



































Posthumous festschrift in honour of late professor R.O. Ezeuko, edited by Dr. Odinye, Egenti & Orji


 

 

 

 

 

 

Posthumous festschrift in honour of late professor R.O. Ezeuko, edited by Dr. Odinye, Egenti & Orji 

 

70 
 

POEMS OF SAME TITLE IN SELECTED ANTHOLOGIES OF IGBO 

POETRY: A COMPARATIVE STUDY OF THEMES AND STYLES 

 

 

Nkiru Ifeoma Meludu 

Ministry of Information, Anambra State 

nkirumeludu@yahoo.com 

 

Abstract 

 

This study was embarked on in order to carry out a comparative study of 

themes and styles in selected same title poems from selected Anthologies of 

Igbo poems. Same title poems from selected Anthologies of Igbo poems are 

two or more poems that have the same title and written by two or more poets, 

and are collected in the same or different work(s) edited by one or more 

poets. It also sought to find out how far a poet’s style and theme affect the 

quality of work he/she produces in relation to works done by other poets who 

wrote on the same title. The researcher used the Survey research method 

whereby relevant works done by different poets and scholars were used for 

data collection. Also a review of related literature of previous works done by 

earlier researchers was carried out. Out of twenty titles written by fifty-six 

poets selected from four different Anthologies of Igbo poems, the researcher 

employed a Simple Random Sampling method to select the poems that were 

used for this work. The Theories of Formalism, Feminism and Mythology 

were adopted for this work. This study x-rayed the selected poems along the 

lines of the themes and styles employed by the poets which proved that no 

two writers are ever the same. It is hoped that this work would inspire other 

researchers to carry out further research on same title poems, spreading to 

more poems done by many more poets or focusing on other factors apart from 

themes and styles. 

 

   Keywords: poem, themes, styles 

 

 

 

 



 

 

 

 

 

 

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1.0 Introduction  

 

Every society or community has a specific way or method of teaching, sharing, or 

transferring its beliefs, norms, values and so on, from one generation to another. 

This is done through oral tradition. At the end of the orthography dispute which 

slowed down the pace of Igbo literary development, creative artists went into action 

by documenting most of the Igbo oral poetry. This gave rise to the writing of poems 

by different poets.  

 

Definitely, no two writers ever have the same pattern of presentation; neither do 

they have the same philosophy. A writer employs his personal style when creating 

any work of art. This leads to the individual differences that exist among creative 

writers. In spite of this, they have some factors in common. They may write on the 

same topic or title but their themes will differ as well as their choice of words and 

employment of literary devices.  

 

The above observations and other factors have necessitated the researcher’s zeal to 

embark on this work in order to assess the different poems with same titles so as to 

carry out a comparative study of the themes and styles employed by the different 

poets. 

 

The researcher used the survey research method whereby relevant works done by 

different poets and scholars were used for data collection. Also a review of related 

literature of previous works done by earlier researchers was carried out.  

 

2.0 Literature Review 

 

Theoretical Framework 

 

The language of poetry has to do with aesthetics although very difficult to 

understand. For this reason, this study fits well into Formalism being a school of 

criticism developed by the Formalists. Apart from this theory, others are Feminism, 

and Mythology.  

 

Formalism looks at a work of art from its intrinsic perspective. It views poetry    

primarily as a specialized use of language. One thing with formalism is that it does 



 

 

 

 

 

 

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not afford one the opportunity to understand fast. It does not focus on the meaning 

rather it dwells on the beauty exhibited by the choice of words. It does not concern 

itself with the obedience to the rules of grammar as is found in Structuralism. In 

Formalism, literary language sounds strange and each time, gets unfamiliar thus 

eluding habitual perception. In fact, it intrigues the mind. Reading over as many 

times as possible to enable one decode the real message removes the strangeness. It 

awakens the reader to new experiences and understandings, making him to see the 

piece before him as if just for the first time. Formalism is more concerned with the 

artistic devices in a write-up than in the message. Expressing their views on the 

term Formalism, Rice and Waugh, (2001:43), observe that, the interest of the 

formalists lies in the fact that they believed in the systematic method for the 

analysis, appreciation, examination or evaluation of any literary work with their 

central focus on the literariness of the work of art rather than literature itself. Again, 

the unique attributes of literary work or literary devices were their main concern 

and not the content.  

