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Fragments Out Of The Deluge VII: And From Frame Of Iron by Christopher Okigbo
AND FROM frame of iron
came HE,
In mould of iron …
and he ate the dead lion,
and was within the corpse …
which is not the point;
And who says it matters
which way the kite flows,
Provided movement is around
the burning market,
The centre-
So lilies
Sprouted from rosebeds,
Canalilies,
Like tombstones from pavements;
And to the cross in the void
came pilgrims,
Came floating with burnt-out tapers:
Past the village orchard
where FLANNAGAN
Preached the Pope’s message,
To where drowning nuns suspired,
Asking the KEY-WORD from stone,
and he said:
To sow the fireseed among grasses,
and lo,
To keep it till it burns out …
General Introduction
The poem "Fragments Out Of The Deluge VII: And From Frame Of Iron" was written by Christopher Okigbo, a prominent Nigerian poet. Okigbo, born in 1932 and tragically killed in 1967 during the Nigerian Civil War, is often regarded as one of Africa’s most influential modernist poets. His works are deeply influenced by his Igbo heritage, Western education, and the political turbulence of his time. Okigbo's poetry is marked by its dense symbolism, allusions to African spirituality, Christian motifs, and an experimental style that often defies straightforward interpretation. "Fragments Out Of The Deluge" is part of a series in which Okigbo explores themes of transformation, spiritual quest, and the disintegration of cultural and personal identity.
Title
The title "Fragments Out Of The Deluge VII: And From Frame Of Iron" is a piece extracted from a larger, chaotic whole, a series of poems or thoughts emerging from a flood or overwhelming event (the deluge). The "frame of iron" implies something rigid, industrial, or unyielding, which contrasts with the organic and spiritual elements that Okigbo often explores in his work. The title sets a tone of fragmentation and resilience, hinting at the intertwining of destruction and creation, and the struggles that arise from such a dichotomy.
Themes in "Fragments Out Of The Deluge VII: And From Frame Of Iron" by Christopher Okigbo
Christopher Okigbo’s poem "Fragments Out Of The Deluge VII: And From Frame Of Iron" is dense with thematic content, exploring a range of ideas that reflect both personal and collective experiences. The poem delves into themes such as spiritual decay, the cyclical nature of destruction and rebirth, identity and transformation, disillusionment with authority and religion, and the search for meaning amidst chaos. These themes intertwine to create a rich tapestry of meaning, reflective of Okigbo’s complex worldview and the turbulent context in which he wrote.
1. Spiritual Decay and Despair
The theme of spiritual decay is central to the poem. Okigbo paints a bleak picture of a world where faith and religious structures have crumbled. This is evident in the imagery of "burnt-out tapers" carried by pilgrims and "drowning nuns suspired," which evoke a sense of lost or exhausted spirituality. The mention of "the KEY-WORD from stone" suggests a desperate search for foundational truths or divine guidance that may no longer hold power. This decay is not just a personal crisis but also reflects a broader disillusionment with organized religion, which is further emphasized by the mention of "FLANNAGAN preaching the Pope’s message," perhaps critiquing the emptiness or irrelevance of such messages in the face of real-world suffering and chaos.
2. Cyclical Nature of Destruction and Rebirth
The poem also explores the theme of destruction and rebirth as an inevitable, cyclical process. The opening lines, "AND FROM frame of iron / came HE, / In mould of iron," introduce the idea of something powerful emerging from a harsh, industrial source, hinting at a new form of existence born from the ruins of the old. The imagery of "lilies sprouted from rosebeds" and "Canalilies, like tombstones from pavements" suggests that life and beauty can arise from death and decay, reinforcing the idea that destruction is often followed by renewal, albeit in altered forms. This theme reflects the cyclical nature of history and existence, where even amidst devastation, there is potential for regeneration and transformation.
3. Identity and Transformation
Okigbo’s poem grapples with the theme of identity, particularly in the context of transformation and loss. The poem's fragmented structure and shifting imagery mirror the fragmentation of identity that occurs during times of crisis. The "frame of iron" can be seen as a metaphor for a rigid, imposed identity or reality that one must break free from, yet it also represents the inevitability of change—whether in one’s personal identity or in the cultural identity of a society. The "dead lion" that is consumed may symbolize a lost or decayed sense of self, and the fact that this is "not the point" suggests that identity is fluid and subject to constant transformation. This theme resonates with Okigbo’s own experiences of cultural dislocation and the struggle to reconcile his African heritage with Western influences.
4. Disillusionment with Authority and Religion
The poem expresses a profound disillusionment with both religious and secular authorities. The reference to "FLANNAGAN" preaching "the Pope’s message" may critique the hollow authority of the Church in addressing the real spiritual and moral crises faced by the people. The "burning market" could symbolize the destructive forces of capitalism or imperialism, with the "centre" being the focal point of power or authority that has lost its way. The poem’s tone of resignation and questioning—"And who says it matters / which way the kite flows"—reflects a broader disillusionment with established systems of power and control, whether they be religious, political, or cultural.
5. Search for Meaning Amidst Chaos
Throughout the poem, there is a persistent theme of searching for meaning in a chaotic and fragmented world. The pilgrims moving "to the cross in the void" with "burnt-out tapers" symbolize a quest for understanding or salvation, even as they carry the remnants of extinguished faith. The mention of the "KEY-WORD from stone" suggests a search for some fundamental truth or revelation that remains elusive. This search is set against the backdrop of a world in turmoil, where "lilies" and "tombstones" grow side by side, and where the direction of the "kite" (symbolizing fate or destiny) seems arbitrary. Okigbo captures the existential dilemma of trying to find purpose and direction in a world where traditional beliefs and structures have failed.
