Poem and Complete Analysis of Fragments Out Of The Deluge X: But At The Window by Christopher Okigbo

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Fragments Out Of The Deluge X: But At The Window by Christopher Okigbo 

BUT at the window

Outside

at the window,

A shadow –

Listen. Listen again under the shadow…

Give me a spooknif, and shave my long beard …

The Sunbird sings again

From the LIMITS of the dream,

The Sunbird sings again

Where the caress does not reach,

of Guernica,

On whose canvas of blood,

The newsprint-slits of his tongue cling to glue…

& the cancelling out is complete.

 General Introduction

"Fragments Out of the Deluge X: But At The Window" is a poem by Christopher Okigbo, a prominent Nigerian poet who was active in the mid-20th century. Okigbo is known for his dense, symbolic poetry that often intertwines African traditions with modernist influences. His work frequently reflects on the turmoil of Nigerian society, particularly during the Biafran War, and explores themes of identity, spirituality, and existential crisis. Written during a period of intense personal and national strife, this poem is part of Okigbo's "Labyrinths" series, which is characterized by its fragmented, enigmatic style.

 Title

The title "Fragments Out of the Deluge X: But At The Window" suggests disjointedness and an overwhelming force—possibly a flood or a chaotic event ("Deluge"). The word "fragments" implies that what follows are mere pieces or remnants, not a complete narrative. "But At The Window" hints at a vantage point or a moment of reflection, as if the speaker is observing something from a distance or from the edge of an overwhelming experience. The title sets a tone of introspection and fragmented reality.

Themes of the Poem

"Fragments Out of the Deluge X: But At The Window" by Christopher Okigbo is a richly layered poem that explores several profound themes, reflecting both personal introspection and broader existential concerns. Below is an elaborate discussion on the key themes of the poem:

 1. Fragmentation and Dislocation:

The very structure and title of the poem emphasize fragmentation. The word "Fragments" suggests that what we encounter in the poem are pieces of a larger, possibly shattered, whole. This fragmentation is not just in the structure but also in the content, reflecting a dislocation of identity, memory, and reality. The disjointed images and thoughts suggest a mind grappling with brokenness, whether due to personal crisis, the aftermath of war, or cultural disintegration. Okigbo’s use of fragmented syntax and abrupt shifts in imagery mirrors the disorientation of a world in chaos, where meaning is difficult to grasp fully.

 2. Violence and Suffering:

Violence and suffering are central to the poem, symbolized most explicitly in the reference to "Guernica," Picasso's famous painting depicting the horrors of the Spanish Civil War. The "canvas of blood" and the imagery of war and death suggest that the poem is reflecting on the brutality of human conflict. The violence is not just physical but also psychological and spiritual, as suggested by the "newsprint-slits of his tongue," indicating silenced voices and suppressed truths. This theme of violence is intertwined with the sense of despair and the cancellation of identity and history.

 3. Memory and History:

The poem delves into the theme of memory, both personal and collective. The fragments of thought and image can be seen as pieces of memory, attempting to hold onto or make sense of a past that is slipping away. The allusion to historical events, like Guernica, situates the poem within a broader historical context, suggesting that the act of remembering is fraught with pain and the weight of history. The "newsprint-slits" metaphor also ties into the idea of memory and history being fragmented, censored, or distorted.

 4. Existential Crisis and Identity:

The poem reflects an existential crisis, where the speaker is grappling with their sense of self and purpose. The plea to "shave my long beard" can be seen as a desire to remove an old identity, to start anew, or to confront the self more honestly. The shadow at the window could symbolize the darker, hidden aspects of the self, suggesting that the speaker is in a state of self-examination, caught between different aspects of their identity. The "cancelling out" being complete might indicate a sense of erasure, where the speaker feels that their identity or existence has been nullified by the surrounding chaos and violence.

 5. Art and Expression:

Art as a means of expression and a reflection of reality is another key theme. The reference to "Guernica" not only evokes the horrors of war but also highlights the role of art in documenting and responding to such horrors. The poem itself can be seen as a fragmented piece of art, struggling to express the inexpressible. The imagery of "newsprint-slits" suggests the limitations of traditional forms of communication and expression in capturing the full extent of human suffering and experience. Okigbo’s poem thus becomes a meditation on the power and limitations of art in the face of overwhelming tragedy.

 6. Nature and Spirituality:

The "Sunbird" in the poem introduces a theme of nature and spirituality, often recurring in Okigbo’s work. The bird, singing from "the LIMITS of the dream," suggests a connection to a higher, spiritual realm, possibly representing hope, renewal, or a guide through the chaos. However, the fact that "the caress does not reach" where the Sunbird sings indicates a disconnect between the physical and spiritual realms, perhaps reflecting the speaker's struggle to find solace or meaning in spirituality amidst the violence and fragmentation of the world.

