Introduction: Chinua Achebe and Things Fall Apart

The child of a Protestant missionary but raised in the Igbo culture, Albert Chinua Lumogu
Achebe was born on November 16, 1930, in Ogidi, a large village in Nigeria. He attended the
Government College in Umuahia from 1944 to 1947. He graduated from University College, Ibadan, in
1953. While he was in college, Achebe studied history and theology. He also developed his interest in
indigenous Nigerian cultures, and he rejected his Christian name, Albert, for his indigenous one,
Chinua. In the 1950s, Achebe was one of the founders of a Nigerian literary movement that drew upon
the traditional oral culture of its indigenous peoples. His early career in radio ended abruptly in 1966
when he left his post as Director of External Broadcasting in Nigeria during the national upheaval that
led to the Biafran War. He was appointed Senior Research Fellow at the University of Nigeria. From
1972 to 1976, and again in 1987 to 1988, Achebe was Professor of English at the University of
Massachusetts, Amherst, and also for one year at the University of Connecticut, Storrs. A prolific writer,
he published novels, short stories, essays and children’s books.
In 1958, he published Things Fall Apart as a response to novels such as Joseph Conrad’s Heart
of Darkness that treat Africa as a primordial and cultureless foil for Europe. Tired of reading white
men’s accounts of how primitive, socially backward, and, most important, language-less native Africans
were, Achebe sought to convey a fuller understanding of one African culture and, in so doing, give
voice to an underrepresented and exploited colonial subject.
Things Fall Apart is set in the 1890s and portrays the clash between Nigeria’s white colonial
government and the traditional culture of the indigenous Igbo people. Achebe’s novel shatters the
stereotypical European portraits of native Africans. He is careful to portray the complex, advanced
social institutions and artistic traditions of Igbo culture prior to its contact with Europeans. Yet he is just
as careful not to stereotype the Europeans; he offers varying depictions of the white man, such as the
mostly benevolent Mr. Brown, the zealous Reverend Smith, and the ruthlessly calculating District
Commissioner.
Achebe’s education in English and exposure to European customs have allowed him to capture both the
European and the African perspectives on colonial expansion, religion, race, and culture. His decision to
write Things Fall Apart in English is an important one. Achebe wanted this novel to respond to earlier
colonial accounts of Africa; his choice of language was thus political. Unlike some later African authors
who chose to revitalize native languages as a form of resistance to colonial culture, Achebe wanted to
achieve cultural revitalization within and through English. Nevertheless, he manages to capture the
rhythm of the Igbo language and he integrates Igbo vocabulary into the narrative.

1) Characterization (the study of characters)

In his mission of correcting the distorted image given to Africa by the “Colonial Discourse” in
general and Joseph Conrad’s Heart of Darkness in particular, Chinua Achebe resorts to realism or
lifelikeness. That is, he gives a realistic description of the characters and setting and narrates a story
which though is not real is inspired from the African reality/history. As far as characterization is
concerned, unlike the “black” characters in Heart of Darkness who are not given names, shape and a
voice, in Things Fall Apart the African characters are presented as individuals who lead an ordinary
existence, with both their positive and negative traits. Such individuals live in a community (the Igbo)
which, far from the lawlessness the “blacks” are characterized with in Heart of Darkness, is governed by
law and tradition. The latter, since time immemorial, have governed the destiny of the Igbo who, like
many African communities, is agrarian. An instance of the prevalence of law and tradition over anything
else is the exile put upon Okonkwo so as to atone for his accidentally killing a clansman. In fact, despite
the position Okonkwo takes in his community, a position he made himself, it did not prevent him from
enduring the punishment of a seven-year exile to his mother’s land, Mbanta.

