CHAPTER SUMMARY
OF SONG OF LAWINO AND OCOL BYOKOT
P'BITEK
Compiled and edited by Rashidi Mpella
Source: Memorie online; http://www.memoireonline.com
In analyzing each of the
techniques and devices Okot p'Bitek uses in Song of Lawino and Song of Ocol in
this Chapter, we fulfil one of the requirements of our analysis.
In this Chapter One, we
deal with the Summary of the poems, the characters and characterization, the
point of view, the context of the poems, the imagery, form and interpretation, the
mood, the theme, and finally the philosophy of life of the author
1. Summary of the Poems
Together Song of
Lawino and Song Ocol contributes a heated debate over the future of
Africa. In graphic metaphor and with grammatical intensity, the author presents
the conflict between modern civilization and old traditions.
As far as our concern is
the image of woman in Okot p' Bitek's Song of Lawino and Song
Ocol, our much attention will focus on Song of Lawino.
0.
Song of Lawino is
an epic poem written by Ugandan poet Okot p' Bitek. First published in 1966in
Luo then after translated into other languages, including English. Song of
Lawino has become one of the most widely read literary works originating from
sub-Saharan Africa that addresses the issues facing a liberated Africa. The
poem poses a question: what kind of liberation should Africa take on? Should it
honor its traditions, or should it adapt the European values that were already
set in place during colonialism? Okot p'Bitek addresses this question by telling
the story of Lawino, a woman whose husband, Ocol, throws her out of their home
and brings home a more Europeanized woman as a wife. The story is told as a
dialogue between Lawino and Ocol. The poem itself is separated in different
sections or Chapters, each one detailing the social problems facing Lawino and
Ocol in their marriage, their differences and value systems.
The first Chapter sets up
the differences between Lawino and Ocol. Ocol despises Black people and their
traditional ways and has adopted Europeans values. Because he works in the
government, he wants to modernize Africa in those values. Lawino disagrees and
implores her husband to stop hating his own people:
«He says Black people are
primitive
And their ways are
utterly harmful
Their dances are mortal
sins
They are ignorant, poor
and diseased! ...»( SOL, P. 36).
In this Chapter, Lawino
asserts that Ocol is rude and abusive both to her and other people:
«My husband abuses me
together with my parents
He says terrible things
about my mother
And I am so ashamed! ...»
(SOL, P.35).
The Second Chapter
addresses the issue of Ocol's new wife. Ocol's new wife, unlike Lawino, is
thoroughly Europeanized. Here we note that the attack starts as a fairly
straight forward factual account of Lawino's husband's preference for a modern
girl. Then to enable Lawino to advance her argument forcefully, Okot gives her
the gift of wit and employs Acoli poetic forms to produce a pungent work of
satire. She first displays her wit forcefully at the beginning of Chapter two,
where (she) Lawino makes a mockery of modern notions of beauty, including the
use of make-up and cosmetics, by comparing her rival, Clementine, the girl of
modern ways, to what in traditional Acoli Society must be regarded as the
ugliest and most weird of all creatures. That which is considered most
beautiful by admires of European culture is made to appear absurd and
grotesque. We quote a long passage to show how she builds up her argument:
«Ocol is no longer in
love with;
The old type;
He is in love with a
modern girl;
The name of the beautiful
one;
Is Clementine;
Brother, when you see
Clementine!
The beautiful one aspires;
The beautiful one aspires;
To look like a white
woman;
Her lips are red-hot;
Like glowing charcoal;
She resembles the wild
cat;
That has dipped its mouth
in blood;
Her mouth is like raw
yaws;
Tina dusts powder on her
face;
And it looks so pale
;...»( SOL, P.37).
In the Second Stanza the
tone changes dramatically to a contemptuous one: «Brother, when you see
Clementine!» Then the criticism gathers momentum and builds up to a crescendo
as we get horrible image after horrible image in the process of which
Clementine is disfigured and transformed from «the beautiful one into a
veritable»guinea fowl». But that is not the end .Before Lawino is done, she
must demonstrate to us how she, Lawino, is possessed by strange ghosts which
make if necessary for a whole ritual to be performed before she can recover:
«The smell of carbolic
soap;
Makes me sick;
And the smell of powder;
Provokes the ghosts in my
head;
It is then necessary to
fetch a goat;
From my mother's brother;
The sacrifice over;
The ghost -dance drum
must sound;
The ghost be laid;
And my peace
restored.»(SOL, P.37).
In this Chapter Two,
Lawino is not unfair to Europeans. She is not trying to impose her set of beliefs
on them. She is using her prejudices in an argument with other Africans within
Africa. But she is unreasonable in some of her criticism of Clementine and
Ocol. Some of her comments are little more than scandal-mongering for example
when she first attacks Clementine, the climax of her abuse is:
«Perhaps she has aborted
many!
Perhaps she has thrown
her twins
In the pit latrine!»
(SOL, P.39).
