SOCIO-POLITICAL MOTIFS IN NIYI
OSUNDARE’S THE EYE OF THE EARTH AND
VILLAGE VOICES
BY
Adesope, Adewale Akeem
07/15CD017
AN ESSAY SUBMITTED IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE AWARD OF THE DEGREE OF
BACHELOR OF ARTS (HONS.) IN ENGLISH
To
THE DEPARTMENT OF ENGLISH, FACULTY OF ARTS
UNIVERSITY OF ILORIN, ILORIN
MAY, 2011
CERTIFICATION
This essay has been read and approved as meeting part of the
requirements for the Award of a Bachelor of Arts Degree (Hons.) in the
Department of English of the Faculty of Arts, University of Ilorin, Ilorin
……………………….
Dr. R.K. Afolayan
………………………….
Date
……………………….
Dr. S.T. Babatunde
………………………….
Date
……………………….
External Examiner
………………………….
Date
ii
DEDICATION
This research work is dedicated to Jesus the Author and Finisher of
my life. And also to my parents who have made every resources available
for me in order to complete this work.
iii
ACKNOWLEDGMENT
I profoundly express my gratitude to the I am that I am, The Elshadai,
The King of Glory, who has given me the wonderful opportunity and
strength to undertake this research work, I am most grateful to Him for the
successful completion of this work.
My gratitude also goes to my project supervisor, Dr. R.K. Afolayan,
who has taken me to the quarry site of knowledge to make this work done
successfully.
To my wonderful parents Alhaji and Mrs. Adesope, on whose channel
I was transported to this planet earth. Who has made every resources
available for me in order to complete my stay on this campus much for your
fatherly and motherly support and encouragement. And also my brothers
who have also supported me. Adesope Ajibola, Adesope Adetoro, and
Adesope Abiodun.
My appreciation also goes to every lecturer in the Department of
English, who has made every effort to impact me on this campus. Prof. C.
Bodunde, Dr. V.A. Alabi, Dr. S.T. Babatunde, Dr. O.C.Medubi, Dr. T.A.
iv
Alabi , Dr. I.O. Dunmade, Dr .A.S. Abubakar, Dr. M.S. Idiagbon and others
whose name I did not mention may God bless you all. Amen.
My gratitude also goes to my spiritual family on Campus; Intercessory
unit, Bible Study unit, Choral unit, Technical unit, Drama unit and every
member of C & S Unification Unilorin Chapter as a whole. And also the
Graduate Forum ( G.F) of the fellowship.
My sincere gratitude also goes to my friends and colleagues to whom
I am externally indebted; I pray that we will always be in support of each
other for beneficial things in years to come. Adeola Ireoluwa, Dominic
Deborah, Fatunmibi Opeoluwa, Adeagbo Seye, Tobi Bodunde, Olorunoba
Foluke, Adisa Victor, Bello Basit, Uzman Azeez, Abiola Kola, Ajiboye
Yemi and to all graduating students of English department 2010/2011
Session. I want to say you have made my staying on this campus a
memorable one.
Finally I wish to express my gratitude to my Father- in- the- Lord Bro
Oparinde Biola and his family may God strengthen you in this spiritual
journey. Amen.
v
ABSTRACT
Literary scholars believed that literature serves as one of the viable
tools for transforming and liberating the society from it ills. This study
however attempted to investigate the socio-political motifs in Niyi
Osundare’s the Eye of the Earth and Village voices. The researcher applied
the Marxist theory in order to have a clearer and better understanding of the
two works. Based on the findings, it has been discovered that there is no
work of art written in vacuum. They are meant to reform, transform, and
revolutionize the society. In another dimension, it has been discovered that
revolutionary writers are readily identified with the masses most especially
the unprivileged. The study showed that art is inevitable in any human
society. This work therefore portrayed Niyi Osundare a poet that used poetry
to advocate for the masses.
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TABLE OF CONTENTS
Title page
i
Certification
ii
Dedication
iii
Acknowledgement
iv
Abstract
vi
Table of contents
vii
CHAPTER ONE
1.0 Introduction
1–3
1.1 Purpose of the study
4
1.2 Justification
4 -5
1.3 Scope of the study
5
1.4 Methodology
5
1.5 Biography of the Author
5–6
REFERENCES
7
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CHAPTER TWO
2.0 Introduction
8
2.1 The Concept of Marxism
8 - 12
2.2 Review of Class in a Marxist Concept
12 – 17
2.3 A Critique on Osundare’s Works
18 – 20
REFRENCE
21 – 23
CHAPTER THREE: Socio-Political Motifs In The Eye of the Earth
3.0 Introduction
24 - 25
3.1 The Theme of Economical Wastage
25 - 28
3.2 The Theme of Class Division or Stratification
28 - 29
3.3 The Theme of Oppression of the Black
30 - 31
3.4 The Theme of Hope on the Fertility of the Land
32 - 34
REFRENCE
35
CHAPTER FOUR: Socio-political Motifs In Village Voices
4.0 Introduction
36
4.1 The Theme of Inequality
37 – 40
4.2 The Theme of Unfulfilled Promises
41 – 45
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REFRENCE
46
CHAPTER FIVE
Summary
47
Findings
47 – 48
Conclusion
48
Bibliography
48 – 52
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CHAPTER ONE
1.0
INTRODUCTION
Political sociology is the study of relations between state and society.
