UNIVERSITY OF ABUJA

FACULTY OF ARTS
DEPARTMENT OF ENGLISH AND LITERARY STUDIES

GROUP A – 100 LEVEL

ASSIGNMENT

POEM TITLE: THE FISHERMAN’S INVOCATION

LIST OF NAMES:
S/N NAME MATRIC NO.
1 RUFUS .O. CHRISTIANA 22/202ENG/485
2 LANGKWAP ANTHONIA SHITNAAN 22/202ENG/499
3 ADEOYE O. MERCY 22/202ENG/493
4 JOANNA CHIOMA PIUS 22/202ENG/494
5 ASUZU GOODNESS NJIDEKA 22/202ENG/481
6 AFOLABI COMFORT KEMI 22/202ENG/484
7 VANASSY G. DAVID-ERUMA 22/202ENG/487
8 SUNDAY MARY ENO 22/202ENG/488
9 OLUWABUSOLAMI NAIMOT ISHOLA 22/202ENG/497
10 EJIOFOR NNAEMEKA AIZENORIA 22/202ENG/491
11 AFEMIKHE ANGEL ESHIOFUNE 22/202ENG/492
12 OYELAKIN MUSLIM MUTUILLAH 22/202ENG/496
13 HALIMA TAHIR AHMED 22/202ENG/500
14 EMMANUEL IRENE ARIT 22/202ENG/480
15 AJIBADE FOLASHADE DEBORAH 22/202ENG/498
16 OGAR, MARGARET OMAGU 22/202ENG/479

1
17 AMAH DEBORAH MARVELOUS 22/202ENG/483
18 FADIMILUYI OLUWADAMILARE 22/202ENG/490
19 OLUMADE BASIT OLUWAFEMI 22/202ENG/495
20 CHIAMAKA FAVOUR IKECHUKWU 22/202ENG/486
21 AZUBUIKE CHIKA FAVOUR 22/202ENG/477
22 PAUL ANGEL UGO 22/202ENG/482
23 WAHEED FATHIA TEMITOPE 22/202ENG/489
24 22/202ENG/478

ABSTRACT:
This paper examines Gabriel Okara's "The Fisherman's Invocation". It
critically analysis the poem including the poet's use of symbolism, imagery
and other literary devices.

The poem presents two figurative fishermen who are said to have caught
the Back in their net. Over the course of the poem, we would come to
understand that the Back represents our fading traditional norms and
customs while the Front represents the imported ways which have gained a
foot hold in our society.

We would examine the poet's rich use of vivid imagery which invokes the
reader's interest and various poetic devices like repetition, simile,
personification, and how they pass the message across.

Keywords: Front, Back, Child-Front.

MOTIVATION:
2
Our greatest motivation comes from Gabriel Okara's unique method of
reflecting on our lives today. Employing various literary devices like
symbolism and allegory, Okara beautifully steered this poem to reflect
greatly on the Nigerian and African people as a whole.

The infringement of western traditions on our culture and our Heritage's

slowly approaching demise can never be overly emphasized.

Okara's masterful use of imagery, metaphor's smilies and other literary

devices blend together into a beautiful, unique masterful work of art.

BACKGROUND:

"The Fisherman's Invocation" was written by Nigerian poet and novelist

Gabriel Okara in the early 1960"s during a period of great social and
political upheaval in the country. It was originally published in his
collection,"Limits" in 1964.

The Fisherman's Invocation is often interpreted as an allegory of the

struggle between the African customs and the encroachment of the
European colonialism and it's damaging effects.

Just as his other poem "Piano and Drums", Okara focuses on the damaging
effects of the imported ways on our culture. Using various symbolism and
other literary devices, he presents
3
Represented by The Back (African customs) and the Front (western ways),
it presents the struggle for the revival of the African culture, the poet uses
engaging dialogue by two fishermen who symbolize the differing attitude of
many.

Okara masterfully presents our plight in Nigeria and Africans as a whole

and the need to preserve our heritage. He also presents a solution and
upholds the importance of our traditional values.

TITLE:
The title of the Gabriel Okara's poem hold's significant symbolic relevance
to the poem's overall message. It's sets the tone for the journey the reader
is about to embark on.