In this same chapter we
notice that Lawino is not only witty, she also versatile, conjuring up all
kinds of images to bring her going home. This talent is coupled with a sense of
humour and an ability to admit her weaknesses in a clever way, as in the
following passage in which she cunning confesses that she is jealous of the
woman she ostensibly despises:
«Forgive me, broth
Do not think I am
insulting
The woman with whom I
share
My husband!
Do not think my tongue
Is being sharpened by
jealousy.
It is the sight of Tina
That provokes sympathy
from
my heart.» (SOL, P.39)
Then the truth comes out:
«I do not deny
I am a little jealous
It is no good lying,
We all suffer from a
little jealousy.
It catches you unawares
Like the ghosts that
bring fevers;
It surprises people
Like earth tremors:
But when you see the
beautiful woman
With whom I share my
husband
You feel a little pity
for her.» (SOL, P.39).
By the end of this
section, Lawino turns on her attacks and exposes their own immorality and
hypocrisy.
These attacks on Western
ways are one of the reasons for the popular success of the poem. Okot is making
a number of very serious points through Lawino's mockery of Westernized ways.
Here, Lawino shows ways in which Western things can be dirty, stupid or
hypocritical. At the same time she shows how traditional ways of life allow her
to express herself fully and freely as a woman. Both ways of life are open to
criticism, both ways are valid. If Lawino has learnt one way of life, why
should she change? Why should the Massai wear trousers? The words like «Witch»,
«Kaffirs» and «sorcerers» that Ocol throws at her don't answer that question.
But Lawino does not
believe that the two ways of life are equally valid for Africans, and neither
does Okotp'Bitek. She thinks the customs of white probably suit white people.
She does not mind them following their own ways.
«I do not understand
The ways of foreigners
But I do not despise
their customs» (SOL, P. 41).
The poet has used the
proverb in closing this second chapter which is an Acoli proverb:
«The pumpkin in the old
homestead
Must not be uprooted»
(SOL, P.41).
According to Okot (1972:6)
pumpkins are a luxury food. They grow wild throughout Acoli land. To uproot
pumpkins, even when you are moving to a new homestead, is simple wanton
destruction. In this proverb, then, Lawino is not asking Ocol to cling to
everything in his past, but rather not to destroy things for the sake of
destroying them. In other words, what Lawino has to say would have been better
expressed by another Acoli proverb Doko abila ni eye meni (Your first Wife is
your Mother) (SOL,P.13).To mean that you cannot abandon your first pot, for
your first pot is always the best one.
In Chapter Three, Lawino
praises the cultural dances of her people:
«I cannot dance the
rumba,
My mother taught me
The beautiful dances of
Acoli.
I do not know the dances
of white people.
I will no deceive you,
I cannot dance the samba,
You once saw me at the
Orak dance
The dance for youths
The dance of our people»
(SOL, P.42).
Accoding to p'Bitek, the
«dirty gossip» of colonialists condemned African dances because of the
immorality of nakedness. Lawino does not waste her time on a reasoned and
balanced defence of dancing naked. She presents the openness, liveliness and
healthiness of Acoli dance positively, without apology:
«When the drums are
throbbing
And the black youths
Have raised much dust
You dance with vigour and
health
You dance naughtily with
pride
You dance with Spirit,
You compete, you insult,
you provoke
You challenge all», (SOL,
P.42).
Notice that the dramatic
reversal of values is not limited to cosmetic and make-up. It is only a prelude
to a more generalized attack on European social and cultural values which go
against traditional codes of behaviour. Imported forms of dancing, for example,
result in immoral behaviour when each man dances with a woman who is not his
wife .Then, Lawino goes to attack:
«Each man has a woman
Although she is not his
wife,
They dance inside a house
And there is no light
Shamelessly, they hold
each other
Tightly, tightly,
They cannot breathe»
(SOL, P.44).
Western dances are
immoral because people embrace in public and dance with anyone, even close
relatives said p'Bitek. Apart from being immoral, their kissing and dancing are
seen as grotesquely ugly:
«You kiss her on the
cheek
As white people do,
You kiss her open-sore
lips
As white people do
You suck slimy saliva
From each other's mouths
As white people do.»(SOL,
P.44).
The Fourth Chapter
details when Lawino was a young woman and how Ocol once wooed and won her
.While she remembers Ocol `s wooing of her and the beauty of her home, Lawino's
voice takes on a note of nostalgia:
«When Ocol was wooing me
My breasts were erect
And they shook
As I walked briskly, And
as I walked
I threw my long neck
This way and that way
Like the flower of the
lyonno lily
Waving in a gentle
breeze.» (SOL, P.47).
Then after, Lawino laments
because her husband does not love her any more:
«My husband says
He no longer wants a
woman
With a gap in her teeth,
He is in love
With a woman
Whose teeth fill her
mouth completely
Like the teeth of war-
captives and slaves» (SOL, P.49).
Chapter Five looks at
question of what is considered beautiful. Ocol thinks the way Lawino does her
hair is ugly; then she laments:
«He says that I make his
bed-sheets dirty
And his bed smelly
Ocol says
I look extremely ugly
When I am fully adorned
For the dance!» (SOL,
P.53).