The discipline draws on comparative history to analyze socio-political
trends. There are four main areas of research focus in contemporary political
sociology: The socio-political formation of the modern state, who rules?
How social inequality between groups (class, race, gender etc) influences
politics. How public personalities, social movements and trends outside of
the formal institutions of political power affect politics and power
relationships within and between social groups.
What is motif? A motif in English literature is a recurrent image, idea
or theme. An author may use an object, a color or an emotion as a motif to
enhance the story she is trying to tell. While people often may consider
motif relics of antiquated writing, they are prevalent in books, as well as
plays and poems. If something recurs in story, you can argue that if it is a
motif. A motif may appear in literature as an image. This can include such
images as animals, money, plants and sunlight. Writer can choose from a
x
range of possibilities. For instance, William Golding’s “Lord of the flies”
features a Couch shell as a central image. A motif is not always fungible. It
can also include such abstracts as emotions and ideas. For instance, a power
struggle is an abstract motif.
However, this work is being embarked on through poetry which is one
of the genres of literature. Poetry as a genre of literature is a creative and
also a universal means of communicating the emotional, spiritual, social,
political or intellectual concerns of mankind. Poetry also deals with the
experience of a poet with special techniques such as meter, rhyme and verses
stanzas. A poem is also a piece of writing in any form which manifest
throughout and in its unity, the quality of poetry
A poet as social critic develops in one or two fundamentally opposed
directions. He may see himself as an upholder or a civilized valve which lies
in the future. As it is well known, a number of modern poets were strongly
attracted to the kind of reactionary politic whose most extreme form is
fascism. Others committed themselves in progress politics, socialism and
Marxism. What they had in common was disaffection with the present, and
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it was this that more than anything to define both the content and the formal
consideration of what is usually thought of as modern poetry.
Niyi Osundare is one of the fecund poets that have written in Africa
today. A Nigerian, of Yoruba extraction, his poetry is richly colored by
common expressions of traditional life (like proverb and songs) which
reflects the worldview of his people. Besides, his poetry is an accessible
because in it he assumes the voice of the unlettered peasants and villagers
who speak plain without feigning sophistication. His themes are many and
varied they range from a preoccupation with the poor and downtrodden in
the society to an engagement with African’s socio-political problems and a
revolutionary vision that will bring about a new Africa. In all these,
Osundare’s is not blind to his physical environment. In fact, most of
Osundare’s poetry dwells on the impoverishment and decay of the rural
communities. His fourth collection of poetry, The Eye of the Earth is
entirely devoted to Mother-Earth and other forms of physical nation.
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1.1
PURPOSE OF THE STUDY
This study examines the socio-political themes employed by Niyi
Osundare in Village Voices and the Eye of the Earth. Efforts shall be made
to examine the ways he has portrayed this in these collection of poems
especially through the class structure in the contemporary society. The aim
however is to ensure that there is an egalitarian society i.e. bridging the gap
between the haves and the have not in society.
1.2
JUSTIFICATION OF THE STUDY
This study is being embarked upon, because we could see Niyi
Osundare as a poet who belongs to the new poetic revolution whose basic
concern is the regeneration and reconstruction of the societal values.
Therefore, this topic has been chosen to expose the societal ills portrayed by
the poet. However, these texts Village Voices and The Eye of the Earth have
been selected because they have socio-political issues raised in them. The
author has been chosen because he falls under the categories of emergent
writers who project the condition of the masses in African society. Also, he
xiii
is a writer whose pre-occupation is to negate the happenings in the growing
urban cities.
1.3
SCOPE OF THE STUDY
The research shall be limited to the two collections of poems of Niyi
Osundare’s Village Voices and The Eye of the Earth which exemplify a kind
of revolutionary protest. The feature of Marxist tenets shall be brought out in
these two collections of poems.
1.4
METHODOLOGY
This work will be approached in line with Marxist theory. The
approach is relevant because it brings out the nature of the society. The
Marxist theory will be used to discuss the data by passing the message to the
oppressed in the society.
1.5
BIOGRAPHY OF NIYI OSUNDARE
Niyi Osundare, born 1947 at Ikere Ekiti in Ekiti State, had his
secondary education at school Amoye Grammar School, Ikere Ekiti and
Christ’s School Ado-Ekiti. He later went to the University of Ibadan where
he graduated with B.A. Honors Degree in English in 1972. He had is M.A.
xiv
from Leeds University, in 1947, and the PhD in 1979 from York University,
Toronto. His published volume of poetry include Songs of the Market place
(1983), Village voices (1984) and A Nib in the Pond(1986) and The Eye of
the
Earth(1986) “It’s the Harmattan” won the first prize in the 1968
Western State Festival of Arts and Culture.
xv
REFERENCE
Doki, G.J. (2010). The Eye of the earth: Niyi Osundare as Poet of Nature.
http://agol.qufo/indexphp/affrev/article/view /4360 retrieved on
30/2010.
Fowler, A. (1982). Kinds of Literature. Oxford: Clarendon Press.
http://www.art and popular in literature.com/motif-index-of-felk-lid
en.wikipedia.org/wiki/Socio-political retrieved on 23/04/2011, 11:27pm.
xvi
CHAPTER TWO
2.0
INTRODUCTION
This chapter seeks to review the concept of Marxism to give us a
clearer picture of this work. And also Class in a Marxist context shall also be
reviewed. Finally, we shall as well examine the poet in line with what critics
have said on his works.
