The Third Stage By Wole Soyinka

Chinua Achebe’s critically acclaimed novel Things Fall Apart tells the story of a decorated and powerful chief of the Igbo village tribe named Okonkwo. Okonkwo is a strong independent man who came up from nothing in his life and refused to return to earth as the same way he started, he believed he was destined for greatness. Perhaps Okonkwo’s most driving factor for this is his father died a beggar and he became disgusted how his father went out with no achievements or accomplishments to his name. Okonkwo is very prideful as a result of his humble upbringing and believes that the only way one can be successful is through Old Ways of the Igbo Tribe. As a result, Okonkwo is hell-bent

SUMMARY Mordaunt describes how the Nigerian author Chinua Achebe deals with the problem ofpersonal conflict in his novel "Arrow of God". The main character in this novel is Ezeulu, who is chiefpriest of the god Ulu, of the village of Umuaro. Ezeulu comes into conflict with himself in a quest to hold on to power despite his high age and the break-through of the British colonial administrators. Ezeulu wants to control both his people and the British administrators. Ezeulu believes the clan will silently follow him and the British will

This novel is the definitive tragic model about the dissolution of the African Ibo culture by Nigerian author, Chinua Achebe. Okonkwo, a great and heroic leader, is doomed by his inflexibility and hubris. He is driven by fear of failure.

After Nwoye’s childhood, he discovers the trouble he has with pleasing his father, and Okonkwo always contradicts Nwoye about not having the same or even more status as Okonkwo had when he was his age. Nwoye will never be the “great farmer and great man” Okonkwo wants him to be, during society at this time, opportunity to achieve success and prosperity through hard work, determination, and initiative was very admirable (33). With the type of negative feedback, Nwoye receives from his father saying that he will amount to nothing, shows how Nwoye develops insecurity with his identity as an Ibo citizen. Contradictingly, Okonkwo is very pleased and rather arrogant with his status in matter of the village. He is already one of the “greatest” men of his time starting from his youth when in Ibo culture age was respected. The setting of Nigeria plays a major role in the identity of Nwoye and Okonkwo seeing that prosperity for men at that time is having wealth and potent personality. Okonkwo was obviously successful in terms of riches; he owned a huge barn full with yams, the king of all crops, and has three wives. During this time Okonkwo lives a lush life and could not have been more proud of who he is identified as. Having the drive to accomplish significance in life, Okonkwo’s achievements were admired by most people in the village, showing “if a

-After Nwoye is lured into the Christian religion and abandons his culture and family, Okonkwo is ashamed and states, "you have all see the great abomination of your brother. Now he is no longer my son or your brother. I will only have a son who is a man, who will hold his head up among my people" (172). Nwoye's father disowns him only because he chooses a path untraditional to his culture. The serious, frustrated, and unhappy mood that is created in Okonkwo's statement gives the reader an idea of how much the Ibo culture values tradition, choice, and family.

Okonkwo is initially introduced as a proud, hardworking, successful warrior. He is described as "clearly cut out for great things" (6). But he is the son of a ne'er-do-well father; though genial and inoffensive, Unoka must certainly have been considered a failure. He is lazy and does not provide for his family. Not only is this disgraceful, but life-threatening as well. He is dependent on other members of the clan and must have been considered unsuccessful. Okonkwo chafes under such disgrace and his success is a consequence of his desire to be everything his father is not; society's vision of an exemplar citizen. The fact that Okonkwo is able to rise above his poverty and disgraceful paternity illustrates the Igbo's acceptance of individual free will. But Okonkwo's fate and his disharmony with his chi, family and clan are shown to cause his ultimate disgrace and death.

The world is full of cultural collisions. Every day people meet other with different worldviews. This concept of cultural collision, is shown perfectly though Chinua Achebe’s Things Fall Apart. In the story it is the cultural collision, of the introduction of Western Ideas into the ibo society, that causes Achebe’s characters to grow and change. One character in particular is forced to reevaluate his sense of identity because of the cultural collision. This is the character of Okonkwo. The collision challenges Okonkwo’s sense of self, as a religious leader or an Egwugwu, as a leader of his people, and as a man. It is Okonkwo’s response to these challenges, that shapes the meaning of the book of that as your world changes so must you or you

The impact of Ikemefuna’s death on Nwoye is devastating. Something gives way inside of him when he thinks of his father and the killing of Ikemefuna. The fear of his father and the horror over the sacrifice of Ikemefuna separates Nwoye from tribal customs and the sense of community. His family’s banishment isolates him further. Hearing the Christian hymns, which cater to