On the other hand Lawino
praises her beauty and the beauty of her people:
I am proud of the hair
With which I was born
And as no white woman
Wishes to do her hair
Like mine,
Because she is proud
Of the hair with which
she was born.» (SOL, P.56)
Then after Lawino
criticizes Ocol's wife's hair and that of his people:
«When the beautiful one
With whom I share my
husband
Returns from cooking her
hair
She resembles
A chicken
That has fallen into a
pond;
Her hair looks
Like the python's
discarded Skin.» (SOL, P.54).
In the previous
paragraphs, it is said that Lawino is proud; she is proud; not only of her
beauty, but of every aspect of her way of life. From this position of pride she
attacks:
«I have no wish
To look like a white
woman.» (SOL, P.56).
Now Lawino makes the
argument here that Ocol should not try to be something he is not:
«No leopard
Would change into a
hyena,
And the crested crane
Would hate to be changed
Into the bold-headed,
Dung-eating vulture,
The long-necked and
graceful giraffe
Cannot become a monkey.
Let no one
Uproot the pumkin.» (SOL,
P.56).
The message conveys by
Lawino in this section is that African women are invited to run away from
artificial and European ways of cooking hair for their beauty. They must remain
natural. They could not abandon their traditions. The poem becomes an argument
honoring the traditional African values.
Along this Chapter, we
also see Lawino's wit at work when she gives an account of the differences
between European and African traditions and values. Ostensibly, her argument is
that European culture is good for Europeans and African culture good for
Africans, but in an apparently objective comparison she uses subtle animal
imagery to portray a negative picture of things for European and a positive
picture of African values. This is particularly striking in this Chapter Five,
where the dominant motif is the comparison of the «graceful giraffe», which
symbolizes the beauty of the African Woman, and the «monkey» which stands for
the Ugliness of white women and those who ape whites by wearing white people's
wigs: See the example given above from song of Lawino page 56.
Chapter Six deals with
food and Ocol criticizes his wife for not cooking white people's meals:
«Ocol says
Black people's foods are
primitive,
But what is backward
about them?
He says
Black people's foods are
dirty:
He means,
Some clumsy and dirty
black women
Prepare food clumsily
And put them
In dirty containers.»
(SOL, P.62).
Lawino again argues that
the food that is native to her people is best for them:
«Look,
Straight before you
Is the central pole
That shiny stool...
At the foot of the pole
Is my father's revered
stool.
Further on
The rows of pots
Placed one on top of
other
Are stores
And cupboards.
Millet flour, dried
carcasses
Of various animals,
Beans, peas
Fish, dried cucumber...»
(SOL, P.59).
Ocol criticizes the
improved stove and Lawino praises it; Ocol gives his point of view of that
improved stove:
«I really hate
The charcoal stove!
Your hand is always
Charcoal-dirty
And anything you touch
Is blackened;
And your finger nails
Resemble those of poison
woman.» (SOL, P.57).
Now Lawino reacts:
«I am terribly afraid
Of the electric stove,
I do not like using it
Because you stand up
When you cook.» (SOL,
P.58).
She points out another
disadvantage of electric stove and she apologizes that she has no notion about
cooking white food.
«The electric fire kills
people:
They say
It is lightning...» (SOL,
P.57)
In this passage she
accepts that she does not know such a cooking:
«I do not know
How to cook
Like white women;
I do not enjoy
White men's foods;
And how they eat
How could I know?
And why should I know
it?» (SOL, P.62).
In the closing lines of
the poem of this section, the poet gives his point of view throughout Lawino
that:
«I do not complain
That you eat
White men's foods
If you enjoy them
Go head
Shall we just agree
To have freedom
To eat what one
likes?»(SOL, P.63).
He also shows the
importance of the traditional cooking stove in many societies which is improved
for domestic cooking. So the poet shows Lawino's weakness for not being to
school to learn how to use white men's cooking stoves. Lawino confesses:
«I confess,
I do not deny!
I do not know
How to cook like a white
woman.» (SOL, P.57)
The Seventh Chapter deals
with the issues of time. In this section, Ocol puts accent on the respect of
time. His wife Lawino reacts that Ocol abuses of the way of using time because
of his arrogance for he loses his dignity. He is always in a hurry. He is
always ruled by time. Everything he does must take place at a fixed time:
«If my husband insists
What exact time
He should have morning
tea
And break fast,
When exactly to have
coffee.»(SOL, P. 64).
Lawino doesn't understand
the need for these set times. She does things when she wants to. Children are
fed or washed when it is necessary and:
«When sleep comes
Into their head
They sleep,
When sleep leaves their
head
They wake up.»(SOL, P.
69)
If visitors come when you
are doing something, you stop and enjoy their visit. But Ocol has no time to
enjoy anything:
«He never jokes
With anybody
He says
He has no time
To sit around the evening
fire.» (SOL, P. 67)
All Ocol`s life is
haunted by his fear of wasting time. For him, time is a commodity which can be
bought and sold. It must not be wasted because:
«Time is money» (SOL, P.
