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Theatre

Isolation Versus Masculinity

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Isolation Versus Masculinity

The reason Okonkwo hangs himself in Chinua Achebe’s Things Fall Apart is that he no longer has a society he can identify with and belong to. The purpose of this article, therefore, is to explore why the unfulfilled desire to have a lasting sense of belonging, as opposed to alternative theories that explain Okonkwo’s tragic end as a consequence of the implication of exclusion from the masculinity circle of his community. The interpretation that Okonkwo hanged himself because of isolation is different because it looks at the bigger picture, which is why Okonkwo and many other men in the Igbo community may have experienced sadness and shame once the white men introduced Western culture in West Africa. Okonkwo’s suicide is perceived with horror by the reader because it seems unusual that a prominent African villager would hang himself because of the emotional turmoil he goes through. However, many interpretations of Okonkwo’s life and death treat review the drama in his life with the perspective that the cultural crisis that Okonkwo faces could only have happened to him. As unique as Okonkwo’s life journey and decisions seem, they are consistent with specific anthropological theories that predict his behavior and emotions. This view, nonetheless, is not explored in the existing literature that analyzes the themes in the village life of Umuofia, as portrayed by Chinua Achebe.

Okonkwo and Masculinity Theories

The bulk of literature that discusses Things Fall Apart focuses on masculinity theories. For instance, Chindi Maduagwu, in his assessment of the masculinities in Achebe’s Things Fall Apart, argues that heroic characteristics are the building blocks for the construction of masculinities in the setting used in the book. These heroic characteristics, according to Maduagwu, are the ideal that anyone who desires clan or ethnic honor must strive for. Maduagwu also references Kevin Alexander Boon’s argument about the link between masculinity and heroism: “heroic qualities serve as models for privileged masculine behavior” (Maduagwu). While disagreeing with the idea that the hero figure is beyond reach because it “occupies the transcendent realm of the divine,” Maduagwu emphasizes that the “man of masculine behavior” only needs to set himself apart from other males and base his character on heroic qualities to attain the status of a hero figure (Maduagwu). Nonetheless, he agrees with Boon’s argument that “the hero figure engenders masculine affiliation through its presumed presence in the masculine other.” While Boon seeks to introduce an aspect of impossibility and divinity in the heroic figure, Maduagwu seeks to humanize Okonkwo, arguing that a heroic figure should act within human limitations. Therefore, he argues that despite being unique in all acts, the heroic figure is human enough to respect taboos of the community he belongs to, could be victimized through societal prejudice, and, most importantly, errs like all other people.

Instead of painting the understanding of masculinity in the fictional Umuofia as a peculiar world, Maduagwu argues that the society in the book could represent any society among the present-day southeastern Nigeria people of Igbo. In his analysis of masculinity among the Igbo, he notes that not only are males different from women, but some men are also different from other men. The factors that set these men apart as unique are particular masculine characteristics. The approved sense of masculinity in the village life of Umuofia that Okonkwo belongs to is that maleness is unique as opposed to manhood, representing the ordinary sense of “being a man” (Maduagwu). In this understanding, a man who has a phallus, a biological tool of procreation and sexual identity, but does not actively procreate, is considered to exist at a deficient rank of masculinity. Such a person may not be acknowledged to be male at all. By marrying three wives, for example, Okonkwo climbs up the social ladder of masculinity. The fact that he has many children adds to his maleness, and his respect in society is increased. The biological aspect of masculinity is, therefore, essential for Okonkwo’s status in Umuofia.

Moreover, the pursuit of the highest level of masculinity available is a top priority for Okonkwo (Maduagwu). Throughout his life, he despises the fact that his own father was associated with womanhood because of the life he led. Considering that the apart from expressing sexual virility, physical prowess is a vital source of societal respect, Okonkwo also seeks to achieve physical feats to attain a higher association with masculinity. Okonkwo, therefore, takes up any opportunity to show off his biological gifts that he has through wrestling. Okonkwo wins respect for Umuofia in the early part of the story by winning a coveted wrestling prize. It is crucial to note that in Umuofia, wrestling is only reserved for male members of the community. However, only certain male members of the community can participate in the sport. The requirements for wrestling opportunities include significant stamina, courage, and special masculine qualities. Okonkwo also boasts that to win a wrestling match, one has to have a brilliant mind. Only wit can make the difference between two equally matched men regarding masculine abilities. Through his successful wrestling history and fame, Okonkwo takes pride in the fact that all of Umuofia considers him to have reached the highest level of masculinity.

