Buried Voices: Understanding Soyinka’s "Live Burial"
About This Blog : This blog is part of an Assignment For the paper 206: African Literature
Table of Contents :
- personal Information
- Assignment Details
- Abstract
- Introduction
- Literal Analysis of this poem
- Critical Analysis
- Conclusion
- References
Personal Information : - Name: Jay Maruniya
- Batch : M.A sem. 4(2023-2025)
- Enrollment number: 5108230027
- Roll No: 12
Assignment details:
- Topic: Buried Voices: Understanding Soyinka’s "Live Burial"
- Paper and subject code: Paper 206: African Literature
- Submitted to: smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Abstract :
Wole Soyinka, one of Africa’s most influential literary figures, has played a pivotal role in shaping modern African literature through his profound engagement with themes of colonialism, oppression, human rights, and political resistance. His works, spanning across drama, poetry, novels, and essays, have consistently challenged authoritarianism and injustice while exploring the complexities of African identity and cultural heritage. Live Burial, one of his most poignant poems, serves as both a personal reflection and a broader commentary on the brutal realities of political imprisonment. Drawing from his own experiences of incarceration during Nigeria’s civil unrest, Soyinka employs vivid imagery, mythological and historical allusions, and intricate symbolism to convey the psychological torment of confinement. The poem Live Burial metaphorically represents the suffocating experience of solitary imprisonment, likening it to being buried alive—an ultimate act of erasure and suppression by the state. The claustrophobic setting, reinforced by the opening line describing the dimensions of the prison cell, establishes a sense of entrapment and despair. Throughout the poem, Soyinka critiques authoritarian regimes and their tendency to manipulate truth, silence dissent, and distort reality through propaganda. His references to figures such as Antigone and Galileo further highlight the recurring historical pattern of punishing those who stand against oppressive systems.
Despite its dark and unsettling tone, Live Burial is not merely a lamentation of suffering but also an act of resistance. The poem underscores the resilience of the human spirit and the power of artistic expression in defying tyranny. By transforming personal anguish into a poetic narrative, Soyinka asserts the role of literature as a means of preserving truth and inspiring resistance. His ability to merge personal pain with universal themes makes Live Burial a timeless work that resonates beyond its historical context, serving as a powerful reminder of the cost of freedom and the enduring struggle for justice in societies plagued by oppression.
Key Words :
Introduction
Wole Soyinka:
Wole Soyinka, born on July 13, 1934, in Abeokuta, Nigeria, is a distinguished Nigerian playwright, poet, novelist, and essayist. He is widely regarded as one of the most influential African writers of the 20th century and has played a crucial role in shaping modern African literature. His literary works, spanning multiple genres, have significantly contributed to discussions on African identity, colonialism, and the conflict between tradition and modernity. Soyinka’s writing is known for its complex narrative structures, rich symbolism, and deep engagement with sociopolitical issues.
After completing his education in Nigeria, he pursued further studies in the United Kingdom, where he attended the University of Leeds. Upon returning to Nigeria, Soyinka became deeply involved in political activism, advocating for the country’s independence from British colonial rule. His engagement with politics did not stop after independence; he continued to be an outspoken critic of governmental corruption, authoritarianism, and human rights abuses. As a result of his strong political stance and fearless criticism of oppressive regimes, he was imprisoned multiple times, including during Nigeria’s civil war in the late 1960s, when he was held in solitary confinement for over two years.
Beyond his political activism, Soyinka is an accomplished poet and novelist, with works that reflect his deep concern for justice, freedom, and the human condition. His plays, such as Death and the King’s Horseman and The Trials of Brother Jero, explore themes of power, morality, and the consequences of colonial rule on African societies. His novels and essays also delve into these issues, providing insightful critiques of both historical and contemporary socio-political realities in Africa.
Soyinka’s contributions to literature and his relentless pursuit of social justice have earned him widespread recognition and numerous prestigious awards. In 1986, he made history by becoming the first African to receive the Nobel Prize in Literature. The Swedish Academy honored him for his ability to merge a broad cultural perspective with poetic and rhapsodic storytelling, often infused with sharp wit and humor. His legacy extends beyond literature, as he continues to be a prominent voice in global discussions on democracy, governance, and human rights.
