 01 d s h r i n e s cicf i l.ed from tht? w z ' i v e r ' s ~xcrci!;c?n t, ( 77)

t r a d i t i o n a l re1 i g io r ! *nij t h e t r a c i L.ion,,l rr:ocle of

i s t h a t i t

en;i;l,~,sisies t r w ~ c ; ! t i r ~ i ~ i ~ ~ i u r . ~ ~ : . i i , ~ t is , !cl .~ieved t h ro i i g~ , tlir 2,;;rcd r-<, ,n ' L; i,Lc>r>d . ; ~ d !:,i212 ~ . i t e

8 > , of t h e t: , i t e n nbt.~,.,l irurri Lni? s , , I : ~ : ; !.)i>.';r 1.ne c o r ~ n ~ u n : i ? f c:,:st j-;; s ~ i . 1 1 i i tr : iL: :Live i l ~ ! . ~ : ~ t of w e r e . it . i ! f i r ; ; i s ;\!>ii renews t h e boric! t i i l t : brritcr;; ;I-it?;,\, i s , ;,nci clansn:i?n; i t !-limi.r,:itL!z L L 1 wi .1 1 ,jnd t i L 2 c j

b lood ; it e ~ n p h ~ s i s e s the ~ : n i t y r.;etween t h e l i v i n g the cli-~,id if! f L : i O::efi i : i ~ s ! i ! l l ~ f i i i : a k i ~ f l

w i t h t h e u e d d t ? r ~ o i l q h I ! ( . :~ t .> :~: r )~nyizg p r o p i t i ; ? k o r y r i tes; . . . H e r e , t.tw srot.;i(;r~rrist u s 2 5 L ? i i s a~ a r e t u r n to iile r ~ r i m ; s ! _ : :~?~rcc t oj. h i s % ~ e l n n ; it is ,n occas ion t o r r e n t - w i R g a p ledge mads

t o t h e a n c e s t o r s , s i g n i f y i n g h i s d e p e n d e n c e o n them and his r e l i a n c e u p o n t h e i r s u p p o r t , (211)

T h i s k i n d of r i t u a l , i n , e f f e c t , g i v e s o n e a serse

o f i d e n t i t y , w h i c h i s why Awoonor a p p r o v e s of i t . He

e r n p h a s i s e s t h e k i n d o f u n d e r s t a n d i n g t h < \ t o r i g i n a t e s

f r o m knowing who w e a r e - a s e n s i b i l i t y t h a t i s

a u t h e n t i c a l l y A f r i c a n , f r o m w h i c h w e ca,n now r e l a t e

t o o t h e r s . I t i s t h i s mo t ive w h i c h g i v e s h i s p o e t r y

i t s c h a r a c t e r i s t i c i m a g e r y . T h e p e r s i s t e n t images

t h a t r u n t h r o u g h t h e poems are t h o s e o f t h e p r o d i g a l

a n d d e s t r u c t i o n . A p a r t f r o m "Songs of S o r r o w f ' , t h e

poems dir;c \ i s sed h e r e "are u n i t e d by a t h e m a t i c f l o w ' - c u l t u r e c o n f l i c t .

L i k e A c h e b e , h e i s i n t e r e s t e d in s h o w i n g A f r i c a n s

d h e r e t h e r a i n began t o b e a t them". iie sets o u t i n

h i s p o e t r y to r e c o r d t h e " u s a b l e p a s t " , so t h a t i t

c a n be u s e d t o recreate t h e past or to i n t e r p r e t t h e

p r e s e n t a n d p r o j e c t i n t o t h e f u t u r e .

U n l i k e kwoonor , Okigbo was a restless man, who

s o u g h t t o know h i m s e l f i n h i s p o e t r y , He w a s admitted

t o r e a d r e a d m e d i c i n e a t t h e U n i v e r s i t y C o l l e g e , I b a d a n ,

b u t h e became i n t e r e s t e d i n classics. Hc t r i e d h i s

hand a t s e v e r a l w o r k s o H e w a s , p e r h a p s , t h i n k i n g of

h i m s e l f when h e d e s c r i ~ e d L a b y r i n t h a s "a f a b l e o f

kle sought to use words to order hi:.; c t ~ , ~ o k i r i n n e r

e x p e r i e n c e , h i s i n n c r sel f - t2xl)r-c.t::r, h i s rny:;ti r-I?

b e i n g . Like his i nncr s t . , ~ t e , tr i-s ! .;n j u . i ~ e is b o u n d

if he o b t a i ~ s , will o p e n up thc: m y s t f r - 1 1 of Idoto to

him. The poem r e v c r . 1 : ~ f r k i g b o ' s return tc his i n d i q e ~ ? o u s

c u l t u r e and :-eliqior:,

morea g e n e r a l ser,sf?, wi t t ) t h e t herlie of- ' s u p p r e s s i ~ n of

s o c i a l r e s p o n s i b i l i t y p a r cxct!!-lt..:s~ce L y ref letting on

t h e p o l i t i c ~ ~ l f u t u r e ot tht-. c o u n t r y , ~1 f e c l i n q w h i c h is

up to IViay 196b, w h e n t h e pocn it.rlic:lf w , - s uri t t e n .

( ~ n o z i e , 176) It i r : .1 p o r t r a y , : l of b i t t e rness a n d

I n d e e d , bkigbo i s r e f e r r i n g to t'lc y e a r s f s 1 l o w i n q

i n d e p e n d e n c e as " o u r t h o u < j h t l e - : - ~;7,yt;".

The s i c , n i f i c a n c e or t h c w o r c i 'wooden' i~ dhiit the bell

c e l e b r a t i n g o u r aoom. T h e t i t l t : of t he ,!hove poem

could r e c l d , 'Thunder c;ln brcnk cg3 the n a t i o n ' . 'rhunder

T h e i r o n y of t l ,e si + u d t i o n , I : I t , is

t h a t t h e poli t ici,ns arc. thc:n::;r!ivc:; to te destroyed Dy

' t h u n d e r ' :

rejoices over chi;:

However, i n t h e poems "&legy for s l i t - d r u m "

u and Elegy for A l t o " , the c o r r u p t i o n which characte-

r i z e d N i g e r i a n p o l i t i c s i s m o r e e x p l i c i t l y s t < l t e d .

