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Things Fall Part: Stylistic Features Used in Portraying the Concept of Gender

Women and men are not treated equally in most traditional African cultures regarding

responsibilities and ownership. Kids belong to the men of the family in the majority, if not all, of

these traditions. The same is true when it comes to land and other things. When it comes to day-

to-day tasks, women and men play different roles. Women, for example, are expected to stay at

home and care for their families and children.  On the contrary, men are supposed to provide for

their families and protect them. As a result, this paper examines the gender theme in Chinua

Achebe’s work Things Fall Apart.

Things Fall Apart by Chinua Achebe is a tale set in the late 1890s in Africa. The plot

centers around the impact of the white man’s arrival on the religion and culture of the locals.

Through Achebe’s interpretative writing approach, he is able to depict the sociocultural structure

of the Igbo people of the period (Chinua Achebe). In society, men and women have different

responsibilities and expectations. The importance of serotypes and sex-roles in Igbo society

stems from the focus on gender and masculinity discrimination.

Apart from the unique duties played by the two opposing genders, Igbo people follow rigorous

gender-based behavioral norms. As a result of these practices, Ibo women’s independence and

respect are further curtailed, while men’s dominance and significance are reinforced. For
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example, a lady can only be honored if she gives birth to a son rather than a girl. Overall, Ibo

women, like their male counterparts, played an important role in society (McCarthy). The

following is an instance with examples of how Chinua Achebe uses metaphorical language to

convey masculinity and femininity in his work Things Fall Apart.

Masculinity:

In Things Fall Apart, men are presented as stronger and more significant than women.

Chinua Achebe discusses the concept and perspective of masculinity and some of the duties of

males in Igbo society via distinct stylistic aspects. The author uses these strategies to present a

variety of worldviews and ideas of masculinity in society. To accomplish his goal, Chinua

Achebe employs Okonkwo and a few other male futures to represent what the Igbo society

expected of a man at the time (McCarthy). The author employed a variety of stylistic elements

and images to support the concept of masculinity.

Flashback

Chinua Achebe utilizes flashbacks to present us to some of the Igbo people’s conceptions

of masculinity at the start of his career. According to the flashback, because he was the first

wrestler to defeat Amalinze the Cat, Okonkwo has earned some respect and reputation across all

nine towns. Considering that Amalinze had gone seven years without losing, Okonkwo is now

regarded as a hero in the community. Even though Okonkwo’s forefathers scarcely left anything

for him to inherit, the women and men of Ummofia hold him in high regard. He may not have

been granted the heroic stature he now enjoys based on how people in Ummofia saw men

without something to show for it.

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Use of Similes

Following Okonkwo’s victory over Amalinze the Cat in a wrestling competition, the

author employs a simile to illustrate how Okonkwo’s popularity spread quickly across Umoffia

and the other nine villages. Okonkwo’s popularity “grew like wildfire,” according to Chinua

Achebe. Achebe underlines the importance of masculinity in gaining recognition and respect

with this comparison. It also demonstrates Okonkwo’s resolve to become a respected man in

society compared to his father. Only heroes were honored in Ummofia, and Okonkwo had just

proven himself by beating Amalinze, the seven-year titleholder. However, in an attempt to

surpass his father’s poor reputation, he becomes more violent and destructive, similar to wildfire.

Personification

Personification is one of Chinua Achebe’s creative strategies for expressing masculinity

in his writing. For example, the author describes the yam as “Man’s Crop” and “the King of

Other Crops.” The fact that the yam is known as the “King of Crops” emphasizes the crop’s

importance and supremacy (Cairns). He claims that it was only cultivated by men, not women,

implying that men were more powerful and influential in society than women. Furthermore, yam

growing was labor-intensive and done primarily to acquire riches. Men, like the yam, were

supposed to take charge and care for their families. Okonkwo, for example, does not want to be

like his father (Unoka), who was a slacker with a lot of debts. Okonkwo is characterized as a

powerful and diligent individual. His hard work has earned him respect and recognition in his

community and the nine communities around it.

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Use of Metaphors

Masculinity was generally connected with violence, rage, and aggressiveness among the

Igbo. Okonkwo, for example, is known among his countrymen as the roaring lion, a reference to

his temperamental character, brutality, and aggressiveness during the conflict. Okonkwo is

enraged when he learns of his son’s conversation with the Whiteman and his aspirations to

convert to Christianity. He even questions how a roaring lion like himself could have spawned a

coward. This is a difficult truth for Okonkwo to accept; he is well-liked in the community, and

Nwoyes’ ambitions might lead to his being labeled a loser, which is the last thing he wants.