The term "Invocation" simply means a plea to a superior power or divine

being. In this context, the poem is an invocation or summon of ancestral
wisdom and cultural heritage.
The "Fisherman" in the title is also of great importance. First of all, the
poem presents two figurative fishermen who try to catch the Back. The
Fisherman carries a symbol of exploration as they search the waters to
bring for hidden depth. In the poem, the fishermen represents is as we
seek knowledge, casting our metaphorical net to capture our ancestral
heritage.

SYNOPSIS

4
Introit:
The poem begins with two symbolic fishermen who at the initial stage lack
success. The poet employs the use of repetition, repeating the word "
Nothing" to emphasize the initial lack of success. The third stanza shows a
change in perspective as they try to achieve success in their quest.
The next stanza employs imagery to describe "The Back caught in the
meshes of Today". The Back symbolises the past traditional beliefs and
Today represents the present. In the line "The Back trying to slip through
the meshes like a fish", the poet uses simile and imagery to describe our
traditions and heritage slowing fading away.
The next line however, expresses hope: "Draw gently/draw carefully/don't
let it slip" shows how important it is to hold on to our customs. The
figurative fisherman hold's onto the Back for "one teaching moment" which
shows that our heritage can still teach us.
In the next stanza, despite the second fisherman being skeptical, the
fisherman insists that the "Front grows from the Back/like buds from a tree
stump". Here, the poet employs vivid imagery and similie to show that the
Front or imported customs can learn from the old.

The invocation
The poet repeats "See" emphasizing the need to observe the surroundings.
"See the Gods in the Sun" shows a spiritual connection and the importance
of a divine presence in our life "See the Back in my hands" shows the
importance of understanding our culture, as if observing it in our hands.
"See the Front in my hands" shows a recognition of our future and our
ability to shape it. The poet also uses personification, personifying the sun,
the moon and Earth.
The line "The Back here is dancing "shows that the traditional values have
been embraced although the" The Front coming gently coming painfully"
showing the slowly approaching modernism. The Fisherman begs that the
traditional ways mingle with the clatter" of the drums of Today/ for the
coming/ safe coming of the front". This is an appeal that the tradition and
modern ways blend since the Front is inevitable, "rushing over a fall
subduing/ barriers of height and stone."
5
The force of the new ways is described as "A ball of Fire". The last stanza
however shows that the old ways can "temper the fireball Front/with your
mystic touch". This implies that the front can be merged with the Back,
"mould it with the mould of the Back of the womb", indicating a merging of
the new ways with the old.
The Child-Front
The third part is set as a science of childbirth, to symbolise the birth of
"The Child-Front", a merger of the old and the new ways. The first
fisherman is more welcoming, imploring the second fisherman to "Wait let
it take form", to allow the new ways settle down. The second fisherman is
adamant, begging the "Gods of the Back" to "swallow it in its abyss." This
shows the attitude of many to the new ways, unwelcoming and unsure.
The first fisherman reasons with him to be patient as the old ways wouldn't
disappear. The line "Do not reject the Back/and abandon your Child-Front"
shows the need to hold on to our traditional heritage as well as the
combination of the old and new ways.
The last stanza shows the end of their search as they "steer the canoe to
their hearths".

The Birth Dance of the Child-Front

This part begins in festive mood, indicating a joyful spirit as the "Great
Child-Front/ has come and is coming." The poet metaphorically compares
the coming of the "Child-Front" to the birth of a child which brings
joyfulness.
He uses repetition of the word "Dance" to show the joyful spirit, the eating,
drinking and dancing.
Hyperbole is employed as they are said to "shake the ground", indicating
the height of the joyful atmosphere. All other things are abandoned as they
raze to the ground all thwarting things."
The new ways which are embraced change the rhythm, "so the rhythm has
changed/ but not the theme." The change in rhythm doesn't change the
joyful mood as they adapt and "change your steps/change your songs."
This symbolises a shift in the ways of the old to the new ways, which

6
doesn't dampen their mood, instead is met with great enthusiasm as they
welcome "the great Child-Front."

THE END
This part begins with "The celebration is now ended" and the poet reflects
on the new situation. The focus now shifts to the aftermath. The new ways
seem to create a sense of disarray, "like a harmattan". The line "hands
cover faces and feet grope" suggest that the people try to protect
themselves from the chaos while uncertain of the way forward.
"The celebration is now ended" is repeated once, indicating the seriousness
of the situation. The second stanza clearly describe the state of calm after
great excitement. The line "walking with their hearts climbing up their feet"
figuratively shows the vigour of the dance, as if their hearts descended to
their feet.