P o l i t i ~ i , ~ n s p u r s u e i i t h e i r p e r s o n a l . interests -- w e a l t h , fame, ,ind c h e a p popularity at t h t t expense o f

the n a t i o n . ' l 'he 1963 c e n s u s f o r i n s t a n c e , w ~ ~ s

d i s t o r t e d . I n 1965, e l e c t i o n s i n t o t h e kes t e r n

N i g e r i a n p a r l i a m e n t were m c > s s i v e l y r i g g e d ; a s a r e s u l t ,

r i o t i n g and v i n l e n c e e n s u e d , . ~ g a l n s t t h i r ; b a c k q r o u n d ,

w e c an u n d e r s t a n d why i n "Elegy f o r ki lLo l ' , p o ? i t . l c i a n s

a r e represented as " r o b b e r s t ' , p a r a d i n g t h e i r wealth

and:

the c a h i n c t h a s g o n e t o h e l l t h e t i m b e r s a r e now o n f i r e t h e c a b i n e t tht . i t s o l d itself m i n i s t - e r s a re now i n goal . ( O k i g b o , 6 8 )

p o l i t i c i a n s , a n d w h a t was the reasor? fo r 'this b u t

self -seekirig , p e r s o n a l a g g r a n d i . sement . G k i g b o is

happy t h a t the p o l i. tic!:ns have heen displaced; still

h e shows some i n h i b i t i o n w h i c h m a k s h i s f e e l i n g of

u n c e r t a i n t y o v e r t h e l e d d c r s h i p ' s a b i l i t y t o r i s e

s e l f . T h u s , h e w a r n s t h a t s e l f - i n t e r e s t may

y e t be t h e u n d o i n g of t h e n e w 1 e r ; d e i - s h i p :

THUIIIULH t h a t h a s s t r u c k t h e e l e p h a n t t h e same t h u n d e r c a n make a bruise

a n d h e counsels,

. .. t h e s ; i m e t.hunder s l iou ld wear a p l u m e (70)

T h e new l e , x l e r s n i . p s h o u l d avoid a c t i c g f o r p e r s o n a l

a d v a n t a g e . T h i s i s i n k e e p i n g w i t h h i s advice i n

I t H u r r a y f o r ?'hunderu:

L3ut a!re,, , ly t h e hunters a r e t a l k i n g a b o t l t p u m p k i n s I f t h e y s h , ~ r e t h e meat I ct them remember t h u n d e r . T h e e y e t.h,:t l o o k s d o w n will s u r e l y see the .rlose; T h e f i n c j e r t h L l t f i t s s h o u l d r ~ c u s e d to p i c k t h e nose T o d a y - f o r Corrlorrow, t o d ~ y becomes yesterday: H o w many million pronlises c a n e v e r f i l l a b a s k e t ( 7 0 )

I n spite oi t h e s e c o u n s e l s , Okigbo i s f u l l y aware

t h a t t h e new men w i l l b e n o be t ter t h a n t l l o s e they

h a v e r e p l a c e d . T h a t i s why i n "Elegy f o r ~ l t o " , h e

r e f e r s to t h e m as " r o b b e r s " , " e d g l e s " , " p o l i t i c i a n s " ,

t h u s p u t t i n g them on t h e s a m e peder ; td l with t h e p o l i t i c i a n s ;

THs i t C u i - ~ c d are here i n b l a c k s u d d e n s t e p s o t ;howerr, of c r , t . e r p i l L a r s -

'LhL Lt,GLcL h a v e come a g a i n ,

PC)LlfI'lClnW5 re back in g i a n t h i d d e n s C c p s of h o ~ i t z e r s , of d e t o n a t o r s

(71)

T h e army t o o k o v e r o n t h e p r e t e x t o f c o r n i n g i n to

purge t h e c o u n t r y of its s o c i a l i l l s , but o n l y t o

c o n t i n u e p a r t z s p , ' p b l i t i cs . S a y s O k i y b o ,

T h i s k n o w l e d g e o v c r w h e l r n s the poet hx! d i s c o n c e r t s

h i m so much t h a t h e cries:

0 m o t h e r l v io th tx E a r t h , u n b i n d mc; L e t tr1j.s be

my l3st testament. (71)

H e w i s h e s to be r e l i e v e d of this p d i n f u l k n o w l e d g e .

T h e k n o w l e d y e is t h e m o r e l a c e r a t i n g t o k is m u 1 because

h e k n o w s N i g e r i d h a s t . h c p o t e n t i a l s t o be a great and

v i r i l e n a t i o n i f o n l y t h e p o l i t i c i a n s w o u l d t h i s .

THE C ; L l h t J L i i of a d r e a m l i e s s m o u l d e r i n g i n a c a v e ,

Toget h e r w i t h t h e m o r t a l Ly wourlded birds E a r t h , unbinc: rne; l e t K . e be t h e

prodigal; l e t this be t h e ram's ultimate p r a y e r t o the

tether ... ( 7 2 )

One n c l t e s a l s o i n the a b o v e l i n e s t.hc i n t e n s i t y of

. h i s d i s c o n s o l ; ! t . i c n , w h i c h a p p , ? r e n t j y d r o v e t h e p o e t t o

t\l\ CLIJ ~ ' i ' ~ t ? d e p - ! r t s , icavc.". u s h e r e o n t h e s h o r e

G a z i n g heavenward f o r 2 n e w s t a r a p p r o j c h i n q ;

T h e nev, stdr a p l w a r s , f o r e s h a d o w s i t s g o i n g

Before c io ing >nd corn inq t h a t g o e s o n F o r e v e r . . .

( 7 2 )

" P a t h of ? 'hunt le rW i s t h u s c o n c e r n e d with t h e 1966

c o u p and its c o n s e c l u e n c e s . I t bc~cornes at or!cc a

c e l & r a t i c . j n and a iy.,:rr,ing. I t i s a c e l c h r 2 t i o n of t h e

i n t e r v e n t i o n of the n~il i t i-lr y itnd a wclrr\i ng a g a i n s t

c o m p l a c e g c y ,

From t tie f o r e c ~ o i n g d i r;cus:; ion, one coul c! s a y

t h a t t h e p o e t s c r ea t e new v i s i o n s f o r <.heir peoples ,

m o v i n g from t h e known t.0 t h e unknown. T h e y a r e , i n

fact, c o n c e r n e d w i t h r e m i n d i n g tk~e p e o p l e of t h e i r :

roots; ,md g o i n g f u r t h e r , t o p o i n t o u t w h ~ t they b e l i e v e

t o be t h e i r u l . t im , - , t e d e s t i n y , i3nd t o educate then! o n

how t o r e c o n c i l e t he rnse lve . . ; t o t P . i r ; , /+!.I t h r e e p o e t s

are t h e r e f o r e , i n v o l v e d i n a q u e s t , the basis o f w h i c h

a r e t h e o l d m y t h s . T h i s 9.5.. t h e r e a s o n s h r i n e s , goddesses,

totems and t.aboos p l i ~ y a d o r n i n z n t role i n Cikicjbc's p o e t r y ;