 

To drive this home further, Lawrence, (1955:262), in his idea of literary criticism 

drawn from the principles of formalism, says that they judge a work of art by its 

effect on their sincere and vital emotion and not reason. They are concerned with 

value.  

 

In her own view, Dobie, (2012:33), opines that, “Formalism’s sustained popularity 

among readers comes primarily from the fact that it provides them with a way to 

understand and enjoy a work for its own inherent value as a piece of literary art. 

Emphasizing close reading of work itself, formalism puts the focus on the text as 

literature… formalism makes those who apply its principles and follow its 

processes better, more discerning readers”. Contributing, Eagleton, (2008:3), 

observes that, Formalism is more interested in the ability of the writer to twist 

words, use expressions, play with words, and use every literary device at his 

disposal to fascinate the reader. It even puts one’s brain in a spin through repetitive 

words and rhymes and so on, just to make one appreciate the literariness of the 

write-up, than the actual message it conveys. 

 

Feminism is the next theory to be used for analysis in this study. Looking at the 

historical background, Dobie, (2012:103), traces the feminist movement back to the 

nineteenth  century, though the modern attempt to look at literature through the 



 

 

 

 

 

 

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feminist lens began to develop and operated on the assumption that women were 

inferior creatures. On his own part, Eagleton, (2008:194), says: 

 

Feminist theory, however, was itself by no means unaffected by the 

general downturn in radical politics which the late 1970s and early 

1980s were to witness. As the women’s movement was rebuffed by a 

traditionalist, family-centred, puritanical new right, it suffered a 

series of political setbacks which left their imprint on the theorizing 

itself. The heyday of feminist theory occurred in the 1970s… 

 

From the two records above it could be observed that feminism started a little later 

than mid twentieth century and the women’s movement was not favored, they were 

viewed from the negative perspective. 

 

According to Dobie,(2012:102), “Feminist criticism…is difficult to define because 

it has not yet been codified into a single critical perspective. Instead, its several 

shapes and directions vary from one country to another, even from one critic to 

another… The premise that unites feminist critics is the assumption that Western 

culture is fundamentally partriarcal, creating an imbalance of power that 

marginalizes women and their work.”Eagleton, (2008:142), in discussing 

psychoanalysis of which Sigmund Freud is its greatest propounder reflects on 

feminism thus:  

  

One belief which has apparently not varied… is the assumption that 

girls and women are inferior to boys and men… Since it is a prejudice 

with deep roots in our early sexual and familial development, 

psychoanalysis has become of major importance to some feminists. 

One Freudian theorist to whom such feminists have had recourse for 

the purpose is the French psychoanalyst Jacques Lacan. It is not that 

Lacan is a pro-feminist thinker: on the contrary, his attitudes to the 

women’s movement are the main arrogant and contemptuous. But 

Lacan’s work is a strikingly original attempt to “rewrite” Freudianism 

in ways relevant to all those concerned with the question of human 

subject…  

 



 

 

 

 

 

 

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Lacan’s theory is of interest to literary theorists, hence the assertion on (p. 165). 

“The woman is both “inside” and “outside” male society, both romantically 

idealized member of it and a victimized outcast. She is sometimes what stands 

between man and chaos, and sometimes the embodiment of chaos itself… Women 

represented within male-governed society, fixed by sign, image, meaning, yet 

because they are also the “negative” of that social order there is always in them 

something which is left over... “ 

 

Eagleton goes on to explain that the feminist critic is not studying representation of 

gender simply because she believes that this will further her political ends. She 

believes that gender and sexuality are central themes in literature and other sorts of 

discourse, and that any critical account which suppresses them is seriously 

defective. Also contributing, Ogene, (2010:37), says, that “The emphasis of 

feminist approach to criticism is on the question of gender equality in literature. 

