Classic and Contemporary Poetry: Explained

Frank Aig-Imoukhuede’s poem "One Wife for One Man" is a sharp critique of the imposition of Western cultural norms, particularly the idea of monogamy, on traditional African societies. Written in Pidgin English, the poem presents the perspective of a speaker who is skeptical of the "new culture" brought by colonial influence, which emphasizes the concept of one wife for one man. Through a conversational tone and relatable scenarios, the poem explores the complexities and challenges of adopting this foreign cultural practice, especially in a context where polygamy was historically common and socially accepted.

The poem begins with the speaker recounting his experiences with the institutions of the church and the court, where he has been exposed to the ideas of "equality" and "divorce," concepts that are part of the "new culture" being promoted. The speaker’s tone is one of frustration and confusion, as he mentions how these ideas are emphasized so strongly that it almost hurts his ears: "Dem holler am so-tay my ear nearly cut." The repetition of "One wife be for one man" serves as both a summary of the new cultural expectation and a point of contention for the speaker.

The speaker then contrasts this new cultural norm with the practices of his forefathers, who had multiple wives ("wife borku") and lived well without concerns about equality or divorce. The reference to his "fader before my fader" emphasizes the long-standing tradition of polygamy in his community, a practice that allowed men to be the undisputed heads of their households ("he be ogaf for im own house"). This line underscores the speaker's belief that polygamy provided a sense of stability and authority that is now being challenged by the imported concept of monogamy.

Aig-Imoukhuede’s speaker questions the practicality of monogamy in a context where it was not traditionally practiced. He asks how a woman, knowing she is the only wife, might "make yanga" (become proud or arrogant), especially if she fails to bear children: "Suppose say - make God no 'gree - 'e no born at all?" In many traditional African societies, childbearing is highly valued, and a woman's worth is often tied to her ability to have children. The speaker argues that the pressure on a single wife to fulfill this role alone could lead to significant problems, such as the husband seeking divorce or taking another wife in secret, which contradicts the very premise of monogamy.

The poem also touches on the practical aspects of marriage and household management. The speaker questions how one wife can fulfill all the responsibilities expected of her, especially when she is pregnant ("For time when beUeh done kommot"). He further challenges the idea by posing a hypothetical scenario where the wife is educated ("sabe book") but does not know how to cook ("no'sabe make chop"). In such cases, the speaker suggests that the husband might be tempted to seek satisfaction elsewhere, leading to infidelity and further undermining the idea of monogamy.

The speaker’s repeated assertion that "One wife be for one man" is not feasible reflects his deep skepticism about the practicality of this cultural shift. He refers to the new culture as "waya," a term that implies something is deceitful or misleading. This expression of frustration highlights the speaker’s belief that the imposed cultural norm of monogamy is out of touch with the realities of his society and is likely to cause more harm than good.

In conclusion, "One Wife for One Man" is a poignant critique of the imposition of Western values on African societies, particularly in the realm of marriage and family life. Through the use of Pidgin English and relatable scenarios, Frank Aig-Imoukhuede effectively conveys the speaker’s skepticism and frustration with the idea of monogamy, arguing that it does not fit the cultural and practical realities of his community. The poem invites readers to consider the complexities of cultural change and the potential consequences of imposing foreign norms on deeply rooted traditions.

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