Y o r u b a r i t u a l d r n m ; ~ i n Soyinka's w o r k s , and i iwoonor

a s k s h i s a n c e s t o r - s t o "sew t h e old d a y s f o r u s " , The

o l d d a y s , o f co\irse, i m p l y t!w lsody of k n o w l e d g e i n

terms o f w h i c h t h e ~ f r i c ; \ n h d d l i v e d -- t h e old v a l u e s ,

t h e m y t h s t h a t z u s t a i n e d s t ~ i a l l i f e ,

T h e beh ie i i n the power o f the ancestors i s m y t h o l o -

g i c a l . b n e c a n , t h e r e f o r f ? , s a y t h ~ t Awoonors t e c h n i q u e

o f q u e s t i n v o l v e s two m y t h s sirnrl1t;;neous:y - the m y t h

o f a n c e s t r a l s p i r i t s and the m y t h of . i . n v i n c i b l e i n n o c e , n c e ,

He b e l i e v e s t h a t t h e v a l u e s h e w i s h e s to restore o n c e

s u s t a i n e d t h e social s y s tern a n d c c ' \ ~ l d p r t r v i d e a n o r d e r e d

and p e a c e f u l e x i s t e n c e i.n the p r e s e n t time, I n o t h e r , .

words, h e s u g g e s t s t h a t o l d Africa had f r a t e r n a l u n d e r -

s t a n d i n g and c ~ r r ~ m u n a l w a r m t h , a n d h e sees t h e p a s t a s

a d e s i r a ~ l e p o i n t o f d e p a r t u r e f o r a n y new c o n s c i o u s n e s s .

H e w o u l d l i k e t o see h i s p e o p l e ~ t t a i n a new l e v e l of

c o n s c i o u s n e s s w h i c h i s n o t b a s e d on thc? i n d i v i d u a l ' s

d e s i r e s ; t h e o l d bonds of c c a m u n i t y ,3nd f a m i l y s h o u l d

n o t g i v e way tc people's i n d i v i d u a l d e s i r e s . A future

r o o t e d i n the i jas t e n s u r e s t h e return of A f r i c a n cjX0ry

and a n enriched q u i i l i t y of- l i f e f o r a l l t h e human f a m i l y .

T h u s i iwoonor , l i k e Soyink CI a n d O k i q b o , is c o n c e r n e d

with t h e myt-b. of i d e n t i t y , and see t h i s q u e s t i o n of

i d e n t i t y a s a m y t h o f n c - r c e : ~ s i t y i n ternis oi w h i c h t h e

r e - o r i e n t r i t - i u n o f t h ~ ? society could h L y , [ ~ e n , L i n k e d to

t h e n a t u r e of t h e c n i v a s e ; h o w e v e r , Hwoonor a n d , t o

some extent, C k i q h o a r c more c o n c e r n t ? d w i ~h q u e s t i o n s

a b o u t t .he p l a c e oi t h e iif r i c m i n n a t u r e , S o y i n k a

d e a l s p a r t i c u l a r l y w i t h t h e n a t u r e of man and d w e l l s on

t h e t h e m e cf m a n i n s o c i e t y . T h e v a l u e of t h e w r i t i n g s

of t h e s e a u t h o r s l i e s i n t h e s p i r i t u a l i t y ; s e t t i n c j new

images , r e s t o r i n g to emascul=,ted peoplt. '3 s e n s e of worth,

and r e a t o r i n c ) the d i q n i t y ot rrtan. Urrcierlyinq t h e i r '

works i s the theme of a new b o r n soc.iet,y, which t h e w e i s

e x p l o r e d through t h c ~ con£ licks o f c u l t u r e , concern w i t h

phe p a s t , c o n c e r n w i t h n a t u r e , and c o n c e r n with the

n a t u r e o f man. man i s s e e n b y Y o y i n k a and Okigbo as

petty, earthy or c l e . s ; t r u c t i . v e , y e t c a p ; ~ b e of a h e r o i c

action, A f t e r a l l , as S o y i n k 2 sees i t , man h a s i n him

t h e g o d escence. O k iobo actc. out h i s p o e t r y , denon-

s t r a t e s t h i s heroism i n h c t i o n w n c n n e t a k e s u p arms and

joins t h e Niqer i a n C i v i l vi/;ar, :'>oyinka i l l u s tr,tes t h i s

i n form of myths i n which c~ods p l a y i a ~ p o r t ; i n t roles;

for example , t h e nby t h of i r t u n d , ~ , t h e cre,lti.ve rebel and

Cigun, t h o p a t h f i n d e r who, i n prir~~r~rd i d tine:;, cleared

a p a t h l i n k i n g thr? humans t o t h e div . ine. ukigbo's i

a c t i o n and S o y i . n k d ' s m y t h s e x e m p l i f y their belief in

t h e n o t i o n of trdgic c r e c 3 t : i v i t y . : I I 1 ,

I n c o ~ ~ c l u s i o n , o n e c o u l d s a y th l l t these a r e t h e I

b a s i c myths znd themes i n terms of w h i c h t h e writer

m u s t e x p r e s s t: s v k i o n , l n d t h e j\i r i c i ln s I F . I . I S ~ live.

T h e writers U r e , thcref ore, a? l c o n c 1 2 r n c 3 w i r h se l f -

awareness and s o c i a l freeborn, T h e s e C o n c e r n s create

t h e p e r v a s i v e irn'3gf of d e s t r u c k i o n t h a t u n i t e s S a y i n k a ,

Okigbo, a n d A w o o n o r ' s p o e t r y s t u d i e d i n t h i s p;,pcr.

W h i l e fo r Soyinka d e s t r u c t i o n i s a n a t u r a l phenomenon,

f o r kwoonor i t i s the d e s t a b i l i z a t i o n o f a p e o p l e ' s cu l -

t u r e by a n f o r c e . O k i g b o agrees w i t h Awoonor , but

f u r t h e r conceives of destruction i n terms of c o r r u p t i o n

i n t h e 1e;lders of p o s t - independent Nigeria. T h e i r

p u r p o s e i s t o . ~ r r c s t ill1 t h e r ; e fo r rns of d e s t r u c t i o n .