2.1
THE CONCEPT OF MARXISM AS A LITERARY SCHOOL
Marxism as literary concept dates as far back as 19 th century. As the
name implies, Marxism derives from the writing of Karl Marx and his soul –
mate, Friedrich Engels.
Marxism is defined by the Encyclopedia Americana International
edition Vol. 18 as:
The economic forces of production which determine the basic
form of class structure that society has been dominated by a
ruling class or property owners who exploit the lower class and
that according to the laws of dialectic, each social system
generates the forces that will destroy it and create a new system
with political revolution and the emergence of a ruling class
marking each transition. (Encyclopedia Americana, 1976:345).
xvii
The Marxism view is however based on societal structure which is
determined by the economic forces of production.
Raji Says that:
Marxism believes that historical development is determined by
the ever changing mode of social economic production and that
the change in the mode of material productions themselves
influences the relations between the two principal classes (Raji
1999:236).
The theory is concerned with the mode of production, between the
two principal classes frontally opposed to each other.
Howthorn asserts that:
Marxism ideologies are all related to CLASS position and thus
in turn to material production and thus, in turn to material
conditions and the struggle for their control. (Howthorn,
2000:198).
Howthon however sees Marxism as a materialist philosophy, one which
insists upon the primacy of material living conditions.
Marxism is the symbolism of dialectical conflict of drama of
the unity of opposite of revolutionary change of matter and man
in motion, constantly transcending the moment, pointing into
the future. (1973:17).
xviii
The revolutionary focus of the Marxist theory is brought into focus in
this assertion. This theory shows that socio-economic structure of any
society is the base of material product.
Akande and Ibrahim view Marxism as:
A modern approach where dialectical materialism is
emphasized when literature began to be recognized as weapon
for social change, as a struggle of the individual for economic
and political power. (Ibrahim and Akande, 2002:21)
Marxism is viewed in line with dialectical materialism, as well as the
as the struggle for social change. According to the Marxist internet archive:
“Marxism is understood as the theory and practice of the working class
emancipation” (Internet source 2000).
In the words of Amuta:
Marxism developed as a philosophical response to capitalism
and the liberal idealism of the bourgeoisie. He goes further to
say that Marxism arose when and where it did as a result of
determinate conditions primary among which was the
ascendancy of capitalism, the alienation of labour, and the
galvanization of working class. (Amuta,1989:59).
Marxism represents namely, historical materialism. The revolutionary
implication of historical materialism inheres in the fact that it makes possible
xix
“a radical, structure, layered analysis of cotemporary society in general”
(Amuta, 1989:61).
The Marxist theory serves as an opposition against the capitalist
theory. It is an antithesis or capitalism which is defined as:
An economic system based on the private ownership of the
many of production and distribution of goods characterized by a
free competitive market and motion by profit. (Internet source,
2009).
Thus, Marxism could be said to be the system of socialism which the
dominant features is private ownership of the means of production.
Balogun is of the opinion that:
Karl Marx saw a capitalist society as basically oppression of a
class by society where the oppression of a class by another is
perpetrated. He was an avowed adversary of oppression in
whatever form. (Balogun, 2007:57).
However, Marxism actually is a theory that is targeted against
capitalist society. Lawal states that in the capitalist system, work of labour,
is deceitful because, in Marx view “Man likes to be proud of what he creates
in the capitalist society.” (Lawal, 1989:126). Man therefore, becomes
estranged from what he produces. He is also delineated from the person who
gets what he creates from him to sell at price. The society where the
xx
proletariat, the working class or the people who own only their capacity to
work they have the ability only to sell their own labour.
Thus, the concern of a Marxist writer is to reflect those social
institutions with a particular ideological function. Balogun states that “The
aim of Marxist critics and Marxist writers is to expose the oppressive class
and its medium of oppression”. (Balogun 2007).
Joseph opines that:
Marxists perceive societal problems in an attempt to satirize or
ridicule the life style of the oppressor and the oppressed, so as
to teach and bring about social reform (Joseph, 2007:57).
In conclusion, Marxism as a theory is of the nature of history and
politics as well as a prescription for revolutionary action to bring the
industrial working class to power and create a classless society.
xxi
2.2
REVIEW OF CLASS IN A MARXIST CONTEXT
Class is one of the elements of Marxism which centers on the division
or groupings of individuals in any given society. They are however different
views on the concept of class. The encyclopedia Americana International
defines class as:
In all the smallest and most in differentiated human society.
There has always existed what modern social scientists call
class system, as a differentiation among men. According to
such categories as wealth, position and power… men have
always been aware of difference between the rich and the
lowly, lord and peasants and grievances have often been a cause
of popular rebellion. (Encylopedia. Americana International,
1976:22).
According to oxford Advanced Learners Dictionary, class means a
group of people who differentiate themselves by the place they occupy, their
place of work and how they use this social production (Oxford Advanced
Learners Dictionary, 2002:157).
Wright defines class as “a social aggregate delineated by their
positions within social reactions of production”. (Wright, 1979:32-55).
