DR
H. S. VISWESWARIAH
In the history of literature no
century has witnessed such an extraordinarily rich and various blossoming of
the creative genius in the English-speaking countries of the world as the
twentieth. In
What
is sometimes forgotten is that this upsurge of the human spirit unfolded itself
in the English-speaking nations of Asia and
Amos
Tutuola, one of the major African writers in English
was born to poor Christian parents in the Nigerian town of
Although
not educated in the accepted sense of the word, this towering figure in African
literature couldn't contain his urge for creativity in a foreign language. Lack
of education in the conventional sense and insufficient command over the
English language were no insurmountable barriers to him. He listened to his
inner voice which commanded that he should compose his ideas in the English
language.
The
result of this obedience to the inner call was the publication of his first
significant novel entitled The Palm-Wine Drinkard and His Dead Palm-Wine Tapster in the Dead’s Town (1952). Interestingly, the major character
of this fiction is an insatiate Drinkard who finds
himself in grave trouble when he finds that his Tapster is dead. As
superstition would perhaps have it, the death of the Tapster is followed by a
very severe drought. Naturally the Drinkard makes up
his mind to follow the dead Tapster to the land of the dead. For this purpose,
he sets out into the forest. It is an adventure–a long, entertaining and
delightful journey–into the land of the gods, goddesses and various other
spirits. The Drinkard ultimately encounters the dead
Tapster when he pleads for his quick return. Unfortunately, the Tapster isn’t
allowed to come back. Instead, the Tapster presents an egg to his friend. The
egg is a talisman that supplies enormous quantities of food. As ill-luck would
have it, this charm is broken after a few days of its use in the town.
The
home-coming is remarkable. For, it enables the Drinkard
to preach to his people the nature and character of a sacrifice. The sacrifice
brings an end to all famine and starvation in the country.
In
all Tutuola wrote six novels. The Palm-Drinkard (1952) was followed by My Life in the Bushes (1954). The publication of the well-received Sambi and the Satyr of the Dark Jungle (1955)
was succeeded by The Brave African
Huntress (1958). The Feather Woman of
the Jungle (1962) and Ajayi and his
Inherited Poverty (1967) followed later.
In
weaving his stories, Tutuola is never tired of using
myth, fairy tale and the tall story elements profusely. The traditional Yoruba
folk-tales seem to have supplied the raw material for many of his novels. It is
perhaps for this reason that each one of his works is of anthropological significance.
Born
as the son of a missionary teacher of humble origins in the Nigerian town of
Things Fall Apart (1958),
the title of which is derived from one of the poems of W. B. Yeats, was
followed by No Longer at Ease (1960).
The Arrow of God (1962) had a
tremendous success compared with A Man of
the People (1966).
As
the title itself suggests, Things Fall
Apart is a novel that deals with the encounter of the traditional, native
Ibo culture with that of Western culture. The arrival of the whiteman and his impact on the
well-settled life of the natives of the African state supplies a very fruitful
theme for a clear stock-taking of the situation. Achebe
tries to be objective in his narration of the incidents and even in his
comments. Very suggestively, Chinua Achebe states that African culture too has its own
uniqueness and individuality which is frequently misunderstood by European
visitors as a fossilized savage culture. Without defying his native land and
its people, he is able to make it known that even a dark nation has its
glories. It is here that the weapon of satire is used. At the same time Achebe teaches a few lessons for the more dogmatic tribe of
his countrymen by telling them that the “White” culture too has its redeeming
features. He thus seems to present a balanced view of the great historic
encounter of the two unlike African and Western cultures.
Although
all his novels do not have a continuity of theme–except perhaps the first
three–they do appear to have a common sense of commitment. The second novel No Longer at Ease carries forward the
theme of disharmony of the two cultures introduced by its predecessor Things Fall Apart. The major character
of The Arrow of God is a priest by
name Ulu, who is entirely dependent upon the
ignorance of his people. Their belief in his gods and goddesses is the means of
his livelihood. Any tilt in the balance would cause irreparable damage to him.
A Man of the People is
a brilliant work, where the corrupt administrator is subjected to microscopic
examination. The administrator is the so-called man of the people, because he
does nothing to the people, unless it is helpful to him. Corruption in
public offices doesn’t seem to be the monopoly of any one single nation. It
is there from the North to the South pole and all
along the equator.
Of
all the distinguished modern African writers in English, Wole
Soyinka is the most versatile. Gifted with an
enviable poetic talent, not only he has composed many theatrical plays–plays
that have proved enormous successes–but with an unfailing touch he has written
novels too. With the publication of his novel The Interpreters (1965), Soyinka, the youngest and the most promising of all the second generation
of creative writers, has already established himself.
Born
in Abeokutu as the Son of a supervisor of schools, Soyinka was educated at the
Besides
The Invention (1960) Soyinka’s works include Three
Plays (1963), A Dance of the Forests (1963)
and The Lion and the Jewel (1963),
and a book of poems entitled Idakre (1967). The Road (1965) and The King’s Harvest (1967) were much admired soon after publication.
Being
in the tradition of Achebe–certainly he owes a
considerable literary debt to him –Soyinka is a
prolific writer who has all along been making quick progress. His admirers–who include many Englishmen and Indians–expect him to
carry on the torch of the Nigerian Theatre beyond the hitherto known frontiers.