 7. Death and Renewal:

Intertwined with the other themes is a preoccupation with death and the possibility of renewal. The poem’s tone and imagery suggest a world caught between life and death, where the old is being erased or "cancelled out," but the recurrence of the Sunbird's song hints at the possibility of renewal or rebirth. This theme is complex, as it suggests that renewal is not guaranteed and may be out of reach, especially in a world so marked by violence and disintegration. The repetition of the Sunbird’s song, however, keeps the idea of cyclical renewal alive, even if it is distant and difficult to attain.

Christopher Okigbo’s "Fragments Out of the Deluge X: But At The Window" is a poem that weaves together themes of fragmentation, violence, memory, existential crisis, and the role of art in capturing the human condition. The poem reflects a world in chaos, where identities, histories, and meanings are fractured and difficult to piece together. Yet, amidst this disarray, there are hints of spirituality and the possibility of renewal, even if these remain elusive. Through its dense imagery and allusive language, the poem invites readers to contemplate the complexities of human existence in the face of overwhelming forces, whether they be personal, historical, or cosmic.

 Literary Devices

1. Symbolism:

   - "The Sunbird" is a symbol that recurs in Okigbo's poetry. In this poem, it could represent hope, renewal, or a spiritual guide. The Sunbird's song "From the LIMITS of the dream" suggests a connection to an otherworldly or transcendent realm.

2. Repetition:

   - The phrase "The Sunbird sings again" is repeated twice, emphasizing the cyclical nature of this symbol within the poem. It suggests a recurring event or an eternal return, linking the bird to the idea of resurrection or continuity.

3. Allusion:

   - The reference to "Guernica," a painting by Pablo Picasso depicting the horrors of the Spanish Civil War, evokes themes of violence and suffering. This allusion connects the poem to broader historical atrocities, suggesting that the "canvas of blood" represents collective human suffering.

4. Metaphor:

   - "The newsprint-slits of his tongue cling to glue…" uses metaphor to describe communication (or the lack thereof) as something constrained and adhered to a static medium. The "newsprint-slits" evoke the idea of fragmented or censored speech, while "glue" suggests that these fragments are fixed and immovable, possibly hinting at the suppression of truth or free expression.

5. Imagery:

   - "On whose canvas of blood" conjures a vivid and violent image, merging the idea of art (canvas) with war and death (blood). This line paints a stark picture of destruction, tying back to the allusion to Guernica and the horrors depicted in the painting.

6. Personification:

   - "The cancelling out is complete" gives an abstract action—cancellation—a sense of finality and completeness, as if it were an active force. This personification might imply the erasure of identity, history, or life itself.

 Language and Diction

Okigbo’s diction is complex and layered with meaning, using a mix of abstract language and vivid imagery. Words like "shadow," "Sunbird," and "canvas of blood" create a sense of darkness, mystery, and violence. The language is often cryptic, with phrases like "Give me a spooknif, and shave my long beard…" which may be intentionally disorienting, possibly symbolizing a desire to shed an old identity or past self. The formal, yet enigmatic language contributes to the poem's tone of introspective melancholy and existential questioning.

 Mood and Tone

The mood of the poem is somber and reflective, with an undercurrent of tension and unease. The tone is introspective, marked by a sense of loss and fragmented reality. Okigbo seems to be grappling with profound existential themes, using the language of dreams, shadows, and art to explore the depths of human suffering and the search for meaning.

 Context

Christopher Okigbo wrote during a period of significant upheaval in Nigeria, especially around the time of the Nigerian Civil War (1967-1970). This poem, with its references to violence and fragmented reality, can be seen as reflecting the disintegration of Nigerian society during this time. The allusion to "Guernica" situates the poem within a global context of war and suffering, suggesting that the personal and national crises Okigbo faced were part of a larger pattern of human violence and destruction.

 Conclusion

"Fragments Out of the Deluge X: But At The Window" is a deeply symbolic and enigmatic poem that reflects Christopher Okigbo's preoccupations with identity, violence, and existential crisis. Through the use of rich imagery, repetition, and allusion, Okigbo creates a mood of introspective melancholy, inviting the reader to reflect on the fragments of meaning left in the wake of personal and historical deluge. The poem's title and language suggest a vantage point from which the poet contemplates the chaos and destruction around him, making it a powerful reflection of both personal and collective suffering.