Thompson opines that “class is defined by men as they live their own
history” (Thompson, 1963:11).
xxii
Lenin sees class as:
Large groups of people differing from each by the place they
occupy in a historically determined system of social production by
their relation (in most cases) formulated in laws to the means of
production, by their role in social organization of labour and
consequently by the dimensions of the share of social wealth of which
they dispose the mode of acquiring it (Lenin, 1961:72)
Raji assert that:
The two principal classes identified by the theory (Marxist) are
projected as being frontally opposed to each other. On one hand is the
dominating class, the class of the bourgeois of the owners of the
material means of production, while on the other hand is the
dominated class, the class of wage earnings is the proletariats. (Raji,
1999:230)
It is obvious that the two classes will be struggling to control the wealth in
the society which as result being frontally oppose to each other.
Marx, on the other hand sees class generally as:
One class owned the means of production, while the other class
owned nothing but their labour power, which they obliged to sell in
order to survive.
This view by Marx summarizes the Marxist view on both classes and the
society based on the economic mode of production. Marx, however defines
class an economic term as:
The means of producer where the land, factories and machinery
necessary to produce goods, as well as the money to invest in
equipment, where as, labour power was simply the skills or
strength of workers to underrate specific task.
xxiii
From this assertion, it becomes pertinent that the two classes are in
struggle with each other which is as a result of the struggle or the control of
wealth.
Amuta says that: “at the bottom of the social ladder in urban Africa,
the encounter the intimidating face of a vast army or humanity existing in
spite of a variety of deprivations. There and the unemployed youth
prostitutes, pimps, beggars, swindlers, harm aids, bicycle repairs, small time
thieves and road side hawker of assortments of inconsequential
merchandise” (Amuta, 1989:55-61).
Balogun divides the society into two classes:
The society of divided into two broad classes, the oppressor and
the oppressed who in Marx, parlance aid the bourgeoisie and
proliferate respectively; because the former (bourgeoisies)
holds the means of production, it becomes dominant and hence
oppresses the later. (Balogun, 2007).
Zetlin identifies four types of classes:
The capitalist class, those who have control over capital the
petite bourgeois, those in position with control over money and
physical capital over money and physical capital, but without
control over more than a handful of full time and family the
middle class, those having some but not all dimension of
control (excluding the petite bourgeoisies and the working
class. (Zetlin, 1980:218).
Zetlin’s view on class is quite different in the sense that four different types
of classes and identified.
Oloruntoba – Oju postulates that:
xxiv
Society is stratified (divided into classes) on the basis of
material acquisition.
The classes of society e.g. (capitalism and labour classes)
are diametrically opposed, and their struggles (including
political struggles) are basically the struggles for the
control of the means production of material life.
(Oloruntoba-Oju, 199:214).
“The bourgeoisie identified above represent the members of the upper
classes, the haves. These classes are in charge of the means of production
and by labour from the proletariats” (htt://www.wikipedia.com/topic
bourgeoisie).
Ogbeiede evaluates that:
Members of the bourgeoisie class are very few but extremely
powerful while members of the latter constituted the majority:
They are poor powerless and always alter mercy of the farmer.
(Ogbeide, 2002:02).
The members of this class (capitalist) of exploiters lack restraint and
are so obsessed with acquisition of wealth and power that they ever exploit
one another in the process.
Eagleton explains that:
Every member of the society is determined by the economics
situation. He goes further to state that Marx believes that the
identity of a social class is derived from its relationship to
means of production has opposed to the motion that class is
xxv
determined by wealth alone i.e. high class, the middle and the
upper class. (Eagleton,1996:112).
Thus, there is a class struggle between the lower class and the upper
class. In the words of Akande and Ibrahim:
There is conflict due to selfishness of the upper class
Marx however located the source of thus conflict in the
fact that one class owns nothing but their labour power
which they are obliged to sell in order to survive while
the class owns the means of production. (Ibrahim &
Akande, 2006:81)
The result or the division of class is a perpetual antagonistic relationship
because of the efforts of the proletariat is not any way equal to the wage they
earn in return. Jacques believes that:
For social inequality to occur, the society must be divided into
hierarchical groups with each group belonging to a different
group. (individual different physical or menial innate or
acquired wealth, earned or inherited of reputation or influence
have no bearing on status. (Jacques, 1971:138):
Jacques believes that any society which has a syndrome of inequality
does not exist naturally, but rather as a result of the difference sects and
groups with the same characteristics is what make them a group.
In conclusion, from the different scholars view, Class is an aspect of
the society and can not be separated from it. It is the basis in which the
society is grouped. Hence the two main classes in the society are the
capitalist and the proletariat.
xxvi
A CRITIQUE OF OSUNDARE’S WORKS
Osundare uses poetry to make dialectical commentaries on the social,
economic and political experience of his people. No one reads his poetry
will fail to make the aberration in a society, where the privilege few exploit
masses. No wonder why the poet can be considered in the literary circles as
the champion of the masses.
Many critics have written on Niyi Osundare these critics have seen
and viewed his works from their different ideologies. Literary left relevant to
this work reviewed by different scholars. The poet’s works are primarily
class-based national in out-look and political in tone.
In the words of Raji (1997:10):
Niyi Osundare is a poet on wheels, performance par excellence,
politic and gifted with rich metaphor of truth. Osundare carries
the burden of the writers of his age, the task or being more than
a chronicler, the duty of being a righter in our culture.
Osundare is presented here as a wider who carries the burden to change the
course or plights of the oppressed on the society through his hand line
radical aesthetics.