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 Hard work, good conduct and respect of tradition is to characterize any Igbo farmer who seeks
to be acknowledged by his peers. Such has been the objective of Okonkwo, the protagonist of Things
Fall Apart, since his early age. The character of Okonkwo is minutely described in the following quote:
“That was many years ago, twenty years or more, and during this time Okonkwo’s fame had grown like
a bush-fire in the harmattan. He was tall and huge, and his bushy eyebrows and wide nose gave him a
very severe look. He breathed heavily, and it was said that, when he slept, his wives and children in their
houses could hear him breathe. When he walked, his heels hardly touched the ground and he seemed to
walk on springs, as if he was going to pounce on somebody. And he did pounce on people quite often.
He had a slight stammer and whenever he was angry and could not get his words out quickly enough, he
would use his fists. He had no patience with unsuccessful men. He had had no patience with his father”.
As a matter of fact, the son of the effeminate and lazy Unoka, Okonkwo has always striven to make his
way in a world that seems to value manliness. In so doing, he rejects everything for which he believes
his father stood. Unoka was idle, poor, profligate, cowardly, gentle, and interested in music and
conversation. Okonkwo consciously adopts opposite ideals and becomes productive, wealthy, thrifty,
brave, violent, and adamantly opposed to music and anything else that he perceives to be “soft,” such as
conversation and emotion. Okonkwo achieves great social and financial success by embracing these
ideals. He marries three women and fathers several children. Nevertheless, just as his father was at odds
with the values of the community around him, so too does Okonkwo find himself unable to adapt to
changing times as the white man comes to live among the Umuofians. As it becomes evident that
compliance rather than violence constitutes the wisest principle for survival, Okonkwo realizes that he
has become a relic, no longer able to function within his changing society. Consequently, he prefers to
die than carry on living within a community that is lenient to the wind of change brought by the white
missionaries. The literary worthiness of the character of Okonkwo is that he symbolizes the destiny of
not only his traditional community (the Igbo) but the traditional/precolonial Africa at large. In fact, we
may conclude that the death of Okonkow stands for the end of an epoch, the not faultless but evidently
harmonious precolonial era.
Some other characters in the novel are Okonkow’s son, Nwoye, his daughter Ezinma and the
white man, Mr. Brown. Nwoye, Okonkwo’s oldest son, struggles in the shadow of his powerful,
successful, and demanding father. His interests are different from Okonkwo’s and resemble more
closely those of Unoka, his grandfather. He undergoes many beatings, at a loss for how to please his
father, until the arrival of Ikemefuna, who becomes like an older brother and teaches him a gentler form
of successful masculinity. As a result, Okonkwo backs off, and Nwoye even starts to win his grudging
approval. Nwoye remains conflicted, however: though he makes a show of scorning feminine things in
order to please his father, he misses his mother’s stories. As regards Ezinma, Okonkwo’s favourite
daughter and the only child of Ekwefi, she is bold in the way that she approaches—and even sometimes
contradicts—her father. Okonkwo remarks to himself multiple times that he wishes she had been born a
boy since he considers her to have such a masculine spirit. Ezinma alone seems to win Okonkwo’s full
attention, affection, and, ironically, respect. She and he are kindred spirits, which boosts her confidence
and precociousness. She grows into a beautiful young woman who sensibly agrees to put off marriage
until her family returns from exile so as to help her father leverage his socio-political power most
effectively. In doing so, she shows an approach similar to that of Okonkwo: she puts strategy ahead of
emotion. As to the white man, Mr. Brown, he represents Achebe’s attempt to craft a well-rounded
portrait of the colonial presence by tempering bad personalities with good ones. Mr. Brown’s successor,
Reverend Smith, is zealous, vengeful, small-minded, and manipulative; he thus stands in contrast to Mr.
Brown, who, on the other hand, is benevolent if not always beneficent. Mr. Brown succeeds in winning
a large number of converts because he listens to the villagers’ stories, beliefs, and opinions. He also