The physical presentation of Poems from Prison is highly significant as it visually reflects the harsh and gritty realities of life in confinement. The broadsheet’s parchment-like texture and folded columns give it an aged and worn-out appearance, symbolizing the long and arduous struggle from which these poems emerged. This design choice serves not only as an aesthetic decision but also as a deliberate effort to convey the weight of the poet’s experiences. The weathered look of the paper suggests that these poems have endured suffering, much like their creator, making them appear valuable and worthy of preservation. By presenting them in such a way, the broadsheet emphasizes the significance of the poet’s voice and ensures that the emotional intensity of his words is deeply felt by the reader.
The two poems featured in the broadsheet, Live Burial and Flowers for My Land, share a common theme of oppression, conveying profound emotions of despair, helplessness, and resistance. Live Burial is particularly striking due to its use of concise yet powerful language that effectively expresses the speaker’s overwhelming sense of isolation and confinement. The poem’s brevity enhances its emotional impact, making the reader keenly aware of the suffocating nature of imprisonment. However, the additional stanzas later included in A Shuttle in the Crypt alter the original poem’s effect by shifting its focus away from the immediate and personal suffering of the speaker. These added lines, while still relevant, somewhat dilute the poem’s raw intensity by expanding its scope beyond the original message, thereby reducing its direct emotional force.
The inclusion of a note detailing Soyinka’s release from prison further adds to the historical and political significance of these poems. By providing this context, the broadsheet reminds readers that Soyinka’s poetry was not just an artistic expression but also a form of political resistance. His incarceration for his outspoken political beliefs lends additional weight to his words, reinforcing the idea that literature can serve as a powerful tool for social and political transformation. This note also highlights the dangers faced by intellectuals and writers who dare to challenge oppressive regimes, making the poems more than just personal reflections—they become a testament to the broader struggles against political tyranny. Ultimately, Poems from Prison stands as both a literary and political document, demonstrating how poetry can give voice to the voiceless and inspire movements for justice and change.
Literal Analysis of the poem
Sixteen pacesBy twenty-three. They hold
Siege (a military blockade of a city or fortified place to compel it to surrender) against humanity
And Truth
Employing time to drill through to his sanity (quality of being sane- reasonable or sensible)
Schismatic (a person or group that splits away from a larger organization or community, often due to a disagreement over beliefs or practices)
Lover of Antigone!
You will? You will unearth
Corpses of yester-
Year? Expose manure of present birth?
Seal him live
In that same necropolis (a large, ancient cemetery or burial ground, typically containing many tombs, mausoleums, and other structures for housing the remains of the dead).
May his ghost mistress
Point the classic
Route to Outsiders' Stygian (used to describe things that are dark, gloomy, and associated with death or the afterlife; comes from the river Styx in Greek mythology) Mysteries.
Bulletin:
He sleeps well, eats
Well. His doctors note
No damage
Our plastic (fake) surgeons tend his public image.
Confession
Fiction ? Is truth not essence
Of Art, and fiction Art?
Lest it rust (lest - in order to avoid the risk of/ for fear that and rust - corrosion that occurs on metal objects when they are exposed to moisture and oxygen over time; phrase Lest it rust- action needs to be taken to prevent an object from becoming corroded or deteriorated over time.)
We kindly borrowed his poetic license.
Galileo
We hoped he'd prove - age
Or genius may recant (to publicly renouncing or retracting a statement, belief, or opinion that one has previously expressed. It typically involves admitting that one was wrong or mistaken, and expressing a new belief or opinion that contradicts the previous one) - our butchers
Tired of waiting
Ordered; take the scapegoat (a fictional or imaginary creature that exists in outer space, or as a metaphor for a person or entity that seems out of place or otherworldly), drop the sage(wise person).
