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Christopher Okigbo Ifekandu one of the earliest Nigerian poet who in his short life because he died fighting for the independence of Biafra, established himself as a central the shape of the modern African poetry, remains one of the most important African poets write in English. Despite the generally acclaimed as a master poet learned the complexity of obscure references and symbolism, it has even been called Africa’s finest poet and one of the most important modernist writers of the twentieth century. “Because while other poets wrote good poetry,” Chinua Achebe observed. “Okigbo conjured up for us a wonderful, haunting poetic sky with a fierce and violent beauty ..”
birth and early life
Okigbo was born on August 16, 1932 Ojolo in the city, ten miles from the city of Onitsha in Anambra State, to a father who was a teacher in a Catholic missionary schools at the height of British colonial rule in Nigeria, he spent his early years moving Okigbo station next to the station’s father. Despite the fact that his father was a devout Christian, he felt a particular affinity Okigbo maternal grandfather, Ijejiofor the Oto family who has always been the priests of the shrine of the deity personified time to time the river flowed through the village. Later in life, Okigbo came to believe that the soul of the grandfather reincarnated in him.
He Educatiiobn in Umuahia and Ibadan
Okigbo graduated from Government College Umuahia two years after the famous Nigerian writer Chinua Achebe, having gained a reputation as a voracious reader and versatile athlete. The following year, he entered the University of Ibadan to study Medicine, but change Classics for the second year .. He also gained a reputation as a talented pianist, accompanying Wole Soyinka is the first public appearance as a singer. It is believed that he wrote the original music back then, but none of them survived.
Initial literary and artistic
1956, held after
graduating each other’s jobs across the country. He worked in the Nigerian Tobacco Company, United Africa Company, the Fiditi High School (where he taught Latin), and was assistant librarian, University of Nigeria Nsukka, where he helped found the African Authors Association.
1958 was a turning point in his life sought to know himself better.He began publishing the works of various magazines, namely literary magazine Black Orpheus brought together the best works of African and African-American writers. While his poetry was part of a powerful expression of African nationalism, he was adamantly opposed negritude, which condemned the romantic pursuit of the “mystique of blackness” itself. He also rejected the concept of a unification between Africans and African Americans experience, even though it violated the editorial policy of Black Orpheus. Because Okigbo, poetry is highly personal endeavor. Despite the fact that African culture embraced his literary rejected the concept of negritude, because he believes that only a poet. “The poet writes poems, and when it appeared the work of state property. This was the one who reads it must decide whether it’s in Africa or in English poetry.” And he said that there was no such thing as a poet trying to express African-ness as such a thing does not exist. The poet simply expresses himself. The precisely these reasons he rejected the first prize in the Poetry Africa Festival awarded him the 1965 Negro Arts in Dakar.
in 1963 became the West African representative of Cambridge University Press in Ibadan, a position that allowed him to travel frequently hiim in the United Kingdom, where it has attracted more attention. In Ibadan he became an active member of the literary MBARI club.For of the many young artists who were looking for a platform to exchange views and share their various talents. He and Soyinka, also a musician, performing jazz clubs. Consequently, MBARI was founded by the Writers and Artists Club was born in 1961 in Ibadan German writer and critic Ulli Beier. who invited Okigbo that one of the members of the original MBARI committee with Georgina Beier, Wole Soyinka, JPClark, Chinua Achebe, Ezekiel Mphahlele, Amos Tutuola, DO Fagunwa, Dennis Williams, Demas Nwoko, Uche Okeke, Frances Ademola and Janheinz Jahn, the ethnologist. The MBARI Club incooperated various activities, art exhibitions, theater, creative workshops and publishing house.in Okigbo which eventually became an editor. It played a crucial role in the birth of modern African literature. Publication of the writings not only of its members and adherents, but the South African writer Dennis Brutus and Alex La Guma. The visual arts, introduced the pioneers, such as painters Uche Okeke and Yusuf Grillo, a sculptor and painter Demas Nwoko, and screen artist, Bruce Onobrakpeya. The MBARI Club supported the creation of a real movement in contemporary African artists who are poised to create a new artistic culture of reconciliation in the continent’s cultural traditions and introduction of technical language.