67);
While for Acoli time is
not a commodity that can be consumed until it is finished:
«In the wisdom of the
Acoli
Time is not stupidly
split up
Into seconds and minutes
It does not flow
Like beer in a pot
That is sucked
Until it is finished.» (SOL,
P. 69).
Ocol in his arrogance
does not know how to welcome visitors. When they appear at his door he tries to
get rid of them quickly with the question:
«What can I do for you?»
(SOL, P. 68)
And even the crying of
children makes him wild with rage because it interrupts his work:
«He says
He does not want
To hear noise,
Those children's cries
And coughs disturb him!»
(SOL, P. 67).
Despite his high opinion
of himself, he is no more than a servant of time:
«Time has become
My husband`s master»
(SOL, P. 68).
No one likely to respect
him because of his unkindness, and because he:
«...Runs from place to
place
Like a small boy,
He rushes without
dignity» (SOL, P. 68).
In addition to investing
Lawino with a witty mind, a sense of humour capacity for dramatization, Okot
p`Bitek has the ability to make use of traditional troupes and modes of
expression in a manner which enriches his poetry and lends it a peculiar
freshness. Comparing the modern technological concepts of time with Acoli
concepts, Lawino describes the Acoli idea of late morning in the following
terms:
«When the sun has grown
up
And the poisoned tips
Of its arrows painfully
bite
The backs of the women
weeding or harvesting
This is when
You take drinking water
To the workers »(SOL, PP
64- 66).
To end this section, it
is seen that Ocol is governed by time, often stating the hour whenever the sun
rises. Lawino does not understand the importance of being led by such strict
definitions and thinks everything happens in its own time without forcing it.
This idea is followed into Chapter Eight when Lawino also argues that breast
feeding isn't something you can hold strictly to time. When children are
hungry, then they will be breastfed. To do it by Ocol's way, children should be
fed even if they are not hungry. Religion, healthcare, politics are also dealt
with.
In Chapter Eight and
Twelve, we have Lawino's explanation of what has gone wrong. Ocol's teachers
were like Lawino's teacher in the evening speaker's class. If Ocol had run from
them to the dance as Lawino did he would have learnt things that meant
something to him:
«We joined the line of
friends
And danced among our age-
mates
And Sang songs we
understood.
Relevant and meaningful
songs,
Songs about ourselves»
(SOL, P.79).
Ocol wants Lawino to be
christened, but she says that her elder sister was a protestant and she
suffered bitterly in order to buy the name Lawino joined the catholic evening
Speaker' class, but she did not stay long in, she ran away:
«I ran away from shouting
Meaninglessly in the
evenings
Like parrots
Like the crow birds
The things they shout
I do not understand»(SOL,
P.75).
They do not understand
what they shout and the teacher of the evening class controls them only by
anger. It seems as if Ocol is still like a parrot, boasting in the market place
and condemning everything that the white priests told him to condemn, instead
of picking out the good from both African and European ways.
Now Lawino is obliged to
leave evening speaker's class:
«Anger welled up inside
me
Burning my chest like bile,
I stood up
And two other girls stood
up
We walked out
Out of that cold hall»
(SOL, P.79).
To end this section,
Lawino argues that their spiritual beliefs are just as valid as Catholicism,
but also points out the ignorance and arrogance of priest and nuns who run the
missionaries in their villages.
In Chapter Nine we see
another aspect of Ocol's arrogance. Here Lawino asks questions in a genuine
mood of enquiry. She does not ask silly questions:
«Where is the pot?
Where it was dug,
On the mouth of which
River?» (SOL, P.87).
Somewhere in Chapter
Three, Lawino has spoken about immorality in the dances of white men. The same
question of sexual morality is involved in her late comments on catholic priest
and nuns. The tradition of priestly celibacy has a long history in Europe.
There is also a long tradition of priestly hypocrisy, and of literary mockery
of this hypocrisy. To Lawino the whole idea is completely incomprehensible. So
when the Padré and the Nun shout at her, it must be their sexual frustration expressing
itself:
«They are angry with me
As if it was I
Who prevented them
marrying» (SOL, P.85).
Again no priest can
possibly discipline his sexual desires. They teacher from the evening speaker's
class follows her to the dance. And every teacher must be like this:
«And all the teachers
Are alike
They have sharp eyes
For girls' full breast
Even the padres
Who are not allowed
To marry
Are troubled by health»
(SOL, P.81).
To conclude this section,
let us write that the problems of who created the creator and the mystery of
the virgin birth are problems which better educated people have found to be
barriers to Christian belief. An educated Christian like Ocol ought to have
considered them. If he were really interested in knowledge, he would be willing
to discuss these things. But Lawino does not thing he is really interested in
knowledge. She wishes she had someone else to ask:
«Someone who has
genuinely
Read deeply and widely
And not someone like my
husband
Whose preoccupation
Is to boast in the market
place...» (SOL, P.90).
Brief Lawino really makes
us wonder whether this progressive and civilised man deserves any respect with
all his status. He surely ought to have a little more dignity. Above all he
ought to treat his wife, his parents and his home community with a little more
respect.