Using the metaphor Agbala, Achebe demonstrates that masculinity amongst Igbo people

was defined not just by gender difference but also by disparities among men. The word Agbala

refers to a lady in the Igbo community, although it may also apply to males without ranks in the

community. For example, when still a youngster, Okonkwo is tormented by the fact that his

father is referred to as Agbala. Okonkwo discovers that agbala was not simply a term given to

women in the village but also a moniker given to males without title (Kotein-Trinya et al.)s. As a

response, Okonkwo grows a loathing for failure and weakness, and as a result, he has conflicts

with his older son Nwoye. He regards Nwoye as his father, and he does not shy from referring to

him as a woman to highlight his flaws.

Irony

In Things Fall Apart, Achebe uses irony as a literary device to convey masculinity. To

begin with, Okonkwo considers expressing affection and feelings to be a show of weakness.

Okonkwo simply feels that exhibiting power and fury is worthwhile. Despite his strong love and

devotion for Ikamefuna, he goes ahead and kills him to show to his clan’s warriors that he is not
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weak. The effect of his deception is terrible, as we witness Okonkwo sipping palm wine

incessantly while lamenting the loss of a youngster he killed himself. He cannot save Ikamefuna

from death due to his refusal to admit his feelings for him. He is a sad guy because he promoted

masculinity and respect for males in society.

The author brilliantly brings out the irony surrounding the expectations and views of Igbo

people regarding masculinity via Unoka. Most people, like Okonkwo, feel that masculinity is

defined by violence, aggression, and hard labor. Unoka, on the other hand, had opposing

viewpoints. Unoka was a slacker who preferred mild things that Okonkwo couldn’t stand. We

can tell that he had formed a strong dislike for whatever his father enjoyed, some of which

included lethargy and a lack of courage (Chinua Achebe). As a result, he overworks his family

on the field, oblivious to the fact that they may be exhausted or hungry.

Irony is also evident when Nwoye, Okonkwo’s oldest son, defies his father’s expectations

by becoming a Christian. Okonkwo had hoped for Nwoye to grow up to be a respected member

of society, just like he had. For example, Okonkwo thinks that for a man to be considered a man,

he must be able to govern his children and wife, failing which he forfeits the title, even if he is

wealthy (Chinua Achebe). Despite Okonkwo’s status as a feared and respected man in the

community, his eldest son Nwoye rises against him and converts to Christianity.

Irony also appears near the conclusion of the narrative. Okonkwo’s manhood is endangered

when the Whiteman gains greater authority and asserts his dominance and aggression in

Umoffia. Okonkwo desires to mobilize the other village men to fight the white man, as is his

way. Okonkwo has made it clear that he does not want to die without his father’s titles

and honors. As a result, shortly after his release from jail, he vows to get vengeance on the

Whiteman. Unfortunately, things do not go well for him when the people of Umoufia refuse to
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help him in his vengeance expedition. This irritates him, and he kills himself, a cowardly way of

dying. We don’t expect Okonkwo, a guy who values honor and manhood, to consider suicide

rather than confronting the white man and dying at his hands.

Okonkwo has never wanted to be connected with or identified with female features

throughout his life, and he even goes contrary to society’s expectations. For example, Okonkwo

is afraid of being perceived as weak if he does not show compassion and devotion to his

children. When Ikamefuna approaches him, he instantly draws his machete and murders him; he

acts unconcerned despite his affection for the youngster. All of Okonkwo’s efforts to maintain

exclusively male qualities, on the other hand, render him the same in the long run. Okonkwo is

compelled to leave his fatherland for his motherland after accidentally murdering a fellow

clansman (Chinua Achebe). The accidental killing of his clansmen is classified as a womanly

crime, which explains why he received such a low sentence of only seven years in exile.

Use of Repetition

Most African traditions hold that the father of the house is completely responsible for his

wealth and children. In addition, the male of the home is the family’s leader. The residents of

Ummofia village are in the same boat. When narrating the narrative of Umoufia hamlet, Chinua

Achebe underlines this by repetition while attempting to convey it. The author of this narrative

demonstrates that Umoufia’s nine towns are descended from the clan’s founding father’s nine

sons. We can understand the importance of males in the community since the phrase “nine sons”

is repeated throughout (Cairns). Furthermore, the clan’s progenitor is a man, and there is no

reference to a woman in the village’s creation.

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Use of Symbolism

The novel makes extensive use of symbolism to illustrate Okonkwo’s beliefs and

worldviews on what it means to be a man. Animal fables, according to Okonkwo, should not be

taught to young guys like Nwoye. According to Okonkwo, young men should be fed stories of

battles and bloodshed rather than the ones their moms love to tell them. Animal stories represent

femininity, which is the polar opposite of males’ expectations (McCarthy). At such times,

Okonkwo becomes irritated with his son, believing that Nwoye fails to develop into the man he

desires. Nwoye acts similarly to his father and resembles a lady rather than a man.