Adeniyi asserts on his review of midlife poem by Osundare:
Truly, Osundare inserts message from his ideological
convictions into the crevices of every page. Osundare choose
xxvii
the poetry genre to excel in, fast attuning himself to the highest
universal standards. His poetic output reveals that he conforms
to the Marxist view points. Since major themes that can be
isolated from his poetry shows great affinity for Marxist
ideologist concern and in the revolutionary fame and style of
his work (1993:15).
Adeniyi has evaluated Osundare’s works and could conclude that he
is writing from the Marxist point of view. By the reason of this, we could see
that Osundare’s motifs behind his writing are concerned with the sociopolitical issue in his society.
Kolawole (1997:5)
Osundare is called master of metaphor because of his vivid
evocation of episodes from our recent history and the up
heveals, triumphs and defeat and struggles in Nigeria and other
lands. In his poetry, he expresses and indicts those who
perpetuate oppressive storms and proffers solutions of the
lingering socio-economic crisis. Words and images delight and
excite him in the way that a painter is in love with his calling
delights in colours and a sculptor who works in molten bronze
enthuses in the plasticity of his medium.
What Kolawole confirms above is that, Osundare has been able to
marry artistic commitment, in that there is an elliptical and densely
metaphoric angle to his works as he shows a progressive maturity such that
his style is suitable, ironic, soft and tender.
xxviii
Like the Nobel laureate, Wole Soyinka, Osundare believes that Art
should not be for Art’s sake. Art must have a purpose, form without content
is nothing. No wonder the poet himself says he is interested in the
happenings and politics of his society. He has over the years called the
image for himself a poet, whose desires is to always situate his verse within
the whole ambit of human existence
xxix
REFRENCES
Adeniyi, D. (1993). Review of Midlife Poems. Daily Times.
Amuta, C. (1989). The Theory of African literature. London: led books
limited
Balogun, P.O. (2007). Approaches to modern Literary Theme. In Obafemi
(Eds). Critical Perspective in English Language and Literature.
Ilroin: Haytee press and publishing.
Eagleton, T. (1996). Literary theory; An introduction. Minneapolis: The
University of Minneapolis press.
Encyclopedia Americana International, (1976). USA: Groiler
Incorporated, Vol.18.
Hawkins, P. (2009). An Interview with Animata Sowfall. In Violet. J (Ed).
Australia: The University of Western Australia French.
http;aflictarts.uwa.edu.and sowfall.
Howthorn, J. (2000). A Glossary of Contemporary Literary Theory. Oxford:
University press.
xxx
Ibrahim, B.F & Akande, F.F. (2002). The Rudiment of Literature. Ilorin:
Haytee publishers.
Jacques, M. (1971). Power and Society in Africa. London: World University
Library.
Joseph, A.A. (2007). Ideological issues in literature and Criticism. In
Obafemi, O. et al (ed). Critical perspectives in English
Language and Literature. Ilorin: Haytee press and publishing
Kolawole, T. (1997). Niyi Osundare as Poet of Social Transformation
Guardian Literary Series. The Guardian News papers.
Lawal, B.K & Olugbade A.K. (1989) (ed). Issues in Cotemporary Africa
Social and Political thought. Ibadan: Vintage publisher.
Ogbeide, V.O. (2002). The Vision of the Society in Festus Iyayi in Alabi
V.A. (Ed.), Ilorin: Alore Ilorin journal of Humanities.
Oloruntoba-Oju, O. (1999). Themes and Tendencies in Literature and
Criticism: A short Introduction. In Adegbija (ed). The English
Language and Literature. Ilorin: Unilorin press.
Oxford Advanced Leaner Dictionary 6th Edition (2002), Oxford
xxxi
Raji, W. (1999). Modern Literary Theory. In Adegbija (ed). The English
Language and Literature: A short Introductory Handbook.
Ilorin: Unilorin press.
Raji. R. (1997). Review of Midlife Poems. Daily Times.
Solomon, M. (1973). Marxism and Arts Essays Classic and Contemporary.
New York: Vintage Books.
Thompson, E.P. (1963). The Making of the English Working Class. New
York: Pantheon.
Wright, E.T. & Luka, P. (1977). Marxist Class Categories and Income
Inequality. American Sociological Review.
Zeltin, M. (1980). Classes, Class Conflict and State. Winthrop Publishers.
xxxii
CHAPTER THREE
SOCIO-POLITICAL MOTIFS IN OSUNDARE’S THE EYE OF THE EARTH
3.0
INTRODUCTION
In this chapter, attempts will be made to analyze the text The Eye of
the Earth by Niyi Osundare, so as to bring out the socio-political motifs in
the work.
Niyi Osundare’s poetic talent no doubt was influenced by the sociopolitical problems of Africa. It is pertinent to make that Africa writers and
critics have had to discuss the relative idea of commitment.