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accepts the converts unconditionally. His conversation with Akunna represents this sympathetic stance.
The derisive comments that Reverend Smith makes about Mr. Brown after the latter’s departure
illustrate the colonial intolerance for any kind of sympathy for, and genuine interest in, the native
culture. The surname Brown hints at his ability to navigate successfully the clear-cut racial division
between the colonizers and the colonized. Other characters, men, women, old, young and children
people Things Fall Apart. This is a clear indication that Africa is no mere “jungle” inhabited by
“shadows”. Rather, like any people around the world, the Africans have historically organized
themselves in communities with their own laws, traditions and culture.
2) The Study of Language and Proverbs in Chinua Achebe’s Things Fall Apart (1958)
1. Language in Things Fall Apart
One aspect of any culture is the language they speak. The language in the Igbo culture is Ibo.
Things Fall Apart itself is written in English, but there are many Ibo words. These words, and the
knowledge that the Igbo people do not speak English, are important aspects of the culture. Some
examples of Ibo words are egwugwu (spirits that walk the earth), nso-ani (the breaking of the week of
peace), and ilo (the village playground).
The beauty of the novel that sets it apart from many others is Achebe’s choice of language. Language
gives a “local colouring” to the novel and makes it unequivocally African. Though Achebe is writing in
English, he twists the English language and flexes it in such a way that it is forced to carry the weight of
an African experience and express its world and cultural heritage. His use of code mixing and code-
switching, direct transliteration, local imageries and native words, add a rare touch that is lacking in
many literary works of the time. Instances of this language use abound from the first paragraph of the
novel to the very last. Achebe uses the native language and brings the story down to his people who hear
their voices and native customs, their unique way of storytelling echoing in the traditional voice. Here
are some examples:
“Okonkwo did as the priest said. He also took with him a pot of palm-wine. Inwardly, he was repentant.
But he was not the man to go about telling his neighbours that he was in error. And so people said he
had no respect for the gods of the clan. His enemies said his good fortune had gone to his head. They
called him the little bird nza who so far forgot himself after a heavy meal that he challenged his chi”.
“Remove your jigida first, her mother warned as she moved near the fire place to bring the pestle resting
against the wall. ‘Every day I tell you that jigida and fire are not friends. But you will never hear. You
grew your ears for decoration, not for hearing. One of these days your jigida will catch fire on your
waist, and then you will know”.
“He is Okonkwo kpom-kwem, exact, perfect”. “The proper name for a corn-cob with only a few
scattered grains was eze-agadi-nwayi, or the teeth of an old woman”. Where did you bury your iyi-
uwa?... You buried it in the ground somewhere so that you can die and return again to torment your
mother”.

2. Proverbs in Things Fall Apart

Several scholars have attempted to define the proverb. Proverb, in the words of Donatus Nwoga,
is a “terse statement which figuratively gives expression to traditional wisdom relevant to a given
situation”. For his part, Emmanuel Obiechina perceives it as “the kernel which contains the wisdom of
traditional people”.
Chinua Achebe comments on the importance of the use of proverbs among his people saying: “among
the Ibo the art of conversation is regarded very highly, and proverbs are the palm oil with which words
are eaten”. The use of proverbs is inevitable because they are highly prized in the traditional African
society and are used to portray certain actions or events in picturesque manner. Here are some Igbo
proverbs that are inserted in Things Fall Apart:
“The lizard that jumped from the high iroko tree to the ground said he would praise himself if no
one else did.” The proverb is used to acknowledge Okonkwo’s diligence, especially as a young farmer.