Outside its concern with the place of female writers in the main stream of event, 

this approach has its strong bone on the area of criticism or attacks on culture that 

enthroned prtriarchy.” In their own opinion, Rice and Waugh, (2001:143), observe:  

 

…feminism is rooted in the political discourses of modernity, 

inheriting but also challenging its ideas of sovereignty, equality, 

liberty, rights, and rationality. Feminism begins as an Enlightenment 

discourse founded in the Kantian idea of an autonomous and rational 

self who is free to choose; in the liberal concept of rights and 

ownership…   

 

Also, Ogene, (2010:37), says that the emphasis of feminist approach to criticism is 

on the question of gender equality in literature… this approach has its strong bone 

on the area of criticism or attacks on culture that enthroned patriarchy.  

 

Mythology is the next theory to be used for this study. Before looking at the 

historical background of mythology it is pertinent to explain the term Myth. Myths 

are symbolic tales of the distant past that talk about the origin and nature of the 

world and connect to the belief systems or rituals of a people. They are the 

traditional stories that are told to explain some natural events or to describe the 

exploits of immortal beings as well as the early or ancient history of a people. They 

could also be described as traditional narratives of stories told by unknown people 



 

 

 

 

 

 

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and are handed down from generation to generation. Myths explain the origin of 

natural events and things like: gods, people, plants, places, animals and so on. 

These stories generally believed by many people may not exist; they are therefore 

taken to be false. For instance, the story of the moon and the sun is a myth.  

 

Once upon a time, the sun and the moon had a serious disagreement; 

this caused a big row that led to a fight between them. In the course of 

the fight, the moon used a broom to smash the sun therefore defacing 

the sun. The resultant effect is the appearance of the rays of the sun. 

The sun, in retaliation, used an axe to cut the moon into two halves. 

This action is the reason why at a certain time one half of the moon 

will appear and later, the full moon. It is believed that at full moon, 

the sun is seen inside the moon with the raised axe.  

 

Mythology could then be said to be the study of ancient myths of a people, culture, 

and society in general. It is the collection of mythical stories. Mythology is seen as 

having emanated from Greece as the historical development of mythology cannot 

be traced without Greece being mentioned. To this end, an unnamed author, (June 

4, 2014), explaining what mythology is on the internet, says: 

      

Mythology was at the heart of everyday life in Ancient Greece. 

Greeks regarded mythology as part of their history. They used myth to 

explain natural phenomena, cultural varieties, traditional enmities and 

friendships. It was a source of pride to be able to trace one’s leaders’ 

descent from a mythological hero or a god…. After the rise of 

philosophy, history, prose and rationalism in the 5th century BC, the 

fate of myth became uncertain, and mythological genealogies gave 

place to a conception of history which tried to exclude the 

supernatural… 

 

The internet author goes ahead to talk about Roman Mythology which derived from 

Greek Mythology. He observed that in Ancient Roman times, a new Roman 

Mythology was born through syncretization of numerous Greek and other foreign 

gods. This occurred because the Romans had little mythology of their own and 

inheritance of the Greek mythological tradition caused the major Roman gods to 

adopt characteristics of Greek equivalent. In addition to the combination of the two 



 

 

 

 

 

 

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mythological traditions, the association of the Romans with eastern religions led to 

further syncretization.     

 

Greek myth attempts to explain the origins of the world, and details the lives and 

adventures of a wide variety of gods, goddesses, heroes, heroines and mythological 

creatures. These accounts initially were disseminated in an oral-poetic tradition; 

today Greek myths are known from Greek literature. Also contributing, another 

internet author, Dr. Joe Kiff, (August 15, 2012), states as follows:  

 

The word Mythology… is a story or legend that literally means the 

retelling of myths – stories that a particular culture believes to be true 

and that use supernatural events or characters to explain the nature of 

the universe and humanity. In modern usage Mythology is either the 

body of myths from a particular culture or religion (as in Greek 

Mythology, Egyptian Mythology or Norse Mythology) or the branch 

of knowledge dealing with the collection, study and interpretation of 

myths… In common usage, myth means falsehood – a story which 

many believe but which is not true…  

 

Ogene, (2010:35), discusses mythology and archetype together as being broadly 

linked to symbolic criticism because they both exploit the use of images and create 

enduring efforts on readers to make their universal impacts. He goes on to state that 

the primary concern of the critics of this approach is to discover how myths are 

brought into the work of literature and their effects on the readers. Also 

contributing, Kennedy and Gioia, (2007:1520), state: 

 

Mythological Criticism is an interdisciplinary approach that combines 

the insights of anthropology, psychology, history, and comparative 

religion. If psychological criticism examines the artist as an 

individual, mythological criticism explores the artist’s common 

humanity by tracing how the individual imagination uses symbols and 

situations – in ways that transcend its own historical milieu and 

resemble the mythology of other cultures or epochs.  