As literature is developing in Africa, latest writings display a natural
tendency for Marxist ideological point of view. Writers in Africa and even
critics that write from the Marxist point of view, have preached the necessity
for writers to focus on the socio-political and economic issues prevalent
within the writer’s surroundings. Osundare’s poetry reveal that he belongs to
the Marxist point of view, since major themes that can be deduced from his
collections of poetry shows great affinity for Marxist ideological concern.
xxxiii
In this chapter, attention is focused on how the poet demonstrates his
revolutionary intention in The Eye of the Earth. The poem is a metaphorical
exploration of the attitude of the powerful and oppressed to the resources of
the earth and to each other and a reminder to the poor and the rich alike that
humanity and its essence is suffering degradation, which the world authority
should take notice of it. The poet’s main concern is majorly the rampant
inequalities and injustices all over the world. The use of images and
symbolism in Osundare’s poem revolved round these questions searchingly
and fruitfully: Why should some be poor and some rich? Why is the society
built in way to favour the strong in order for them to trample the weak? Why
are the weak, the small part of the earth passive, uncommitted to social
change?
3.1
THE THEME OF ECONOMICAL WASTAGE
In “Forest Echoes”, the poet condemns the unholy realities of social
decadence, moral atrophy, potential gambit and disappearing laughter’s in
the face of humanity and equates the contemporary imperfections and
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impermanent to the flora, the disappearing trees and forest, arising from
man’s cruelty to his environment.
The poets concern for those tree takes him to the forest, where a
picture of beheaded habitat, through the outright artificial destruction of
these essences by man. Osundare showed his discomfort on how the
flourishing forest of before has now undergone some very unhealthy
transformation.
For this reason the poet laments on this:
A forest of million trees, this
a forest of milling trees,
wounded, though by time’s axe
and the greedy edges of Agegilodo’s matchet (p.5).
In the poem a picture of the “Agegilodo” is presented. It goes at any
length to make profit. The out come of this unwholesome behavior of the
Abegilodo is the unreasonable phasing out of the trees, so we have this:
A stump here, a stump there
like a finger missing from a crowded hand
swarmed by struggling shouts (p.5)
xxxv
The poet also made use of forest images Oke the Iroko, which
represents the highly opinionated scholars, whose “Baobab foot” is rooted
against a “thousand storms”. It is often very difficult to intimidate this class
with the oppressive axe of the power wielder. The poet also uses the
“Ogunwo” image to refer to the working class citizen, whose labour fattens
the nation treasury, but in the long run struggles daily for survival. The
“Ayunre” image is used to describe the gullible, which is being capitalized
on by the privileged class. The soft mouth shouts are easy yes to the asking
cutlass” Osundare’s poetry sees in man’s relation to nature the evidence of
inhumanity and exploration. The barbarity prevalent in the survival of the
fittest is the rule:
He says:
Behold, too, these preyers
in the cannibal Calvary
of the forest:
the iroko which swallows the shrubs,
the hyena which harries the hare,
the elephant which tramples the grass
its legs nerveless both the gangrene
of senseless power
Tell them all the calm behind the claw
Tell them the sun
which succeeds the night. (p.10)
The major message being passed here is that of regeneration,
continuity and the triumph of light over darkness. Osundare’s concern is that
xxxvi
there is a hope out of the decadent situation which has eaten deep into the
fabric of our social existence.
The poet’s revolutionary commitment also finds a place in “farmer
born” where the poet strongly criticize the worrisome problem of food
scarcity in contemporary society, bought about the general disregard for
farming, the tendency of the modern man to identify only with fanciful
modern civilization and the hypocricy of the upper class, who have relegated
farming to the dustbin.
3.2
THE THEME OF CLASS DIVISION OR STRATIFICATION
In “They too are the earth; Osundare draws a parallel between the rich
and the poor “The Swansongs of Beggars sprawled out in brimming gutters”
the word “sprawled out in brimming gutters” paint the terrible and without
hope poverty of the poor. The poet parallels them with the rich “under
snakeskin shoes and Mercedes tyres. Ironically, the poet says futherly that:
They too are the earth
the sweat and grime of
millions hewing wood and hurling water
xxxvii
they are the earth
mudding every pore like harked moles.(p 45)
In view of this, the poet advocates for the poor that they are the ones
who produce the wealth from which they do not benefit. The poet then goes
on to give a catalogue or the poor and the down trodden.
Millions hewing wood and hurling water” “the distant grows of
thousand buried alive in hard unfathomable mines” “the old dying distant
death in narrow abandoned hamlets” women battling centuries of maleficent
slavery” The suffering of the poor and down trodden is excruciating. In
contrast with these set of people are the rich “who live that earth may die”
but the bitter irony is there, God’s earth can not die. It is those who reap
when they have not down that will die for their days are numbered on his
planet.
“They too are the earth” gives venom and vent to the angry poet who
moves from the stage of an environmental and social analyst to that of a
mobiliser of the human intellect for a higher resolve in life especially the
masses.
xxxviii
3.3
THEME OF THE OPPRESSION OF THE BLACK
The unity of labour and earth in social production is a motif in the Eye
of the Earth. In “The Rocks Rose to Meet Me” Olosunta is the rock which
embodies the material essence of earth. Within the communal mode of
production, the rock’s gold can be extracted to ensure meaningful
development. Osundare distinguishes between harmonic non-alienating
social production and the feudalist social order in which health is
appropriated by hallow” feudalists. The poet calls for more egalitarian social
formation that ensures social welfare:
The gold let us dig,
not for the gilded craniums
of hollow chieftains
(times undying sword awaits their necks who deem this
earth their sprawling throne).