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Let us examine the excerpt below as reflected in the novel. “I have come to you for help’, he said
‘Perhaps you can already guess what it is. I have cleared a farm but have no yams to sow. I know what it
is to ask a man to trust another with his yams, especially these days when young men are afraid of hard
work. I am not afraid of hard work. “The lizard that jumped from the high iroko tree to the ground said
he would praise himself if no one else did.” I began to fend for myself at an age when most people still
stuck at their mothers’ breast. If you give me some yam seeds I shall not fail you”.
The above excerpt reflects how Okonkwo goes to Nwakibie to seek for help after clearing his farm in
preparation for planting yam. Nwakibie responds positively to his request. Proverbs are used at crucial
moments in the lives of the characters in the novel. For instance, at the last meeting of the Umuofia
community, Okika punctuates his speech with many proverbs; one of the proverbs is “wherever you
see a toad jumping in broad daylight, then know that something is after its life.” This proverb is
used to enlighten the reader on the purpose of the meeting, the burning issue for which they have
summoned the meeting. Let us examine the excerpt below: “You all know why we are here. My father
used to say to me, wherever you see a toad jumping in broad daylight, then know that something is after
its life”. Another proverb in the novel, uttered by Okonkwo is “I cannot live on the bank of a river
and wash my hand with spittle.” This proverb connotes Okonkwo’s protest against Ekwefi for her
frugality in the preparation of the feast intended to mark his departure from Mbanta. The following
illustrates Okonkwo’s speech: “I am calling a feast because I have the wherewithal. I cannot live on the
bank of a river and wash my hand with spittle.” The proverb “The sun will shine on those who stand
before it shines on those who kneel down” is used to depict the importance of status and value of
achievement in the traditional setting of Ibo community. “When the moon is shining the cripple
becomes hungry for a walk” reveals the importance of the moon to the rural dwellers. “You can tell a
ripe corn by its look”. Nwakibie offers this proverb when Okonkwo goes to him for help during the
planting season of yam. The proverb simply means that Okonkwo deserves Nwakibie’s help. “Let the
kite perch and let the eagle perch too. If one says no to the other let his wing break”. Nwakibie
uses this proverb while performing traditional rite to show his appreciation for Okonkwo’s visit and also
to show that men need to be accommodating to one another. “An old woman is always uneasy when
dry bones are mentioned in proverbs.” This proverb reflects the uneasiness caused by his father’s
indolence hence Okonkwo laughed uneasily while other laughed heartily during a discussion that
borders on the subject of laziness. “Eneke the bird was asked why he was on its wing and he replied
men have learnt to shoot without missing their mark and I have learnt to fly without perching on
a twig.” This proverb is uttered during the meeting of the elders when deliberating on how to
exterminate Christianity. The proverb connotes the intention of the elders to root out Christianity and
their brothers who are party to this new religion. “Those whose palm kernels were cracked for them
by a benevolent spirit should not forget to be humble.” This proverb is uttered by a man when
Okonkwo shows one of his major weaknesses by grossly insulting a less successful kinsman. The
people present show their disapproval through this proverb. “When mother cow is chewing grass, its
young ones watch its mouth.” This proverb is uttered by the eldest brother of Obierika to acknowledge
Maduka for taking after his father. “A chick that will grow into a cock can be spotted the very day it
hatches.” The proverb is uttered to show Okonkwo’s condemnation of Nwoye’s effeminate attitude.