Okigbo’s poems first appeared in the student literary magazine Horn, edited by JP Clark. although his works were published in major literary magazine Black Orpheus. In the same year he also published as a book, Heavensgate, and a long poem of Uganda’s cultural magazine Transition, published in Kampala .. Okigbo early poems reflected his country’s shared cultural heritage, although it was the influence of Virgil, Ovid, Eliot and Pound which seems to stronger than the oral literature of the Igbo.
He completed and published the works of mature years, including limits (1964), Silence (1962-1965), Lament of the mask (centennial as anniversary of the birth of WB Yeats, a Yoruba praise poems, 1964), “Dance of the painted Maidens” (commemorating the 1964 birth of his daughter, Obiageli or Ibrahim, who was considered a reincarnation of the mother) and the last is very prophetic sequence “Path of Thunder” (1965- 1967), which was published posthumously in 1971, labyrinths, which includes poems in previous collections.
The Biafran War
was in the 1960s, major political changes in a period of Nigeria, the country is becoming an independent republic in 1963, four years later, in the eastern Ibo tribal region attempting secede.In 1966 Nigerian crisis came after the head of the massacre of thousands of Igbo in the north. During Okigbo living in Ibadan moved to eastern Nigeria to wait for the turn of events, which resulted in the secession of predominantly Igbo eastern region, which eventually declared that an independent Biafra republic May 30, 1967 ..
Although Okigbo followed the social and political events in his country sharply early poems ranged from personal and mythic level. Path of Thunder (1968) showed a new direction – the attack of bloodthirsty politicians ( “politicians again howitzers huge hidden increments / detonator”) and neo-colonial exploitation ( “the robbers come down to us us the tape laughter, our / thunder” rise) reflecting the radical movements of the 1960s.
The outbreak of war Okigbo worked for an Italian business organization Wartrade. Life Enugu Achebe worked together to build a new, but small publisher, Citadel Press. However, the events of the country has changed his plans and leave the job. the new state immediately joined the military as a volunteer, commissioned a major in the field. She has been achieved as a soldier, but fell in September 1967 a major attack Nsukka, a university town, where he found his voice as a poet, and which he had vowed to defend behind his life.refusing safer positions in front .. After his death he was decorated with the National Order of Merit in Biafra. Earlier, in July, the hilltop house Enugu, where several unpublished writings were destroyed in the bombings. Also destroyed was Pointed Arches, poetic autobiography, which, as an account of the experience of life and letters which conspired to sharpen his creative imagination.
Legacy
However, a number of unpublished documents survived the war. Daughter, Obiageli, d literary heir, established the Christopher Okigbo Foundation in 2005 to perpetuate his legacy. The papers cataloged by January 2006, Professor Chukwuma Azuonye African literature at the University of Massachusetts, Boston, who helped the Foundation select them on the UNESCO Memory of the World Register. Azuonye preliminary studies papers show that apart from the new poems in English, including the draft Anthem of Biafra, Igbo Okigbo unpublished papers include poems. In recent impressive opening up new perspectives in the study of his views against Okigbo’s poetry, especially Chinweizu, Onwuchekwa Jemi and Ihechukwu Madubuike, he sacrificed to attain a vague indigenous African sensibility Euro-modernism.
“Elegy Alto”, the last verse of the Path of Thunder, now widely read as representing the poet’s “last testament” prophetic own death like a lamb to the slaughter, human freedom “
Earth, csaatolja me, let me be the prodigal; let this
a ram final prayer of the webbing …
an old star will start, leaving us on the beach
Looking out of the heavens a new star is approaching;
the new star appears foresees the taking
Before going and coming that will last forever ….
the two published in a collection in the poem Okigbo life established him as an innovative and controversial poet.
Characteristics of Okigbo’s poetry shows the influence of
the hard but suggestive and prophetic poem modernist Europe and American poetry, African tribal mythology, and Nigerian music and rhythms. “Prophetic, threatening, terrorist and violent protest – was the poetry of all of these,” wrote Christopher SO Anozie Okigbo: Creative Rhetoric (1972).
The “distance” (1964) celebrates the final aesthetic and psychic return of indigenous religious roots:
I’m the only witness to my homecoming.
