By Dan Amor
It was once the fashion to
single out four men of letters as the supreme titans of world literature - Homer,
Dante, Shakespeare and Goethe - each the embodiment of a great epoch of Western
culture - ancient, medieval, Renaissance and modern. These four literary icons of
all times remain secure, but acclamation of Professor Wole Soyinka as the
prototype of the inquiring spirit and courageous intellect of modern man has
been sharply appreciated in our time, especially as we pass beyond the more
leisurely issues of the post modernist era.
*Soyinka |
The intensely contemporary
character of his works has made him the tallest iroko tree in the
post-modernist forest of global dramatic literature. Yet, the commencement, two
weeks ago, of the Wole Soyinka 82nd Birthday Festival, which ultimately
climaxes today, July 13, his date of birth, unfortunately doesn't seem to wear
the official insignia of the Nigerian government especially because he has
started telling them the truth about the Nigerian condition. But, it is
expected, as Christ Himself says in Matthew 13:57, "A prophet is not without honour, save his own country and his own
house."
In retrospect, in March
1996 when the Nigerian artistic and literary community was agog with the explosion
of a series of events to mark the tri-centenary and two score anniversary of
the birth of Von Goethe (1749-1832), the German creative genius and great
thinker of all times, the Sani Abacha-led military junta, despite its sadistic,
base and tyrannical complexion, surpassingly accorded the celebration an
official recognition while declaring Soyinka, the custodian of our artistic
signature wanted, dead or alive. Given the authoritarian intolerance of the
Buhari government and the President's implacable disdain for anything cerebral,
no one actually expected less from them especially at a time when Soyinka is
telling him to listen to the cries of the Igbo and the minorities in the
country, and to heed to the call for the restructuring of this lopsided federation.
Oscar Wilde, the great Victorian English epigrammatist, in a state of
protracted gloom once observed that: "Formerly
we used to canonize our heroes. The modern method is to vulgarize them. Cheap
editions of great books may be delightful, but cheap editions of great men are
absolutely detestable." Indeed, the brilliant Wilde cannot be faulted.
But there is no more breeding ground for such critical vituperation than our
current socio-political climate.
We hear that in top
government circles they are no more comfortable with Kongi due to his recent
critical observatories on the state of the nation. Yet, if that is the price
Soyinka would pay for being what he is, that price could seem high to those who
swam into his Ken, for he is still our leading intellectual lion and is alive
to his responsibilities. Artists are hardly into lasting friendships with the
State. Edmund Wilson, in his famous essay, "The
Wound and the Bow", takes Sophocles' play, "Philoctetes" as
an allegory of the artist: Philoctetes was marooned on an island because he
suffered from an evil-smelling wound. Yet fellow Greeks sought him out because
they needed his magic bow for the Trojan war. The artist pays for his creative
vision by his sickness, and though society rejects him, it nevertheless needs
him because of the healing power of his art. This view does not derive
inevitably from modern psychology, and social at least as much as psychological
factors account for its rise and popularity. For instance, having chastised and
imprisoned Soyinka for being a stubborn radical, the Federal Government of
Nigeria, in 1986, awarded him the second highest national honour of the land,
thus making him the celebrated prodigal son of that era. The Nigerian
leadership was shamefully beaten to submission because Soyinka had won the
prestigious Nobel Prize in literature in 1986.
There may be scarcity of
heroes in Nigeria ,
or they may be a lack of official acknowledgment of the existence of one, but
in Prof. Wole Soyinka, the Nigerian people are blessed with one. In 1840, when
he was at the height of his fame, Thomas Carlyle, who influenced the thinking
of his time more than any other great Victorian writer, delivered six popular
lectures "On Heroes, Hero Worship and the Heroic in History". Amongst
the different categories of heroes whom Carlyle discussed, including great
religious and military leaders, lectures were devoted to: "The Hero As
Poet (Dante and Shakespeare) and to "The Hero As Man Of Letters (Samuel
Johnson, Rousseau, and Robert Burns). Elements of all of these heroes are in
Soyinka.
For in him, there is a direct immersion of the writer and his art as
we find his life exemplifying his literature and vice-versa. Soyinka is an
indomitable social activist and committed crusader, and no other Nigerian
writer, except, perhaps, Ken Saro-Wiwa, has suffered more deprivation,
humiliation and personal physical and psychological discomfort from the hands
of State apparatuses and state superstructures for his beliefs than Soyinka.