Chapter Ten deals with
Lawino's culture and its values. In this Chapter we are given further examples
of Ocol's intolerance. Ocol will let neither Lawino's relatives, nor his own
relatives into his house because they might make it dirty or give diseases to
his children.
«My husband complains
That I encourage visitors
Who should not
Come into his house,
Because they bring dirt
and house-flies!» (SOL, P.91).
Ocol condemns all
traditional medicines:
«He says
The medicine gourds are
filthy,
And the herbs
Are drunk from unhygienic
cups
My husband agrees
That sometimes by
accident...»(SOL, P.93)
Again he condemns all
traditional religious beliefs, because he is an educated man and a Christian.
In the years since Uganda's independence, there has been a great deal of
reassessment of missionaries views of African traditional beliefs by African
Christians .Ocol's attitudes have not changed at all. For him traditional
beliefs are no more than foolish superstitions:
«He says
No such things exist
It is my eyes
That are sick
And only foolish
superstitions.»(SOL, P.92).
Ocol not only rejects
these superstitions himself, he wants to wipe them out. He prevents Lawino from
visiting the diviner priest or making sacrifices when she is in trouble:
«My husband has
threatened
To beat me
If I visit the diviner-
priest again.» (SOL, P.93)
When his father was
alive, he:
«Once smashed up the
rattle gourd
Cut open the drum
And chased away the
diviner priest
From his late father's
homestead.» (SOL, P.95).
He later tried to destroy
the tree on father's shrine. Ocol is a religious man yet. Lawino must not wear
charms, yet he wears a crucifix:
«My husband wears
A small crucifix
On his neck»(SOL,P.93).
For him prayer can be
effective:
«It is stupid
superstition superstition
To pray to our ancestors
To avert the smallpox,
But we should pray
To the messengers of the
hunch back
To intercede for
us.»(SOL, P.93).
Ocol sees no similarity
between the two sorts of charms or the two sorts of prayer. Ocol continues to
praise White man's medicines. Since the time of patient has not yet come to
death every medicine cures him says Lawino:
«It is true
White man's medicines are
strong,
But Acoli medicine
Are also strong.
The sick gets cured
Because his time has not
yet come.»(SOL, P.101).
Once the time comes, the
death knocks at your door, there is no stop. Whatever medicine cannot cure the
sick. Even crucifixes, rosaries, toes of edible rates,...none of them can block
the path of no return (SOL, P.102
«When death comes
To fetch you
She comes unannounced
She comes suddenly
Like the vomit of
days...»(SOL, P.102).
Lawino says that Ocol
should be tolerent for, once mother death comes, there is no excuse, neither
black nor white it calls them and they have no power on it:
«White diviner priest,
Acoli herbalists,
All medicine men and
medicine
Are good, are brilliant
When the day has not yet
dawned
For the great journey
The last safari
To pagak.» (SOL, P.103).
Brief you may be the man
of whatever rank, you cannot resist when death comes to fetch you. Chapter
Eleven of Song of Lawino is a very rich poem, Addressing
important issues affecting post-independence Africa. The poem is a satirical
comment on the neo-colonial mentality of the African petty bourgeoisie-the
intellectuals and political leaders of Africa. The target of Lawino's
criticism, Ocol, is the representative of this class. He is both an
intellectual and politician an embodiment of the disease Lawino diagnoses in
her song, satirizing the ills of Africa leaders described elsewhere by Okot in
an essay entitled «Indigenous social Ills», in which he refers to them as
culturally barren ladies and gentlemen. Ocol's behavior does not lift up him
before the leaders of his party. He behaves like: ... a newly-eloped girl
(SOL,P.108) he says in his speeches that he is lighting for national unity:
«He says
They want to unite the
Acoli and Lango
And the Madi and Lugbara
Should live together in
peace!
The Alur and Iteso and
Baganda
And the Banyankole and
Banyoro
Should be united
together» (SOL, PP.103-104).
However, his political
energies do not really seem strong for bringing about unity, national or local.
Most of his time as a politician is taken up with condemning other people.
Ocol says that the
Congress Party is against all Catholics, and that they will steal all their
property
«The Congress Party
Will remove all Catholics
From their jobs
And they will take away
All the land and schools
And will take people's
wives
And goats, and chickens
and bicycles,
All will be came the
property
Of the congress people.»
(SOL, PP.105-6).
And it is not only the
other party that he condemns. When he talks to the party leaders, he accuses
other party
«Everybody else is us
He alone
Is the hard working...?»
(SOL, P.108).
The most destructive
result of his political activity is its effect on his own family. Ocol's
brother is in the congress party. His thinks his brother wants to murder him.
Now is this the unity of Uhuru? Is this the peace that Independence brings?
(SOL, P.105). He forbids Lawino to talk to the man who may one day become her
husband.