The next lines shows the reality of the situation as the celebration is over,
just as the aftermath of a celebration after childbirth.
The next stanza How expresses hope as the Child-Front is said to be "lying
on laps/feeding from the measureless breasts if the Back". The poet uses
imagery to create the image of a child suckling from it's mother and it
symbolises the merged ways gaining immeasurable wisdom from the old.
The next lines show the reality of our present situation as we learn "to
dance to half familiar half strange/rhythms." This shows that we slowly
learning the news ways while being guided along with the old.
The merged ways like a baby, still have a long way to go but is welcomed
as like a child, it "lies sleeping with breasts in his mouth."

SETTING:
The setting of the poem is metaphorical. The poem does not describe a
concrete setting, rather it focuses on the reader's mind's eye. Employing
vivid imagery, Okara describes different scenes, enabling the readee create
the images in his mind.
7
The first and second part describe a riverside. Okara uses the river as a
symbol of a search for identity, as a fisherman would go various depths in
efforts of getting a good catch.

The and fourth part depict the scene of childbirth birth, symbolising the
birth or merging of our culture to the imported ways.

The last part is set on the aftermath of a celebration. It represents the

attitude of people as they slowly embrace the merged ways, while being
guided by the old.

TONE:
The poem has a reflective and persuasive. The poem encourages it's
listeners to explore their cultural roots, persuading them to go to various
depths in other to get acquainted with their roots.

IMAGERY:
Okara vastly employed the use of vivid and evocative imagery in the poem.
This aids for better understanding and enables the reader create an image
of what is being said in his mind's eye and captures his interest.
Below is an excerpt from the poem:

"Your back stump is not dead

"Deep down in the desert
There is water bubbling up to your roots"

8
The imagery used here expressess hope in the revival of our culture and
heritage and this aids the reader focus and follow as he tries to create the
image discribed in his mind.

SYMBOLISM:
Another paramount device in the poem is symbolism. The use of
symbolism in the poem adds to it's overall complexity. The poem itself and
all the characters in it are symbolic, representing our present condition.

As noted earlier, the Front and the Back both symbolise the imported ways
and our traditional ways. The Child-Front however, is a combination of
both the Back and the Front, resulting in "half familiar, half
strange/rhythms."

The two Fishermen introduce at the beginning of the poem symbolise the
differing attitude of people towards both our culture and the imported
ways.
Some are ready and eager, some fearful and laid back.

Okara's use of Fishermen both in the poem and in the title is not by mere
coincidence. The use of Fishermen who explore the water represents us
trying to find our heritage. Just as a fisherman would go great lengths in
his search for a catch, we are also willing to go great lengths to discover
our culture.

Another impactful use of symbolism in the poem is the setting in which the
poem begins with. The fishing exercise carried out symbolises a search for
our roots and heritage.

9
Employing symbolism helps the poet related his message in the most
artistic way possible.

THEMES:
1. The theme of Nature: The poem prominently explores the theme
of nature, particularly the sea. It vividly describes the sea's beauty,
power, and unpredictability. The sea serves as a central element in
the fisherman's life and the source of his livelihood. Nature, in this
poem, represents both the provider and the potential threat,
underscoring the complex relationship between humans and the
natural world.
2. Theme of spirituality: Another significant theme is spirituality and
ritual. The poem begins with an invocation, suggesting a spiritual
aspect. The fisherman seeks blessings and guidance from a higher
power before embarking on his journey. This theme highlights the
fisherman's reliance on tradition and spirituality to navigate the
challenges of his occupation.
3. Theme of Struggle and Resilience: The poem portrays the
challenging and perilous life of a fisherman. The theme of struggle
and resilience is evident as the fisherman faces the risks and
uncertainties of the sea. Despite the hardships, there is a sense of
determination and the hope of a successful catch. This theme reflects
the perseverance and fortitude required in the fisherman's way of
life.
4. Theme of Human Relationship with Nature: It reflects on the
intricate relationship between humans and the natural world,
particularly the sea. The fisherman's connection to nature is a central
theme.

