Solomon Unoh as a Public Poet

TABLE OF CONTENTS

Chapter 11

Solomon Unoh as a Public Poet

        Solomon Unoh produced one volume of poetry during his lifetime. Yet within this small volume of verse, titled War Against Indiscipline and Other Poems¹, it is fairly easy for the ardent reader to assess the enormity of his prodigious vision which focuses on the following: the evils and perniciousness of European colonialism and imperialism; the pitfalls of the presidential system of government; the need to promote human dignity and individual responsibility; and the theme of patriotism. These are the primary issues which Unoh addresses in his poetry, and which we shall discuss in this essay.

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        In his study, How Europe Underdeveloped Africa, Walter Rodney discusses, in graphic details, the zeal and wrecklessness with which the Western European powers-- notably Great Britain, France, Spain, Portugal, Germany, Belgium-- colonized and exploited Africa of its minerals and other natural resources, including “gold, diamond, iron ore, bauxite,” coca, and rubber. It is this theme of the negative consequences of European colonialism and imperialism² that Unoh castigates in such poems as “Return to Sender” and “Please, Tell me Why.”

        In “Return to Sender,” Unoh, apparently distressed and infuriated by the exorbitant commodities of such European goods like “imported drink,” “imported wares,” “imported food,” and “imported oil,” cries out loudly against these products in preference for the locally-made indigenous products:

Return to Sender!

Did you hear me?

I will make my groundnut oil,

Or go for good palm oil.

I will drink cocoa and kola wine;

Or take to fresh palm wine.

I will grow and process rice and beans;

Or eat good garri and cassava.

I won’t die

No, I won’t die

Return all imported food and wares

Return to Sender now.

         WAI, p. 3.

        The rhetorical question in the second line, “Did you hear me?,” which the poet repeats like a refrain in each of the poem’s six stanzas, is important: it suggests the seriousness of the poet’s insistent demand; secondly, as a question, it underscores the fact that the poet wants an answer to his question immediately; and finally, it highlights the fact that, if an answer is not provided, the poet-persona is poised to take immediate action. The mood and tone of the poem is reminiscent of the poetry of David Diop, Augustinho Neto, and Kofi Awoonor in their lyricism.

        Unoh extends the theme of European misrule of Africa further in “Please, Tell Me Why!,” where he wonders why our political leaders, that is, the African elites-- who fought tooth and nail against foreign rule-- have themselves failed woefully. This failure to lead emanates from several sources, including: “lack of political vision,” lack of effective leadership” (stanza 4); “dishonesty, ignorance, and indiscipline” (stanza 6); “planlessness and bad organizational strategies” (stanza 8); “wrong and misplaced priorities” (stanza 10); and “poor economic and monetary policies” (Stanza 12). The reference, “the giant of Africa,” which the poet mentions repeatedly, alludes to Nigeria, which is commonly known by that appellation because of its large population and its rich mineral resources. In short the ineffectiveness of the African elites, he suggests, indicates that they are still being misguided and manipulated by the European colonial powers:

Please, tell me why

A modern nation,

Black and proud,

Having survived the ordeals,

Of imperialism and colonialism

Cannot feel completely free

To rule or misrule itself,

Without the dangerous interference

Of foreign do-gooders and colonialists

        (WAI, p. 29).

        The theme of the inadequacies of the presidential system of government, which Unoh discusses in “Naira Power and Politics,” is important for one significant reason: it highlights the ugly phenomenon known as “corruption.” True, corruption has eaten deep into the structure of Nigerian polity like the dreadful cancer. There is widespread corruption in the church, in the seat of governance, in the board room, and in the market place. People want to amass wealth, limitless money, without accountability, and without the fear of God in their heart.

        Nowhere, however, is the theme of corruption better developed than in the title poem captioned, “War Against Indiscipline.” Divided into six major parts, the poet employs several negative images to describe the nature of corruption and “indiscipline” in the Nigerian political setting, e.g., “impudent urge to jump the queue” (line 11); “Man’s inhumanity to man” (line 15); “Hawking and selling office work” (line 22); “Tantrums and aggressions” (line 28); “Street cooking and eating” (line 31); “Drinking and driving” (line 31); “Bribery and corruption” (line 44); “Pollution and contamination” (line 55); and “To bread and spread installment death” (line 63).

        Unoh’s final theme, the need to promote love of family and country, is developed in such poems as “My Priceless Jewel,” “Your Duty Calls Obey,” “Selfless Service,” and “Spit No Fire.” In discussing these poems, it is discernible to the ardent reader that Unoh demonstrates several of his most enduring qualities: his love of family, his nobility of character, and his patriotism.

        The aphorism, “Charity begins at home,” makes a great deal of sense. In recognition of this fact, Unoh pays glowing tributes to his wife, apparently aware of the fact that the wife symbolizes or she is the epitome of the family. Love of spouse, by implication, is the beginning and the end of everything. In the opening poem, “My Priceless Jewel,” Unoh begins the celebration of his wife with a note of exaltation:

My heart tells me

I most certainly want

To have and keep you,

To regard and treat you

As a very special companion

Yes, as a very special companion

With whom I can share

Secret moments of joy and happiness

And tedious moments of sadness and sorrow

On whom I can count

For genuine friendship and affection

For true comradeship and companionship

        (WAI, p. 1.)