 

Supporting the above citation, an unnamed author equally comes up on the internet 

with further explanation that the key concept in mythological criticism is the 



 

 

 

 

 

 

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archetype described as a symbol, character, situation, or image that evokes a deep 

universal response which entered literary criticism from Swiss Psychologist Carl 

Jung. He says that according to Jung, all individuals share a “collective 

unconscious, a set of primal memories common to the human race, existing below 

each person’s conscious mind”… He equally brings in another critic, Northrop 

Frye, who defined archetypes in a more limited way as “ a symbol usually an 

image, which recurs often enough in literature to be recognizable as an element of 

one’s literary experience as a whole.” 

 

A website account of Myth criticism last modified on 11th July 2014 at 20.41pm 

explains thus: Mythic criticism can show the writer where his imagery comes from 

and suggest reasons for its power. Deep thought and reading may turn up further 

materials which usefulness can only be made manifest by testing it in the poem. 

Some of the founding proponents of mythology see mythology variously thus: For 

Karl Kerényi, mythology is a body of materials contained in tales about gods and 

god-like beings, heroic battles and journeys to the underworld. According to Jung, 

“myth forming structural elements must be present in the unconscious psyché”. He 

considers the identification of archetypes merely the first step in the interpretation 

of a myth. Jung tries to understand the psychology behind world myths. He asserts 

that all humans share certain innate unconscious psychological forces, which he 

called archetypes. He believes that the similarities between the myths from different 

cultures reveal the existence of these universal archetypes. Campbell simply 

identifies the archetype in the myth. He believes that there were two different 

orders of mythology: myths that “are metaphorical of spiritual potentiality in the 

human being” and myths “that have to do with specific societies” Max Müller 

applied the new science of comparative mythology to the study of myth. Then 

Sigmund Freud introduced a transhistorical and biological conception of man and a 

view of myth as expression of repressed ideas.  

 

The raw material used in this study is poetry. Poetry is the oldest of all the modes of 

literature and it is the most difficult aspect. It is not easy to put together; the 

language is difficult to understand; it is not easily analyzed or appreciated; the 

words or its expressions are carefully chosen. Then during its appreciation, the 

critic goes the extra mile in order to put things in the right perspective and in order. 

Various authors have different or peculiar definitions of poetry. To this end, Ezugu, 

(1998:136), defines poetry thus: 



 

 

 

 

 

 

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Poetry as a genre relies most on the power of words and their 

manifold suggestiveness. Poetry is the most literary of all the branches 

of literature because it makes the most use of the raw material of 

literature which is words. Poetry is written in verses and arranged in 

stanzas. It approximates to the speaking voice and it is said to be the 

first literary genre to evolve. Poetry has been variously defined in 

terms of emotion, perfection or its instructiveness. It is highly 

spontaneous, creative, imaginative, and teaches by pleasing us. 

 

Poetry is the most literary of all the aspects of literature because it uses words 

beautifully. It uses words to create beauty through the imaginative expression of 

thoughts, feelings, and experiences which are produced rhythmically when the poet 

or a reader delivers the piece very well. Poetry involves emotional expression of 

thought usually compressed into beautifully selected and arranged words that 

appear in stanzas and verses. A poem is arranged in lines which may have regular 

or irregular rhythms as well as rhymes. Poetry uses words that are alluring, 

captivating, and encapsulating. Poetry, just like any other genre, does not exist in a 

vacuum. The poet makes use of the existing entities and life experiences when 

writing. He/she is normally inspired before he/she puts pen to paper.  