With the gold let us turn hovels in havens
paupers into people (not princes)
so hamlets may hear
xxxix
the tidings of towns
so the world may spout a hand
of equal fingers (p.14)
The poet emphasizes the value earth and its appropriation through
labor: “earth is where we stand/earth is where we strive” (p.15) the rock is
captured as a primal nature object giving like to organic forms:
Behold, cornfields flourish around your foot
elephant grass follows the land
for unborn harvests.
Swell the grain
with living water from your rocky arteries,
fatten the tuber,
so the hoe does not scoop a sterile clod
so the dibble does not drill a deadened dross (p.15).
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3.4 THE THEME OF HOPE ON FERTILITY OF THE LAND
Osundare also expressed the same concern for the masses in “they two
are the Earth” also in “the pack rose to meet me”, where the poet address the
mountains, his source of inspiration. The rock has material wealth.
Olosunda’s belly is a battle ground for the masses. The poet dialectical and
revolutionary commitment to the cause of the downtrodden is evident. He
satirizes the oppressors “glided craniums and hollow chieftains, undying
swords awaits their rocks. Osundare therefore, envisages a glorious future of
equal opportunities for all in “what the earth said”, the personified “earth” in
the poem urges the masses to unite for a possible total elimination of the
exploiters of man:
the earth receives them
saying:
behold these seeds planted be soon
in the season before the rain
let them sprout in the month
of daring struggle;
let them bloom
and kill the killer pest. (p.47).
xli
“Our earth will not die”, climaxes Osundare’s revolutionary intention. Here,
the bourgeois not only threaten humanity, but the environment. They
lynched the lakes, “slaughtered the seas” and mauled the mountains for
profit. Thus, even if the mercantilist go lunatic and at random destroy nature
endured lakes with the arsenic urine from the bladder of profit factories, this
feeling of hope shall forever sustain and eternalize the universe, up to a time
when:
Our earth will see again
eyes washed by new rain
the westering sun will rise again
resplendent like a new coin.
The wind, unwound, will play its tune
trees twittering, grasses dancing;
hillsides will rock with blooming harvests
the plains batting their eyes of grass and grace.
The sea will drink its heart’s content
when a jubilant thunder flings open the skygate
xlii
and a new rain tumbles down
in drums of joy (p.51).
Conclusively, it is obvious that Niyi Osundare uses poetry to make
commentaries on the social economic and political experience of his people.
Whether he is addressing plant or animals, man or beast or even both, from
his output literarily our society is seen to be essentially cannibalistic. His
work and commitment as an artist not only compels him to write about the
past, but also to write to give artistic solution to what is happening in his
society.
xliii
REFRENCES
PRIMARY SOURCE
Osundare, N. (1986). The Eye of the Earth. Ibadan: Heinemann Educational
Books.
SECONDARY SOURCE
Eziilora. O. (1992). Osundare’s Monocle and The Eye of our Earth.
Guardian Literary Series
xliv
CHAPTER FOUR
SOCIO-POLITICAL MOTIFS IN VILLAGE VOICES
4.0 INTRODUCTION
Osundare’s quest to satisfy the equality between the society is
reflected in his works. Village Voices is not a different case as his major
thematic concerns is the class struggle. Osundare belongs to the Marxist
ideology and he portrays it throughout his works. We are a product of our
society and whatever a writer writes, he is informed by his society. Village
voices as a collection of poems depict the reaction and attitude of a
community, the poet personae, their urge and desires to be hear outside their
context and environment. The collection centered on the activities of the
oppressed and their ways of life.
In this chapter, village voices will be examined in line with the
Marxist theory so as to depict the inequality that exists within the sociocultural setting of the poem. The title of this collection reflected a liquid
picture of its content and what should be expected from the collection.
xlv
4.1
THE THEME OF INEQUALITY
In “unequal fingers”, the poet clearly creates a picture of two types of
livelihood, with a description of what it takes to belong to one part of the
group. The poem opens with a prophecy that the time to account for their
doing is not ready as quoted:
When the time is ripe
the stick will tell all
Ears the silent secret
of the drum (p.60).
There are a lot of symbolism and imagery in the first stanza. The poet
metamorphosised the time as not ripe and when the time harvest has arrived
“the stick will tell the ears” i.e. the shouting of people out of happiness and
joy from the ripe fruit will alert the silent out or hunger and anger of the
secret of the drum.
The first set of people described by the poet can be classified under
the poor according to the Marxist theory the picture painted shows their
features. They have undergone months without food and years with little to
xlvi
show for their hand labour on the farm. There is a struggle between the farm
and the buyer of the farm products as their money was withheld. This is part
of the centre idea been portrayed by the poet.
And yam was gold from
distant farms cocoa buyers
withheld our pay and money
monopolized the pocket
of a farm (p 60)
The total condition of these people reflected neglect and suffering.
They are totally detached from the economy of the state “Our ragged roofs
leak cold fears of the coming rain” (p.60).
Even their house is no different compared to the sufferings
experienced by the owner. Their roof is leaking and this brings fear when
they can feel the coming of the rain.
The poet divided the stanza with a transition mark “while” with the
hope of comparing the first people and the second type of people he wants to
talk about i.e. the rich, those that have the economic power at hand. With the
xlvii
first sentence of the stanza, “Somewhere, met more than a hungry shout
away”. This is to describe the location of the second house from their house.
The poet uses the shout or a hungry child to describe the closeness of the
house. He furthers shows the activities going on in the society with:
Chicken legs dance at
the bottom of simmering
Pots blazing the torture some
smell of festive kitchens.
