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Limits III: Banks Of Reed by Christopher Okigbo
BANKS of reed.
Mountains of broken bottles.
& the mortar is not yet dry …
Silent the footfall
Soft as cat’s paw,
Sandalled in velvet,
in fur
So we must go,
Wearing evemist against the shoulders,
Trailing sun’s dust saw dust of combat,
With brand burning out at hand-end.
& the mortar is not yet dry …
Then we must sing
Tongue-tied without name or audience,
Making harmony among the branches.
And this is the crisis point,
The twilight moment between
sleep and waking;
And voice that is reborn transpires,
Not thro’ pores in the flesh,
but the soul’s back-bone.
Hurry on down –
Thro the high-arched gate –
Hurry on down
little stream to the lake;
Hurry on down –
Thro the cinder market –
Hurry on down
in the wake of the dream;
Hurry on down –
To rockpoint of CABLE
To pull by the rope
The big white elephant …
& the mortar is not yet dry
& the mortar is not yet dry…
and the dream wakes
and the voice fades
In the damp half light
like a shadow,
Not leaving a mark.
General Introduction
"Banks of Reed" is a poem by Christopher Okigbo, one of Nigeria's most significant poets and a prominent figure in African literature. Okigbo was born in 1932 in Ojoto, Nigeria, and his poetic career was cut short when he died in 1967 during the Nigerian Civil War. His works are deeply rooted in Igbo traditions, Christian influences, and modernist poetics, making him a unique voice in post-colonial African literature. "Banks of Reed" reflects Okigbo's intricate style, blending myth, personal introspection, and cultural commentary. Written during the post-colonial period, this poem explores themes of crisis, transition, and the search for meaning in a rapidly changing world.
Title
The title, "Banks of Reed," evokes a natural and somewhat serene image, but the poem’s content quickly subverts this expectation. The "banks" can represent a threshold or boundary, while "reed" suggests something fragile and transient. Together, the title hints at themes of impermanence and the precariousness of existence. The poem’s tone is set from the beginning, suggesting a landscape that is both familiar and fraught with tension.
Themes of "Banks of Reed" by Christopher Okigbo
1. Crisis and Transition:
One of the central themes in "Banks of Reed" is the notion of crisis and transition. The poem is set against a backdrop of instability, symbolized by the refrain "the mortar is not yet dry." This line suggests an incomplete or fragile state, reflecting a world in the midst of change. The imagery of "Mountains of broken bottles" and the need to "Hurry on down" further emphasize a sense of urgency and the precariousness of the situation. The poem captures a moment of transition, where the old world is breaking down, and the new one has not yet fully formed. This theme is reflective of the broader historical and cultural context in which Okigbo was writing, particularly the post-colonial period in Nigeria, where the country was grappling with its newfound independence and the challenges of modernity.
2. The Search for Identity and Meaning:
Another significant theme in the poem is the search for identity and meaning. The lines "Tongue-tied without name or audience" and "voice that is reborn" indicate a struggle for self-expression and a quest for a new identity. The poem portrays a sense of dislocation, where traditional identities are no longer sufficient, and there is a need to forge new ones. The "soul’s back-bone" represents an inner strength and a deeper essence that transcends the physical body, suggesting a spiritual or existential journey. This search for meaning is further complicated by the crisis of transition, where the old certainties are being questioned, and new ones are yet to be established.
3. The Intersection of the Physical and the Spiritual:
Okigbo’s poem delves deeply into the intersection between the physical and the spiritual realms. The "high-arched gate," the "big white elephant," and the reference to "Cable" all point to a world where the material and the spiritual are closely intertwined. The poem’s imagery often blurs the lines between the tangible and the intangible, reflecting a world where physical actions and spiritual consequences are linked. The voice that "transpires not thro’ pores in the flesh, but the soul’s back-bone" illustrates the idea that true essence or identity is rooted in the spiritual rather than the physical. This theme resonates with the cultural context of the poem, where traditional African spirituality and the impacts of colonial religion are both in play.
4. The Impact of Colonialism and Cultural Legacy:
Although not overtly mentioned, the impact of colonialism and the cultural legacy it left behind is a subtle but pervasive theme in the poem. The "big white elephant" can be interpreted as a symbol of the burdensome and problematic legacy of colonialism. The elephant, often a symbol of something grand yet cumbersome, reflects the mixed feelings toward the colonial past—a sense of both grandeur and heaviness that is difficult to navigate. The mention of "Cable" and the reference to Cable Point, a sacred Igbo site, reinforces the importance of cultural heritage and the need to reconnect with indigenous traditions. The crisis and transition described in the poem can also be seen as a metaphor for the broader societal struggle to reconcile the past with the present in a post-colonial context.
5. The Ephemeral Nature of Life and Experience:
The theme of ephemerality runs throughout the poem, with the imagery of "Banks of reed" and the "dream" that "wakes" and "fades in the damp half light like a shadow." These lines suggest the transient nature of life and experience, where moments of clarity and realization are fleeting and quickly fade away. The repetition of "the mortar is not yet dry" reinforces this sense of impermanence, as it implies that nothing is ever fully settled or secure. This theme reflects a broader existential concern with the nature of reality and the fleeting nature of human life and achievements.
