Njogu Waitha
14 November 2004
book review
Nairobi — Title: The Epic of Gor Mahia
Author: Adrian Onyando
Publisher: Pangolin Publishers PP 219
About two decades or so ago, a literature lecturer harshly criticised Ruth Finnegan and labelled her an armchair researcher. The lecturer's main quarrel with the renowned author of Oral Literature in Africa was the latter's assertion that there was no epic or myth in Africa.
In the book, Finnegan argues that there are no texts to evidence the existence of epic poetry in Africa. She draws the conclusion that epic poetry "does not seem to be a typical African form". In her discussion of prose narratives, she asserts that "myths in a strict sense are by no means common in African oral literature".
Isidore Opke apparently reacted to these assertions by publishing Myth in Africa in 1983. But in his more recent book, African Oral Literature, he had kinder words for Finnegan. He views her assertions as erroneous assumptions in an otherwise excellent literary analysis of African oral literature.
Since Finnegan's assertion in 1970, a sizeable number of publications on epics in Africa have appeared. Notable among them are latter-day versions of the epics of Sundiata, King of Mali, Epic of Shaka the Zulu, the Lianja Epic, and the Mwindo Epic, among others.
Andrian Onyando's publication of The Epic of Gor Mahia is a pleasant addition to this collection of the epic genre in African oral literature.
The Epic of Gor Mahia, like many other oral literary creations, has as many versions as there are tellers. The text under review then is Adrian Onyando's version. As he indicates in the introduction, the text is drawn from his own imagination, research and oral literary experiences.
Like all epic heroes, Gor Mahia was a historical character. He was born in Kanyamwa during the first half of the 19th century in what is known today as South Nyanza. As the only begotten son of his mother, Atoka Nyar Njema, his uncanny powers are recognised at birth. His mother addresses him as "Gor Okum, the mysterious one."
From the onset, Gor is identified as the one who will protect the land from destruction. His grandfather, the famous Chief Ogola, declares him a leader in infancy. Later, despite Gor's tender age, his elderly father Oganda anoints him his successor.
The literary embellishments and fantastic allusions that mythfy Gor's heroism are apparent even in his early childhood. At four years old, he is clever, cunning, strong and miraculous. He can "dance on his fingers, disappear into thin air and even see while asleep".
His older step-brothers and his father's military chief, Ratego, are jealous of Gor's obvious destiny. They rise against him, forcing him into exile in his maternal uncle's home in Kanyanda.
But Ratego and his lot are poor administrators who spend most of their time guzzling beer and smoking opium. They are unable to hold the kingdom together and outsiders and tenants plot to take over and drive out the Kanyamwa to the dry Lambwe valley.
From exile, Gor watches with keenness and devises means of overcoming both the internal and external enemies in his father's land. Aided by magic, cunning and blessings from his ancestors, Gor, "the one who goes and returns," overcomes his enemies.
He returns as the saviour of Kanyamwa and leads the war against the enemies of his people. He defeats his arch-enemy, the Kwabwai magician and leader Otuoma.
His magic overwhelms the whole country and wherever he goes, people say, "Gor is coming, open the way for him". This paves the way for his enthronement. He becomes the Ruoth of Kanyamwa - a benefactor, counsellor and chief of his people and restores the glory of the land.
Gor, on taking over the leadership of his people, becomes a benevolent leader for whom war was only an instrument of peace. After conquering his enemies, he seeks peace with all "so that the broken pot can be made whole again". He accommodates his former enemies and to plot against him becomes like committing suicide.
In his benevolence, Gor imparts wisdom to his sons and daughters and everybody who would come to him. He establishes peace among his people and their neighbours and everyone prospers and enjoys an unprecedented period of plenty.
The end of part one should logically be the end of the epic of Gor Mahia if we strictly follow the common epic pattern and tradition. Nevertheless, a historical circumstance demands that new conflicts unravel in the benevolent period of this epic cycle.
The new intervention in the epic cycle is the unexpected entry into the scene of the white colonist. After studying these baby like and tricky creatures (Bogno), Gor realises that only a united front can confront this intrusion. But his call for unity among the greater Luo nation is not heeded. He hence decides to make peace with the white man who in turn allows him to continue with his duties as paramount chief.
Part two of this epic is an analysis of the early colonial experiences in Nyanza and the often-terrible consequences of the initial encounter between the Luo and the British.
The section exposes the hypocrisy of the white people in the "divine responsibility to impose peace and order, to stop uncouth races from annihilating each other."
Ironically in his co-operating role, it is Gor who tries to bring about order to the chaotic situation created by the colonial confrontation.
He is able to see through the pretence of the colonist. He realises that his association with the white man is temporary but the communion with his people is eternal.
In his old age, he continues his efforts to build bridges among all the Luo chiefs with the long-term aim of dismantling colonialism and expelling the white man.
When the Great Gor Mahia dies on May 9, 1920, he leaves his people with the simple message that they should "bury his bones but keep his words". That the people should work hard, celebrate life and not death when he is gone.
Throughout his life, Gor was a seeker of the truth. Some of the most memorable scenes in the epic involve his magical transformations. They uncannily remind us of the transformations of Mackadal in the novel, The Kingdom of this World, by Cuban author Alejo Capentier.
Gor's magical transformations were in the interest of his people. And that is why his magic overwhelms everyone and, wherever he went, people said "Gor biro, Gor is coming, open the way for him."
Onyando's version of the Epic of Gor Mahia presents the main protagonist in the classical pattern of the epic hero as identified and proposed by Lord Raglan. This begins with the uncanny or unusual birth, feat performances in childhood, exile, return, ascendancy to the throne and finally the transfiguration of the hero into the benevolent ruler.
The author's stylistic rendition of the text gives an original oral aura. It evokes Luo orality and attains authenticity through rhythm, Luo idiom, phraseology, imagery and a diction that derives directly from traditional existence and experience.
The realism of the epic is further enhanced by the poet's participation in the events. He achieves this through the use of the first person narrative voice when celebrating Gor's delivery of his people.
The Epic of Gor Mahia is also a repository of Luo oral literature giving occasion for the re-enactment of folktales, proverbs, sayings, myths and legends of the Luo people.
Of specific interest is the magical encounter between Gor and Nyamgondo which either Gor or Onyando or both use as a general critic of the communal social consciousness. That "pride is the undoing of the Ja-Luo".
Dr Waita teaches literature and communication at Egerton University, Njoro.
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