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"Ogun" by Edward Kamau Brathwaite: Overview
Below is an overview of Edward Kamau Brathwaite's poem "Ogun."
"Ogun" | |
Poet: | Edward Kamau Brathwaite (1930‐2020) |
Year Published: | 1970 |
Type of Poem: | Narrative Poem |
Literary Devices: | Alliteration, assonance, onomatopoeia, metaphor, enjambment, personification, and imagery |
Themes: | Work and craftsmanship |
Meaning: | As society progresses forward, the value of art and craftsmanship should not fall behind. |
"Ogun" by Edward Kamau Brathwaite: Genre
"Ogun" (1970) is a narrative poem written by the Caribbean historian and poet Edward Kamau Brathwaite (1930‐2020). The poem tells the story of Brathwaite's great uncle, who was named Ogun. Ogun was an extraordinary carpenter, but his craftmanship went unappreciated with the increase of modernity.
A narrative poem is a poem that tells a story. Narrative poems have characters and a plot.
Where does the name "Ogun" come from?
Ogun is the name of a spirit that is present in many African religions. Ogun is a warrior known as the god of iron, metal, and metal work.
How do you think the meaning of the name "Ogun" adds additional meaning to the poem?
"Ogun" by Edward Kamau Brathwaite: Setting
The setting of the poem "Ogun" is interwoven into the description of the carpenter's life. Brathwaite writes the poem from his hometown setting of Barbados in the Caribbean. The versatile plants, animals, and weather that characterize island life in the Caribbean are tied in through natural imagery. The poet uses nature to reflect the intensity of Ogun as he works.
Edward Kamau Brathwaite is one of the most influential Caribbean poets. His poetry was greatly inspired by the Caribbean islands' history, culture, nature, and music.
Edward Kamau Brathwaite wrote the poem "Ogun" at a beautiful home that the carpenter built himself. The home in Barbados was torn down to the poet's dismay.
"Ogun" by Edward Kamau Brathwaite: Poem
Below is Edward Kamau Brathwaite's poem "Ogun" in its entirety.
My uncle made chairs, tables, balanced doors on, dug out
coffins, smoothing the white wood out
with plane and quick sandpaper until
it shone like his short-sighted glasses.
The knuckles of his hands were sil-
vered knobs of nails hit, hurt and flat-
tened out with blast of heavy hammer. He was knock-knee’d, flat-
footed and his clip clop sandals slapped across the concrete
flooring of his little shop where canefield mulemen and a fleet
of Bedford lorry drivers dropped in to scratch themselves and talk.
There was no shock of wood, no beam
of light mahogany his saw teeth couldn’t handle.
When shaping squares for locks, a key hole
care tapped rat tat tat upon the handle
of his humpbacked chisel. Cold
world of wood caught fire as he whittled: rectangle
window frames, the intersecting x of fold-
ing chairs, triangle
trellises, the donkey
box-cart in its squeaking square.
But he was poor and most days he was hungry
Imported cabinets with mirrors, formica table
tops, spine-curving chairs made up of tubes, with hollow
steel-like bird bones that sat on rubber ploughs,
thin beds, stretched not on boards, but blue high-tensioned cables,
were what the world preferred.
And yet he had a block of wood that would have baffled them.
With knife and gimlet care he worked away at this on Sundays,
explored its knotted hurts, cutting his way
along its yellow whorls until his hands could feel
how it had swelled and shivered, breathing air,
its weathered green burning to rings of time,
its contoured grain still tuned to roots and water.
And as he cut, he heard the creak of forest:
green lizard faces gulped, grey memories with moth
eyes watched him from their shadows, soft
liquid tendrils leaked among the flowers
and a black rigid thunder he had never heard within his hammer
came stomping up the trunks. And as he worked within his shattered
Sunday shop, the wood took shape: dry shuttered
eyes, slack anciently everted lips, flat
ruined face, eaten by pox, ravaged by rat
and woodworm, dry cistern mouth, cracked
gullet crying for the desert, the heavy black
enduring jaw; lost pain, lost iron;
emerging woodwork image. of his anger."
"Ogun" by Edward Kamay Brathwaite: Summary
The speaker describes how his uncle, Ogun, was a carpenter who could make nearly anything. His dedication to carpentry shows through the wear and tear of his hands and body.
Ogun has a little shop where working men come to stop in for a chat. The sound and focus on his work can be heard clearly in the shop. However, though Ogun is skilled and hardworking, he is still poor because the world’s trends have toward cheap, mass-produced things.
The speaker explains how Ogun still works with real materials, such as a “block of wood” he carves to demonstrate his amazing craftsmanship and talent (27). The naturalness of his building materials and the way he works reflect nature's amazement, beauty, and power. The speaker expresses that even animals and nature were in awe of his work.
However, despite his immense talent and dedication to his work, his workshop is still in shambles because of his poverty. The speaker says that Ogun carves an “image. Of his anger” to reflect the frustration of craftmanship being unappreciated (46).
"Ogun" by Edward Kamau Brathwaite: Analysis of Form, Meter, and Rhyme
Ogun is a 46-line poem written in couplets, or paired lines of poetry. The spacing between the couplets provides a sense of space between lines filled with imagery.
There is no fixed meter or rhyme scheme in the poem. However, the poem's rhythm is meant to reflect the sound of African drums, particularly calypso rhythm. The stresses of the poem are guided by the frequent use of alliteration, which will be discussed further in the literary devices section below.
Although the poem does not feature a particular rhyme scheme or evident end rhymes, the poet uses subtle rhymes interwoven in lines to aid the sense of continuity and flow in the story being told.
"of Bedford lorry drivers dropped in to scratch themselves and talk.