6. The Burden of Tradition and the Weight of History:
The poem also explores the theme of tradition and the weight of history. The "mortar" that is "not yet dry" can be seen as a metaphor for the unfinished business of history, where the past continues to exert an influence on the present. The repeated call to "Hurry on down" suggests a need to move forward, but the poem also acknowledges the difficulty of doing so when the past remains unresolved. The "high-arched gate" and the journey to "rockpoint of CABLE" signify a pilgrimage or a journey that is steeped in tradition, yet the ultimate goal—the "big white elephant"—remains ambiguous and potentially burdensome. This theme highlights the tension between honoring tradition and the need to break free from it in order to forge a new path.
7. The Role of Art and the Artist:
Finally, the poem touches on the role of art and the artist in times of crisis. The lines "Then we must sing / Tongue-tied without name or audience, / Making harmony among the branches" suggest that art and expression are necessary, even when there is no clear purpose or audience. The artist is portrayed as someone who must continue to create, even in the face of uncertainty and without recognition. This theme reflects Okigbo’s own belief in the power of poetry as a means of navigating and making sense of the world, even when that world is in turmoil.
Christopher Okigbo’s "Banks of Reed" is a complex poem that weaves together themes of crisis, identity, spirituality, and the burden of history. Through its rich imagery, allusions, and metaphors, the poem captures the sense of a world in transition, where the old certainties are breaking down, and new ones have yet to emerge. Okigbo’s exploration of these themes reflects both the personal and collective struggles of his time, making "Banks of Reed" a profound meditation on the human condition in a rapidly changing world.
Literary Devices
1. Imagery:
- The poem is rich in vivid imagery, creating stark contrasts between serenity and chaos. Phrases like "Mountains of broken bottles" and "Silent the footfall / Soft as cat’s paw" evoke strong visual and tactile sensations. The imagery of "mortar" not being dry symbolizes a state of incompletion, reinforcing the poem’s theme of crisis and transition.
2. Repetition:
- The line "And the mortar is not yet dry" is repeated throughout the poem, serving as a refrain that underscores the unfinished, precarious state of the world the poet describes. This repetition emphasizes the lingering sense of instability and uncertainty.
3. Metaphor:
- Okigbo uses metaphors to deepen the poem’s meaning. For instance, "trailing sun’s dust saw dust of combat" likens the aftermath of conflict to the settling of dust, suggesting the lingering effects of violence. The "big white elephant" metaphorically represents something grand but burdensome, possibly alluding to colonial legacy or unfulfilled promises.
4. Personification:
- The poem personifies abstract concepts, such as the "voice that is reborn," which "transpires not thro’ pores in the flesh, but the soul’s back-bone." This personification suggests a spiritual or existential rebirth, where the essence of life transcends the physical body.
5. Allusion:
- The mention of "Cable" alludes to Cable Point at Asaba, a sacred place in Igbo culture, adding a layer of cultural specificity and spiritual significance to the poem. This allusion connects the poem to a broader cultural and historical context, grounding its abstract themes in a tangible location.
6. Symbolism:
- Symbols like the "high-arched gate" and the "big white elephant" carry deep significance. The gate may symbolize a passage or transition, while the elephant could represent something imposing and overwhelming, perhaps a reference to the heavy burdens of history or tradition.
Language and Diction
Okigbo’s choice of language is both evocative and complex. His diction alternates between simple, concrete descriptions and more abstract, philosophical musings. Words like "footfall," "sun’s dust," and "combat" are grounded in the physical world, while phrases like "soul’s back-bone" and "voice fades" delve into the metaphysical. This interplay between the tangible and the intangible reflects the poem's exploration of the boundaries between the physical and spiritual realms.
The poem also features a mix of formal and informal language. The use of "&" instead of "and" suggests a modern, almost casual tone, which contrasts with the more formal and solemn subject matter. This blend of styles enhances the poem’s tension and complexity.
Mood and Tone
The mood of "Banks of Reed" is one of unease and uncertainty. The repeated line "the mortar is not yet dry" conveys a sense of something incomplete or unresolved, contributing to a mood of instability. The tone is contemplative, yet there is an underlying urgency, particularly in the repeated command to "Hurry on down." The poem oscillates between calm introspection and a more frantic, almost desperate energy, reflecting the tension between stillness and movement, peace and conflict.
Context
"Banks of Reed" was written in the context of Nigeria's post-colonial period, a time marked by political upheaval, cultural reawakening, and the struggle for identity. The poem reflects the complexities of this period, where traditional values and modern realities often clashed. Okigbo, as a poet deeply connected to his Igbo heritage, weaves in references to local customs and sacred places, such as Cable Point, grounding the poem in a specific cultural context. At the same time, the poem’s themes of crisis, transition, and the search for meaning are universal, resonating beyond the immediate Nigerian context.
Conclusion
"Banks of Reed" is a powerful exploration of crisis and transition, both personal and societal. Through rich imagery, repetition, metaphor, and cultural allusions, Christopher Okigbo creates a poem that captures the tension between the physical and spiritual, the traditional and the modern. The poem’s unresolved ending, with the repeated refrain "the mortar is not yet dry," leaves readers with a lingering sense of unease, reflecting the unfinished nature of the world it describes. Okigbo’s work remains a testament to the complexities of post-colonial African identity and the enduring power of poetry to articulate the inexpressible.
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