This is a clear picture of a life style shall depicts wealth and richness,
showing in the nature of their food, unlike the former which does not have
anything to show his labour. The poet is of the opinion that no one should
not tell him that fingers are not equal before they know how the thumb grew
fatter than the others:
Let no-one tell us again
that fingers are net equal
for me know
how the thumb grew fatter
than all the others.
xlviii
This is to reveal the secret under the rich how they ploy to get richer
at the expense of the poor.
The funds for our community centre
built your palace
the funds for our rugged roads
bought your car
the funds for our water scheme
irrigate your banks in Europe.
With the above quote, the reasons fingers are not equal are being clarified
because the money for national community development has been diverted
into the politicians pocket. The poet said they are not ignorant of the
happening because it is so glaring to every one. But, the reason for their
inaction is because the time for reckoning has not arrived.
xlix
4.3 THE THEME OF UNFULFILLED PROMISES
Osundare portrays the African environment around the wealthy people
going for political post in his poem. “A villager’s protest.” It is about
promise and hope. The poet made us understand how the rich and the
politicians would come begging every time and making different promises:
They come more times
than the eye bat its lid
when they need your vote
at cockcrow
at noon
at sundown (p 47).
This shows the importance of the voters that would make the
politicians come “at cockcrow” morning, “at noon” afternoon and “at
sundown” night this poet describe the odd hour in which the politicians
come to advocate for the peoples support because they need their vote. They
walk hand-in-hand with them, to gain their trust:
l
They come
armed with sweet words
inflated promises (pg 47)
They come with sugar coated mouth to live the people to their side
and the money which they are to spend when in power will be used to bribe
the water as if they have their interest in mind, together with their prostration
to gain their thrust. Promises like building of schools, hospital and other
social amenities. When the politicians are looking for power, they say
different unrealistic plan and promises. This they do to win the heart of the
people, though the level of suffering has blinded the villagers’ eye to know
which plans can be achieved. He says:
And turn all nights into day
We ‘II turn every foot path
Into a motor way
And fashion out a city
From every hamlet (pg 47)
li
These are part of the imagery Osundare used to picture the realistic
plans of the politicians. The poet emphasized the coming of the politician
with the repetition of “they”
They come
They talk
They promise (pg 47)
Now, irony is the case when they got the power. They are the longer
approachable and high level of security all the promises from the politicians
could not be traced. They now fulfill their own selfish interest and belly.
Now in
And promises forgotten
“Now in” signifies the power which the politicians was gotten. And all the
promises they made has been forgotten they” cottager” could not have
access to their politicians again.
Our man becomes a locust
Seen but once in several seasons (pg 48)
lii
This tells us the antics of the politicians when they need the people’s
vote, they do go forth into different locations and house hood making
promises and making themselves with the village but when they get the post
and power, reverse is the case, as all network will be blocked and
commitment will be too much for them to see and remember that they once
made some promises to some people. This attitude of the politicians made
the poet to compare them with “Esuru” a kind of yam, soft, loose, tasty but
impossible to pound. This is a metaphysic statement which implies that the
people are not to be cheat because they still possess the power of vote
another time Osundare’s personal is of the opinion that they shall still come
back to ask for their support. As he says:
Men of deep un-wisdom
Knowing not that
Power in the bird of the forest
Which nests on one tree today
And tomorrow pitches its tent
One another.
liii
Another time for election will come and the votes and support of the
village will be needed. Another opportunity to show their loyally will come.
Also Osundare uses proverbs to achieve a more coherent vision. This is
evident in the “Villager’s Protest”, where the village speaks in proverbs to
express his anger against corrupt politicians.
From the foregoing it is evident that Osundare uses, poetry to show
his concern for the plights of the downtrodden masses by conscientizing the
reader to be conscious of their environment. The poet also uses poetry to
make dialectical commentaries on the socio economic experience of his
people.
liv
REFRENCES
Osundare, N. (1984) Village Voices. Ibadan: Evans Publishers Ltd.
lv
CHAPTER FIVE
SUMMARY
The essay began with a brief introduction to what socio-political and
motif means. An attempt was also made to introduce Niyi Osundare as a
poet who is saddled with the responsibility of offering a kind of solution to
the socio-political and economic malaise in the society.
Chapter two focused on Marxism as a literary theory, concept of class
and a critique on Niyi Osundare’s works.
Chapter three and four duel on the analysis of the data, which is the
Eye of the Earth and Village Voices. This texts were analyzed in line with
the elements of Marxism.
FINDINGS
It has been discovered that the emergent writers write about societal
issues such as class-inequality and the likes, but not matter what, we cannot
have an Egalitarian society the fact still lies that, some set of people will
continue to
accumulate wealth while some will be subjected to abject
poverty. The economy or wealth is the basis of disparity between the
lvi
capitalist and the proletariat. Thus, in as much as we do not have the basic
facilities put in place for the development of the society the wide gap
between the bourgeoisie and proletariat will still then.
CONCLUSION
There is no doubt that Eye of the Earth and Village Voices has
revealed Osundare as an artist committed to the social, political and
psychological interest of his people, a poet who has chosen to be the voices
of the unheard. The poet has joined in the artistic portrayal of the ills of a
typical African society to a search of an enduring solution to the multifarious
ills plaguing the African society in general.
lvii
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