There was no shock of wood, no beam" (10‐11)
"Ogun" by Edward Kamau Brathwaite: Literary Devices
Edward Kamau Brathwaite uses an abundance of literary devices in the poem "Ogun." Some significant literary devices used in the poem include alliteration, assonance, onomatopoeia, metaphor, enjambment, personification, and imagery.
Alliteration, Assonance, and Onomatopoeia
It is evident from the poem's opening that “Ogun” is greatly guided by sounds. Brathwaite uses alliteration and assonance to guide the reading of the poem in a way that reflects the actions being described.
The poem features frequent alliteration between two consecutive words. For example, “white wood” and “heavy hammer” (2,7). The quick, repeated sounds mimic the striking and tapping of Ogun’s hammer as he works away.
The poem also uses assonance, repeating vowel sounds to create drawn-out lines that reflect the poet’s actions. For example, in the first two lines, the ”a,” “oo,” and “o” sounds are repeated to exaggerate the breadth of things he can create and to emphasize the smoothness of his work.
The poem features onomatopoeia in describing how Ogun’s “clip clop sandals slapped across the concrete” (8). The “clip clop” sound evokes the sound of a horse’s weary feet, which emphasizes Ogun’s industriousness and its wear and tear on his body and mental state.
Alliteration is the repetition of the initial sounds of words that are near each other.
Assonance is the repetition of vowel sounds in words that are near each other.
Onomatopoeia is the use of words that imitate sound.
Metaphor and Enjambment
The poet uses a metaphor in lines 5 to 7 of the poem:
The knuckles of his hands were sil‐
vered knobs of nails hit, hurt and flat‐
tened out with blast of heavy hammer.
Ogun's knuckles are compared to nails flattened by a hammer to emphasize the physicality and intensity of his work. Ogun's work as a carpenter has defined him, even in physical appearance. The poet uses this metaphor to present the carpenter as a tough man who has also endured much suffering and pain for his passion.
Brathwaite uses an interesting form of enjambment in breaking apart words into separate lines. This creates a strain and fragmentation in the reading, mimicing Ogun's difficulties as he works away with a worn body, struggling to make a living. It also mimics the breaking or splitting of materials in his workshop.
A metaphor is a direct, figurative comparison between two things.
Enjambment is the continuation of one line of poetry into the next without pause or punctuation.
Personification and Imagery
Brathwaite uses natural imagery and the personification of nature to depict the power with which Ogun creates:
"green lizard faces gulped, grey memories with moth
eyes watched him from their shadows, soft
liquid tendrils leaked among the flowers
and a black rigid thunder he had never heard within his hammer
came stomping up the trunks. And as he worked within his shattered
Sunday shop, the wood took shape: dry shuttered" (35‐40)
The point paints a picture of the island creatures and plants watching Ogun from the distance as he makes wood take shape. Brathwaite builds intensity through the imagery of plants and animals witnessing creation. While people and society seem to have no awareness of the gravity of Ogun's talent, nature is his attentive audience.
The poet uses personification to portray the lizards and moths with a human-like nervousness and watchfulness. The "liquid tendrils leaked among the flowers" presents the flowers' fear. Ogun is depicted not just as the man and carpenter but as a god of creation whose hammer is more powerful than the sound of thunder. He takes dry wood and gives it life. Brathwaite paints this exaggerated, larger-than-life picture of Ogun to suggest the vast power of his creative capabilities.
Imagery is the use of descriptive language that appeals to the sense.
Personification is giving human characteristics to nonhuman things.
"Ogun" by Edward Kamau Brathwaite: Theme and Meaning
The main themes of the poem Ogun are work and craftsmanship. The speaker expresses awe and admiration for the power of hard work and the talent of being a true craftsman. Work is not presented in glorified terms, but rather by the toll it takes on Ogun's body and the intensity and focus it takes to create beautiful things. Ogun's skill for carpentry and his craftsmanship is something that the speaker, and even nature, are in awe of.
The poet surrounds Ogun's work with an air of amazement to emphasize that his uncle's artistry is something that needs to be appreciated. Through the poem, Brathwaite expresses his frustrations with society's lack of appreciation for his uncle's talents. Overall, the poem's meaning is that as society progresses forward, the value of art and craftsmanship should not fall behind. The poet suggests that the modern world appreciates quick convenience over quality, art, and the preservation of culture.
Ogun by Kamau Brathwaite - Key takeaways
- "Ogun" is a poem by Caribbean poet Edward Kamau Brathwaite.
- The poem is about a carpenter named Ogun, a hardworking and gifted craftsman, but his work goes unappreciated by society.
- The poem features literary devices such as alliteration, assonance, onomatopoeia, metaphor, enjambment, personification, and imagery.
- The themes of the poem are work and craftsmanship.
- The poem's meaning is that as society progresses forward, the value of art and craftsmanship should not fall behind.
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Frequently Asked Questions about Ogun by Kamau Brathwaite
What time is "Ogun" by Kamau Brathwaite set in?
"Ogun" is set in the early 1900s in Barabdos.
How does "Ogun" relate to Kamau Brathwaite's other work?
"Ogun" relates to Kamau Brathwaite's other work because it reflects the lives and work of people in the Caribbean.
What are the major themes of the poem "Ogun" by Kamau Brathwaite?
The major themes of the poem "Ogun" are work and craftsmanship.
Who is narrating in "Ogun" by Kamau Brathwaite?
The speaker of the poem "Ogun" is unspecified. However, because the poem is based on memories from Kamau Brathwaite's uncle, it can be assumed that Braithwaite is narrating the poem.
Who is Ogun in "Ogun" by Kamau Brathwaite?
"Ogun" is Kamau Brathwaite's great uncle who was a skilled carpenter in Barbados.
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