10
POETIC TECHNIQUES:

1. LANGUAGE:
This is referred how a poet uses language to pass its message
across. Poetic language is compact as the poet tries to pack more
meaning using fewer words. Poets employs different stylistic devices
that make a poem more interesting, memorable, musical, and
enjoyable to read.
2. REPETITION:
This is when a poet uses either a word or phrase more than once
within the same poem. Repetition is used to create theme and stress
importance. In the fisherman’s invocation, the poet made use of
repetition in the twelfth stanza
“No darkness, no light
No light, no darkness”
In part 2, repetition occurs in the second and third line.
… “You are seeing the sun in my hands
You are seeing Gods in my hands
You are seeing the back in my hands
You are seeing the front in my hands”

3. ANAPHORA:
Is one of the types of repetition; It is a poetic technique implored by
Gabriel Okara. He uses anaphora pass across his message
successfully by the use of repetition of certain words like "see" and
"I" in part two of the poem titled "the invocation." in line 8

"(See)the sun in my hands

(I) see
(see) the Gods in the sun

11
 (I) see
and so, he proceeds down to line 8 of part two.

4. PERSONIFICATION:
Okara uses personification. The literary poetic device that's use to
attribute human qualities to inanimate or abstracts, by giving it
human qualities. In line 11 of the concluding parts of the poem.

"With their hearts climbing up to their feet

to their places and the palm wine descending
from their head to settle in their bellies"

We all know that the heart does not have the ability to climb; it does
not have what it takes which is hands and feet. And the palm wine
cannot descend. These are animate qualities given to "heart and the
palm wine"
5. SIMILE:
Simile is a poetic device that enable us to draw a clear mental picture
of what is being described by applying the attribute to that which
know, to that which is being compared to. It involves the use of “as”
and “like”.
In Gabriel Okara, the fisherman’s invocation, he uses simile in
comparing the palm wine to the Niger flow. In part 4 of the poem
….”Let palm wine flow
Like the Niger flow.”
Also in this line
…”Through the meshes
Like a fish.”
ALLEGORY:

12
The poem, The Fisherman’s Invocation, is an allegory, in the sense that, it
can be interpreted to reveal a hidden meaning, typically a moral or political
one.
It is symbolic. It can be understood through an interpretive process. In this
sense, the meaning conveying the "Introit" of the poem is deeper than just
two fisher men conversing or communicating about casting down their net
for a catch. It has one of the Fishermen wanting to let go of the past,
which can also be said to be the traditional ways, while the other
Fisherman, wants them to carry the past along with them, as it might be
beneficial to the future or modernity. And they went thus, in line 7---
"My hands tremble
for i fear the masquerades
of the resurrecting back
Draw, man draw
strengthen your chest
The front grows from the back
like buds from a tree stump.”

CONCLUSION:
In conclusion, "The Fisherman's Invocation" is a powerful poem that
explores the complex relationship between humans and nature, and the
tension between tradition and modernity. Through beautiful imagery and
figures of speech, the poet highlights the beauty and sacredness of nature,
while also recognizing the destructive potential of technology. The poem
ends on a hopeful note, suggesting that it's possible to find a balance
between these forces.

REFERENCES:
Bartleby.com, Donatus ibe Nwoga 1967 (YouTube extract)
Brenda Marie Osbey, Introduction, Gabriel Okara: Collected Poems,
13
 University of Nebraska Press, 2016.
Chidi Ikonné, et al (1987)Black Culture and Black Consciousness in
Literature
- Snippet view
"Chronology", Gabriel Okara: Collected Poems (2016).
Evelyn Osagie, "Echoes of Achebe’s works at writers’ show", The
Nation (Nigeria), 25 November 2015.
"Gabriel Okara… Restoring the genius of Africa's oldest living poet". The
Guardian Nigeria News - Nigeria and World News. 5 May 2017.
Retrieved 29 May 2020.
Hans M. Zell, Carol Bundy, Virginia Coulon, A New Reader's Guide to
African
Literature, Heinemann Educational Books, 1983; pp. 445–447.
Laurence, et al (2001). Long Drums & Cannons: Nigerian Dramatists and
Novelists, 1952–1966. University of Alberta. pp. 171–. ISBN 978-0-
88864-332-2. Retrieved 8 May 2011.
Okara, G., 1978. Once Upon a Time. The Fisherman's Invocation; The
Fisherman's Invocation, London. London: Heinemann, pp. 18-19.
Sumaila Umaisha, "Gabriel Imomotimi Gbaingbain Okara: The Poet of the
Nun River — interview", African Writing, No. 6.

14