Guara'l The lizard:
Every minute scrapes (To remove something from a surface by rubbing it)
A concrete mixer throat. (keeps on chewing tobacco or similar something)
The cola slime (Spit- of cola color)
Flies to blotch (to a discolored or irregularly shaped spot or mark on a surface- stain) the walls in patterned grime (type of dirt or filth that has accumulated on a surface over time)
The ghoul (The term "ghoul" generally refers to a legendary creature or monster from Middle Eastern folklore that is said to feed on human flesh, particularly corpses in graveyards or other places of burial; In modern usage, the term "ghoul" may also be used more broadly to describe someone who is fascinated with death, horror, or the macabre):
Flushed (red-faced) from hanging, sniffles
Snuff (consume Drug), to clear his head of
Sins -- the law
Declared -- that morning's gallows (structure, typically made of wood, that was used in the past for the execution of criminals by hanging) load were dead of.
The voyeur (a person who gets pleasure or enjoyment from watching others, often in a sexual context, without their knowledge or consent.):
Times his sly patrol (takes a round)
For the hour upon the throne (toilet seat)
I think he thrills
To hear the Muse's (Daughters of Zeus (group of nine daughters) – goddesses on poetry inspiration – here Muse refers to the poet himself) constipated groan
Critical Analysis
Wole Soyinka’s poem Live Burial vividly portrays the horrifying experience of a prisoner who suffers torture and ultimately dies for a crime they did not commit. The poem is deeply personal, as Soyinka himself endured 22 months of imprisonment under false accusations of conspiracy.
The title Live Burial serves as a powerful metaphor for the intense physical and psychological suffering that Soyinka endured at the hands of the Nigerian government. The idea of being buried alive while still conscious is deeply unsettling, tapping into humanity’s most primal fears, particularly the terror of an untimely death.
The poem’s opening line, “Sixteen paces by twenty-three,” immediately sets a bleak and oppressive tone, suggesting the confined space of a prison cell or even a grave. Throughout the poem, Soyinka explores themes of oppression, resilience, and the struggle for truth. He uses ‘Truth’ as a metaphor for himself, illustrating how his imprisonment was an attempt to suppress truth itself. The poet acknowledges that his captors deliberately isolate him, using time as a weapon to break his spirit. The word ‘drill’ conveys the slow, relentless erosion of his will and sanity. The title not only symbolizes the suppression of truth but also reflects the suffocating experience of solitary confinement, making the poet feel as though he is being buried alive. The cell’s oppressive conditions weigh on his mind, leading him to imagine his own death. This overwhelming sense of entrapment fuels his fear of dying before his time. Deprived of freedom and human interaction, the poet is left with restless energy and no means of expression, reinforcing the poem’s chilling theme of isolation and psychological torment.
Wole Soyinka refers to Antigone, a character from Greek mythology who stood up against injustice by giving her brother a proper burial, despite her uncle’s harsh law. Like Antigone, Soyinka also fought against oppression and saw himself as a tragic hero.
Antigone’s courage led to her being buried alive. Her lover, Haemon, was heartbroken and took his own life, followed by his grieving mother, Queen Eurydice. Soyinka uses “corpses of yester-year” as a symbol of hidden truths—just as bodies are buried, truth can also be buried by those in power. He highlights how the dead, like truth, cannot defend themselves when silenced by authority.
The poet compares the innocent prisoner to Antigone’s lover, Haemon, who suffered because of a disagreement with his father. Soyinka criticizes how people are unfairly punished for things they never did, disturbing their peace.
In the third stanza, Soyinka describes his suffering as “Stygian”—dark and hopeless, like the River Styx that separates the living from the dead in Greek mythology. He feels trapped and isolated, as if he is already dead but still alive. The phrase “Seal him live / In that same necropolis” suggests that he is buried alive in his prison cell, which is worse than death. The mention of a “ghost mistress” adds an eerie feeling, making his suffering seem even more terrifying.