 

Matterson and Jones, (2011:56), quote Wordsworth’s definition of poetry thus: 

“Poetry is the spontaneous overflow of powerful feelings: it takes its origin from 

emotion recollected in tranquility”. Wordsworth’s definition sees poetry as an 

expression of one’s emotion that is triggered off on the spur of the moment. It flows 

as the thought comes on or as the imagination builds up. Awoonor, (1974:17), sees 

poetry from another angle and observes, “Poetry among the Ewe comes to life 

around the drums. In the mood and cadences of the drums, and in the structure of 

songs, we come face to face with the form and content of original poetry”. Some 

instruments evoke emotions and make the morale of all concerned to heighten. The 

gradual undulating movements of the drums send messages to the psyche of the 

audience or even the player. For example, the talking drums or the flutes have 

special effects on both the player and the audience. They even spur the oral poet 

into unpredictable actions. “Ima Mbem” falls within the ambit of poetry. Any 

dancer who listens as this is done, whether prepared or not, moves into action 

spontaneously. It works on the emotions of the individuals.  



 

 

 

 

 

 

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Still writing on poetry, Nwachukwu-Agbada, (2009:6),asserts that, “Poetry is an 

attempt by a committed individual to articulate a vision of the world via 

compressed use of language in a manner which engage the senses and liberates the 

soul for a unique perception of life.” 

The nature of poetry is such that it makes use of imagery, symbolism, metaphor, 

and other poetic devices. Rhymes and rhythms are special devices or features in 

poetry introduced in order to achieve effects. Poets enjoy poetic licence which helps 

them to carve a niche for themselves, thereby creating their own style.  

 

Whether written or oral, a piece of poetry remains and maintains its existence 

somewhere in that state until it is verbalized, actualized or performed. It is not just 

enough to read out a piece of literary work and expect it to have an impact on the 

audience. It has to combine with some body movement, undulating movement of 

tone, accompanied with background music from the drums. All these will draw the 

audience into participation. The deep meanings of poems are understood better 

especially when they are verbalized or sung. These beautiful imaginative, emotion-

packed expressions made by the poet inspire or move the listener or the reader into 

actions that are either positive or negative.  

 

3.0 Comparative Analysis 
 

The poems analyzed are “Nwaanyi” by Emenanjo; the message of this poem is that 

the woman is seen as evil, deceitful and not dependable. “Nwaanyi” by Nwaozuzu; 

this has many messages like: a married woman as an ambassador to her husband’s 

ensures peaceful co-existence and cordial relationship among her husband’s people; 

where there is no woman procreation ceases; and feeding is ensured and assured 

when she is there. “Chineke” by Okediadi; the message of this poem is “The 

Almightiness of God of creation.Then “Chineke” by Onuoha which has as its 

theme, God is God to everyone although in times of adversity, some tend to 

question God’s power and potency. Also the poet loves God dearly because God 

knows her in and out. Having x-rayed the individual poems by the different poets, 

the researcher brings out the areas of similarities and differences in the presentation. 

. 

NWAANYỊ 

Nwaanyị is presented by two poets – Nolue Emenanjo and G.I. Nwaozuzu. 



 

 

 

 

 

 

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There is a marked difference between “Nwaanyị” by Emenanjo and “Nwaanyị” by 

Nwaozuzu. While Emenanjo presents a one-verse-poem, Nwaozuzu comes up with 

6 verses. Emenanjo presents a satire through which he runs down the woman while 

Nwaozuzu sees the woman as an indispensable part of a man’s life. She eulogizes 

the woman all through; the woman enjoys dual citizenship. Emenanjo uses 

derogatory expressions to describe the woman and says that the woman causes 

problem and anger which bring about enstrangement. But Nwaozuzu eulogizes the 

woman all through, seeing her as a peace maker, as she gives her a second name 

“PEACE” because any home or family that lacks a woman lacks peace. This she 

freely gives so that whoever needs it will grab it. Nwaozuzu describes the woman 

as the strength and light of the nation. 

 

Both poems are didactic. Emenanjo writes that every woman is expected to have 

sense of decorum; mind how she talks; and the circle around which she moves. The 

researcher notes that with Emenanjo’s commentary not portraying the womenfolk 

in good light, they must strive hard to change this impression about them so as to be 

seen in better light. Nwaozuzu on the other hand, writes on everything good about 

the woman: how she is naturally endowed with God-given gifts, how she is a home-

builder, peace-maker, nation-builder, care-giver, bridge, linking two nations, and 

how in spite of her delicate-looking-nature God created her to be strong in order to 

weather all storms. 