Okigbo’s poetry makes constant and repeated references to parent time. The “water goddess” Especially so Heavensgate (1962) opening compelling lines:
Before the mother of time,
naked I stand,
This seems to be a reference to the central meaning of the verse. “Time” is actually a river goddess, is the African cosmology, which is actually Okigbo as a personal symbol, elevating it to provide protection savior representing the emerging forces such as indigenous cultures and religions Westernization. Heavensgate thus marked his return to the African part of his heritage and self-renewal goddess of the earth:
Before Mother of time naked in front of standing in the wet presence of the Prodigal
relying on a oilbean lost a legend …
spirit of prayer is the time to open the ritual pattern of the poem, which is added to the oilbean, a turtle, a python and rainbow..This last prophetic role could be performed Sunday Anozie suggests. It can also be seen as a snake that is able to both novice and devouring the poet.
other prophetic god-head or essences could see Okigbo’s poetry. In Limits invested VIII prophetic role is an important symbol of – mourning sunbird representing the conscience of the poet as the cohesive spirit finally desecrated the imperialists. Here, too, the ritual of worship totems “The fleet eagles / oilbeam the shadows / ” held under the curse of the air space,” “the power of prophecy known blind dog, howling,” “The Tortoise and the python who are classified as twin gods of the forest “,” shrinehouse bamboo tower “,” egg shell, tiger masks and spears naked. “weights” and “long -headed lion,” abound.
the two collections- Heavensgate (1962 ) and Limits (1964) -reveal personal, introspective poetry is informed by knowledge of Western myths are full of rich, stunning images. Labeled obscure some critics, poetry consuming and allusive drawing freely contemporary poets such as TS Eliot and Ezra Pound, as the Roman Catholic religion, his family Ojoto. Okigbo maintained that his poetry should be regarded as an organic whole, because of age expressed as a poet.
Okigbo the effects are not confined to Africa.going Gerard Manley Hopkins, and European, Asian and African influences in a mixture. He borrows from different sources, such as the African religion, and religion in the West. Romantic, pastoral and classical Greek and Latin influences, such as Vigil and Theocritus have a lot of evidence together with references to the Bible Okigbo’s poetry.
The loans Dan Izevbaye notes usually appears only in the beauty and utility itself.with the term “report” or “experience” of the poem is traditionally controlled by its immediate context. If such images are forced loans or new connections or associations of words, his poetry startling and fresh. That may not be included in the adaptation of the summary and conversion undergo before it is absorbed.
The main source of obscurity poetry of Okigbo that references drawn from the private world of its own symbols, especially references to characters who were part of your childhood -oblongs as Kepkanly, Enki, Flannagan, Haragin, Jadu, Upandru, Anna College and Eunice and obscure places like rock point Rickland and cable. Such references are repeated too often. Perhaps there is no doubt that very personal significance of the poet that kept referring to them. But such interest shall be forfeited to the reader, who was completely unknown in the background.
suffered a similar loss when the reader has no personal experience of such objects hereinafter referred to as “Advent”, “dumbbells”, “Rock Point cable”, “Rock Island”, “fucking angels,” long-headed lion “and” blind dog, “which all add up to obscurity.
Because Okigbo provides complex and difficult issues, face perhaps out of necessity are scarce and difficult to understand. This difficulty increases either consciously or unconsciously created a language of ritual, to which the reader you have to start so perfectly fits into the work of the ritual content. This effect is reinforced by the different aspects of the technique, including his own use of language. First, there is the broken syntax and the use of a variety of obscure words and unusual phrases such as “greenhouse solitude” “broken monody’and space gives the fool.” the structure of the work itself may add to this a kind of syncretic musical samples have been revised distribution of parts by the impact on traditional Ibo musical instruments. the chanting and rhythmn the lines are another good example through invocational qualities of ” elegy slit drum. “
the Okigbo world of modern and traditional are included forcing a tense conflict between the rich images and symbols like Western religion and civilization rich” John “,” proclaimed the gambit ‘,’ crucifix ‘ “pilgrims term shibboleth” and “incense. “Some poems Christian rituals such an extent developed to become the dominant rituals similar to the traditional African religions seen through the omni-presence and destructive potential of the western presence image as.” Thunder Tanks giant ironsteps the explosion, “” distant seven guns, “” cable outdoors wonders of magical birds lightening their pens “and”. “
This conflict soars up to an explosive point as the enhancement and repeat the thunder pattern the resulting debris is captured so.. ‘parliament’ leave ‘,” the Cabinet has gone to hell, “” the voters ambush “and the” roar of the Sirene afternoon. “the confusion of values and a chaotic state could pick up in no better way.
