The Life of Wole Soyinka Born July 13, 1934 in Abeokuta, Nigeria as part of the Yoruba ethnic group. Soyinka was a prominent poet, playwright, and political activist that was known for articulating his opinions about the oppressive Nigerian government through his writing. This made him a very controversial figure in all of Africa and even led him to being imprisoned and exiled for his political views that were deemed radical, since they strayed from the norm. Also, the Nigerian dictator, Sani Abacha, accused Soyinka of being linked to the 1997 bombings in Nigeria, then went on to charge the author with treason that, if convicted, would sentence Soyinka to death. Luckily, there was little to no evidence to support this claim, and Soyinka was able to return to Nigeria after the corrupt leader's death in 1998. Astonishingly, these extensive setbacks did not appear to impede on his outspoken nature. He continued to write and speak about controversial issues in Nigeria and often urges fellow Nigerians to induce peace for the prosperity of their country. Thus, it is apparent that he will not refrain from speaking his mind and standing up for what he deems to be right. In addition to writing about nefarious hierarchies, Soyinka wrought renditions of Yoruba life, culture, and folklore mixed with universal themes for all audiences to enjoy. Soyinka's ability to write memorable and vexed poems, plays, and novels that are fathomable across a multitude of regions and cultures is why he was awarded the Nobel Prize in Literature in 1986, along with several other admirable awards.
Awards and Achievements
In 1972, ‘Honoris Causa’ doctorate from the University of Leeds.
In 1986, he became the first African to receive a Nobel Prize in Literature. The same year he was honored with the Agip Prize in Literature.
In 1993, he received an honorary doctorate from Harvard University.
In 1994, he was appointed as the UNESCO Goodwill Ambassador for the Promotion of African culture, human rights, freedom of expression, media and communication.
In 2009, He received the Academy of Achievement Golden Plate Award.
Civilian and Soldier by Wole Soyinka (1966) My apparition rose from the fall of lead, Declared, 'I am a civilian.' It only served To aggravate your fright. For how could I Have risen, a being of this world, in that hour Of impartial death! And I thought also: nor is Your quarrel of this world.
You stood still For both eternities, and oh I heard the lesson Of your training sessions, cautioning - Scorch earth behind you, do not leave A dubious neutral to the rear. Reiteration Of my civilian quandary, burrowing earth From the lead festival of your more eager friends Worked the worse on your confusion, and when You brought the gun to bear on me, and death Twitched me gently in the eye, your plight And all of you came clear to me.
I hope some day Intent upon my trade of living, to be checked In stride by your apparition in a trench, Signalling, I am a soldier. No hesitation then But I shall shoot you clean and fair With meat and bread, a gourd of wine A bunch of breasts from either arm, and that Lone question - do you friend, even now, know What it is all about?
Civilian and Soldier Analysis
Wole Soyinka's poem, “Civilian and Soldier”, is a political statement opposed to the murderous acts carried out against Nigerian citizens by their military. However, Soyinka inculpates the high ranking officials and recurring dictators of Nigeria for teaching the military to be merciless towards its citizens. The poem begins with the nameless citizen's ghost rising from the dead after being shot by a soldier that is noticeably shaken from his recent homicide. The apparition forgives the soldier, since he was taught in is training to kill without hesitation. Thus, creating a sympathetic tone throughout the poem. Soyinka is able express his aversion to citizen casualties without criticizing the soldiers, but rather the corrupt officials that train them to be ruthless killers. The themes of war, political corruption, and death are heavily influenced by the writer's experiences living in a politically unstable and perilous environment. This precarious environment was induced by the succession of dictators that rouse to power after Nigeria gained its independence from Britain. This lead to a tremendous increase in military violence and commenced the Nigerian Civil War where over a million people died(Hurst). Soyinka implements many literary devices to disseminate his message against military brutality and corrupt hierarchies. For example, Soyinka utilizes the following rhetorical question, "Do you friend, even now, know what this is all about?". This compelling inquiry is left for the reader to ruminate on the Nigerian soldier's awareness during this time of government instability (25-26). Another literary component worth noting is the poets use of metaphor and diction to describe the heinous acts carried out by the military. For example, in line thirteen the citizen describes the carnage of civilians from the military as a “lead festival of your more eager friends,” which insinuates that the other soldiers appeared to be enjoying the blood bath as if it were a festival (13). In lines twenty-two through twenty-four, Soyinka uses a metaphor to describe how the citizen would “shoot” the soldier with gifts that symbolize life rather than bullets that induce death if he were given the opportunity (22-24). Also, the citizen refers to his killer as a “friend” in line twenty-five, which further develops this poem’s compassionate tone and exemplifies Soyinka's harmonious nature (25). The poem is written in a free verse style, which is common for this poet. He usually doesn't write in designated rhyme or rhythm patterns.