On several occasions, the author and other characters refer to Okonkwo as fire, even

calling him “roaring flame.” The writer conveys the masculinity and respect that Okonkwo had

garnered through time due to his wealth and heroic exploits by calling him roaring flame

Okonkwo. On the other hand, Okonkwo has an issue with his third son Nwoye, who does not

live up to his father’s successes. When Okonkwo questions how a strongman like him can father

a boy like Nwoye, he refers to his son as ash. Ash represents powerlessness, lifelessness, and

coldness to him. Nwoye is sweet, loves his mother’s stories, and lacks the most anticipated

masculine characteristics, but Okonkwo sees none in him.

Femininity:

Things Fall Apart depicts the place of women in society and shows that the feminine sex

is at the bottom of society. Women are often equated to weak objects in society within the Igbo

tribe. In addition, women are not expected to possess property, and much alone have children.

Men without titles in society are sometimes lumped in with women and are referred to as agbala.

Chinua Achebe employs a variety of stylistic devices, including metaphors and symbols, to
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express his thoughts on the subject of womanhood. The following is a rundown of some of

Chinua Achebe’s aesthetic approaches for depicting femininity in his work.

Similes

The entire book demonstrates how women are typically considered as objects rather than

equals in society. In society, women are viewed as things and property for males rather than

being appreciated and recognized. Chinua Achebe, for example, uses similes to connect

Okonkwo’s drive to dominate and submit to that of a lady (McCarthy). The rhythm of the drums

propels Okonkwo to get up while watching the wrestling event at the arena. The drum’s beat

takes him back to his childhood, instilling in him a drive to dominate and subdue. He compares

this sensation to that of a woman, implying that women are simply things to conquer and

dominate for males.

Personification

Chinua Achebe employs analogies to demonstrate how conventional Igbo women are

expected to be subservient and never challenge their husbands. When Okonkwo returns home

with Ikemefuna, for example, the eldest wife inquires as to how long the youngster will be

staying. Her query, however, is received with anger by Okonkwo, who retaliates by asking her to

do what she is instructed (Chinua Achebe). The narrator stresses the rage and hatred with which

Okonkwo responded to his wife by shouting back. He doesn’t even call her by her name or in a

courteous manner; instead, he refers to her as “woman.” On the other hand, the wife sees nothing

wrong with her husband She picks up the kid and pleasantly walks him to the hut.
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Symbolism

Women in Things Fall Apart represent forgiveness and peace. For example, using the

title “mother of the spirits” to designate the entire Umoufian people implies that these people

were not going to exact retribution on the Whiteman for all the harm he had caused to Umoufia

(Chinua Achebe). One incident is when Enoch, a Christian convert, breaks one of these folk’s

customs by uncovering one of the Egwugus. This was a huge error for the Igbo people, and it

was the same as murdering one of their gods. However, because mothers are forgiving, the

people of Umoufia do not repeat Enoch’s and Whiteman’s crimes. Enoch is not disciplined, but

the clan continues to lament the loss of one of its gods. 

Use of Proverbs

Chinua Achebe frequently used metaphors to illustrate many aspects of society, including

the status of women in society. “A child’s fingers are not scalded by a piece of hot yam which its

mother puts in its palm,” the author writes (Chinua Achebe). The proverb’s actual meaning

highlights the importance of women in providing meals for their families and caring for their

children. The proverb’s underlying meaning, on the other hand, illustrates women’s guiding

function in society, despite men’s perception that they are at the core of everything. Children

who heed their mothers’ advice are less likely to have disappointments and regrets later in life.

Women in Igbo society provide a safe haven for males while also playing an important part in

their lives. The author emphasizes the value of feminine in society through the proverb “mother

is supreme,” disregarding masculinity’s dominance.

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In conclusion, Things Fall Apart by Chinua Achebe skillfully utilizes a variety of stylistic

approaches to depict masculinity and femininity in traditional Igbo society. Metaphors, similes,

proverbs, symbolism, and irony are among the stylistic elements he employs. The author presents

some of the typical societal observations that are brought about by the members of traditional

Igbo culture using these qualities of style.

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Works Cited

Cairns, P. “Style, Structure and the Status of Language in Chinua Achebe’sThings Fall

ApartandArrow of God.” World Literature Written in English, vol. 25, no. 1, Mar. 1985,

pp. 1–9, 10.1080/17449858508588917. Accessed 21 Mar. 2021.

Chinua Achebe. Things Fall Apart. 1958. S.L., Penguin Books, 1958.

Kotein-Trinya, Roselyn Shirley, et al. “An Examination of Cohesion as a Discourse Stylistics

Strategy in Chinua Achebe’s Things Fall Apart and Flora Nwapa’s Efuru,.”

Papers.ssrn.com, 31 Jan. 2021, papers.ssrn.com/sol3/papers.cfm?abstract_id=3776535.

Accessed 10 Dec. 2021.

McCarthy, BE. “Rhythm and Narrative Method in Achebe’s ‘Things Fall Apart’ on JSTOR.”

Www.jstor.org, 1985, www.jstor.org/stable/1345790.