Okot does not ignore
economic problems in his poems. In this section of song, Lawino criticizes Ocol
and the African political elite for political ineptitude and economic
mismanagement. She lashes out at corruption, points out that many politicians
joined the campaign for material gain:
«Someone said
Independence falls like a
bull buffalo
And the hunters
Rush to it with draw
knives,
Sharp shining knives
For carving the carcass.»
(SOL, P.107).
Using political power for
personal wealth is a common feature of petty bourgeoisie in developing
countries, for in these countries there is no true national bourgeoisie, as in
the USA or EUROPE, which derives its economic power from is the only means by
which the political elite can acquire substantial wealth. Lawino speaks in
ironic terms when she says:
«The stomach seems to be
A powerful force
For joining political
parties,
Especially when the purse
In the trouser pocket
Carries only the coins
With holes in their
middle.» (SOL, PP.108).
Lawino is not blind to
the fact that, while politicians are fighting to enrich their own pockets and
inter-party strife rages, the common people suffer, for they bear the hardest
part of the economic problems due to the ineptitude of the political elite:
«And while the pythons of
sickness
Swallow the children
And the buffaloes of
poverty knock the people down,
And ignorance stands
there like an elephant,...»(SOL,P.111).
Politics has destroyed
the unity of home and brought misery member of it:
«The women there
Wear mourning clothes
The homestead is surely
dead.» (SOL, P.111).
Now, where is peace of
Uhuru when there is no harmony and confidence at home?
«Where is the peace of
Uhuru?
Where the unity of
independence?
Must it not begin at
home?
And the Alico and Lango
And the Madi and Lugbara,
How can they unite?
And all the tribes of
Uganda
How can they become
one?»(SOL, P.107).
This view of African
petty bourgeoisie in control of political power is corroborated in song of Ocol
by Ocol. First, he is so thoroughly colonized that he hates himself for being
black:
«Africa
This rich granary,
Of taboos, customs,
Traditions...
Mother, Mother,
Why,
Why was I born?
Black?» (SOO, P.126).
Accordingly, he and his
fellow members of the elite want to destroy all things African, anything that
reminds them their African past. Instead, they will erect monuments to the
architects of African colonialism-Bismarck-David Livingstone, Leopold of
Belgium and others:
«To the gallows
With all the Professors
Of anthropology
And teachers of African
History,
A bonfire
We'll destroy all the
anthologies
Of African literature
And close down
All the schools
Of African studies.»
(SOO, P.129).
Secondly, Ocol lends
weight to Lawino's view that the misdemeanours of Africans politicians lead to
the impoverishment of workers.
The power of the song of
Lawiro is due in large measure to the author's successful portrayal of an
authentic spokesperson, an uneducated woman who has become highly aware of the
necessity for her race to preserve its own culture and identity. She is a vivid
and memorable character. At first she may appear lighthearted and flippant, but
in fact she advances a sound serious argument. Unlike the negritude poets, she
does not overtly claim that African culture is superior to European culture.
Her central argument is
summed up at the end of chapter Two:
«Listen Ocol, my old
friend,
The ways of your
ancestors
Are good,
Their customs are solid
And not hollow
They are not thin, not
easily breakable
They cannot be blown away
By the winds
Because their roots reach
deep into the soil.
I do not understand
The ways of foreigners
But I do not despise
their customs.
Why should you despise
yours?» (SOL, P.41).
The politicians, Okot
mentions in this section are too busy fighting one another. Certainly Ocol sees
no reason to do anything in Chapter Six of Song of Ocol, he asks the voters to
agree that because he has worked harder for Uhuru he deserves:
Some Token Reward (SOL,
P.139).
He is not responsible for
the sufferings of the waters, although he was rewarded of a large house in the
town and a big form in country:
«Is it my fault?
That you sleep
In a hut
With a leaking
thatch?»(SOO, P.139).
Song of Ocol again
confirms Lawino's opinions. In Chapter Two Ocol trots out for us the attitudes
to Africa that he as a politician has swallowed whole from the missionaries:
«What is Africa?
To me
Blackness,
Deep, deep fathomless
Darkness...» (SOL,
P.125).
There are two critical
quotations we feel should be quoted for this special launch of Ocol's attitudes
towards Africa. First is by Professor Eskia Mphahlele from his book with the
title:The African Image (1962), whatever single image may
emerge of Africa must continue to shift. This is not a continent lying in
state. Our heroes also rise and fall. We also have our political clowns,
political executioners, political spits, grafters in high places, as every
other continent has. We are a vibrant people too. Second is the quotation taken
from Okot p'Bitek's book Song of Lawino and song of Ocol (1972):
«I do not understand
The way of foreigners
But I do not despise
their customs.
Why should you despise
yours?
Listen, my husband,
You are the son of a
Chief.
The Pumpkin in the Old
homestead
Must not be
uprooted!»(SOL, P. 41).
