Abstract
Consideration of Okri’s “Heraclitus’ Golden River” occurs here within an epistemic ecology in which Nature and the poetic consciousness conjoin as dialectically twinned tropes – beyond culture and below consciousness. Heraclitus’s “One thunderbolt strikes root through everything,” cited as the epigraph to Okri’s Wild (2012) intimates an African epistemology of cosmic holism, while his concept of the metaphysical capacity of poetry to transform the earth into mother [Gaia] sheltered by the sky and under the sun as an inscrutable god, expressed in A Way of Being Free, foregrounds the relation between the fluidity of artistic creativity and an eco-phenomenological exploration of “the diminishing boundaries of a shrinking world.” This interpretation of Okri’s poem, “Heraclitus’ Golden River,” rests on his own conception of “wild” as energy meeting freedom, art meeting the elemental, chaos honed. The reading of this poem celebrates mystical unrest viewed from an ontopoietic appreciation of the sublime. The argument attempts to show that, for this Nigerian poet, “wild” is perceived in his third anthology from a heightened consciousness perspective as that which is transcendent – man’s link with the firmament. This cosmic aspect accords with what the American nature poet Robert Frost called wildness, that wild/ Arcadian place or the unconsidered land where life itself sways perilously at the confluence of opposing forces and to which the poet must go, alone and in silence, to ignite his/her creativity.
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Notes
- 1.
Heraclitus (c. 535 BC – 475 BC) lived during the so-called Archaic Period usually from c. 700 to 494 BC. He was not a philosopher but a sage and cosmologist.
- 2.
As Nicoletta Ghigi argues, pointing to the anguish and ‘dis-ease’ that characterize our generation and the need to re-humanize, to re-appropriate one’s own life and one’s own telos: “To constitute a metaphysics as a science that makes this telos its own object or to think of a philosophical reflection that is completely turned toward life and its meaning offers us the possibility of rethinking the human and to rethink her existence as a true return to authentic existence … as the being to which we are and in which we participate insofar as we are single personalities endowed with our own interiority and, above all, our own telos that gives form to life” (2014, 9).
- 3.
See Gray, Rosemary. 2009. “Apologia pro Ben Okri’s In Arcadia: A Neglected Masterpiece.” English Academy Review: Southern African Journal of English Studies 26, no. 1: 65–71.
- 4.
Graham, Daniel, W. “Heraclitus.” Internet Encyclopedia of Philosophy. Web. 2 October 31, 2014. <http://www.iep.utm.edu/heraclit/print/>; and Cleanthus from Arius Didymus from Eusebius. (4) Web. 1–14. October 31, 2014. http://plato.stanford.edu/entries/heraclitus/. Accessed April 13, 2016.
- 5.
Anon. “Heraclitus.” Stanford Encyclopedia of Philosophy. Web. 5. October 31 2015.
Compare: “No man even steps in the same river twice, for it’s not the same river and he’s not the same man” (Aquileana 2015: 3). Web. 31 October 2015: 1–23. https://aquileana.files.wordpress.com/2014/02/ guarda5.png/. Accessed April 13, 2016.
- 6.
ff
- 7.
Compare Wole Soyinka’s drama, The Road:
“Samson: … May we never walk when the road waits, famished” (Soyinka 1965, 60) – the allusion is to the myth of Ogun, the Yoruba god of the road, who feeds off the remains of road accidents, causing such accidents when he is hungry. And the insights into the inevitability of death encapsulated in:
Prof.: But there is this other joke of the fisherman, slapping a loaded net against the sandbank. [Looks around him.] When the road is dry it runs into the river. But the river? When the river is parched what choice is this? Still it is a pleasant trickle–reddening somewhat–between barren thighs of an ever patient rock. The rock is a woman you understand, so is the road. The know how to lie and wait (Soyinka 1965, 58).
In this play, the Professor is a well-to-do forger of driver’s licences and so an accessory to road accidents. His quest is for the meaning of “the word,” “which may be found companion not to life but Death” (Soyinka 1965, 11; original emphasis), a veiled indictment of organized religion as “the final gate to the Word” (1965, 93; original emphasis) and of the elusiveness of complete knowing.
- 8.
Homer’s invocation to the muse was already ancient in the eighth century BC.
- 9.
See Baym, Nina (1965, 713–732). She argues that what Frost uncovers in his investigation of nature is a sombre truth, the law of “change and decay.”
- 10.
Phokaia, Chios, Erythrai, Klazomenai, Teos, Lebedos, Kolophon, Ephesos, Samos, Priene, Myous, and Miletos (Hdt. 1.142).
- 11.
Robert Frost’s (1874–1963) iconic nature poetry appears to correlate with that of Okri. His message in “Mending Wall” (2014) – that something is amiss in a world of walls/ unnatural barriers – is endorsed in Okri’s “Heraclitus’ Golden River.”
- 12.
Quoted in Peter Straus (2012, 20). The reference to stone smiths is probably to the late Anglo-Saxon building with stone rather than wood – a legacy from the Roman occupation of Briton/Britain.
- 13.
Wood, Bryant D. Web. 1–17. May 22, 2016: 1–17. The Walls of Jericho. http://www.biblearcheology.org/post/2008/06/The-Walls_of-Jericho.aspx/. Accessed May 28, 2016.
- 14.
In Virgil’s Eclogues, Tityrus is beneath a beech tree that comes to symbolize the wisdom of rural restraint and peace as in much seventeenth century poetry and discussed later in this chapter in terms of sophrosyne.
- 15.
This legacy can be seen in the Christian marriage rites.
- 16.
Kamwangamalu (1999, 25–26) argues that ubuntu is integral to pan-African philosophy and he shows that it has multiple phonological variants, for example umundu in Kikuyu [Kenya], bumuntu in KiSuma and KiHaya [Tanzania] and gimuntu inKiKongo and giKwezi (DRC). Mogobe Ramose (2001, 3), however, while acknowledging the Ubuntu is a fundamental ontological and epistemological category of thought, delimits its significance to the Bantu-speakers of South Africa. The relevance of the term to the present discussion is that, morphologically, the prefix ubu- indicates a general state of being, whereas –ntu means “a person.” The composite word thus signifies two aspects of being, encapsulating both self and other, that is, an indivisible interrelatedness.
- 17.
Compare Okri’s self-reflexive comment on his Famished Road trilogy:
Dancers’ limbs twist and thread/ In this highly atmospheric/ Conclusion to an elemental/ Trilogy that veers between the/ Airy and the grounded (Okri in Essakow, 2016, 3).
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Gray, R. (2023). Epistemic Ecology and Ben Okri’s “Diminishing Boundaries of a Shrinking World” in “Heraclitus’ Golden River” from Wild (2012). In: Hornbuckle, C.A., Smith, J.S., Smith, W.S. (eds) Posthumanism and Phenomenology. Analecta Husserliana, vol 125. Springer, Cham. https://doi.org/10.1007/978-3-031-10414-5_13
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