thundering drums and cannons palm grove: the soul of the ascension (From “victim”)
Frequently asked pictures Okigbo’s poems dance ( “dance of death”, “snow dance mortar”), lightning (. “thunder tanks,” “thunder in the clouds”) and drums ( “the drums of the curfew,” “laments the drums”). Okigbo gradually began to see himself as a singer-musician who speaks the ancient language written before the launch: “I have been blown out of the drum / cymbal … I drank out of the” A “Overture” (1961) Okigbo was a “night watchman keyword / at heavensgate “and” Long live the Thunder, “a” town crier with my iron bell “
Okigbo shared TSEliot a vision of the spiritual quest, taking account of the poet’s realm of ancient myths and spiritual self,” Before the mother time , I’m naked … “is often used repetition, rhythm, poetry is more like song, and the words flowing melody, as if the poet is listening and interpretation of distant voices. The four elements Okigbo choose water residence time “float under the feet of the water: / tide blowing them under.”.
There are many sound poetry meant to read (or sung) – culminating in the launch of mourning, and the Path of Thunder (which begins: “Fanfare of drums, wooden bells”). Again, the mixture of both African and against external influences. When working Heavensgate, Okigbo himself stated that he was working under the spell of Impressionist composers Debussy, Caesar Franck, Ravel …
The sound and beat always win; although the term is sometimes vague. Okigbo’s poetry is full of ellipses, barely left a poem is not marked sentences to drop three points:
And it is here
errors in the rendering …
piece verses striking, often poignant. “Gods outgrow / Abandoned” Fragments of the flood, in order to come to an end “. & Neutralized the completed”
The verses – sliced, divided into short sections of their own – line by line to impress. Lines are repeated and varied throughout the poem several sequences. In Lament of the Silent Sisters, for example, the question: “How can you say NO thunder” central – and the lightning will reappear elsewhere. . ( “NO Thunder” is a “dominant motif of” death row Silent Sisters here Okigbo also recommends:
Silence tunes
Heard in retrospect
In the final sequence, Paths of Thunder, a series of Poems prophecy War. and letting the conflict between art and life, and the tense political climate of the day, emerges. it may be ironic tips Okigbo after leaving art to serve the Biafran cause, dying in battle. it’s not his words that trouble brought, but even the Paths of Thunder makes a rare personal appearance, the warning itself:
If you do not learn to shut my mouth I will soon go to hell
I, Okigbo, town crier with my iron bell.
Okigbo’s poems seem to pop out even the poetry of page.for did not allow the slump and he did not just stick a successful form and style. Although sometimes overreaches himself or Okigbo I miss the mark even those verses that the reader can report to the castle itself, that will maintain your interest. Although deceptively few words Okigbo offers a sometimes daunting complexity, despite the poetry certainly worth reading.In to his diverse influences, he is endowed with a unique and interesting voice
Further Reading:
o Sunday Anozie, Christopher Okigbo: Creative rhetoric. London Evan Brothers Ltd., and New York: Holmes and Meier, Inc., 1972.
o cast Esonwanne, ed. 2000 Critical Essays on Christopher Okigbo. New York: GK Hall & Co.
o Donatus Ibe NWOG, Critical Perspectives on Christopher Okigbo, three continents Press, 1984.
oo Donatus Ibe NWOG, Critical Perspectives on Christopher Okigbo, three continents Press, 1984
o Dube Okafor, Dance of Death: Nigerian History and Christopher Okigbo’s Poetry club. Trenton, NJ and Asmara, Eritrea: African World Press, 1998.
o Udoeyop, Nyong J., Three Nigerian Poets: A Critical Study of poetry Soyinka, Clark and Okigbo. Ibadan: Ibadan University Press, 1973.
o James Wieland, a Ensphering All: History, myths and misconceptions of the poetry of Allen Curnow, Nissim Ezekiel. AD Hope, AM Klein, Christopher Okigbo and Derek Walcott. Washington, DC: three continents Press, 1988
Izevbaye Dan S. “The state of criticism of African literature”. African literature today. Ed. Eldred Durosimi Jones. Vol. 7, London: Heinemann, 1979, 1-19.
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Source by Arthur Smith