Classic and Contemporary Poetry: Explained

Christopher Okigbo's poem "Passion Flower" is a rich and multilayered work that weaves together themes of suffering, redemption, and spiritual anticipation. The poem draws on Christian imagery, as well as traditional African spiritual practices, to explore the complexities of faith, loss, and the hope for renewal. The title itself, "Passion Flower," alludes to the Passion of Christ, the suffering and crucifixion, which is central to Christian theology, but also to a broader sense of deep, emotional suffering.

The poem begins with the striking image of a flower that "weeps unbruised," a powerful metaphor for sorrow and mourning that exists even in the absence of physical harm. The flower's tears are described as "Lacrimae Christie," Latin for "Tears of Christ," linking the weeping flower to the suffering of Christ and the sorrow that permeates the world. The unbruised flower suggests a purity or innocence that is nevertheless touched by profound grief, reflecting the universal nature of suffering.

The weeping of the flower is for "him who was silenced," possibly referring to Christ himself, who was crucified and silenced by death. This phrase could also symbolize any martyr or figure who has been silenced by forces of oppression or violence. The poem captures the paradox of celebrating the advent of one who has suffered and been silenced, as the "dumb bells in the dim light celebrate with wine song." The juxtaposition of silence and celebration creates a somber tone, as the bells ring without sound, and the celebration is muted, taking place in a "dim light." This suggests a recognition of the gravity of the situation, where joy is tempered by the awareness of past suffering.

The refrain "Messiah will come again" introduces a note of hope and anticipation. The repetition of this line emphasizes the belief in a second coming, a return of the Messiah to bring light and salvation. The phrase "After the argument in heaven" hints at a celestial debate or decision-making process, possibly alluding to the theological complexities and the divine deliberation that precedes the Messiah's return. The Latin phrase "Lumen mundi," meaning "Light of the world," reinforces the idea that the Messiah's return will bring enlightenment and salvation, dispelling the darkness that currently prevails.

The latter part of the poem shifts focus to a ritualistic act of penitence, where "Fingers of penitence bring to a palm grove vegetable offering with five fingers of chalk." This act of offering in a palm grove evokes traditional African religious practices, where offerings are made to deities or ancestors in sacred natural spaces. The "fingers of chalk" symbolize purity and the marking of sacred boundaries, often used in rituals to invoke protection or blessings. The number five may hold symbolic significance, possibly representing the five wounds of Christ or the completeness of the offering.

This ritual act of penitence, combined with the Christian imagery of the poem, suggests a merging of spiritual traditions, where the speaker seeks redemption and forgiveness through both Christian and traditional African practices. The offering in the palm grove serves as a bridge between the earthly and the divine, a gesture of humility and reverence aimed at reconciling with the spiritual forces that govern the world.

"Passion Flower" is a poem that resonates with themes of suffering, redemption, and spiritual anticipation. Christopher Okigbo uses rich, evocative imagery to convey the depth of human sorrow and the hope for renewal through the return of the Messiah. The poem's blending of Christian and African spiritual elements reflects the complexity of the speaker's faith, where traditional rituals and Christian beliefs coexist and complement each other. Through the weeping flower, the silent celebration, and the ritual offering, Okigbo captures the essence of a faith that is deeply aware of suffering but remains hopeful for the light and salvation that is to come.

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