The spirit of conjugal love-relationship is expressed above in such graphic images as: “Special companion,” “To regard,” “To have and keep you,” “affection and genuine friendship.” Furthermore, there is sparse employment of punctuation marks, which suggests the fact that the poet’s love for his wife is untrammeled by any encumbrances.

        As if the above images of encomium are not enough, the poet goes on to conclude the poem with emotionally charged adulation of what true love is truly about:

I……………………………..

At all times, fines, fair or foul,

In all circumstances, happy or unhappy!

Yes, I really and truly want you

On the basis, more assuredly,

Of mutual admiration and adoration

Of mutual interest and respect.

Of mutual tolerance and accommodation

Yes, now and for ever and ever

I want you for my own

As my very special companion,

As my priceless jewel,

And that’s really what you are!

        (WAI, p. 1)

        Unoh goes beyond the love of spouse to encompass the love of country and his fellow countrymen which suggests the fact that, he who truly loves his wife or family must, by all accounts, cultivate the spirit of patriotism. Unoh discusses the theme of patriotism in several of his lyrics, including: “Count Me Out,” “Your Duty Calls Obey,” “Selfless Service,” “The Common Man,” “Spit No Fire,” “I Speak of Unity,” and “Live and Let Live”.

        In “Count Me Out,” Unoh lists various vices that can militate against the development of a patriotic ethos: they include “idle gossip,” “rumour-mongering,” and “frivolous talks.” The poet knows that the spirit of unity and patriotism will never develop among the citizenry in a nation that practices and promotes these evils. Consequently, Unoh does not only repudiate these vices, he also fervently appeals to his audience never to associate him with them.

Now if you must hear

A secret I can share

I must emphatically say

Please count me out

Of all idle gossips,

All rumour-mongering,

And all frivolous talks,

Which portray others

In very bad light,

And often pave the way

For a pathetic fall

From grace to grass!

        (WAI, p. 85)

In “Countless Service,” the poet goes on to exol the virtues of nationalism and patriotism as “invaluable,” “immeasurable,” “cultivable,” “unforgettable,” “fulfilling,” “unselfish,” “saintly and gratifying,” “self-rewarding,” and “endearing and rewarding.” He ends the poem with a note of affirmation and patriotic zeal. “It’s selfless service to mankind/Yes, such is selfless service” (WAI, p. 19).

        Nowhere, however, is the poetic immediacy for collective unity and patriotism better expressed than in the following lines from the lyric, “I Speak of Unity:”

That great thing of beauty

That has eluded my country.

Will someone out there

Please, tell me just where

The thing of beauty dwells?

…

I’ll continue to search

I’ll live and die

I’ll work and fight

For black and beautify unity,

We will surely find her,

We will surely meet her,

We will surely keep her,

In one great Nigeria

        (WAI, pp. 63 & 69).

        What can we now finally conclude about Professor Solomon Unoh as a poet, and as a man? Professor Unoh’s accomplishments are too numerous and unquantifiable, and they spread across the various segments of his brief life. As has been noted earlier, although his overall poetic output is less than prodigious, the themes of love, justice, patriotism and nationalism loom large in his verse. Furthermore, his sense of commitment and responsibility to his family, friends, and the common man is profound and legendary. Finally, as teacher, scholar, educator and humanist, Professor Unoh’s vision of integrity, honor, dedication to duty, and nobility of character-- which is all woven into the fabric of society-- will continue to serve as inspiration, and as a treasure chest from which the human race can draw, with profound satisfaction, and then move forward. May his great soul rest in peace.

Notes

1.          See Solomon O. Unoh, War Against Indiscipline and Other Poems (Ibadan: Evans Brothers, 1986). All references to Solomon Unoh’s poetry will come from this volume. Subsequent references from it will be abbreviated as WAI, followed by the page number(s).

2.          See Walter Rodney, How Europe Underdeveloped Africa (Washington, D.C: Howard University Press, 1972), p. 183. It must be noted, however, that it is not all critics and writers who believe that Western colonialism and imperialism are a negative factor in Africa’s socio-political and economic development. As E.N. Obiechina notes, “there are considerable varieties of attitudes which cover a wide spectrum between those who extol the blessings of colonialism and others who portray it as an unmitigating disaster.” See E.N. Obiechina, “Perception of Colonialism in West African Literature,” in Literature and Modern West African Literature, ed. D.I. Nwoga (Benin City: Ethiope Publishing Corporation, 1978), p. 51.

Works Cited

Rodney, Walter. How Europe Underdeveloped Africa, Washington, D.C.: Howard University Press, 1972.

Unoh, Solomon. War Against Indiscipline and other Poems. Ibadan: Evans Brothers, 1986.

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TO ENCOURAGE FREE QUALITY RESEARCH IN NIGERIA.

DONATE TO NURT9JA VIA QUICK-TELLER 

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*723*042107223*Amount#

OR: *723*08100770125*Amount#

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