The poem’s tone changes in the fourth stanza. The prison guards describe Soyinka’s condition in a simple, emotionless way, saying he “sleeps well, eats well.” They claim that doctors see no physical harm, which could mean either that he is unharmed or that he is enduring the harsh treatment well. The guards also say that “plastic surgeons” help fix any damage to his appearance, suggesting that the authorities try to hide the signs of torture.
In Live Burial, Wole Soyinka employs cryptic language, literary references, and unsettling imagery to delve into themes of oppression, resistance, and the transformative power of art. The poem presents a grim portrayal of the brutality of imprisonment, exposing the corruption and hypocrisy of those in power. Soyinka’s language creates a pervasive sense of decay, symbolizing a broader societal collapse where injustice is normalized and truth is distorted for public consumption.
Through the depiction of grotesque figures such as the guards—whom he names "The Lizard," "The Ghoul," and "The Voyeur"—Soyinka highlights the dehumanization and cruelty of individuals complicit in oppression. These figures are not just enforcers of authority; they represent a system that derives pleasure from the suffering of others. Their actions reflect a lack of morality, suggesting that those in positions of power often become numb to the injustice they perpetuate.
Despite this bleak reality, Soyinka also presents moments of resistance and resilience. He emphasizes the idea that art holds the potential to reveal deeper truths about the world, even in times of severe oppression. By referencing historical figures such as Galileo, Soyinka draws a parallel between past and present injustices, illustrating how those who challenge the status quo have always faced persecution. Galileo’s struggle against the Catholic Church mirrors Soyinka’s own battle against a government that sought to silence him.
Furthermore, the poem critiques the way propaganda manipulates public perception. Phrases such as "plastic surgeons tend his public image" suggest that governments often distort reality to maintain control, presenting a polished narrative that conceals underlying injustices. This reinforces Soyinka’s broader theme—that truth is often hidden beneath layers of deception, and it is the role of artists and intellectuals to uncover and expose it.
In the final stanzas, Soyinka shifts focus to the physical and psychological torment he endured while imprisoned. The guards, particularly "The Voyeur," are depicted as sadistic figures who find pleasure in Soyinka’s humiliation. The metaphor of "the Muse’s constipated groan" serves a dual purpose—it signifies both Soyinka’s creative struggle in captivity and the broader theme of oppression as a blockage preventing intellectual and artistic freedom. The act of writing, therefore, becomes an act of defiance, a way of reclaiming agency in an environment designed to break the human spirit.
In conclusion, Live Burial is a deeply evocative poem that critiques the abuse of power, the role of propaganda in shaping public perception, and the dehumanization that occurs in oppressive regimes. Through dark and disturbing imagery, Soyinka forces the reader to confront uncomfortable truths about authority, complicity, and human suffering. Yet, within this bleak depiction, he also offers a hopeful perspective—art, despite its constraints, remains a powerful tool for resistance and truth-telling.
References :
Henderson, Joel. “African Post Colonial Literature in English .” Soyinka’s “Live Burial,” Mar. 2002, www.postcolonialweb.org/soyinka/burial1.html. Accessed 20 Feb. 2025.
“Nobel Prize in Literature 1986.” Edited by Wilhelm Odelberg, NobelPrize.Org, www.nobelprize.org/prizes/literature/1986/soyinka/biographical/. Accessed 20 Feb. 2025.
Olanrewaju, Adeolu Adekunle. “Cognitive and Perceptual Modes in Wole Soyinka’s ‘Prisonettes.’” THE INTERNATIONAL JOURNAL OF HUMANITIES & SOCIAL STUDIES , June 2020, internationaljournalcorner.com/index.php/theijhss/article/download/156232/108004/384801. Accessed 20 Feb. 2025.
Soyinka, Wole. “Live Burial.” Nigerian Poetry Library, 2024, nigerianpoetry.com/2024/06/28/live-burial/. Accessed 20 Feb. 2025.The Editors of Encyclopaedia Britannica. "Wole Soyinka". Encyclopedia Britannica, 31 Dec. 2024, https://www.britannica.com/biography/Wole-Soyinka. Accessed 20 February 2025.