T h e goal of t h e i r v . i s i o i ~ ; i r y myths, i . n t h e f i n a l

is m o r a l i t y . Lo, e v e n t h o u g h t h e y may differ s l i g h k l y

i n s u b j e c t m A t e r , t h e poets a r e l i n k e d b y their social

c o n s c i o u s n e s s . 'l'he poems are gener ; , l i zed s tatements

r d t h c r t h a n Fersor1, l oncs; t h e y , \ I e no'; ,&ou t o b s c u r e

p e r s o n a l emoCions.

t h a t w a r i s i r r a t i o r ~ ~ i l 2nd w s s t e f u l ; however, r e v o l u -

t i o n a r y v i o l e n c e m,?y b e u ~ e d &?s a l-1:;t re:=.ort. b t h

wrote ~ i b o u t t he i n c v i r , l b l ? i t y of i4, i r i v , N i c j e r i~ , w i s h i n g

t h u s t o a v e r t it, 'L'tlrairs were t h u s prophet1 . r . v i s i o n s .

T h e y u s e cill t u r i t l find o r i i l l i t e r a r y t r a d i t i o n s

to s o u n d the note of wczrning l a u d a n d clecir a g a i n s t

i n d u l g i n g i n ;lets c; lpable o f p l u n g i n g t h e n a t i o n i h k o

war. O f course , or 'a l . l i t e r a r y t r a d i t i o n s a re e f f ec t i ve

medium for c o n v e y i n c j i d e a s t h ' l t sre i n t r i n s i c a l l y t r a -

df t i o n a ? o r c u l t u r a l . I ' h e K:e:;sdije t h ~ t S o y i n k a and

O k i g b o c o n v e y h a v e -I u n i v e r s a l s l g n l . f ' i c m c e ; they h a v e

p a r t i a l l y u s e d ~ \ ! r i c , i n systems of t h o u g h t : and traditional

A f r i c a n m o d e s t o d r ive home t h e i r poirr tz ! ~ e c a u s e of t h e

imminence of danqer i n t l ~ e i r c o u n t r y , m c l the u r g e n t

n e e d f o r a v o i d i n g dis~ster.

S o y i n k a ' s real, c i t t . i t u d e to w a r is t h a t i t i s autwo-

e d g e d s w o r d " . l t h a s a r n b i v ; \ l e n t conse~;uences a n d s h o u l d

n o t be e a g e r l y enbraced. H e u s e s t h e Y o r u L a m y t h o f

Ogun to e n c a p s u l ~ t c t h i s v i s i o n a n d w a r n i n g : Ugun

m , ~ s s c ~ c r e d h i s own men i n a war t h e y i n v i t e d h im t o f i g h b

a g a i n s t t h e i r e n m i - e s ; Nigerians bewere:

T o b r i n g a ciod to s u p p e r i s d e v o u t , y c t A wise h o s t k c c p s his d i s ~ a n c e t i l l T h e S p i r i t C n e tlds tlir1,xl hi:: 1 i l l . W h ~ t m o r t a l b r a n d s a p h a t t e r with i jn 3wnsome name O r f e e d s hirn morsels' choice ~ l i t h o u t Gauntlets ot i r o n . A hum,\n l e a s t Is i n d i f f e r e n t morsel t o a god. ( I d - l n r g , 7 6 )

Uut t h e p o e t , b y 3 s \ ~ d a e n t w i s t - o f t h o u g h t , becomes

more realistic and a t r u e d i s c i p l e of %un, t h e Yoruba

cred t i . v e ,nd r - e v o l u t i u n a r y v i o l e n c e , w h i c h v i sion is

embodied i n the m y t h oi k t u n d a .

T h e p o e t ' s p , ~ : , i c m t o r c r e c 3 t i v i t y i s t h e r e a s o n

t o r his c c ~ n o e m r \ ; l t i c n of i n d o l e n c e ,mu mot- *? 1 a x i t y i n

h i s s o c i e t y . ' I ' h i s a t t i t u c ! e i s ,- igain c v l d e n t . i n t h e

m y t h o f Ogun. The Yori13~ h ~ v e a be! i y . 1 tl-l,lt t h e sacri-

f i c e o f a do5 or a cockere? to ugun , d u r i n g t h e Ogun

f e s t i v a l , will makc: t n e god protect w a y f r l r e r s . I n t h e

poem, " D e a t h i n t h e i ~ , , w n " , a cockerel i s s a c r i f i c e d ;

y e t a t r a v e l l e r u i e s ~ o o n

... i t p r o v e d A futile r i te . . . T h e r i c j h k foot t o r joy, the l e f t , d r e a d And t h e m o t h e r p r , : ~ y e d , c h i ? d h a y y o u n e v e r w a l k Whc:n t h e ro;;d r q a i t.c f ; m i shed ( 20-17,)

S o y i n k d I::; t h e ~ . e f o r e L1aniir.g t h e woes of man o n

man i s t h e a r c h i t e c t of h i s own f o r t u n e , H e i s b e i n g

s a t i r j . c a l h e r e , fin a s p e c t o f h i s t . e c t m i q u e i s t h e u s e

o f Y o r u b a mytt.oloc;y t o s a t . i r l s e ; : i d quest - l o n "some o f

t h e p r e m i s e s o f t t ~ t ? t r a d i . t i o n a l nryt.holoc,yW, He is b o t h

a m y t h o p h i l e a n d a m y t , h o c l a s t .

T h e r e i s l e v e l of mythology i n h i s work:;.

I n t h e poem " 5 e a s n n s " , h e u s e s h i s pcrz.-)n; l l m y t h o l o g y

a n d compL3res h ~ m a n t e i n , s wit \I ' reapers' w c l i t i n g to

col lec t t h e f r u i t s cl. l i f e and move o n t o d e a t h ;

w e a r e t o l d t h , \ t l i f e i s the essence of d e a t h : ' R u s t

i s r i p e r r e s s ' . Symbc l l i sm h e r e becorries t . h e essence of

r h e t o r i c . T h i s tect~nique i s u s e d i n "A S h u t t l e i n the

C r y p t w w h e r e t h e p o e t demonst ra tes h i s s u l p p o r t for

r e v o l u t i o n a r y v i o l e r l c e u s i n 9 t h c s y m b o l ism of S h a k a .

'IUgun ~ b i b i r n a n is a L @ u t to. awake, imd like the Zulu

l e a d e r Shilkil , r a i se O t h e c i t y of man i n common weal"'.