The betrayal of the national trust by Nigerian politicians and the general
apathy of the citizenry provoked a civil war in Nigeria between 1967 and 1970. In fact, the traumatic effects of
the social upheaval of the mid 1960's the war and its attendant horrors
orchestrated Soyinka's political commitment.
Soyinka consequently
emerged as the flag bearer of a generation of disinterested angry Nigerian
writers with a total commitment to the radical transformation of a society
caught in the unholy and rapacious embrace of a neo-imperialist and
neo-colonialist social order, whose works not only represent and protest, but
also uncompromisingly undermine alienation in all ramifications. Without going
into specifics, the totality of Soyinka's works does not only remorseless lay
bare the laws on which this alienating social order is based, with their
historical and artificial character, it also offers a ruthless critique and
demystification of the originality of the existing stultifying social order
encapsulated in a powerful artistic imagery, and of a viable alternative
hegemony.
History is replete with
the fact that writers over time have been the builders of the thoughts and
characters of their ages. For, even in Europe ,
unprejudiced inquiry in the bold, unshackled tradition began with Descartes,
Spinoza and Locke in the seventeenth century-the three great thinkers and
writers who laid the foundation for the Age of Reason, or the Enlightenment, as
the eighteenth century was to be called. At the end of this period, Rousseau
and Adam Smith came even closer to defining the ideas that have shaped modern
political and economic thought and life till date. In the later sixteenth
century, Spain was the
greatest power in Europe; in the seventh century France
held this position, and in the eighteenth England . All this was made possible
by their men of letters. Indeed, the stage of history during the Age of Reason
belongs primarily to France
and England ,
who fought each other continually for colonies, trade and political power but
collaborated intellectually to achieve the Enlightenment and the classical
ideals of arts and literature.
Unarguably, the sharp
decline in Spain was nearly
complete by 1650; the rise of Prussia
was still in progress in 1770. The Italian States had settled into an elegant
decadence long before. Sweden
had brief hey days of conquest in the early eighteenth century, and the Netherlands challenged France and England for colonies and trade in
the high seas; but both were countries too small to rival the great powers for
long. Only Austria
in the East ranked with the two giants of the West, but she was an old-styled
empire compounded by many people; insular and self-contained but lacking modern
nationalism. She assumed leadership in the world of music with Haydn and
Mozart, but contributed little to the literature of the age. France developed the classical ideal of literary
art, and England
joined her in expressing it. It was, indeed, an era of broad intellectual
cooperation, when the national traits of Renaissance literature gave way to
cosmopolitan standards and international molds. Africa
at this time was unknown except in the brutality and savagery of Euro-American
slave drivers. It was Wole Soyinka who wrote Africa
in black and white in the literary map of the world when he became the first
black man to win the Nobel Prize in Literature in 1986 thereby taking over from
Christopher Mallowe after William Shakespeare in the world of drama.
Now, it is safer to assess
the greatness of historical eras when you think of the Greece of Aeschylus, the
England of Shakespeare and the Africa of Soyinka. Quick-witted and utterly
intellectually ruthless, one of Soyinka's chief and just glories is that, for
more than sixty years, he has clearly seen, and kept constantly and
conspicuously in his own sight and that of his readers the profoundly important
crises in the midst of which we are living. The moral and social dissolution in
progress about us as a nation, and the enormous peril of sailing blindfold and
haphazard, without rudder or compass or chart, have always been fully visible
to him. As Soyinka turns 82 today, it is to be noted that the Nigerian literary
prophets are without honour in their country. Theirs are voices crying in the
wilderness of a soulless age that has refused to heed their message. But a
civilisation is doomed which has refused to heed to the counsel of its
prophets. Why is Soyinka still very angry at 82 years? He is still angry at
this age because he believes that justice is the first condition of humanity,
yet he sees injustice walking in its true nakedness everywhere in his country.
This makes his works and speeches sweeter than ever before. It is this literal
wholesomeness of art which makes it at once charming and venerable. Happy
birthday, Prof.
*Dan Amor is an
Abuja-based public affairs analyst (danamor98@gmail.com)
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