Words : 2862
- personal Information
- Assignment Details
- Abstract
- Introduction
- Literal Analysis of this poem
- Critical Analysis
- Conclusion
- References
- Name: Jay Maruniya
- Batch : M.A sem. 4(2023-2025)
- Enrollment number: 5108230027
- Roll No: 12
- Topic: Buried Voices: Understanding Soyinka’s "Live Burial"
- Paper and subject code: Paper 206: African Literature
- Submitted to: smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Abstract :
Wole Soyinka, one of Africa’s most influential literary figures, has played a pivotal role in shaping modern African literature through his profound engagement with themes of colonialism, oppression, human rights, and political resistance. His works, spanning across drama, poetry, novels, and essays, have consistently challenged authoritarianism and injustice while exploring the complexities of African identity and cultural heritage. Live Burial, one of his most poignant poems, serves as both a personal reflection and a broader commentary on the brutal realities of political imprisonment. Drawing from his own experiences of incarceration during Nigeria’s civil unrest, Soyinka employs vivid imagery, mythological and historical allusions, and intricate symbolism to convey the psychological torment of confinement. The poem Live Burial metaphorically represents the suffocating experience of solitary imprisonment, likening it to being buried alive—an ultimate act of erasure and suppression by the state. The claustrophobic setting, reinforced by the opening line describing the dimensions of the prison cell, establishes a sense of entrapment and despair. Throughout the poem, Soyinka critiques authoritarian regimes and their tendency to manipulate truth, silence dissent, and distort reality through propaganda. His references to figures such as Antigone and Galileo further highlight the recurring historical pattern of punishing those who stand against oppressive systems.
Despite its dark and unsettling tone, Live Burial is not merely a lamentation of suffering but also an act of resistance. The poem underscores the resilience of the human spirit and the power of artistic expression in defying tyranny. By transforming personal anguish into a poetic narrative, Soyinka asserts the role of literature as a means of preserving truth and inspiring resistance. His ability to merge personal pain with universal themes makes Live Burial a timeless work that resonates beyond its historical context, serving as a powerful reminder of the cost of freedom and the enduring struggle for justice in societies plagued by oppression.
Key Words :
Wole Soyinka, born on July 13, 1934, in Abeokuta, Nigeria, is a distinguished Nigerian playwright, poet, novelist, and essayist. He is widely regarded as one of the most influential African writers of the 20th century and has played a crucial role in shaping modern African literature. His literary works, spanning multiple genres, have significantly contributed to discussions on African identity, colonialism, and the conflict between tradition and modernity. Soyinka’s writing is known for its complex narrative structures, rich symbolism, and deep engagement with sociopolitical issues.
After completing his education in Nigeria, he pursued further studies in the United Kingdom, where he attended the University of Leeds. Upon returning to Nigeria, Soyinka became deeply involved in political activism, advocating for the country’s independence from British colonial rule. His engagement with politics did not stop after independence; he continued to be an outspoken critic of governmental corruption, authoritarianism, and human rights abuses. As a result of his strong political stance and fearless criticism of oppressive regimes, he was imprisoned multiple times, including during Nigeria’s civil war in the late 1960s, when he was held in solitary confinement for over two years.
Beyond his political activism, Soyinka is an accomplished poet and novelist, with works that reflect his deep concern for justice, freedom, and the human condition. His plays, such as Death and the King’s Horseman and The Trials of Brother Jero, explore themes of power, morality, and the consequences of colonial rule on African societies. His novels and essays also delve into these issues, providing insightful critiques of both historical and contemporary socio-political realities in Africa.
Soyinka’s contributions to literature and his relentless pursuit of social justice have earned him widespread recognition and numerous prestigious awards. In 1986, he made history by becoming the first African to receive the Nobel Prize in Literature. The Swedish Academy honored him for his ability to merge a broad cultural perspective with poetic and rhapsodic storytelling, often infused with sharp wit and humor. His legacy extends beyond literature, as he continues to be a prominent voice in global discussions on democracy, governance, and human rights.