Chinua Achebe was a Nigerian novelist, poet, professor and critic. He is mainly known for his trilogy that investigates, using fiction, the history of Nigeria. The trilogy begins with Things Fall Apart, followed by No Longer at Ease and ended with Arrow of God. Furthermore, in this critically analytical essay, through a feminist perspective, a chapter of his second novel, No Longer at Ease, published in 1960, will be discussed. The setting of the novel is Lagos, Nigeria and Umuofia, Nigeria during the 1950s, before Nigeria attained independence from Great Britain. The novel, No Longer at Ease begins with Obi Okonkwo on trial, charged for accepting a bribe. However, using flashback, the author takes us back to the point before Obi’s departure

The only thing he (Okonkwo) fears most is not ending up like his father, Unoka. However, Achebe ‘‘makes an insightful comment on the nature of masculinity through his representation of the tribal leaders. Achebe basically, was conducive in creating four alter egos of Okonkwo: one of which were the masculinity; next of his fatherly abilities; and the last of his family progress and four of his likelihood of success’’ (Achebe.179). My paper will explain how Okonkwo’s Masculinity from Achebe’s Things Fall Apart will be characterized by his fears, beliefs, and emotions for several reasons.

The play No Exit, by Jean-Paul Sartre, is about three people that die and go to hell. Joseph Garcin, a journalist executed by a firing squad for trying to desert during a war; Inez Serrano, a post-office clerk murdered by her lover which left a gas stove on while she slept; and Estelle Rigault, a woman who married an older rich man and died due to pneumonia. They all expected physical torture in hell. However, all they found was a plain room with some furniture that always had the light on, no windows, no beds, and nothing that would reflect or work as a mirror. The three of them were trapped inside the room. After discussing among themselves, they confessed their crimes and deduced that the torture was psychological. They also realized that they had been placed together so that each of them was to become the torturer of the other two. Each character began to ask things from the others to fulfill a need they all had, which only led them to more despair. Due to this, Garcin concluded that “hell is other people” (pag26). A. Petrusso argues in his article “No Exit” that the three main characters of the play have in common a display of cowardice. Certainly, all of them seem to be cowards at some moment and one character exhibits it more than the others. He also argues that certain actions and behaviors are merely the cowardice of the character when in fact, it rather seems more like fear. The examples and arguments used by Petrusso seem to simply catalog the main characters as

    A sense of foreboding envelops us from the first. We sense all will not end well for Umuofia. The chill of fear grips us as the world of Okonkwo and his clan truly falls apart. Okonkwo will need all of his power to fight the forces against his world, but tragically he is crippled by the most destructive malady of all, fear of himself. Achebe employs the form of classical Greek tragedy to tell his African tale of the rise and fall of Okonkwo.

Structured in the form of an allegory, this poem has a political undertone that haunts Nigeria and its journey toward independence. The devastation occurred during and after the civil war could have been averted if the situation was handled by the mature statesmen. The Young God’s impassioned temperament, “Power is burning in our hands like/the sun/ Or have you by your quiescence / changed roles and he is now your master?”, displeases the Old God, and he restrains from it, “You speak like the young of god / or man. By the grace or curse of man / you came into being only a thousand years ago / many there were like you who died / before they came or lived only / a while and died in ignorance/ or simply wasted away for lack of sacrifice” (Okara

The title itself already makes reference to a Nigerian ritual in which the horseman of a king must kill himself after the death of the king (McNulty, 2011:2). The biggest event of cultural misunderstanding is evident in Act II when the British Officer, Pilkings, orders that Elesin Oba (the horseman) be arrested. Joseph (the stableboy) tells the Pilkingses how it is tradition for the king to be burried a month after his death but, before he can be burried, his dog, his steed and his horseman must die to be able to accompany him to heaven. For long this tradition is questioned and contested by the Pilkingses because how can something like that make sense to anybody? It is only once Olunde shows up in Act IV that the playwright changes the context. Olunde compares the suicide of the horseman to the mass killing of soldiers. He judges the Western customs of war in the same way the Westerners criticized his traditions and people. And when Simon manages to stop Elesin from killing himself, Olunde turns his back on his father at first, after which all the people from the market insults Elesin. His failure in the task is seen as a weak will.

Death and the King’s Horseman by Wole Soyinka establishes a strong sense of community from the beginning of the play. Elesin, the horseman, is going to commit a ritualistic suicide in order to lead the king into the afterlife. According to Yoruban culture the entire world is interconnected and every action has an impact on everything. This is why the entire community is very attentive to the ritual that is going to happen. Elesin’s suicide is a communal act not a personal one. His actions will affect everyone, dead or alive, which demonstrates how connected the community is. In the story, we are continuously shown that the colonist see suicide as a personal experience and cannot understand the community’s ritual. This is clearly shown when Olunde tells Jane Pilkings, “you have no respect for what you do not understand” (Soyinka, Wole). Olunde is also a clear representation of a strong sense of community within the play because he has studied in England, but maintains his