4) Motifs and Symbols in Things Fall Apart

1. Motifs
Motifs are recurring structures, contrasts, and literary devices that can help develop and inform the
text’s major themes.
a. Chi
The concept of chi is discussed at various points throughout the novel and is important to our
understanding of Okonkwo as a tragic hero. The chi is an individual’s personal god, whose merit is
determined by the individual’s good fortune or lack thereof. Along the lines of this interpretation, one
can explain Okonkwo’s tragic fate as the result of a problematic chi—a thought that occurs to Okonkwo
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at several points in the novel. For the clan believes, as the narrator tells us in Chapter 14, a “man could
not rise beyond the destiny of his chi.” But there is another understanding of chi that conflicts with this
definition. In Chapter 4, the narrator relates, according to an Igbo proverb, that “when a man says yes
his chi says yes also.” According to this understanding, individuals will their own destinies. Thus,
depending upon our interpretation of chi, Okonkwo seems either more or less responsible for his own
tragic death. Okonkwo himself shifts between these poles: when things are going well for him, he
perceives himself as master and maker of his own destiny; when things go badly, however, he
automatically disavows responsibility and asks why he should be so ill-fated.
b. Animal Imagery
In their descriptions, categorizations, and explanations of human behaviour and wisdom, the Igbo often
use animal anecdotes to naturalize their rituals and beliefs. The presence of animals in their folklore
reflects the environment in which they live—not yet “modernized” by European influence. Though the
colonizers, for the most part, view the Igbo’s understanding of the world as rudimentary, the Igbo
perceive these animal stories, such as the account of how the tortoise’s shell came to be bumpy, as
logical explanations of natural phenomena. Another important animal image is the figure of the sacred
python. Enoch’s alleged killing and eating of the python symbolizes the transition to a new form of
spirituality and a new religious order. Enoch’s disrespect of the python clashes with the Igbo’s reverence
for it, epitomizing the incompatibility of colonialist and indigenous values.
2. Symbols
Symbols are objects, characters, figures, and colours used to represent abstract ideas or concepts.
a. Locusts
Achebe depicts the locusts that descend upon the village in highly allegorical terms that prefigure the
arrival of the white settlers who will feast on and exploit the resources of the Igbo. The fact that the Igbo
eat these locusts highlights how innocuous they take them to be. Similarly, those who convert to
Christianity fail to realize the damage that the culture of the colonizer does to the culture of the
colonized.
The language that Achebe uses to describe the locusts indicates their symbolic status. The repetition of
words like “settled” and “every” emphasizes the suddenly ubiquitous presence of these insects and hints
at the way in which the arrival of the white settlers takes the Igbo off guard. Furthermore, the locusts are
so heavy they break the tree branches, which symbolizes the fracturing of Igbo traditions and culture
under the onslaught of colonialism and white settlement. Perhaps the most explicit clue that the locusts
symbolize the colonists is Obierika’s comment in Chapter 15: “the Oracle . . . said that other white men
were on their way. They were locusts. . . .”
b. Fire
Okonkwo is associated with burning, fire, and flame throughout the novel, alluding to his intense and
dangerous anger—the only emotion that he allows himself to display. Yet the problem with fire, as
Okonkwo acknowledges in Chapters 17 and 24, is that it destroys everything it consumes. Okonkwo is
both physically destructive—he kills Ikemefuna and Ogbuefi Ezeudu’s son—and emotionally
destructive—he suppresses his fondness for Ikemefuna and Ezinma in favour of a colder, more
masculine aura. Just as fire feeds on itself until all that is left is a pile of ash, Okonkwo eventually
succumbs to his intense rage, allowing it to rule his actions until it destroys him.
5) The Study of Setting, Point of View and Mythology in Things Fall Apart
a. Setting:
In fiction study, setting refers to place and time where and when the story takes place. As far as
Things Fall Apart is concerned, the story is set in Africa, precisely in a fictionalized village called
Umuofia which stands for a typical African village. The latter, far from being an “empty” space is
formed by a set of houses (huts or compounds) that are different in number according to the proprietor’s
position in the community. The richer or the nobler the man is, the larger is his compound and the more
people it contains. Polygamy is, indeed, a mark of the social position of the Igbo. For instance,

