Terri Beth holds a PhD in English language and literature from the University of Tennessee, Knoxville. She also holds a Master of Arts in English literature from the University of Virginia at Charlottesville, and a BA in English from Tusculum College in Greeneville, Tennessee. Since 2005, she has taught literature, writing, and philosophy courses at the university and graduate levels. Though Terri Beth loves books and writing of all kinds, her heart lies especially with British Victorian and Modernist literature, as well as the novels of Virginia Woolf, George Eliot, the Bronte sisters, and, to mix things up a bit, Salman Rushdie!
Okonkwo as a Tragic Hero in Things Fall Apart
Table of Contents
- Okonkwo as Tragic Hero
- Okonkwo the Haunted Son
- Okonkwo and His Children
- The Advent of the Colonizer
- Okonkwo and Other Tragic Heroes
- Lesson Summary
What happens when everything is going bad? Your children aren't turning out like you expected. Your spouse is driving you crazy, and the community you love and lead is falling apart. Okonkwo, the protagonist of Chinua Achebe's 1958 masterpiece, Things Fall Apart, faces the exact same predicament. Okonkwo is the leader and strong man of the Igbo, a Nigerian ethnic community, who live in the village of Umofia. Okonkwo becomes the epitome of the tragic hero, one whose incredible talents drive him to the heights of success only to bring about his ruin.
Okonkwo is a man's man; powerful, dominating, and fearsome. However, it's all an act, a mask he's created to hide the fact that he's running from the memory of his father, Unoka. Unoka was everything a man in Okonkwo's culture is not supposed to be. He was lazy, weak, and an absentee father and husband; he owed debts and never worked to repay them. He was artistic, weeping over music and poetry. He was a village laughingstock and not a man at all in Okonkwo's mind.
In trying to prove to the world, and to himself, that he is nothing like his weak, slovenly, laughable father, Okonkwo becomes a bully and a hothead. His desperation to escape the shame of his father, in fact, binds him even more tightly to him, coloring everything Okonkwo does, thinks, and feels.
He wants nothing more than to be a true man, which to Okonkwo means beings a strong man, and in that desperation, everything else falls away: love, compassion, patience, gentleness, wisdom. Okonkwo spends his entire life destructively wrestling with ghosts and boxing with shadows. In the process, like a true tragic hero, his greatest strength, his masculine power, also becomes his greatest weakness, the hamartia, or fatal flaw, that leads to his destruction.
Okonkwo's desperation not to be like his father bleeds into his relationship with his own family, especially his children. He becomes a tyrant at home. This is especially true of his treatment of his twelve-year-old son, Nwoye, in whom Okonkwo perceives signs of his father's weakness and idleness. He frequently beats and berates the boy.
Things in Okonkwo's home start to improve for a time but Ikemefuna, a sixteen-year-old boy given to the village of Umofia, arrives as a peace offering from a neighboring village. Okonkwo takes the boy into his home and quickly grows to love him. Okonkwo even thinks he sees Nwoye becoming more manly under Ikemefuna's influence.
But this hopeful time does not last. Okonkwo's demons linger. He violates the Week of Peace, disrespecting the gods by beating his young wife. His community is shocked by this sacrilege. It would be like showing up drunk to a house of worship and peeing on the altar.
Things then go from bad to worse. Okonkwo learns that an Oracle, a messenger of the gods, has determined that Ikemefuna must be killed. A village elder, Ezeuda, warns Okonkwo that he must not take part in Ikemefuna's sacrifice because the boy considers Okonkwo to be a father figure, and to take part in his death would offend the gods.
Okonkwo is devastated at the thought of losing the beloved boy, and if we've learned anything about Okonkwo, it's that any gentle emotion only brings out his worst. When Ikemefuna runs to Okonkwo for help, Okonkwo deals the death blow. He cannot risk looking weak or effeminate before the village. He instinctively reacts, and in the process offends the gods once more.
What happens next surely rings of divine vengeance. Ezeuda dies and the village gathers for his funeral. There, Okonkwo's gun inexplicably explodes, killing Ezeuda's sixteen-year-old son. Killing a clansman, even by accident, is profoundly insulting to the earth goddess. So the village sends Okonkwo and his family into exile for seven years, a way of appeasing the goddess and cleansing the village of Okonkwo's sins.
When Okonkwo and his family return from exile, Umofia is not the same. The novel is set in the 1890s, when European imperialism was reaching its peak worldwide. The colonizer has come, led by Christian missionaries seeking to 'civilize' the natives by converting them. Okonkwo is outraged to see his people so changed. He attempts to ignite a rebellion to reassert the masculine power that once made him a great leader, but the community does not join him because they do not want to fight.
Okonkwo cannot reconcile himself to this new Umofia. He cannot abandon his masculine ideals, even though they no longer have any place in the changed Umofia. Okonkwo's masculine aggression led to the exile that took him from his community when they most needed a powerful leader to help resist the colonizers. Unable to adapt to the changed world he found when he came home, he kills himself, a sin in Igbo culture. Because of this, Okonkwo cannot be buried in the village. A true tragic hero, Okonkwo is to remain forever an exile.
Okonkwo's downfall echoes other great tragic heroes in literature such as King Oedipus. Okonkwo is a great leader of his people, a man's man, whose tragedy is driven both by his manly pride and a shameful family legacy. Like Shakespeare's King Lear, Okonkwo's destruction begins first with the destruction of his family, specifically the mistreatment of his children. Also, like Shakespeare's Othello and the many literary legends surrounding King Arthur, Okonkwo is a great warrior, one who has risen from humble beginnings to become a bold, courageous fighter for his people. But these great gifts are cast aside because of real or imagined betrayal. Othello fears his wife's betrayal; Arthur experiences the actual betrayal of his wife and favored knight; and Okonkwo feels betrayed by his clansmen in failing to fight for their beloved Umofia.
Okonkwo, the protagonist in Chinua Achebe's 1958 masterpiece, Things Fall Apart, is the epitome of the tragic hero. Okonkwo's hamartia, or fatal flaw, is his masculine power, which cancels out all other things: gentleness, love, compassion, wisdom. Okonkwo strives to be the manliest man of the Igbo village of Umofia. He wants to be nothing like his father, Unoka, who was weak, effeminate, idle, and debt-ridden. Trying to prove his masculinity, Okonkwo commits a series of acts, which offend the gods and spirits.
Okonkwo and his family are exiled for seven years. When they return, European colonization has changed Umofia. Okonkwo wants to lead a rebellion but the men do not join him. Recognizing that his own mistakes have taken him from his people when they needed him most, Okonkwo kills himself, a shameful act among the Igbo people. A true tragic hero, in the tradition of Oedipus, King Lear, Othello, and King Arthur, Okonkwo becomes an eternal exile as his suicide is too serious a sin for him to be buried in the village.
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