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The Fisherman's Invocation by Gabriel Okara
The celebration is now ended
but the echoes are all around
whirling like a harmattan
whirl-wind throwing dust around
and hands cover faces and feet grope.
The celebration is now ended
the drums lay quiet, silent, waiting.
And the dancers disperse, walking
with feet that have known many dances
waiting for the next; walking
with their hearts climbing up their feet
to their places and the palmwine descending
from their heads to settle in their bellies
and their bodies turn cold. For the spirit
of the dance has left and their faces become naked.
But the child-Front is now lying on laps
feeding from measureless breasts of the Back
singing green lullabys which tingle our heads.
And we learn to sing half familiar half strange songs
We learn to dance to half familiar half strange
rhythms fashioned in dreams as the child-Front
lies sleeping with breasts in his mouth.
General Introduction
The Fisherman’s Invocation is a poem by Gabriel Okara, a prominent Nigerian poet and novelist, widely regarded for his rich incorporation of African oral traditions and the exploration of cultural identity in the postcolonial era. Born in 1921, Okara was among the first modern African poets to write in English and was deeply influenced by the interplay of African and Western traditions. His work often reflects the tension between these cultural spheres, focusing on the impact of modernization and colonialism on African life and values. The Fisherman’s Invocation is emblematic of Okara's thematic preoccupations—particularly the blend of traditional African spirituality and modern existential reflection. The poem is reflective, invoking imagery and moods that explore themes of celebration, transition, and the cyclical nature of life.
Title
The title The Fisherman’s Invocation holds symbolic significance. A fisherman, traditionally, is a figure connected with sustenance, patience, and the cycles of nature. The word “invocation” suggests a spiritual or ritualistic calling, implying that the poem might be a plea or prayer. The juxtaposition of these two words hints at a deep connection between humanity and nature, as well as a reflection on life’s rhythms. The title sets the tone for the reader to expect a meditation or solemn reflection, possibly invoking divine or natural forces.
Literary Devices
1. Metaphor:
The poem uses several metaphors to create a deeper layer of meaning. In lines like “with their hearts climbing up their feet”, the heart, symbolizing emotion or energy, is imagined as moving physically. This metaphor could signify exhaustion or the fading of the celebratory spirit after a momentous event. Similarly, “the child-Front is now lying on laps / feeding from measureless breasts of the Back” is a metaphor for new life or renewal—where "Front" symbolizes the future and "Back" the past.
2. Alliteration:
Okara uses alliteration to add musicality to the poem. For instance, “singing green lullabys which tingle our heads” and “feet that have known many dances” both emphasize the rhythm of the language. The repetition of consonants creates a flowing, musical effect that mirrors the rhythms of the dance and celebration described in the poem.
3. Imagery:
Vivid imagery is used throughout to evoke the senses. The “echoes...whirling like a harmattan” conjures a strong visual and sensory experience of a dusty whirlwind, aligning with the sense of dispersal and quiet after the celebration. The imagery of “palmwine descending from their heads to settle in their bellies” creates a sense of intoxication or the physical effects of the celebration, invoking the transition from movement to stillness.
4. Personification:
The poet personifies the celebration and its aftereffects. For example, “the spirit of the dance has left and their faces become naked” attributes a living quality to the dance, as if it is an entity that departs, leaving behind a sense of vulnerability or emptiness in the dancers. The celebration is more than just an event; it has a soul and presence that profoundly affects those who participate.
5. Repetition:
The repetition of the line “The celebration is now ended” emphasizes the finality of the event and the transitional moment the poem captures. It serves as a refrain that reinforces the cyclical nature of celebration and silence, of life and death.
6. Symbolism:
There is rich symbolism throughout the poem. The “child-Front” and “measureless breasts of the Back” symbolize the future and the past respectively, and the nurturing relationship between the two suggests continuity and the passage of traditions. The “green lullabys” represent growth, fertility, and renewal, underscoring the cyclical process of life and cultural inheritance.
Language and Diction:
Gabriel Okara’s language in The Fisherman’s Invocation is both lyrical and meditative. The diction is simple yet symbolic, drawing heavily on African oral traditions and the natural world. Words like “harmattan,” “palmwine,” and “lullabys” invoke the African landscape and cultural setting. The blend of formal language with elements of African oral traditions shows how Okara bridges modern poetry with indigenous roots. He uses straightforward vocabulary but imbues it with profound meaning, allowing the reader to explore layers of symbolic and metaphysical reflections on life and death, celebration and transition.
Mood and Tone
The mood of the poem is reflective and melancholic, transitioning from the liveliness of celebration to a more somber recognition of its end. There is a sense of quietness and desolation, particularly in lines like “the drums lay quiet, silent, waiting” and “their bodies turn cold”. The tone of the poem is one of contemplation, as the speaker seems to be reflecting on the passage of time, the fading of life’s vibrant moments, and the inevitable silence that follows. The mood is underscored by a sense of weariness, as if the participants in the celebration are coming to terms with its transience.
Context
The Fisherman’s Invocation was written during a period when Nigeria, like many other African countries, was grappling with the effects of colonialism and the desire to maintain cultural identity amidst modern changes. Gabriel Okara, in his poetry, often explores the tension between African traditions and Western influences, and this poem can be read as an allegory of this struggle. The celebration that ends might symbolize a traditional way of life, while the "strange" rhythms and songs that are learned afterward represent the infiltration of foreign influences. This historical context adds a layer of poignancy to the poem, as it echoes the cultural shifts happening in Nigeria and the broader African continent during the mid-20th century.
Conclusion
Gabriel Okara’s The Fisherman’s Invocation is a powerful reflection on transition, both cultural and existential. Through the use of rich metaphors, vivid imagery, and a lyrical tone, the poem meditates on the cycles of life, the passage of time, and the continuity between past and future. The fisherman, the celebration, and the child all serve as symbols of a broader human experience—one that is deeply connected to nature, culture, and the inevitability of change. The poem captures the tension between tradition and modernity, the seen and the unseen, and invites the reader to contemplate the deeper currents that shape human existence.
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