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Fragments Out Of The Deluge IX: And To Us They Came by Christopher Okigbo
AND TO US they came –
(Malisons, malisons, mair than ten)
And climbed the bombax
and killed the Sunburn.
And they scanned the forest of oilbean,
its approach,
Surveyed its high branches…
And they entered into the forest,
And they passed through the forest,
oil oilbean,
And found them,
the twin-gods of the forest:
The grove was damp with airs,
with airs
the leaves,
And morndew beckoned, beckoned afar
from the oilbean trees,
From the branches of the gods of IRKALLA.
Within it –
within me –
Not a stir,
not a dead leaf whispered,
Splitting the dawnlit silence;
Not the still breath of the gods of IRKALLA.
Then the beasts broke –
(Malisons, malisons, mair than ten)
And dawn-gust grumbled,
fanning the grove
Like a horse-tail-man,
like the handmaid of dancers,
Fanning their trembling branches.
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Their talons,
they drew out of their scabbard,
Upon the tree trunks,
as if on fire-clay,
Their beaks they sharpened,
And spread like eagles their felt-wings,
and descended,
Descended upon the twin-gods of IRKALLA.
And the ornaments of him,
And the beads about his tail;
And the carapace of her,
And her shell,
they divided.
And the gods lie in state
And the gods lie in state
without the long-drum.
And the gods lie unsung
And the gods lie
veiled only with mould,
Behind the shrinehouse.
Gods grow out,
abandoned;
And so do they…
General Introduction
The poem "Fragments Out Of The Deluge IX: And To Us They Came" is a work by Christopher Okigbo, a Nigerian poet renowned for his rich, symbolic, and complex verse. Born in 1932, Okigbo’s poetry is heavily influenced by his Igbo heritage, Christian background, and the tumultuous political landscape of post-colonial Nigeria. His work often grapples with themes of identity, cultural disintegration, spirituality, and existential despair. The poem comes from Okigbo’s broader collection Labyrinths, where he often fuses traditional African religious motifs with modernist poetry techniques. Written during a period of intense political unrest in Nigeria, the poem reflects the tension and upheaval of the era, particularly as it pertains to the Nigerian Civil War (1967-1970), during which Okigbo tragically lost his life fighting for Biafra.
Title
The title "Fragments Out Of The Deluge IX: And To Us They Came" suggests the poem is part of a series ("IX" indicating the ninth installment), where each piece is a fragment or piece of a larger narrative. The term "Deluge" hints at a catastrophic flood or overwhelming force, possibly alluding to both biblical floods and the destructive forces of war. The phrase "And To Us They Came" introduces a sense of intrusion or an arrival of ominous forces, setting a foreboding tone and hinting at the invasion of foreign or malevolent entities.
Themes in "Fragments Out Of The Deluge IX: And To Us They Came"
Christopher Okigbo's poem "Fragments Out Of The Deluge IX: And To Us They Came" is rich with complex themes that reflect the poet's deep engagement with issues of cultural identity, spirituality, and the impact of external forces on traditional ways of life. Below are the key themes explored in the poem:
1. Cultural Disintegration
- Description: A major theme in the poem is the disintegration of traditional cultural values and practices. The twin-gods of IRKALLA, who represent traditional deities or spiritual entities, are depicted as being violently destroyed and abandoned. This reflects the erosion of indigenous beliefs and cultural systems in the face of external pressures, such as colonization, modernity, and political conflict.
- Analysis: Okigbo's choice to focus on the destruction and abandonment of these gods symbolizes the broader cultural collapse that occurs when societies are subjected to invasive external forces. The poem mourns the loss of a rich spiritual heritage, suggesting that the cultural identity of the people is at risk of being erased or forgotten.
2. Spiritual Alienation
- Description: The poem expresses a profound sense of spiritual alienation, both on a personal and collective level. The once-vibrant connection to the gods and the spiritual world is portrayed as being severed. The gods lie "unsung" and "veiled only with mould," indicating that they are no longer revered or worshipped, symbolizing a loss of spiritual vitality.
- Analysis: This alienation is a result of the cultural disintegration discussed above, where the external forces that erode traditional culture also disrupt the spiritual connection that people once had with their gods. The poem reflects a deep sorrow over this loss, suggesting that without these spiritual anchors, both the individual and the community are adrift in a world that no longer offers the same spiritual certainty or comfort.
3. The Impact of External Forces
- Description: The poem repeatedly references the arrival of ominous forces—"And to us they came"—that bring destruction. These external forces could represent colonization, Western influence, or even the ravages of war, all of which have historically disrupted traditional societies and their ways of life.
- Analysis: Okigbo's portrayal of these forces as malevolent, climbing the bombax tree and killing the Sunburn, suggests that they are not just external influences but destructive invaders that corrupt and devastate the indigenous culture. The imagery of the forces passing through the forest and finding the twin-gods also implies a systematic invasion and dismantling of the core elements of the traditional society.
4. Violence and Destruction
- Description: Violence is a pervasive theme in the poem, with vivid descriptions of the gods being attacked and dismembered. The "talons" drawn out of "scabbard" and the "beaks" sharpened create a sense of impending doom and brutality.
- Analysis: This violence symbolizes the physical and spiritual destruction brought by external forces. It reflects the violent upheavals in Nigerian society during Okigbo's time, particularly the Nigerian Civil War. The dismemberment of the gods can also be seen as a metaphor for the fragmentation of society and the loss of cohesive cultural and spiritual identity.