( B o o t 1 . 1 , 165 )

A n o t h e r d e v i c e u s e d by t h e p o e t is t h e stylistic

t e c h n i q u d o f t r a n s l i t e r - , , t i o n , Accord.i .ng t o A j eiqbe,

' t h i s i s " t h e Y r a n s f er of c o n c e p t from o r a l source

U 113) I n ireatti i n t h e LJawr~', t h t ; t r e is t h e e x p r e s s i o n :

T r a v e l l e r , y o u mukit sc?t ou t . A t dawn, And w i p e your f e e t Upon r I l h e d o q - n o s e w e t n e s s of e a r t h (1 d a n ~ - e , 10)

v i v i d l y t h e dww-l;!r-.c-n cjr&.ss a?.onq t h c p a t h o f t h e

dawn t r a v e l l er . 'I'he m e t a p h o r i c style of YoruSs s p e e c h

i s c a p t u r e d i n t h e f o l l o w i n g f o u r l i n ~ ~ s f r o m t h e same

poem:

T h e r i g h t f o o t for joy, the left, dread And t h e m o t . h c r p r a y e d , C h i l d Ivlay y ~ u n e v e r walk When t h e r o a d w a i t s , f n r r ~ i s h t ~ d . (11)

The Y o r u b a s a n d lbos b e l i e v e t h i d t i f o n e i n a c l v e n t e n t l y

k n o c k s one's r i q h t ic ,c t , w h i c h i s a s ~ ~ ~ i a t . e d w i t h ope's

f a t h e r , a g a i n s t an ~ b j e c t i t i s a sign of l u c k . (J~I

t h e o t h e r h a n a , i f %he l e f t f o o t , w h i c h i s a t ; s o c i a t e d

w i t h o n e ' s m o t h e r , I c knocked g gain st- <-ln o b j e c t , ope

s h o u l d expect a d r e c 2 d f u l t h i n g t o hilppcn. ' l 'h is i s t h e

r e a s o n t h e mother p r , j y s f o r t.hci: c!lilLd.

Play y o u n e v e r walk When t h e road waits, f a m i s h e d .

T h i s i s 2 t r 2 n r l i t c r a t . e d Yoruha n ~ c t a p h o r . ''6 o ni r i . n

n i ojo ti ebi rip, on;" "You w i l . 1 n o t w , i l k c n ;1 d a y t h a t

huncjer a f f e c t s t t .bc: roiid". 'the ro&d i s he re c i e p i c t e d a s

s i m i l , - l r l y , K o r i t\koonor ' S sty1.e i s c h ; ; r s c t e r i s e d

by a g e n e r o u s u s e of m e t c i p h e r s .;nd v i v i d s y m b o l i s m .

.. .

r e f e r s to t h e Lurope , . tn way of l i f e b e i n g r a p i d l y a d o p t e d

b y A f r i c a n s . T h e title of t h e pcem " d e Have P o u n d a

N e w L a n d u i s '1 m e t a p h o r i c e x p r e s s i o n w h i c h rr!ezns s!dl7ply

t h a t w e h a v e f o u n d a n a l t - c r n c i t i v e way o f life t o o u r

t r a d i t i o n a l h f r j c a n ways . And w h e n t h e p o e t i m p l o r e s

t h e a n c e s t o r s t.o " sew t h e u?r l d,3ys f o r ' u s , t he p h r a s e

' t h e o l d d a y s t i.:; :I r r ~ e t ~ p h o r f o r A f r i c L n t r L a c l i t i o n s

w h i c h he fee12 s h o u l d n o t Le .lb;.tndoned Lec(:use we h a v e

n o w g o t ' o u r nct>j ; , t r m e n t 1 ; our n e w ( ~ a r m e n t i s i t s c i f a

m e t a p h o r fo r r n o d c r n way o f l i f e . Towards t h e e n d of t h e

poem, t h e poet u s e s ' n e w f l ; > q c ; a n d i t n t h m s ' , 2 n d ' o u r

s o n g ' t o s y m b o l i z e a new way o f l i v i n g which i s a s y n t h e s i s

of A f r i c a n c u l t u r e anal w h ~ t . i s good i n o c h e r c u l t u r e s .

T h e i n f l u m c e of or21 t r a d i t i o n o n h w o o n o r i s

a p p a r e n t i n t h e way h e r e q u e s t s t h e ckad ; \ n c ~ s t o r ? , to

t e a c h t h e l i v i n g t h e wisdo~it of s y n c r e t i s c r . is

r e f l e c t i o n oi- the G h a n a i a n p e o p l e ' s c;orl c lv iew o f

t h e s p i r i t u z l w o r l c ! , X c s t h ~ r i n c tance oi t h e i n f l u e n c e

o f o r a l t r a a l t i o n or-, t h e p o e t i s the i n c a n t a t o r y q u a l i t y ,

What i s t h e w ~ i l i n g for? Somabody is dekd. Hyosu h i m s e l f A l n a l a snake h a s b i t t e n me hy r i g h t arm i s broken, And the trreo cn which I l e a n i s S a l l e n ( k w o o n ~ t , 203)

T h e poem f a i n the f o r m of Lhe Ewe dirge . In

the poem i l ~ e a v r r bird", t i i s b i r d syn~bcrlf zef the m i s s i o n a r i e r s

who, t a k i n g advanta5e o f A f r i c a n h o s p i t a l i t y , caused t h e

erosion of t r a d i t i o n a l beliefs and values . Awoonor axso

draws images f rom b a s i c hunlan c o n d i t i o n s i n order t o show

the simplicity ,nd p u r i t y of ~ f r i c a n l i f e t h a t conkact

w i t h t h e West has d e s t r o y e d . This i s o b v i o u s i n "Plore

t h e s u n l i g h t f a l l o n the y r e e n waters and t h e fe r ryrnen h u r r y i n g horrre a c r o s s w i t h t h e i r heavy cargoes of man flesh, c h l l d f l e s h and woman f l e s h . . . P i c k t h e c u r i n g h e r b s b e h i n d the fallen h u t s t o niake our cure, their cure? ...to hoe my own f i e l d s , p l a n t my own c o r n t o w a i t for. r a i n to coma. ( f i S ~ w , 150)

O k i g b o ' s p o e t r y , l i k e woon nor's, i s marked by i t s

l y r i c i s m which f s borrowed f rom h i s Afr i can background.