Both quotes impress on
Afrocentricism. Particularly, the p'Bitek's written discourse introduces an
interesting dialogue between husband and wife. The wife in this case reminds
her husband about his Africaness. Our feeling is that we cannot avoid dealing
with these bipolar realities that is being African in the current situation
that is moved by continuous on a daily basis. This change manifests in many
ways; political, social, and economic, spiritually, biotechnologically to name
only these. In this regard, the African image and mind wrestle to find place
and space. Since Afrocentricism is concerned, we can raise the questions below:
Who is an African? Do we need African centers in Africa? Are Africans in a
foreign continent? How can they sing being in a foreign land? How foreign is
Africa to Africans? Africa needs to assert itself within the context of its
diversity.
In Chapter Three of Song
of Ocol, Ocol condemns all efforts to find reasons for pride in Africa's
past. He would prefer to forget his past:
«Smash all these mirrors
That I may not see
The blackness of the past
From which I came
Reflected in them.» (SOO,
P.129).
In other words, Ocol
wants to deny his Africanness. These feelings wring from him the cry of anguish
which ends Chapter Two of Song of Ocol.
«Mother, mother
Why
Why was I born?
Black?» (SOO, P. 126).
In Chapter Twelve, Lawino
summarises what has happened to Ocol. «Ocol has read many books among white men
and he is clever like white men» (S.O.O.p113). This section, from which the
above quotation is taken, constitutes the climax of Lawino's argument and
demonstrates Okot p'Bitek's use of Apostrophe. The section falls into three
major subjections if we go by Lawino's subject matter and her audience. In the
first subjection Lawino addresses her clan men. The subject matter is her husband's
dark forest of books. Although Ocol has read many books among white men those
books has not helped him. Instead he has lost his head:
«Listen, my clansmen,
I cry over my husband
Whose head is lost
Ocol has lost his head
In the forest of books.»
(SOL, P.113).
This as we shall see, is
at the heart of her argument. In the second subsection she addresses Ocol in
the words quoted above and does not mention books at all. Then she ends the
section by going back to address the clansmen and returning to the subject of
books. And in the end the books have destroyed him:
«... the reading
Has killed my man,
In the ways of his people
He has become
A stump» (SOL, P. 113).
Ocol still has the roles
of husband and head of household, but he is no longer able to perform them.
Instead he has become:
«A dog of the Whiteman!»
(SOL, P. 115).
The Whiteman is his
ultimate master, acting on him through his continuing cultural and economic
influences. Ocol obeys his master's call and is pleased only by those things
that belong to his master. Ocol no longer owns anything. Every thing he uses
belongs to his master:
Aaa! A certain man
Has no millet field
He lives on borrowed
foods
He borrows the clothes he
wear
And the ideas in his head
And his actions and
behaviour
Are to please somebody
else
Like a woman trying to
please her husband!
My husband has become a
woman! (SOL, P.116).
And many young men are
the same. Lawino calls on her clansmen to weep for them because:
«Their manhood was
finished
In the classrooms
Their testicles
Were smashed
With large books!» (SOL,
P.117).
Here Lawino is mocking
all those Olcols who are carrying the habit of slavish imitation of white men
they leant in the mission school into every sphere of their lives in the new
nations of Africa. For her, this is not the last word. She thinks there is
still hope for Ocol. Ocol only needs treatment to rid him of his disease.
In Section Thirteen, the
last section, Lawino's whole approach, manner and tone of voice change: She
tones down the bitterness in her voice and instead of lampooning her husband
she cajoles him, coaxes him like a loving wife, even advising him to buy
clothes, beads and perfumes «for the woman with whom I share you» (SOL, P.120).
She assumes the role of both a teacher and a loving wife.
In Section Thirteen, she
does not address her clansmen at all. First she recommends physical remedies to
Ocol. Ocol's throat is blocked by the shame that has been choking him for so
long:
«The shyness you ate in
the church...» (SOL, P.118).
It must be cleaned out by
traditional foods and herbs. His ears are blocked by the things he has heard
from priest and teachers. They must be cleaned. His eyes, behind his dark
glasses, are blind to the things of his people. They must be opened. His tongue
is dirty with the continuous flow of insults he has been pouring on his people.
It must be cleaned.
When the physical
remedies have been completed, Ocol will be ready for the real cure. He will be
ready to regain his roots among his own people. Lawino explains how he nearly
lost those roots:
«When you took the axe
And threatened to cut the
Okango
That grows on the
ancestral shrine
You were threatening
To cut your self loose,
To be tossed by the winds
This way and that way...»
(SOL, PP. 119-120).
For this real cure, Ocol
must beg forgiveness of all those he insulted. But he must also seek the
blessing of the elders and beg forgiveness from the ancestors, because:
«... when you insulted me
Saying
I was a mere village
girl,
You were insulting your
grandfathers,
And grandmothers, your
father
and mother!»(SOL, P.
119).
If he does all these
things he will become a man again, the ancestors will help him recover:
«Ask for a spear that you
will trust
One that does not bend
easily
Like the earth-worm
Ask them to restore your
manhood!» (SOL, P. 119).
Lawino's final appeal
concerns her domestic situation. She wants things to be normal in the household
again. She wants Ocol to behave like her husband. And when he is recovered, if
he only gives her:
«... One chance» (SOL, P.
120).
