Themes are the fundamental and often universal ideas explored in a literary work.
As a story about a culture on the verge of change,
This system of evaluating the self inspires many of the clan’s outcasts to embrace Christianity. Long scorned, these outcasts find in the Christian value system a refuge from the Igbo cultural values that place them below everyone else. In their new community, these converts enjoy a more elevated status. The villagers in general are caught between resisting and embracing change and they face the dilemma of trying to determine how best to adapt to the reality of change. Many of the villagers are excited about the new opportunities and techniques that the missionaries bring. This European influence, however, threatens to extinguish the need for the mastery of traditional methods of farming, harvesting, building, and cooking.
These traditional methods, once crucial for survival, are now, to varying degrees, dispensable. Throughout the novel, Achebe shows how dependent such traditions are upon storytelling and language and thus how quickly the abandonment of the Igbo language for English could lead to the eradication of these traditions.
Okonkwo’s relationship with his late father shapes much of his violent and ambitious demeanor. He wants to rise above his father’s legacy of spendthrift, indolent behavior, which he views as weak and therefore effeminate. This association is inherent in the clan’s language—the narrator mentions that the word for a man who has not taken any of the expensive, prestige-indicating titles is
We are told that he does not think about things, and we see him act rashly and impetuously. Yet others who are in no way effeminate do not behave in this way. Obierika, unlike Okonkwo, “was a man who thought about things.” Whereas Obierika refuses to accompany the men on the trip to kill Ikemefuna, Okonkwo not only volunteers to join the party that will execute his surrogate son but also violently stabs him with his machete simply because he is afraid of appearing weak.
Okonkwo’s seven-year exile from his village only reinforces his notion that men are stronger than women. While in exile, he lives among the kinsmen of his motherland but resents the period in its entirety. The exile is his opportunity to get in touch with his feminine side and to acknowledge his maternal ancestors, but he keeps reminding himself that his maternal kinsmen are not as warlike and fierce as he remembers the villagers of Umuofia to be. He faults them for their preference of negotiation, compliance, and avoidance over anger and bloodshed. In Okonkwo’s understanding, his uncle Uchendu exemplifies this pacifist (and therefore somewhat effeminate) mode.
Language is an important theme in
On a macroscopic level, it is extremely significant that Achebe chose to write
Just as Okonkwo is divided from his father, he is also divided from his eldest son, Nwoye. Nwoye has much in common with his grandfather Unoka, especially with regard to his lack of interest in war and his love of the arts. Nwoye resists his father’s expectation that he become an accomplished warrior. He also feels drawn to his mother’s stories, which Okonkwo sees as an effeminate waste of time. Eventually, Nwoye escapes his father’s expectations and his wrath by running away and converting to Christianity. Although Okonkwo feels ashamed of both his father and his son, the novel suggests that Okonkwo is perhaps more of an anomaly than either Unoka or Nwoye.
Okonkwo’s greatest weakness is his pride, which is constantly under threat both from within his community and from without. Okonkwo takes pride in his achievements. This pride is justifiable, since he has accomplished a lot. Not only has he proven himself among Umuofia’s fiercest warriors, but he has also climbed Umuofia’s social ladder faster than any of his peers. Yet Okonkwo’s pride also makes him quick to disdain others who don’t live up to his high standards. For instance, Nwoye’s apparent lack of masculine qualities leads Okonkwo to worry about his own legacy and be aggressive towards Nwoye.
Okonkwo’s exile in Mbanta also deals a serious blow to his pride. When he returns to Umuofia he wants to restore his pride by defending his home against European influence. Okonkwo explains his position with an analogy: “If a man comes into my hut and defecates on the floor, what do I do? Do I shut my eyes? No! I take a stick and break his head.” Okonkwo eventually resorts to violence to defend his pride, and this violence leads to his tragic downfall.
For example, when Okonkwo kills Ikemefuna against the advice of Ogbuefi Ezeudu, he does so because “He was afraid of being thought weak.” But Okonkwo’s brutal killing of his adopted son breaks the heart of his blood son, Nwoye. This act deepens an already-existing wound between Okonkwo and Nwoye, one that never gets healed. Throughout the novel, emotional repression leads to damaging—and eventually, for Okonkwo, tragic—outbursts of anger and violence.
Drums play an important role in Umuofia. Throughout
In one telling example, the narrator transcribes the drum language phonetically: “Go-di-di-go-go-di-go. Di-go-go-di-go. It was the
The term “ethnographic distance” refers to a method in anthropology where the anthropologists distance themselves from the culture they are studying in order to make sense of that culture. At several points in the novel, the narrator, who otherwise seems fully immersed in Igbo culture, takes a step back in order to explain certain aspects of the Igbo world to the reader. For example, when Okonkwo’s first wife calls out to Ekwefi in chapter five, Ekwefi calls back from inside her hut, “Is that me?” This response may seem strange to non-Igbo readers, so the narrator explains the cultural logic of Ekwefi’s response: “That was the way people answered calls from outside. They never answered yes for fear it might be an evil spirit calling.” The Igbo world is full of spirits that may have evil intentions, and answering “Yes” to a call from outside could inadvertently invite one such spirit inside. Throughout the book the narrator uses ethnographic distance to clarify elements of Igbo culture to a non-Igbo reader. The narrator borders two worlds: one African and one European.