Dedication by Wole Soyinka (1963) for Moremi Earth will not share the rafter's envy; dung floors Break, not the gecko's slight skin, but its fall Taste this soil for death and plumb her deep for life
As this yam, wholly earthed, yet a living tuber To the warmth of waters, earthed as springs As roots of baobab, as the hearth.
The air will not deny you. Like a top Spin you on the navel of the storm, for the hoe That roots the forests plows a path for squirrels.
Be ageless as dark peat, but only that rain's Fingers, not the feet of men, may wash you over. Long wear the sun's shadow; run naked to the night.
Peppers green and red—child—your tongue arch To scorpion tail, spit straight return to danger's threats Yet coo with the brown pigeon, tendril dew between your lips.
Shield you like the flesh of palms, skyward held Cuspids in thorn nesting, insealed as the heart of kernel-- A woman's flesh is oil—child, palm oil on your tongue
Is suppleness to life, and wine of this gourd From self-same timeless run of runnels as refill Your podlings, child, weaned from yours we embrace
Earth's honeyed milk, wine of the only rib. Now roll your tongue in honey till your cheeks are Swarming honeycombs—your world needs sweetening, child.
Camwood round the heart, chalk for flight Of blemish—see? it dawns!—antimony beneath Armpits like a goddess, and leave this taste
Long on your lips, of salt, that you may seek None from tears. This, rain-water, is the gift Of gods—drink of its purity, bear fruits in season.
Fruits then to your lips: haste to repay The debt of birth. Yield man-tides like the sea And ebbing, leave a meaning of the fossilled sands.
Dedication for Moremi Analysis
Soyinka's poem, "Dedication", was written for his newly born daughter Moremi as an alluring depiction of South Africa's environment and the intricate life cycle. The poem was written in 1963 and serves to teach Moremi about the beauty of life and natural resources in Africa that she will need to utilize in order to flourish. The poem utilizes several literary techniques to compare humans with nature, such as imagery and metaphor. For example, a metaphor in lines thirteen and fourteen is used to compare a baby's crying to a threatened scorpion’s venomous strikes, and the coo of a Pigeon when the baby is calm and collected (13-14). As for the imagery, the writer uses Africa's nature to appeal to the reader's sense of sight, taste, and touch. This is evident in lines twenty-three and twenty-four where Soyinka describes the sweet sensation of rolling your tongue in honey (23-24). Diction is also a key component of Soyinka's literary techniques. He uses words such as suppleness, purity, and embrace to evoke blissful feelings and aids in constructing the joyful tone of this poem. Personification is also seen being implemented in this poem in line seven where the air is said to "not deny you" as if the air is making a conscious decision like a human would (7). Similarly, to the previous poem, the style of "Dedication" is also written as free verse, but with ample use of imagery and metaphor to convey nature and life in Africa. However, the poem is still relatable for people of diverse regions because Soyinka effectively implements human sensations that are common for all humans in his writing. This poem exemplifies Soyinka’s perspective on his country and it appears that he finds his country's surroundings to be a breathtaking sight like the birth of a child. This poem is only three years after Nigeria gained its independence from Britain and is being used by Soyinka to relay an optimistic message of their country's potential.