Simon a n d Phoebe bttenbarg contand t h a t m u s i c and

d a n c e pe rvade e v e r y a s p e c t of social b s h a v l o u r a n d

r e l i g i o u s l i f e of the African (67). In t h e f ir8t ~ e c t i o n

o f "Lustran Heavensy a t e , w e f i n d these l i n e s t

So would I to t h e h i l l s again So would 1 T o where s p r i n g s t h e f o u n t a i n t h e r e to d r a w f rom

So w o u l d 1 f r o m m y e y e the m i s t So w o u l d 1 t h r o ' m o o n m i s t t o h i 1 l t o p t h e r e f o r t h e c l c ~ ~ r ? s i n c j . ( O k l g b o , 14)

A l m o s t e v e r y t h i n g t h a t c o n t r i . b u t e s t o bk igbo' .s; r n u s i ~ : ; ~ l e x c e l l e n c c i.5 prc:;en t h e r e : i n can t..ct.ory t o n e , i l l li t c r c i t i u n , a s s o n i : , n c e , o p e n v o w e l s , r h y t h m , p,,rah lelism, r e p e t i t i o n , ( 19)

T r a d i t i o n a l A f r i c a n poe t i c t e c h n i q u e s a r e a l so

p r e s e n t i n " E l e r g y f o r b l i t - d r u m " :

T h u n d e r t h a t hL,s s t r u c k t h e e l e p h 3 & t h e same t h u n d e r s h o u l d wedr a p l u m e - c o n d o l e n c e S o m ,

t h e d e a d s h o u l d b u r y t . h e d e d d - c o n d o l e n c e s ( 0 k i g b o J 70)

T h i s r e f l e c t : ; t h e t r i 9 d i t i o n a l mod? of f o l k t . a l e r e n d i t i o n

w i t h i t s c h a r ; , c t e r i r ; t . i . c r e f r a i n . l'hc f ? r s t s e c t i o n o f

l i g i o u s worship, A c c o r d i n q to A O U * D a t h o r n e qroted i n

E g u d u ,

the m e t h o d of Heavensgnte i s tc c o m b i n e t r a d i t i o n , i l Afr ic . ; ln and m o d e r n modes and tc f u s e them i n t o a s y n t h e s i s e d w h o l e ; and t t \ , l t h o t t i t r a d i t i o n , j l o r a l a n d w e l s t e r n f o r m s of v e r s e :)re u s e d . (18 - 'I91

I m a g e s J re d r a w n from t h e p o e t ' s t i f r l c a n b a c ! c g r o u n d

a n d l o c a l 1 , ; r ;dscape. T h e r e i s , f o r Fnr;t;,nc,e, t h e m e n t i o n

of o i l b e a n i n " T h e P a s s a g e 1 ' ; a l s o ! r , c n t i o n e d i s a v i l l a g e

stream i n U k i c j b o ' s v i l l a g e .

Find of t h u n d e r . H u n t i n q , t h u r ~ d e r , 2nd r -ob r~e r s , f o r

t h e i r u n s a v o u r y 2C.t s are clet!rl y s t r o ~ i g l y condemned i n

t a k e n f rom t h e I'ible. 6-le i s w , , i t i . n q h , ? r e f o o t like \

F~oses i n tht-. r.r . ible w h o is t o l d 3 y tt?e a n - e l to take o f f

klir shoes because Lhe place he is s ~ d n d i n y o n i s a ho ly I

ground. Moreover, h e )\as curnu to the stream f o r c l e a n s i n g ,

l i k e Jesus C h r i s t at J o h n t h e baptist's f o u n t , by t5s

RLvc/er Jordan. The l i n e s

I n fact; , tho w h o l e of ' Idoco ' is t o The

of a foraiyn r e l i g i o n ;

L e a r n i n g u n an o i l b e a n , l o s t i n your l a g e n d ,

Under y o u r power w a i t 1 on barefoot ,

watchman l o r tho watchword a t t l e a v e s g a t e ;

out of ths d e y t b s my c r y ;

9 i ~ e e a r c iIIU hearken . .. C k i g b o , 3 )

T h e word 'naked' is a me taphor* The i d e a of naked- I

nee9 I& n o t pl~ysical. It denotes t o t a l s u r r e n d e r to

Afr ican re l ig ion symbolized by 'mother l d o t o ' .

He uses the device of irony; The e lephant l s

symbolizing t h e p o l i t i c i a n s a c t as if t h e y are i n v i n c i b l e 1

and 'untouchable', b u t the soldiers soon pro-,e them

wrong. It i s i run ic31 too t h a t t h e soldiers, s e e n as

t h e messiah, cannot do any better t h a n t h e o u s t e d I

p o l i t i c i a n s .

A g a i n , his iriagles ate drawn from n z t u r e . "Path

of %hundkr8' rests strongly o n the images of an ima ls -- eagles, c a t e r p i l l a r s , elephants, s n a k s , sunbird, to

mantion b u t 3 EW, and of t h u - i u e r , rain 2nd c l o u d s :

Sarliar i n ''Conre T h u n d e r " , rho sense. o f dilrlger I s driven

home to us by the use of t h u n d e r among the thuds'.

Finally, all three poets have used h i s t o r y as the

backdrop of t h e i r creat ive experience.

s t a t e r i ~ e n t s ihey h d v e are o u t l i n e d in the s t u d y o f

t n e i r pounis i n Chapter 3. ' t h e i r c o l l e c t i v e s t a t e m e n t s

are r ~ e r h a p s d l ~ t l y ~ u r ~ ~ r n i t r i s ~ d i n one sentence: i n the

l a s t analysis, mdn is t t w archLtect uf h i s own fortuna.

They are tt'rwefore, in 3 n e l e a g u e w i t h Frdnte Fanon

who s a i d thdt ~ d c h y e n e r a t i o n must , o u t of relative

o b s c u r i t y , G i s c o v e c its m i s s i o n , f u l f i l i t or b e t r a y

i t . T o borrow words from Pdsrerrd b a n r i k u n l e , t h e works

of these poets shcw that l i teraturG i s a p r o d u c t of

h i s t o r y from the p o i n t of v iew of: i t s d e p e n d a n c e on

h i s t o r y for i t s ccmst i tuent* elements, but a l s o it i s

p a r t of the prcxosees of making m d r e m a k i n g h i s t o r y ,

Xn other k o r d s , e v e r y reasonable writer is geared

towards t h e g e n e r a l in teres t uf scleiaty. If the society

has got it a l l brong, he holcls u p i h e l i g h t - for he i f ,

a f t e r a l l , t h e c o n s c i e n c e of h i u society cr as Chinua

Achebe,would t u t i t , t h e s e n s i t i v t p o i n t i n I-ds comnrunity.

T o sum up, t h e r ssejrcher contends t h a t a n y writer

who says someti-ling - and s i n c e r s i y too, has come out

w i t h f r e s h ideas; b u t w h e t h e r t h e i d e d s are e q u a l l y I

t r u e is s o m e t h i n y t h a t t t~ i s paper d i d n o t set o u t t o I

I

prove . S u f f i c e i t to s a y t h . ~ t myth i s a f f e c t i v a g t h a t :

myth i s a f f e c t i v e ; t h a t mythmakers cast t h e l i g h t of I I I

human c o n s c i o u o n e s s o n wh<lt has r e m a i n e d i n d a r k n e s s . \

Myth e e r v e s f o r s o c i a l c o n t r o l . Nythmaking i n t h i s , ', r e s e a r c h e r t s view i s a m e r g i n g of y h i l ~ ~ s o p h y and

'\ \

a e s t h e t i c s r o o t e d i n cr i t ical rdalismo The ma in bulk

of t h e p o e t r y o f S o y i n k a , Ok igbo ( P a t h o f T h u h d e r ) ,

K o f i Awoonor i s c h a r a c t e r i s e d Ly t h i s . Fo r b o t h c ~ n t e n t

and t e c h n i q u e t h e y a r e i n d e b t e d to h i s t o r i c a l real1 t ies

b o t h p a s t and k r e s e n t a s t h e y seek t o r e s h a p e h i s t o r y .