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Okonkwo, after raising himself to the nobility of the village, marries three women, each giving birth to
children. Each woman has her own hut, and the boys of the family, once grown up, will have their own
huts. Of course, the head of the family has his own hut and his own shrine where he worships his
ancestors. The latter, even if dead, have a great role in the organization of the African communities. For
this reason, they are commemorated in festivals such as the egwugwu which coincides with the harvest
season. In the compound, too, there is the place where domestic animals are kept. An agrarian
community, farms, mainly yam ones, surround the village. Yams being the essential product the Igbo
feed on, is another mark of a family’s well-being. The following excerpt from the novels illustrates well
what has been set above:
“Okonkwo’s prosperity was visible in his household. He had a large compound enclosed by a thick wall
of red earth. His own hut, or obi, stood immediately behind the only gate in the red walls. Each of his
three wives had her own hut, which together formed a half moon behind the obi. The barn was built
against one end of the red walls, and long stacks of yam stood out prosperously in it. At the opposite end
of the compound was a shed for the goats, and each wife built a small attachment to her hut for the hens.
Near the barn was a small house, the “medicine house” or shrine where Okonkwo kept the wooden
symbols of his personal god and of his ancestral spirits. He worshipped them with sacrifices of kola nut,
food and palm-wine, and offered prayers to them on behalf of himself, his three wives and eight
children”.
As to the period of time in which the novel is set, it refers to the pre-colonial period, i.e. the
period prior to the coming of the white to man to Africa, represented here by Umuofia. Through Things
Fall Apart (especially the fate of Okonkwo), Achebe shows that though imperfect, the precolonial
period was characterized by harmony. Such balance, however, was dis-balanced by the coming of the
“paled faces”. This is clearly shown in Okonkwo’s downfall at the end of the novel. His death, indeed, is
strongly related to the arrival of the white man to his village.
b. Point of View
It is evident that the story of Things Fall Apart is told from the perspective of the African in
contrast to Heart of Darkness which is narrated from the point of view of the European. In his story
telling, Conrad used what is called literary “distanciation” through the employment of two narrators: an
anonymous narrator who describes Marlow and his companions on the Nelly and Marlow himself (who
functions as a “dramatic narrator”, i.e. narrator and character at the same time). Such double narration is
referred to as the “frame narrator”. Being not omniscient, Marlow does not know everything about the
story he tells and especially the motivation of his characters, which makes of him an untrustworthy and
unreliable narrator. On the contrary, Achebe resorts to the “omniscient” narrator who knows everything
about the story he tells. Therefore, his narration and description is more trustworthy and reliable. This is
reinforced by the description of both the setting and characters which is realistic or lifelike.
c. Mythology
The realistic mode of story-telling Achebe resorts to in Things Fall Apart has not prevented him
from bringing to the fore the African (the Igbo) mythology. The latter was deemed mere heathenism by
Christianity, the white man’s religion. Subsequently, it was combatted by all means. The result of such
cultural massacre was the retreat of the myths of origin in favour of Christianity. This caused a loss of
identity which was worsened by the adoption of the white man’s way of living.
Myth is defined as “a traditional story, especially one concerning the early history of a people or
explaining a natural or social phenomenon, and typically involving supernatural beings or events”. It is
clear from this definition that myths are stories and beliefs that explain natural and unexplainable
phenomena and the origin of Man and the world. As far as Things Fall Apart is concerned, the
establishment of Umuofia (which assembles nine villages) is mythically rendered. Still, a clearer
instance of mythology in the novel is represented by the character of Ezinma, Okonkwo’s daughter.
Ezinma is a sickly child, but no one knows what her illness is exactly. Such phenomenon is explained
through the myth of the Ogbange for the Igbo or the Abiku for the Yoruba, another important ethnic
group in Nigeria. Ogbange or Abiku is defined as child born to die to be born again. This means that

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such category of children is kept in cycle of birth and death. In fact, it is believed that though they live
with the Living, frequently ill children are related to the world of the Dead. Such relationship is kept
through juju, fetishes (objects) that are well hidden by the children. It is through these objects that they
get in contact with their companions in the World of the Dead, companions who encourage the Ogbange
children to join them in the other world. This explains the frequent illnesses the Ogbange children are
subject to. It is until the fetishes are discovered and destroyed –therefore severing the link with the
Dead– that the Ogbange children decide to remain with the Living. This is exactly what happens to
Ezinma. It is until her father, Okonkwo, finds the place where she has hidden her juju that she has
recovered from her illness. In the end, it may be said that such myth, the Ogbange, explains child
mortality.

