Skip to main content

Poem:Once Upon a Time by Gabriel Okara

 About Poet:    

Gabriel Imomotimi Gbaingbain Okara (born April 21, 1921 in Bumodi, Nigeria) is a Nigerian poet and novelist who may be pronounced as highly original and uninfluenced by other poets. He has been extremely successful in apprehending the moods, sights and sounds of Africa. His poems show great sensitivity, perceptive judgements and a tremendous energy. Okara also shows a concern on the topic of what happens when the ancient culture of Africa is faced with modern western culture. 

About Poem:
  The poem “Once Upon A Time” written by Gabriel Okara illustrates the changes a father has seen in him throughout his life which have been influenced by the way society has changed.
             In the first stanza, at the start of the poem Okara writes “they used to laugh with their hearts and… eyes; but now they only laugh with their teeth while their ice-block cold eyes search behind my shadow.” This phrase illustrates the change in the way people act showing that their laughs used to be genuine and heartfelt however now their attitudes have changed. The description of “laugh with their teeth” illustrates someone showing false interest. The dark imagery “ice-block cold eyes” which follows shows that there is no emotion or feeling in the action.
       In the next stanza Okara describes how “they used to shake hands with their hearts” implying that the actions were genuine and were also symbolic of good intentions however “Now they shake hands without hearts while their left hands search my empty pockets.” This phrase illustrates that all good intentions have gone and how now it is every man for him. Everybody is only focusing on their own personal gain. The use of a metaphor emphasises how there is a lack of trust as everybody is trying to use each other.
             The phrase “empty pockets” could connote that he has been stripped of all genuine happiness and has been left feeling empty and alone.
In the next stanza,Okara shows the change in him as a man. “And I have learned, too,… to say ‘Goodbye’, when I mean ‘Good-riddance”. Here there is an evident shift in the stanza due to the fact that he is now talking about himself and how he too has learned to be false. This could imply that society has pressured him into changing in a negative way.
              At the end of the poem Okara confesses “I want to be what I used to be” showing instant regret and sadness at the choices he previously made. This piece of dialogue could suggest that he can only be himself around his son as he recognises his younger self in his son, the self that was genuine and true, which had not yet been beaten down by society.

Comments

Popular posts from this blog

Poem: Were I To Choose by Gabriel Okara

Were I to Choose   “When Adam broke the stone             and red streams reged down to           gather in the womb,           an angel calmed the storm”, “And I, the breath mewed             in Cain, unbliniking gaze                 at the world without                              from the brink of an age”.             Gabriel is immersed in folk tradition and ballad influences of tradition and culture are found in his poem. His poems are regional as well as universal. His poems are sometimes lyrical and full of music.                     The poem ‘Were I to choose’ is reminiscent of yeast poem called “Adam’s Curse.” The poet has tried to compare Adam’s toiling in the soil with the Negros working in the soil. They broke the stone themselves which was their very foundation. The red streams are symbolized for the multilingual diversity that reaches the womb Africa.           Cain in this poem metaphorically represents the next generation. ‘I’ in Ok

Poem: "Daddy" by sylvia plath

  Poem: Daddy You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you. You died before I had time— Marble-heavy, a bag full of God, Ghastly statue with one gray toe Big as a Frisco seal And a head in the freakish Atlantic Where it pours bean green over blue In the waters off beautiful Nauset. I used to pray to recover you. Ach, du. In the German tongue, in the Polish town Scraped flat by the roller Of wars, wars, wars. But the name of the town is common. My Polack friend Says there are a dozen or two. So I never could tell where you Put your foot, your root, I never could talk to you. The tongue stuck in my jaw. It stuck in a barb wire snare. Ich, ich, ich, ich, I could hardly speak. I thought every German was you. And the language obscene An engine, an engine Chuffing me off like a Jew. A Jew to Dachau, Auschwitz, Belsen. I began to talk like a Jew.

Poem: The Mystic Drum by Gabriel Okara

The Mystic Drum:                     The Mystic Drum is Okara’s love lyric. The Mystic Drum evinces a tripartite ritual pattern of imitation from innocence through intimacy to experience. By comparison to the way of zone as manifested in the experience of Zen master, Chin Yuan Wei-Asian this pattern resolves itself into an emotional and epistemic logical journey from conventional knowledge through more intimate knowledge to learn of experience empowers the lover to understand that beneath the surface attractiveness of what we know very well may lie an abyss of the unknown and unknowable belching darkness.                   But experience teaches us at this stage of substantial knowledge not to expose ourselves to the dangers of being beholden to this unknown and unknowable reality by keeping our passions under strict control including the prudent decision to ‘pack’ the ‘Mystic Drum’ of our innocence and evanescence making sure that it does not ‘beat so lo