Myth becomes t. u s an e f f e c t i v e mode o f i n s t r u c t i o n .

T e a c h i n g , however , i s immanent i n s o c i a l c o n s c i o u s -

n e s s . F i r s t t h e a r t i s t d e r i v e s h i s v i s i u n f r o m h i s t o r y

and, i n a timeless a c t i v i t y , t r a a n o c e n d s h i s t o r y and

g i v e s h i s v o i c e as t h e c u s t o d i a n of t h e [ 8 u b l i c c o n s c i e n c e . I

T h a t a r t is a mirror of s o c i e t y is t h e p o i n t and for I

I t h a t matter " a t a l k i n g mirror, and a n n c t i h g mirror, and I

I a social mirrorw. (&!&gent Tr-, 144) 1. H. Hagher (

I

' I p o s i t s t h a t " t h i s mirror i s t h e a l te r e g o o f s o c i e t y

w h i c h i s a l s o a n t a g ~ r ~ i s t i ~ t o s o c i e t y a t all times

a c t i n g ae check o n t h e eccesses of s o c i e t y . " (344) So

t h e writer m u s t e d u c a t e . Ou t o f h i s deep c o n v i c t i o n s a n d

s i n c e r i t y o f p u r p o s e , h e would c h a n g e t h e wor ld \, , \

.! 1 I \

I t h r o u g h t h e c h a n g e of human c o n s c i o u s n e s s . h h d t h e

1 \ \ I

writes t e a c h e s an e x p e r i e n c e of a s p i r i t u a l k i n d wh&ch ' only c a n cradte t h e moral b a s i s f o r any p o s i t i v e acfkions.

T h a t l a , h e makes myth - myth, wh ich i s a r t , ' is si,mul- 1 )

' '\ t a n e o u s l y w h o l l y i d e a l , and who1 l y r c m 1 2 r t i c b . ~ h d \ i '\ \\ I

\ I ', b a l a n c e rrrust be a c h i e v e d b e t w e e n these two f o r m s 00 1 ',

\

\

p e r c e p t i o n s f u r the work o f , ~ r t to h a v e a p u r p o s e , d : /

t h e to Le committed. T h e y u r p c b e of the work 'dagne t

, ', I ,

b y t h e poets u n d e r s t u d y i n t h i s e s s d y , is t o t d u c s t g \!

t h e peop l e , to promoLe t h e A f r i c ~ n c u l t u r a1 h e r i t a y e , \ t o imbibe a c u l t u r e . ot d i s c i p l i n e , to r f ~ a i r ~ t a i n a demo-

c r a t i c t r a d i t i o n , and t o e x h i b i t a sense of j u s t i c e and

f a i r p l a y . Okigbo g r a d u a t e d from his p o s t u r e of a l l q f n a s s

t o n a t i o n a l c o n r c i o u s n e s s b e c a u s e a r t P n v a r i d b l y reveals

i t s t r u e n a t u r e i n a moment of crisis. T h e a r t i e t ' s

d i s t i l l e d c o n s c i o u s n e s s c a n o n l y , i n t h i s moment of crisis,

t a k e form i n ' t h e e d i f i c e o f a a r t b u i l t on t r u t h i tself

. a n d upon f i r m and deep f o u n d a t i o n s of n a t u r e ' .

S o y i n k a a n d Awoonor h a v e , from t h e s t a r t , seen

t h e m s e l v e s a s c o m m i t t e d a r t i s t s . AwoOnOr to Africa and

S o y i n k a to t h e wor ld . But a r t i s not e x c l u s i v e and t h e I i I

p o e t s , theref ore , are c o m m i t t e d to h u i . m i t y . The t h e m e s

of l i b e r t y , e q u a l i t y , ~ o s y e r i t y and m u r a l i t y a r e u n i v e r s a l

with t h e p o l i t i c a l , economic and s o c i a l needs of t h e ~\ '\,

people . A r t i s aimul taneously parochial and u n i v e r s h l . >',

A b r a m s , M.H. A g l o s s a r y ~f L i t e r a r y Terms. New York: ~ o l t , R i n e h a r t a n d w i n s t o n , 1981 .

Achebe , c h i n u a . ~ o r n i n g y e t o n c r e a t i o n Day. N e w York: Anchor I Y '16 o

A j e i y b e , O l a p e d e . "The l a n g u a g e of N i g e r i a n L i t e r a t u r e i n ~ n g l i s h ~ " s o l o m o n C. Unoh, ed. Use of E n g l i s h i n c o m m u n i c a t i o n e I b ~ d a n ; s e e c t r u m , 1986.

~ n o z i c , s u n d a y . c h r i s t o p h e r b k i g b o m London: E v a n s roth hers ~ t d . , l Y . / L e

~ s e i n , s a m u e l U. l t L i t e r b i u r e a s H ~ s ~ o ~ Y . " ona at us Nwoga, ed. ~ i t e r a t u r e a n d i ~ , o d e r n '>,eat ~f r i c , n c u l t u r e . B e n i n c i t y : ~ t h i o p e P u b l i s h i n g c o r p o r a t i o n , 1978.

Awoonor, of i. ~ r e : ~ s t of t h e Ear t h . N e w y o r k : ~ o k p u b l i s h e r ~ n t e r n a t i o n a l , 19 75.

~ a r n i k u n l e , A d e r e m i . t c ~ i t r - ~ , ,Lure a s a ~ i s t o r i c a l P r o c t s s m l l c h i d i ~ k o n n e , E m i l i a b k o a n d P e t e r g n w u a i n j o , edsm - - A f r i c a n L i t e r a t u r e a n u ~ i r i c a n ~ i s t o r i c a l ~ x p e r i e n c e ~ . bad an : ~ e i n e m a n n , 1991 .

g o o t h , James . writers L n a p o l i t i c s i n ~ i g e r i a . London: odder ~ n d s t o u g h t o n , 1981.

colemi;n , Jdmes . Nigeri ; : , : B a c k r o u n d to ~ a t i o n a l i s m . ~ e r l e l e y : u n i v e r s i t y o t calif o r n i a p r e s s , 1958.

avids son, ,ihimd. I tLanguaye L e v e l s i n TL\O ~ i g e r i a n ~ o v e l s. B.!. ~ h e s i s , u n i v e r s i t y of N i g e r i a , ~ s u k k s , 2988m

~ i c h i e , j o h , . c o n t e m p o r a r y r , u o t a b l e ~ u o t e s . eni in : cmouwessan ~ o m m u n i c a t i o n s Agency ~td., 1986.