However, social psychologists try to explain Okonkwo’s death by suicide through the exploration of masculinities at more advanced “personality traits’ levels (Maduagwu). The idea behind looking into the psychological aspect and broader cultural schema of masculinity is identifying the latent features that influence the physical expressions of masculinity. Trait masculinity, therefore, considers a man to be masculine based on his ability to possess “the characteristics of culturally constructed expectations about behavior appropriate for men.” These two masculinities, therefore, offer a more in-depth evaluation of Okonkwo’s character. While one sense of masculinity elevates him to be a heroic figure, the other questions his actions and downgrades his maleness. The trait masculinity, thus, portrays Okonkwo to be a weak man, perhaps more vulnerable than his father before (Maduagwu). Ironically, while Okonkwo spends all his life trying to defend his masculinity, even giving the reader the idea that he could be the manliest person in Umuofia, such a description of Okonkwo can only fit an understanding of masculinity that is based on biological and physical expressions. Okonkwo’s failure to meet the canons of the Umuofia society exposes his flawed personality and his rash decision making.

For instance, he fails to hold back his anger when he strikes his wife during the week of peace, an act considered to be taboo, and that could bring bad fortune to the clan. The expectation that he fails to meet is that masculinity should transcend the idea of being a physically strong man to the level of a strong man who has proper control over his emotions through qualities such as self-control. The internal self, and the external world, therefore, should both be in full control of a man. Trait masculinity also demands that a man should develop and maintain acceptable and balanced relationships at both the societal and domestic levels. Obiereka is one of Achebe’s characters who meet the demands of trait masculinity as per the requirements of Igboland (Maduagwu). Unlike Okonkwo, Obiereka is a man of patient thought. He can think carefully and slowly before making important decisions. In addition, Obiereka displays a deep understanding of the cultural expectations of the people and is seen to avoid conflict with others or any ill-fortune upon himself as a result of making rash decisions. Obiereka is thus a voice of reason who can be consulted by others on essential decisions or the culture of the Igbo. However, Okonkwo is a short-tempered trouble seeker whose heroics cannot cover up for the weaknesses in his personality.

For instance, after restoring Umuofia’s honor by taking a young boy and a virgin from a neighboring clan that had carelessly led to the death from his clan, Okonkwo, later on, brings grief to himself by killing the young man. The customs of the people dictated that he should not take part in the killing of the young man (Maduagwu). Additionally, a wise elder had also warned Okonkwo not to take part in the killing of Ikemefuna, a young man that shared a loving relationship with Ikemefuna. Okonkwo’s own conscience was against the killing of Ikemefuna. In a strange turn of events, Okonkwo opposes the “voice of the oracle of the hill and the cave that pronounces death” by taking matters in his own hands (Maduagwu). In his mind, he imagines he will look weak if he does not take part in the killing. He, therefore, hacks Ikemefuna down, to the disbelief of the men who accompany him, and to the horror of Ikemefuna, who had considered him to be a father all his life. Despite the immense trust and warmth that exists between them, Okonkwo goes ahead and kills a boy who calls him father. As Maduagwu argues, being called a father is not something that Okonkwo should have treated lightly as it was considered “an enviable symbol of masculinity in his society” (Maduagwu).

Maduagwu argues that Okonkwo labors hard to be respect based on his own understanding of masculinity. According to his assessment of Okonkwo, the tragic hero is a victim of childhood scars of being raised by a poor, lazy, and despised man-his father, Unoka. Okonkwo’s obsession with earning clan respect as seen by his multiple references to his fear of being called an agbala- a derogatory term for a man of extremely low masculinity, which also refers to a woman. In the end, his legacy is destroyed. Even his own son, Nwoye, dislikes and despises Okonkwo after he kills Ikemefuna to protect his manliness. Okonkwo becomes distraught when he realizes that none of his children aspire to be as manly as he is. When he sadly realizes Nwoye would not take to his idea of masculinity, he turns to his daughter Ezinma, to continue his legacy. This is because continuity is a crucial aspect of masculinity. However, his daughter Ezinma is a female and cannot carry his masculine qualities. Another aspect of masculinity that Maduagwu acknowledges to trouble Okonkwo’s life is success. Maduagwu argues that “success is a masculine identity.” When he kills the Whiteman’s messenger and the whole community does not support him instead of giving him praise for a heroic act, Okonkwo considers himself to be ousted from the masculine circle by failure.

Thus, Maduagwu offers a persuasive argument about masculinity being central to Okonkwo’s rise and fall when he points out the fact that his internalized idea of success was based on the part of the masculine ideology of the Umuofia society. The respect that Okonkwo enjoys, and the honor he is given in the village, are centered on his triumphs, a fact that keeps him in endless fear of failure because his social status is wholly based on success. When he encounters failure by violating the taboos of fighting his wife during a peace week, killing his surrogate son, and violating an agreement between Umuofia and the White men by killing a colonial messenger, Okonkwo experiences “exclusion” from masculinity when he realizes he has lost the respect of his family and community. Therefore, the fall of Okonkwo can be understood through the lens of masculinity theory.