5. Lamentation and Mourning
- Description: The poem is imbued with a tone of lamentation, as it mourns the loss of traditional spiritual and cultural elements. The repeated phrase "Malisons, malisons, mair than ten" suggests a deep sense of grief and curse upon the invaders who bring such devastation.
- Analysis: This mourning is not just for the loss of the gods, but for the broader cultural and spiritual losses suffered by the community. Okigbo's use of ritualistic language and the repetitive structure create a dirge-like quality, reinforcing the theme of mourning. The poem can be seen as an elegy for a lost world, a world that has been irrevocably altered by destructive forces.
6. Nature and the Divine
- Description: The natural world in the poem is closely linked to the divine, with the forest and its elements (such as the oilbean tree and morndew) being imbued with spiritual significance. However, this natural world is also the setting for violence and desecration, highlighting the fragility of the divine in the face of human actions.
- Analysis: The intertwining of nature and the divine in the poem suggests a worldview where the spiritual and natural worlds are deeply connected. The desecration of the gods in the forest symbolizes a broader desecration of the natural world and its spiritual significance. Okigbo seems to be commenting on how the disruption of the natural world by external forces leads to a loss of the divine presence, as nature and spirituality are inherently linked.
7. The Passage of Time and Forgotten History
- Description: The imagery of the gods lying "veiled only with mould" behind the shrinehouse suggests the passage of time and the way history can be forgotten or neglected. The poem implies that as time progresses, the once-revered gods and the culture they represent become mere relics, covered in the dust of neglect.
- Analysis: This theme touches on the transient nature of cultural and spiritual practices, and how, without active remembrance and reverence, they can fade into obscurity. Okigbo’s poem serves as a reminder of the importance of remembering and honoring the past, even as society moves forward, lest the most sacred aspects of a culture be lost to the sands of time.
"Fragments Out Of The Deluge IX: And To Us They Came" by Christopher Okigbo is a profound meditation on the themes of cultural disintegration, spiritual alienation, and the impact of external forces on traditional societies. Through vivid imagery and symbolic language, Okigbo explores the devastating consequences of these forces, mourning the loss of spiritual and cultural vitality. The poem reflects the poet's deep concern for the preservation of cultural identity and the dangers posed by external influences that threaten to erase the spiritual and cultural heritage of his people.
Literary Devices
1. Repetition: The line “And to us they came” is repeated at the beginning of the poem, establishing a rhythmic cadence and emphasizing the arrival of a significant, possibly threatening force. Additionally, the phrase "Malisons, malisons, mair than ten" is repeated, underscoring the curses or ill omens associated with this arrival.
2. Alliteration: Okigbo uses alliteration to create a musical quality in the poem, as seen in “bombax… burned” and “dawnlit silence.” These repetitive consonant sounds help to create a sense of unity within the chaotic imagery.
3. Symbolism: The twin-gods of IRKALLA symbolize traditional African deities or spiritual forces, possibly representing the spiritual or cultural heritage of the Igbo people. Their destruction in the poem may symbolize the disintegration of traditional values under the pressure of modernity and conflict.
4. Imagery: Vivid imagery is used throughout the poem, particularly in lines like “Their talons, they drew out of their scabbard” and “the leaves, And morndew beckoned.” This use of imagery evokes the physical environment and the violence inflicted upon it, helping to create a visceral response in the reader.
5. Personification: The forest and its elements are given life-like qualities. For example, “morndew beckoned, beckoned afar” personifies the dew, making it seem alive and almost sentient, drawing readers deeper into the mystical and foreboding atmosphere of the poem.
6. Metaphor: The phrase “gods lie unsung” can be seen as a metaphor for the neglect of traditional beliefs or deities, which are no longer worshipped or revered, reflecting a loss of cultural identity.
Language and Diction
Okigbo's diction is formal and laden with symbolism, reflecting the gravity of the themes he addresses. Words like “talons,” “scabbard,” “descended,” and “veiled only with mould” carry a heavy, ominous weight, contributing to the poem's dark and foreboding tone. The language is ritualistic and evocative, reflecting both a deep respect for the traditional elements being described and a sense of mourning for their demise. There is also an intermingling of Christian and traditional African imagery, indicating the cultural syncretism in Okigbo's work.
Mood and Tone
The mood of the poem is somber, haunting, and filled with a sense of impending doom. The repeated use of "Malisons" (curses) and the description of the gods lying unsung create a melancholic and foreboding atmosphere. The tone is reverent yet despairing, as the poet seems to lament the loss of cultural and spiritual entities. The destruction of the twin-gods and their abandonment evokes a sense of cultural desecration and spiritual desolation.
Context
The poem was written during a period of intense political turmoil in Nigeria, particularly in the lead-up to the Nigerian Civil War. The "Deluge" could symbolize the overwhelming destruction that was engulfing the nation, leading to a cultural and spiritual crisis. Okigbo, deeply connected to his Igbo roots, often expressed the tension between the traditional and the modern, the spiritual and the political. This poem can be seen as a reflection on the loss of cultural identity and spiritual degradation in the face of war and modernity. The poem’s context is crucial in understanding its themes of cultural disintegration and the lamentation for lost spiritual and cultural heritage.
Conclusion
"Fragments Out Of The Deluge IX: And To Us They Came" by Christopher Okigbo is a powerful exploration of cultural and spiritual loss. Through rich symbolism, evocative imagery, and a somber tone, Okigbo laments the destruction of traditional beliefs and the invasion of alien forces, whether they be modernity, war, or colonial influences. The poem is a poignant reminder of the costs of cultural disintegration and the fragility of spiritual heritage in the face of overwhelming external forces.
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