 

Feminist criticism would be viewed from two sides. One as it concerns those 

women who read male produced literature and the other dwells on the women 

writers. To this end, analyzing Hardy’s “The Mayor of Casterbridge”, Howe, 

(1968:84), exhibits a lot of negativism and bias against womanhood. Henchard’s 

wife, Susan, may have been quiet and passive (judging from the role she was 

expected to play), but not the way Howe described her as drooping and 

complaining in this excerpt: 

 

To shake loose from one’s wife; to discard the drooping rag of a 

woman, with her mute complaints and maddening passivity, to escape 

not by slinking abandonment but through the public sale of her body 

to a stranger, as horses are sold at a fair; and thus to wrest, through 

sheer amoral willfulness, a second chance of life… 

 



 

 

 

 

 

 

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In the above critique, it is very clear that Howe portrayed the woman negatively just 

in the same way some African or precisely Nigerian authors play down the 

powerful roles of women only to portray them in a negative light.  

 

From the above it could be observed that Emenanjo employs a Feminist theory – 

Patriachy as well as Essencialism to describe the woman. In his work, Emenanjo 

focuses on Androcentrism whereby he assumes that male norms should operate 

throughout all social institutions thereby upholding the saying that ladies should not 

be heard but seen.  

 

Looking at feminism and myth as they affect women writers, and posted on the 

internet by Mary Magoulick, she states as follows: 

 

Many feminists latch hopefully onto motifs in ancient myths that seem 

to indicate a possible past in which women had more agency, perhaps 

even a central role in society. These so-called “Matriarchal myths” 

give women hope that they need not be condemned to permanent 

status as second class citizens, for such was not always the case. For 

instance some people interpret overthrow of female deities in some 

myths as evidence of a time in which people worshipped goddesses, or 

at least considered female deities the equals of male deities. Some 

people also interpret prehistoric statuettes of apparently pregnant 

women as evidence that women must have occupied a more important 

role in those societies – otherwise why would artists devote so much 

time to sculpting them… 

 

Nwaozuzu used Ecriture Feminine which states that a literary women’s writing is a 

philosophy that promotes women’s experiences and feelings to the point that it 

strengthens the work. Therefore she eulogizes the woman and even creates very 

good impression about her.  

 

 

 

 

 

 



 

 

 

 

 

 

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CHINEKE 

 

Chineke is presented by Nkechi Okediadi and Joy Onuoha. 

Both poems are philosophical, full of praises for God Almighty. They are both 

based on nature from creation. Although Okediadi uses her poem to worship God, 

Onuoha brings in sarcasm, satirizing the thieves who call on God before they go out 

to rob others as well as others who indulge in other forms of evil deeds. 

 

While Chineke by Okediadi is made up of seven verses with 5 lines each, Onuoha’s 

has 9 verses with lines 1,2,3,4,5 and 8 having 4 lines each, verses 6 & 7 have 5 lines 

each and verse 9, 6 lines. Okediadi’s lines are short and rhythmic while Onuoha’s 

lines are mixed. Okediadi’s verses start each with a praise name for God but 

Onuoha’s verses do not have such beginnings. 

 

Okediadi employs lots of Biblical expressions, personification, as well as 

symbolism and imagery while Onuoha uses metaphor, personification.In 

Okediadi’s Chineke, the tone is prayerful with encomiums and praises showered on 

the Almighty God. Chineke by Onuoha has a tone of praise laced with sarcasm. 

 

Both poems focus on the benevolence of God, but while Okediadi portrays God as 

the great healer and provider of solution to our diverse problems, Onuoha sees God 

as kind and merciful God who forgives our sins.  

 

Igbo mythology talks about Igbo peoples’ perception of God; and looking at 

Kennedy and Gioia, (2010), posted on the internet by Michelle Foster on June 2 

2011, they say that Carl Jung – a major proponent of Mythological criticism states 

that it is about the symbolic meaning, the undertones of the archetypes: the moon 

that looms large on the horizon is different from the moon the sits quietly unnoticed 

in the heavens – each has a different undertone of the archetype of the moon. While 

they share certain qualities they also vary in certain qualities and meanings.   