6. Conflict Between Tradition and Modernity
Finally, the poem addresses the theme of conflict between tradition and modernity. The "frame of iron" represents the imposition of modern, industrial realities on traditional life, symbolizing the clash between the old and the new. The imagery of "lilies" and "rosebeds" juxtaposed with "tombstones from pavements" suggests that the natural and the sacred are being overshadowed or transformed by modernity’s harsh, unyielding structures. This theme reflects the broader cultural tensions in postcolonial societies like Nigeria, where traditional ways of life were increasingly under threat from the forces of modernization and globalization.
"Fragments Out Of The Deluge VII: And From Frame Of Iron" is a profound exploration of themes that resonate deeply with the human condition, particularly in times of crisis and transition. Christopher Okigbo masterfully weaves together ideas of spiritual decay, the cyclical nature of existence, identity transformation, disillusionment with authority, and the search for meaning in chaos. These themes are not only reflective of Okigbo’s personal experiences and the turbulent context of 1960s Nigeria but also speak to universal struggles faced by individuals and societies in the face of overwhelming change. Through his dense, symbolic language and fragmented imagery, Okigbo invites readers to contemplate the complexities of life, faith, and identity in a world that is constantly evolving and often fraught with uncertainty.
Literary Devices
1. Allusion: Okigbo alludes to several spiritual and religious elements throughout the poem. The "burning market" could symbolize a place of chaos and destruction, evoking images of purgatory or a spiritual battleground. The reference to "the cross in the void" and "pilgrims" alludes to Christian motifs of sacrifice and spiritual journey, while "the KEY-WORD from stone" may suggest an allusion to the Ten Commandments or the foundational truths of faith.
2. Metaphor: The poem is rich in metaphorical language. For instance, "So lilies sprouted from rosebeds, Canalilies, like tombstones from pavements" uses flowers as metaphors for beauty emerging from death or decay, suggesting the juxtaposition of life and death. The "frame of iron" itself serves as a metaphor for something rigid or unyielding, possibly symbolizing oppressive structures or harsh realities.
3. Symbolism: Okigbo uses symbols extensively to convey deeper meanings. The "dead lion" could symbolize a fallen hero or power, consumed by time or decay, while "burnt-out tapers" carried by pilgrims symbolize the exhaustion of faith or the remnants of spiritual fervor. The "fireseed among grasses" symbolizes an idea or movement that is planted and left to either grow or extinguish itself, reflecting the transient nature of influence or change.
4. Imagery: Vivid imagery pervades the poem, such as "lilies sprouted from rosebeds" and "floating with burnt-out tapers," which create visual scenes that evoke both beauty and desolation. The description of "drowning nuns suspired" paints a haunting image of spiritual despair and helplessness.
5. Irony: There is a subtle irony in the poem, especially in the line "And who says it matters which way the kite flows," which suggests a fatalistic attitude towards direction or purpose. Despite the chaos ("burning market") and spiritual decay ("burnt-out tapers"), the speaker implies that the specific path may be irrelevant, highlighting a sense of disillusionment or resignation.
6. Enjambment: The use of enjambment throughout the poem, where lines flow into one another without a pause, reflects the fluid and fragmented nature of the thoughts being conveyed. This technique enhances the sense of ongoing movement and the intertwining of different ideas and images.
Language and Diction
Okigbo’s language in this poem is dense, symbolic, and often abstract. The diction is formal, with a blend of religious and spiritual terminology ("cross," "pilgrims," "fireseed") and imagery rooted in nature and decay ("lilies," "rosebeds," "tombstones"). The choice of words such as "iron," "dead lion," and "burning market" conveys a sense of harshness, conflict, and destruction, while phrases like "floating with burnt-out tapers" and "drowning nuns suspired" evoke a melancholic and almost apocalyptic mood. The language is complex, with layers of meaning that require careful interpretation, typical of Okigbo’s modernist style.
Mood and Tone
The mood of the poem is one of desolation, confusion, and a search for meaning amid chaos. There is a pervasive sense of spiritual and existential despair, heightened by images of death, decay, and failed or extinguished faith. The tone is somber and reflective, with an underlying tension between resignation and a desperate search for direction or purpose, as illustrated by the questioning of whether the specific path or outcome truly matters.
Context
"Fragments Out Of The Deluge VII: And From Frame Of Iron" was written during a period of intense political and social upheaval in Nigeria, particularly leading up to and during the Nigerian Civil War (1967-1970). Okigbo’s poetry reflects his personal and cultural struggles, as well as the broader disintegration of traditional values and the impact of colonialism. The poem can be seen as a response to the chaos and violence of the time, with its fragmented structure and imagery of destruction mirroring the disarray in Nigerian society. The religious and spiritual references also point to Okigbo’s internal conflict between his Christian upbringing and his African heritage, which often collide in his work.
Conclusion
"Fragments Out Of The Deluge VII: And From Frame Of Iron" is a complex and layered poem that reflects Christopher Okigbo’s mastery of modernist techniques and his deep engagement with the themes of spirituality, identity, and societal decay. Through its fragmented structure, dense symbolism, and evocative imagery, the poem captures the tumultuous context of 1960s Nigeria, while also exploring universal questions of purpose, faith, and transformation. Okigbo’s use of literary devices such as allusion, metaphor, and irony enriches the poem, making it a profound meditation on the human condition amidst chaos.
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