Umuofia Life as a Drama

The Umuofia way of life is a drama where the characters are the village people, and the script is the Igbo culture- Okonkwo dies because he cannot play his role as per his script. Drawing from his ethnographic study if of the Mekinahu Indians of Central Brazil, Thomas Gregor, in his work The Self in Daily Drama, uses the sociological theory of culture and personality to explore the adult personality traits of the Mekinahu (Gregor). Gregor argues that the way of life of the Mekinahu village people is an improvisational theatre. In this theatre, the village men and women are the characters, while the script is the Mekinahu culture. Gregor presented the Mekinahu culture as a complex web of expectations and customs where there were many types of greetings, goodbyes, portraits if self, and rules that governed social relationships. In addition, some values, including generosity, restraining anger, working hard, and appearing energetic, bring great honor to those who observe them. To the outside observer, the rules and regulations that govern the social relationships of the Mekinahu are incredibly intricate, and the consequences of not following these social laws are massive.

For instance, men believed to be witches can be lynched even when they are living in exile. Gregor’s main argument is that the social rules and expectations of village life are a script that must be followed by all those who desire acceptance, love, and respect from their neighbors (Gregor). However, those who cannot play the roles expected of them by the traditional way of life have to hide in their houses or go into exile in foreign villages to avoid playing their roles in the drama. Moreover, those who cannot participate in the drama of village life are also seen to disconnect from the improvisational drama by straying through forests, paying a visit to other tribes, and living in secluded villages set aside for such people. Most importantly, those who cannot play off their social scripts experience sadness and shame (Gregor). Therefore, Gregor offers an explanation for the emotional rollercoaster that Okonkwo experiences without focusing on Okonkwo alone. Gregor’s analysis of society as an improvisational drama where those who cannot play by the script explains the existence of outcasts in Umuofia. The sadness and shame depicted in those who cannot seamlessly play their roles in the script of village life among the Mekinahu are seen in the fact that they have to hide in their houses or live away from the village when they find the traditional life overwhelming.

According to Gregor’s analysis, the punishment by exclusion policy is not reserved to masculinity theories. In Umuofia, the outcasts, also called osu, are creations of breaking away from the script. For instance, the community does not accept any people born as twins, or those who murder a fellow villager (Chinua 122-125). In addition, the indolent in the community are despised and widely ridiculed. They are denied the privilege of openly mingling with other villagers. These patterns of exclusion are similar among the Mekinahu. Both the Mekinahu and the Igbo, therefore, exclude members of the society who do not keep the social custom of their tribes. To assert that masculinity is the only pattern of exclusion is, therefore, is to ignore the broader understanding that humans are inherently programmed to desire human connection with others. The punishments that the osu are given reveal the importance given to social relationships by the Igbo (Chinua 122-125). For instance, because of being dedicated to gods, they are not allowed to mix freely with the “freeborn’. The abominations that make the osu outcasts provoke the tribe to force them to live in a secluded part of the village, and they are not allowed to use razors. Their long hair is their mark, and they could not attend assemblies, host the freeborn, take any of the four titles of the clan, or receive a proper burial.

On the other hand, those who lazy and improvident like Unoka, or merely unsuccessful, were not entirely isolated but were treated with ridicule and repeatedly shamed. The idea that Okonkwo’s life and death were pivoted around masculinity, therefore, is a fitting but one-sided view of the village life. Before Okonkwo, no other suicide is reported in the village (Chinua 15-19). One can argue against the dominance of masculinity theory in Okonkwo’s decisions. Many other men in the village are victims of the exclusion criteria of the masculinity circle and yet did not commit suicide. The closest example of this phenomenon is Okonkwo’s own father, Unoka. Unoka lived a lazy but merry life. He was always in debt to his neighbors, and if he came across any man, he would spend it quickly on choice food and wine. Despite being a talented musician, Unoka was a laughing stock and a coward whose children never had enough to eat and who could not stand the sight of blood.

At the beginning of the story, Achebe introduces Unoka as a shameful man who is deep in debt and who employs a cunning tongue to avoid paying his debtors. When a fellow musician visits him to ask his two hundred cowrie shells back so that he can hold a big feast, Achebe uses the guest, Okoye as an example of a man who is presented with the same talents and opportunities as Unoka to magnify Unoka’s indolence (Chinua 15-19). Achebe points out that all men in Umuofia had to have a title, just like Okeye is introduced as a man who is about to earn the title of Idemili, the highest in the land. Apart from Unoka, social pariahs in Umuofia called osu, who were not allowed even to shave their hair, lived a contented life on the fringes of society but were not documented to have contemplated suicide.

Therefore, it is exclusion from society, the inability to earn respect from the clan and even among his own family, the fact that he is the only one indignant enough to fight the White man, and the idea of being alone in his ideas and thinking that makes Okonkwo hang himself. The ideals Okonkwo held no longer had a place in his community. Therefore, isolation had a more significant role in Okonkwo’s suicide than his exclusion from the masculinity circle. There is, therefore, room for more sociological studies based on ethnographic theories that could explain Okonkwo’s life and death.

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