6) Tradition, Change and Tragedy in Things Fall Apart

1. Tradition and Change
As a story about a culture on the verge of change, Things Fall Apart deals with how the prospect
and reality of change affect various characters. The tension about whether change should be privileged
over tradition often involves questions of personal status. Okonkwo, for example, resists the new
political and religious orders because he feels that they are not manly and that he himself will not be
manly if he consents to join or even tolerate them. To some extent, Okonkwo’s resistance of cultural
change is also due to his fear of losing societal status. His sense of self-worth is dependent upon the
traditional standards by which society judges him. 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.
2. Tragedy in Things Fall Apart
In his book entitled Poetics, Aristotle defines tragedy as a “movement from happiness to sadness
or from good fortune to bad fortune”. Even if his father was a failure, Okonkwo made himself to be one
of the most important and noblest men in his village. At a young age (about 18), his wrestling skills led
him to defeat Amalinze the Cat, so far the best wrestler in the whole Umuofia. At war against
neighbouring clans, he proved to be a fearless warrior. As a farmer, too, he is successful: his barns are
always full of yams. His success allowed him to pay back all his father’s debts, and enlarge his family
and compound through marrying three women and begetting many children. His success was
consecrated by taking two titles whereas his father died as an agbala, a man without titles. Okonkwo’s
noble achievements are implicit in the following quote: “Okonkwo was clearly cut out for great things.
He was still young but he had won fame as the greatest wrestler in the nine villages. He was a wealthy
farmer and had two barns full of yams, and had just married his third wife. To crown it all he had taken
two titles and had shown incredible prowess in two inter-tribal wars. And so although Okonkwo was
still young, he was already one of the greatest men of his time. Age was respected among his people, but
achievement was revered. As the elders said, if a child washed his hands he could eat with kings.
Okonkwo had clearly washed his hands and so he ate with kings and elders”. Consequently, he was
respected and feared not only in his village but in the whole Umuofia. However, Okonkwo’s fortune
was soon to end leaving space to misfortune. It all started when against Ezeudeu’s advice, he killed the
bow (Ikemfuna) who called him father. The boy in question was offered by a conflicting tribe to settle
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peace. The village clan decided that Okonwo was to take charge of him. However, after three years,
when Okonkwo developed a fondness and affection for the boy, the oracle said that he had to die. And
Okonkwo participated in the killing, which caused him to plunge in deep depression and affliction.
Tragedy fuelled when in addition, he inadvertently killed a clansman, which cost him a seven-year exile
to his mother’s land. To wash the sin away, his compound and farms were burnt and his animals sold.
The exile affected Okonkwo greatly. He cameback to his village a changed man. He did not, however,
lose his determination: he set immediately to work in order to recover all that he had lost. A new
challenge presented itself: the coming of the white missionaries. A man of action worshiping manliness,
Okonkwo argued for the chasing the “pale faces” away. To his great dismay, however, not everybody
agreed with him. During his long exile, indeed, many of his fellow villagers adhered to the new
doctrine, adopting the white man’s religion and manners. In his incapacity to face the invasion alone, he
eventually committed suicide, sealing his downfall. Indeed, Okonkwo is a “tragic hero” in the classical
sense: although he is a superior character, his tragic flaw—the equation of manliness with rashness,
anger, and violence—brings about his own destruction. Okonkwo is gruff, at times, and usually unable
to express his feelings (the narrator frequently uses the word “inwardly” in reference to Okonkwo’s
emotions). But his emotions are indeed quite complex, as his “manly” values conflict with his
“unmanly” ones, such as fondness for Ikemefuna and Ezinma. The narrator privileges us with
information that Okonkwo’s fellow clan members do not have—that Okonkwo surreptitiously follows
Ekwefi into the forest in pursuit of Ezinma, for example—and thus allows us to see the tender, worried
father beneath the seemingly indifferent exterior.