She is certain that things
will become normal. When his ears are un- blocked he will hear the beauty of
her singing. When his blindness is cured, he will see and appreciate her
dancing:
«Let me dance before
My love,
Let me show you
The wealth in your
house...» (SOL, P.120).
In Chapter Three of Song
of Ocol, Ocol briefly, but effectively, comments on traditional medicine.
However foolish he might be in condemning all traditional remedies it is
difficult not to share some of his horror at the scene he describes:
«That child lying... A
gift of death»(SOO, P. 127).
Traditional remedies
should have some place here in Africa, but they cannot solve all her medical
problems.
In Chapter Four of Song
of Ocol, Ocol considers the position of women in traditional societies. It is
interesting to compare his description of the walk to the well. Lowino is happy
with her traditional role, but she does have to work rather hard:
«Woman of Africa
Sweeper
Smearing floors and walls
With cow dung and black
soil
Cook, ayah, the baby tied
on your back
Vomiting
Washer of dishes,
Planting, weeding,
harvesting,
Store-keeper, builder,
Runner of errands,
Cart, lorry
Donkey...» (SOO, P.133).
And in some ways here
status is rather low:
«In Buganda
They buy you
With two pots
Of beer,
The Luo trade you
For seven cows...» (SOO,
P.134).
Really, if we read
carefully Section Thirteen, Lawino does not address her clansmen. In Section
Twelve, however, her clansmen occupy the center of subject matter which becomes
even more apparent when it is compared with Song of prisoner, whose density of
texture is sustained throughout and whose language is packed with emotion and
feeling.
Some of the traditional
modes of expression Okot employs in Song of Lawino do not come
off-at least for those readers who do not understand Acoli. In this connection,
the proverb which says the «Pumpkin in the old homestead should not be
uprooted» occurs frequently, and is clearly meant to play a key role in
conveying Lawino's message. But to the author of this thesis, to whom Acoli is
a strange language, the proverb conveys little or no meaning. This is also true
of some of Okot's imagery. Consider, for instance, the fallowing lines from
Section Two where Lawino introduces the conceit of Clementine as the woman with
whom she shares her husband:
«Her body resembles
The ugly coat of the
hyena;
Her neck and arms
Have real human skins!
She looks as if she has
been struck
By lightning;
Or burnt like the Kongoni
In a fire hunt». (SOL,
P.37).
This is far from being as
effective as the description of Clementine which occurs at the beginning of the
same section and which was quoted earlier in the chapter.
There are also some
inconsistencies and contradictions in song of Lawino. As a character, Lawino
sometimes gets out of hand and Okot is not able to control her and shape her
plausibly. What Lawino says in Section Eleven is out of character. Her analysis
of behaviour of politicians in Uganda is so sophisticated that one wonders
whether she is the same woman who is at one time amazed at the ticking of
Ocol's clock (section7).
In Section Eleven Lawino
does not strike the reader as a simple woman commenting in a simple way about
political rivalry. Naturally, we are not suggesting that peasants cannot be
political analysts. They can in fact be more revolutionary than the
intelligentsia; but the problem here is that Okot presents us with a seemingly
simple peasant woman and then turns her into a political scientist without
creating the circumstances that give rise to such a transformation.
To conclude this Song of
Lawino and Song of Ocol, in the last chapter of the book, the core of Ocol's
speech is his expression of faith in the urban future of Africa, and in the
foundations of that future laid by Europeans. Naively and improbable he
promises to:
«... Erect monuments
To the founders
Of modern Africa:
Leopold II of Belgium,
Bismarck...» (SOL, P
.151).
However, most of the
speech is in the form of challenges to various people in positions of influence
in Africa to explain the African foundation of their activities. Okot is mocking
the borrowed plumes of all these dignitaries and challenging them to justify
their borrowings.
Why should lawyers and
bishops wear long robes as the English do? Why the African legal system should
be based on English Law Reports? Why should all officials in local government
take their names from English equivalents (Mayors, councillors, Town clerks).
Okot's most serious challenge is to the scholar:
«Can you explain
The African philosophy
On which we are
reconstructing
Our new societies...»
(SOO, P.150)
Okot has made the
foundation on which he wishes to build African nations abundantly clear
throughout his poems, Song of Lowino andSsong of Ocol. He wants to
challenge all concerned with nation building to make their own activities in
light of his ideas. If they do not accept the challenge, then like Nyerere and
Sengor who are looking for an African mould for nation-building will be utterly
defeated by the continuing cultural influence of Europe on Africa.
In order to provide an
easy understanding to our readers, we give some definitions of some techniques
according to the dictionary of the English Language.
5 Comments
Your teaching materials are so useful, but.... please! may you assist me the analysis of A Wreath for Father Mayer, this time tomorrow and the videos for different novels and plays in ordinary level studies
ReplyDeleteBy Mwl. Pinati A. Msumule (English & History)
Intresting read
ReplyDeleteThis is super amazing, helped me for my exam tomorrow, thank you
ReplyDeleteThank you so much! Very useful
ReplyDeleteThanks so much
Delete