how CHINUA ACHEBE Arrow of God exposes the traditional Igbo cosmology

THESIS STATEMENT

Chinua Achebe in his novel titled ‘Arrow of God’ sought out to delineate among other things a sublime Igbo traditional cosmology. Therefore, the basic focus of this work is an investigation of how Arrow of God exposes the traditional Igbo cosmology in various plots and characters in the novel, as well as how relevant these are to the contemporary Igbo community and Africa in general.

DEVELOPMENT OF THESIS

For the purpose of this work, the term ‘Igbo’ would be used in two senses. The first sense signifies one of the three major ethnic groups in Nigeria which inhabits the south-east territory of Nigeria. The second sense signifies the traditional language of this group. The traditional Igbo society set-up is historically egalitarian in structure and democratic in organization. Furthermore, cosmology as applied in this work means a philosophical theory which studies the material world with regards to its origin, structure and ultimate end. It is basically anchored on perception, assumptions or beliefs. Therefore, Igbo perception of their world determines their attitude and actions. Uchendu posits that Igbo cosmological perception is not only their theory of the origin and character of the universe but also contained in their prescription for societal moral ethos which dictates and rules both inter-personal relationship as well as man’s relationship with his environment and to supra sensible. Therefore, it is plausible for one to sum up the Igbo traditional cosmology to be consisted of the belief in the Supreme Being (Chukwu, Chinaeke) who created the world both visible and invisible, belief in the reality of the anestors and existence of spirits both good and evil, belief in duality or phenomenon of pairing, belief in reincarnation ‘ilo uwa’ and choice of destiny.

More so, Echeruo (1975) pointed out that cosmology in the Arrow of God is developed in three stories of one integrated style. The first is the trial of Ezeulu the traditional Chief Priest of Umuaro. The second is the disintegration of the indigenous political and religious order in Umuaro and the third is the establishment of British rule and Christian religion. The first important aspect of priestly function in Igbo traditional society which Achebe exposed is the Priestly role of keeping the community alert to changes in nature. This illustrates his important function as a watchman to see and announce the new moon to the community. Thus he aids the community in keeping an eye on nature to monitor the passing and changing seasons, as well as link the people to the universe (Uwa) which the moon (onwa) symbolizes. In Ezeulu’s priestly office, his community has ritualized and institutionalized its concern with the regulation of its cosmos. Furthermore, Achebe also used Ezeulu priestly function to describe how Igbo traditional religion, politics, philosophy and art were combined to give meaning to the Igbo traditional abstract notion of dualism which is a concept central to Igbo cosmology. Thus Achebe portrays Ezeulu as the point of convergence and an intermediary between the physical world and the metaphysical world.   

Another intriguing theme Achebe exposed is the concern for the expression of the community will over that of the individual. He exposed this theme when he presented Ezeulu's attempt to attach so much importance to himself and Ulu deity. Achebe portrays the complex issue of the personal motive and the will of the deity in such a way that, given the traditional Igbo cultural milieu and world view; Ezeulu stands convicted of abuse of power, arrogating the power of Ulu to himself. This led to the demise of Ezeulu in confirmation of the Igbo conception that no man is greater than his community and that deities are inventions of man and thus susceptible to change if not profitable. Furthermore, Achebe exposes the interwoven nature of occurrences in the Igbo community. He exposes this theme where he narrates that Ezeulu by refusing to eat the ritual yams faster than allowed, the harvest festival which is also Ulu's most prized ceremony and the period of his highest glory and appreciation by the community cannot take place, therefore, the destiny of the community, the harvesting of their crops and the appreciation of the deity for its care and protection over his people are all tragically interwoven. Unknown to the chief priest, therefore, he was punishing Ulu through the people of Umuaro. He was in his search for revenge, stepping on the toes of his god who in his less than divine aspect enjoyed the annual

tribute of a grateful people. Also, Achebe pointed out that Umuaro community created and institutionalized Ulu deity by sacrificing one of their own. The deity was created when umaro was faced with a threat and thus the sacrifice during its creation was essential to equip it rise to the challenge. However, the community being faced with another threat of immense magnitude that has the potential of wiping the out the entire clan expected the deity to rise up to the challenge. But this time the resolution of this challenge requires the death of the deity itself.

Furthermore, Achebe accounted for the concept of Ikenga in the traditional Igbo setting. In his description, it is  a sculptured horned Alusi deity maintained and kept by men and occasionally women of high reputation and integrity in the community. It is an embodiment of one's personal gods, ancestors, right hand and power. Ikenga is grounded in the Igbo belief that the power for a man to accomplish things is in his right hand. It also determines their achievement and failures, industry, farming, creativity and skill. In some Igbo cultural areas, it is celebrated every year with an annual Ikenga festival. It is believed by its owner to bring wealth and fortune as well as protection. It is mostly found in shrines of individuals, diviners and community tutelary cults as representatives of age grade, kindred and communities.