Okonkwo is the man character in the book. Things fall apart by Chinua Achebe. He was a wrestler by profession. Okonkwo father was known as Unoka. Unoka was a musician by trade and played the flute. He loved the good life, and when he got any little money he would call his neighbors and throw a party, this lifestyle was hard to maintain, and he had debts all over the village. Everyone in the village knew this, and no one was willing to lend him. Unoka was smooth and good with words, and he always managed to incur more debt. Okonkwo despised his father behaviors and character. Unlike his father who was a coward, he is fierce and had just won a wrestling match against Amalinze the village champion who was unbeaten for the past seven years. Okonkwo was a wealthy farmer and had just married a third wife.
A daughter of their village Umuofia had been killed by a man from the neighboring town of Mbaino. A meeting was held, and it was decided that their neighbors should compensate for killing the girl or they will have to go to war. Okonkwo was sent to negotiate the deal with the neighboring town. After two days of bargaining, Okonkwo was given a young virgin and a fifteen-year-old lad as compensation to take back to his village to avoid war.
Okonkwo ruled his house with an iron fist, and his wives lived in perpetual fear of his temper. He did not want to be like his father, so he lived a life of fear of failure and weakness. Okonkwo has been able to attain massive wealth because of his dedication and hard work which he also puts towards his family (Masterson, 32-36). His family suffered because Okonkwo had a spirited expectation on his children and his violent ways when they do not live to them. Okonkwo's harboring of his nostalgic feelings is an urgent piece of his identity which makes him the way he is. Okonkwo endeavors to overpower any indications of shortcoming (Masterson, 32-36). He fears disappointment. He experiences issues adjusting his ladylike vitality with his manly vitality. Known as a bold and well-off man all through his tribe, Okonkwo is a serious man who regularly falls back on savagery to make his focuses caught on. According to Masterson (Masterson, 32), Okonkwo abhorred his dad, Unoka, because he was a languid indebted person. Okonkwo made it a point in his life to separate himself from his dad by being notable and affluent and additionally turning into an incredible warrior in the tribal clashes of Umuofia and the encompassing towns.
Harrisons representation is individuality and defiance which also exists in the modern society. Characterized each individual in the story by Harrison, he has none of the passivity and cowardice. Through his representations, he is portrayed as towering, alpha male, breathtaking and brave man who hungers for power. This is evident when he invades a TV studio announcing himself as an emperor and a greatest leader and ruler who has ever lived (Abdol 71-72). His command in this perspective sounds power mad although he perhaps may be viewed as insane. His pride in this circumstances is nerve-wracking. This expression of the defiant urge is exaggerated to excel that is also being seen in the modern society. At the point when Harrison gashes off his steel limitations, the physical quality and magnificence he uncovers remind articulates that underneath their particular restrictions and handicaps, they too are as yet skilled or beautiful. However, at last, Harrison, a symbol of insubordination, is slaughtered without a second thought by Moon Diana Glampers, the manager of government power (Abdol 71-72). The brisk, effective murder recommends that if a resistant soul still exists and projects to degenerate in the future.
As Achebe grants this emerging achievement, he intimates the reason for the future clatter. Okonkwo utilizes hostility to supplant his absence of discourse. Okonkwo's firm will is getting him achievement a general public momentous for its adaptability. Okonkwo's unbending nature prompts his interest in the demise of Ikemefuma. This episode is seen by many as a defining moment in the novel (Masterson, 35-40). It starts a development of adversities which culminate with his transient. This movement may have been legitimately right, yet it was morally off course. Beginning subsequently, the more huge piece of Okonkwo's decisions incite fiasco, even toward the end when his decision to execute the agent drives him to kill himself, something so evil to his nation that they can't cover him. Nonetheless Okonkwo's sincere endeavors, he is furthermore separated from his nation until the point that the encapsulation of traditional law has transformed into the outside of the tribe (Masterson, 39).
Harrisons story is a parody, a satire of an ideological society separated from common sense reality creating a general public whereby, all individuals are made equivalent. The hero in the story is Harrison Bergeron who is a model image that speaks to individuality and resistance. Harrison Bergeron is utilized to speak to the global populace who will stand up, and contest cruel laws forced by the state on equality urging others to dissent with him (Abdol, 71). Through what Harrison Bergeron represents, Vonnegut specifies how the equality can go to the extraordinary. According to Abdol (72), the characters are diverted by handicaps, and this inspires their opportunity and individuality. Vonnegut communicates his uncertainties about the question of equality, and how it is taken to the offensive through his charismas.
The general population in this general public have lost the flexibility to be people and are rather handicapped for having different capacities, having different looks and being distinct individuals. They were loaded with band weights and sacks of birdshot, and their appearances were concealed, so nobody, seeing a free and agile motion, would have a craving for something the feline medication in. This allegory features the degree to which this general public ensures that nobody is superior to anyone else.
Analysis from the two stories has uncovered, humanity has a not subliminal dread of these against freedom standards. Except for the monetary part of subject three, these motifs ought to be hellish cursedness to all holding non-dictator political convictions. The creators whose works are inspected above have seen extending from Rand's libertarianism to Vonnegut's socialism. Liberals and traditionalists, communists and libertarians, communists and rebels should all be horrified by this literature. In that lies its esteem. Its widespread interest introduces an original open door for those of all perspectives to join together and censure specific governmental activities as hostile to freedom as well as against human. The battle against a totalitarian government is obviously an incessant topic in tragic literature. Nearly by definition, the class is set in an advanced society portrayed by outrageous mistreatment and despondency. Malignant dictators at the rudders of totalitarian governments have, all through our history, been in charge of multitudinous crimes.
Abdol Hossein Joodaki. Equality versus Freedom in Harrison Bergeron by Kurt Vonnegut: A
Study of Dystopian Setting. International Journal of Applied Linguistics & English Literature. Vol 2, No 4 2013: 70-73. Print
Masterson, John. "Coming Together for Things Fall Apart: 1958-2008. Reflections on Reading
Achebe Today." English Studies in Africa. 54.1 (2011): 29-43. Print.
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