 

Analyzing the poem “Chineke” from the point of view of Mythological theory, one 

will observe that both poets exhibited religious inclination. While different versions 

of these mythical poems exist side by side, what remain fixed are the poem’s 

narrative basic patterns. The two poems on “Chineke” are reflections on the belief 

system of the Igbo. Chineke talks about Igbo peoples’ perception of Chukwu (God). 



 

 

 

 

 

 

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Okediadi’s poem exhibited lots of symbolic meanings, using allegory to ascribe to 

God so many praise names. It is true that the concept of God as used by the 

Christians is alien to the Igbo traditional belief system; they still believe that there 

is that supernatural being they worship. This is mainly seen represented in the 

artwork of the Igbo which the traditionalists use as representative of deities – gods 

and goddesses. These are symbols or images, some representing their supposed 

ancestors. It is these symbols, images, characters, themes, and motives that Jung 

called archetypes. Some of the mythological poems are “Chukwu Okike”, “Chukwu 

Hapụ Ụwa Gbagoo Elu Igwe”, “Ọnwụ”, by Philip Okoye; “Ọnwụ” is a title written 

by eight other poets; “Ọmụmụ” by Ogonnaya Onuoha, “Ọjị” by Tony Ubesie and 

Emeka Ikedimma, “Chi” by Tagbo Nzeako and “Ọgbanje” by I.E.  Akoma   

 

4.0 Findings and Recommendation 
 

At the end of the detailed study of these two titles by four poets, the researcher 

observed that two or more poets may write on the same title from different 

perspectives, and what constitutes style for poet ‘A’ may not necessariy constitute 

style for  poet ‘B’. To this end, the following findings were made:  

 

i. “Nwaanyị” by Emenanjo was characterized by everything negative 

about the woman – he used derogatory expression to describe the 

woman. Therefore it could be said that he portrayed the woman as 

evil, deceitful and nondependable, and so, he does not have a likeness 

for women.  

ii.  Nwaozuzu eulogized the woman all through – she ascribed beautiful 

and positive characters to the woman to the extent that it seemed that 

she covered anything adverse in the life of the woman. 

iii.  Okediadi, through the poem “Chineke” showered encomiums and 

praises on God Almighty.  

iv.  Okediadi’s “Chineke” dwelt on the Almightiness of God as well as 

different praise names by which man yearns to reach God, thus 

portraying her religious inclination. 

v.  Although Onuoha praised God and portrayed Him as merciful and 

kind, she laced all these with sarcasm. She made efforts to bring to 

light the fact that in spite of the goodness of God, some evil ones still 

profane the name of God cunningly.   



 

 

 

 

 

 

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vi.  The mindset and philosophy of the different poets could easily be 

read from their works 

 

It is a fact that no two writers ever write the same way, poets inclusive. This work 

was able to establish that while there were marked differences in terms of themes and 

styles among the works of poets, there were equally some similarities.For instance, 

the meeting point of Emenanjo’s and Nwaozuzu’s works is the fact that they are both 

didactic and have the same title “Nwaanyị”.  

 

Furthermore, Okediadi and Onuoha shared the same title “Chineke”. Both of them 

worshipped and praised God. They equally focused on the benevolence of God. They 

are both philosophical and are based on nature from creation. The two poets 

addressed God directly as a second person singular.  

 

This researcher therefore recommends that further research should be carried out 

more extensively on related research topic. 

 

 5.0 Conclusion 
 

It takes deep reasoning and over reading to understand poetry. Equally, it takes 

special art and creativity to come up with a beautiful poem. Poetry is the most 

difficult aspect of literature. Its language is difficult in nature. A good poet must have 

a good command of the language in use. The choice of words and manner of 

presentation matter a lot. To this end, as have been stated earlier, no two writers ever 

have the same pattern of presentation; neither do they have the same philosophy. This 

was very evident in the poems x-rayed. The mindset of most poets could easily be 

read from their works. Be that as it may, the two titles presented by four poets have 

come to confirm that the style adopted by any poet and the central thought portrayed 

all lead to individual differences that exist among creative writers. Every poet carves 

a niche for himself or herself. 

 

 

 

 

 

 



 

 

 

 

 

 

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