THERE be many factors to be interpreted into visor when discussing Christopher Okigo and if he should be considered an African modernist. It is important to look at the socio-political climate - the state of war crosswise the continent which was happening - and the railroad tie in the midst of his words, the sound of his metrical composition and the relationship between tribalism and his intended audiences. Okigbos solves are not limited to Africa, he borrows from Gerard Manley Hopkins as well as a mix of European, Asian, and African influences. He takes from African and western religion and, from his time studying classics, takes influence from romantic, pastoral and untarnished Greek and Latin influences. At the scratch pull back of his poetical career Okigbo was eurocentric and modernist in his approach to rime line and this draw criticism. Heavensgate is a dressed up Christian ritual... The invocation of an indigenous deity is patently insincere. (Chinwei zu, Jemie and Madubuike, P163) In examining the transformations in its formal properties and thematic content that African verse line had undergone since its evolution, Ken Goodwin observed in Understanding African poem early forms of African poetry were derived from English models, naÃ¯ve and sometimes pathetic in their acceptance, or partial acceptance of the fresh mans values.
Gerald Moore and Ulli Beier also concluded much African poetry of the early 1960s suffered from an overdose of [Ezra] Pound, [Gerard Manley] Hopkins or [T. S.] Eliot (p. 23). But Okigbo wanted to become the preacher, town crier and profit, warning his countrymen some war and the abu! se of power and so he select more than traditional modes, infusing tribal song and proverb into his work. He make a conscious effort to converse in a more African voice and although his poetry is complex and contains a rich weave of intertextualities, Okigbo is said to be the poet... If you want to eviscerate a full essay, order it on our website: OrderCustomPaper.com
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