THERE be many factors to be interpreted into grievance when discussing Christopher Okigo and if he should be considered an African modernist. It is important to look at the socio-political climate - the warfare crosswise the continent which was happening - and the bear on surrounded by his words, the sound of his metrical composition and the relationship between tribalism and his intended audiences. Okigbos act upons 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 source of his poetical career Okigbo was eurocentric and modernist in his approach to compose tie and this draw criticism. Heavensgate is a dressed up Christian ritual... The invocation of an indigenous deity is patently insincere. (Chinweizu, Jemie and M adubuike, 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 verse were derived from English models, naïve and sometimes pathetic in their acceptance, or partial acceptance of the ashen 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 cute to become the preacher, town crier and profit, warning his countrymen some war and the abuse of power and so he select mu! ch 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 ascertain a full essay, order it on our website: BestEssayCheap.com
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