~ l i m a n , ~ i c h a r d . T h e ~ o n s c i o u s n e s s of J o y c e . London:

P a b c r m d F a b e r ~ t d . , 1977.

F r y e , N o r t h r o p . ~ n 3 t o m y o f criticism, p r i n c e t o n : p r i n c e t o n u n i v e r s i t y press, 1957,

-.The E d u c a t e d ~ m z g i n a t i o n : Canada : ~ a n ~ i d i a n ~ r o d d c a s t i n g c o r ~ , o r a t i o n , 1963.

Haghe r , I. H, " ~ f r i c a n ~ i t e r a t u r e i n s e a r c h of p o l i c y : T h e C a s e o f i d e a t ~ f r i c d n Drama a n d T h e a t r e . * * E a r n e t s N O Emenyonu and c h a r l e s E o ; . no l im , eds . c u r r e n t T r e n d s i n L i t e r a t u r e and L a n g u ~ g e ~ t u d i e s I n west A f r i c a : Ibadan: K r z i t ~ o o k s ~ t d , , 1994,

~ i l l a r n , G.D. T h e w - i t i n g s of c h i n u a ~ c h e b e , London: ~ e i n e m a n n , 1 3 6 3

~ n i p p , Thomas R . W y t h , ~ i s r o r y a n d t h e p o k t r y o f ~ o f i Awoonoroct A£ r i c a n ~ i t e r a t u r e Today. 11 (19G:j)

. ~ * ~ i l i t a n c y <ind I r o n y , he PiOOU o f blest ~ f r i c ~ n p o e t r y i n t h e s e v e n t i e s . * * n a s h i r u 8.1 ( 1 9 7 7 ) : 43-55.

~ e v i n u s , Harr 'y, *,some ~ e a n i n g s o f ~ y t h , *I w n r y p ,u r r ay , ed . ~ y t h a n d ~ iy thmi ik ing , New y o r k : G e o r g e ~ r z z i l l e r , I n c . , 196U.

L y t l e , p,nJr-ew. I T h e w o r k i n g ~ o v e l i s t a n d t h e ~ y t h m a k i n g ~ a e d a l u s 88.1 ( s p r i n g 1 9 5 9 ) : 326-38, -

Moore, G e r a r d . T w e l v e ~ L r i c a n k r i t e r s London: H u t c h i n s o n , 198U.

h u r r a y , Henry. "The p o s s i b l e ~ a t u r e o f a rqy tho loyy t o Come." ~ y t h and piythm,?kiny.

e * * ~ n t r o d u c t i o n to t h e I s s u e myth a n d rL,iythmakiny.*t ~ a e d a l u s 213-22 ,

N e w ~ n c y c l o p a e a i a ~ r i t t a n i c a , Chicago: ~ n e y s b s p a e d i a

g r i t t a n i c a , ~ n c . , 1980,

Nwoga, ona at us, ed. west A f r i c a n verse. London: Lonqmm, 1967 ,

- - f l p o e t r y a s n e v e l a t i o n : ole soyinka-11- James ~ i b b s , ed. critical ~ e r s e p e c t i v e s o n &le s o y i n k a on don: ~ e i n e r n a n n , 1981.

Nwabueze, Emaka. "The T h r e a t r e A r t s a n d N a t i o n a l Con- s c i o u s n e s s - J. o k o r o ~ j o m a , ed. A f r i c a n ~ ~ m a n i t i e s . A L V ~ ~ : ~ e k s l i r i k p u b l i s h e r s , 1992.

o g u n g b e s a n , ~0 ldwo lee "The P a s t dnd t h e v i s i o n d r y K i - B r u c e ~ i n c , a n d : olawole Ocjungbesan, eu. A c e l e b r a t i o n of a l a c k .md ~ i r i c a n ~ ~ r i t i n y . z a r i a : ~hrndclu el lo u n i v e r s l t y pr ess, 13./3 .

~ k i g b o , c h r i s t o p h e r . ~ a b y r i n t h s . London : ~ e i n e r n a n n , 1971 .

okpewho, ~ s i d o r e . l l n e t h i n k i n g ~ .y th . l 1 ~f r i c a n ~ i t e r a t u r e Today 13- London: t ~ e i n e m a n n ,

, ~ y t h i n A f r i c a : A s t u a y of i t s A e s t h e t i c a n d c u l t u r a l R e l e v a n c e . c a m b r i a g e : c a m b r i d g e u n i v e r s i t y p r e s s , 1983.

~ w o m o y e l a , Oyekan. A£ r i c a n L i t e r a Lure: An introduction ~ a s s a c h u s e t : w a n d e i s u n i v e r s i t y p r e s s , 19'/S).

Over , van Raymond., eu. Sun Songs . N e w y o r k : Nev. American ~ i b r a r y 3nc., n o d .

Senariu K,E, a n d T- v i n c e n t - A s e l e c t i o n o f ~ i r i c a n P o e t r y - on don: Longman, 1976.

s imon a n d p h o e b e o t t e n b e r g . c u l t u r e s a n d societies o f n f r i c a a New y o r k : ando on House Inc . , 1 9 6 U .

s o y i n k a , # o l e . Met huen,

I d a n r e and Cther poems. London: 196'i.

.. 9 A s h u t t l e i n t h e c r y p t . on don: Rex callings, 3972

Myth, ~ i t e r a t u r e and ~ i r i c a n world, cambrioge: #- u n i v e r s i t y press, 1974.

a "The writer in d plodern ~f r i c a n s t a t e . ! * p e r b;astberg, ed. The k~riter i n Modern A f r i c a . uppsclla: ~ c a n a i n a v i d n ~ n s t i t u t e or ~f rican s t u d i e s , 1968.

he ~ r i t i s h and Fore ign ~ i b l e s o c i e t y , ~ e v i s e ~ s tand , : rd v e r s i o n . B r i t a i n : c o l l i n s , 1967,

~ h i t e l a w , ~ s r j o r y . l l sn terv i ew w i t h c h r i s t o p h e r ~ k i y l ~ o . ~ The ~ o u r n a l of ~ommonwealtn ite era Lure g( l970) :28 -37 .