The physical presentation of Poems from Prison is highly significant as it visually reflects the harsh and gritty realities of life in confinement. The broadsheet’s parchment-like texture and folded columns give it an aged and worn-out appearance, symbolizing the long and arduous struggle from which these poems emerged. This design choice serves not only as an aesthetic decision but also as a deliberate effort to convey the weight of the poet’s experiences. The weathered look of the paper suggests that these poems have endured suffering, much like their creator, making them appear valuable and worthy of preservation. By presenting them in such a way, the broadsheet emphasizes the significance of the poet’s voice and ensures that the emotional intensity of his words is deeply felt by the reader.
The two poems featured in the broadsheet, Live Burial and Flowers for My Land, share a common theme of oppression, conveying profound emotions of despair, helplessness, and resistance. Live Burial is particularly striking due to its use of concise yet powerful language that effectively expresses the speaker’s overwhelming sense of isolation and confinement. The poem’s brevity enhances its emotional impact, making the reader keenly aware of the suffocating nature of imprisonment. However, the additional stanzas later included in A Shuttle in the Crypt alter the original poem’s effect by shifting its focus away from the immediate and personal suffering of the speaker. These added lines, while still relevant, somewhat dilute the poem’s raw intensity by expanding its scope beyond the original message, thereby reducing its direct emotional force.
The inclusion of a note detailing Soyinka’s release from prison further adds to the historical and political significance of these poems. By providing this context, the broadsheet reminds readers that Soyinka’s poetry was not just an artistic expression but also a form of political resistance. His incarceration for his outspoken political beliefs lends additional weight to his words, reinforcing the idea that literature can serve as a powerful tool for social and political transformation. This note also highlights the dangers faced by intellectuals and writers who dare to challenge oppressive regimes, making the poems more than just personal reflections—they become a testament to the broader struggles against political tyranny. Ultimately, Poems from Prison stands as both a literary and political document, demonstrating how poetry can give voice to the voiceless and inspire movements for justice and change.
Sixteen paces
By twenty-three. They hold
Siege (a military blockade of a city or fortified place to compel it to surrender) against humanity
And Truth
Employing time to drill through to his sanity (quality of being sane- reasonable or sensible)
Schismatic (a person or group that splits away from a larger organization or community, often due to a disagreement over beliefs or practices)
Lover of Antigone!
You will? You will unearth
Corpses of yester-
Year? Expose manure of present birth?
Seal him live
In that same necropolis (a large, ancient cemetery or burial ground, typically containing many tombs, mausoleums, and other structures for housing the remains of the dead).
May his ghost mistress
Point the classic
Route to Outsiders' Stygian (used to describe things that are dark, gloomy, and associated with death or the afterlife; comes from the river Styx in Greek mythology) Mysteries.
Bulletin:
He sleeps well, eats
Well. His doctors note
No damage
Our plastic (fake) surgeons tend his public image.
Confession
Fiction ? Is truth not essence
Of Art, and fiction Art?
Lest it rust (lest - in order to avoid the risk of/ for fear that and rust - corrosion that occurs on metal objects when they are exposed to moisture and oxygen over time; phrase Lest it rust- action needs to be taken to prevent an object from becoming corroded or deteriorated over time.)
We kindly borrowed his poetic license.
Galileo
We hoped he'd prove - age
Or genius may recant (to publicly renouncing or retracting a statement, belief, or opinion that one has previously expressed. It typically involves admitting that one was wrong or mistaken, and expressing a new belief or opinion that contradicts the previous one) - our butchers
Tired of waiting
Ordered; take the scapegoat (a fictional or imaginary creature that exists in outer space, or as a metaphor for a person or entity that seems out of place or otherworldly), drop the sage(wise person).
Guara'l The lizard:
Every minute scrapes (To remove something from a surface by rubbing it)
A concrete mixer throat. (keeps on chewing tobacco or similar something)
The cola slime (Spit- of cola color)
Flies to blotch (to a discolored or irregularly shaped spot or mark on a surface- stain) the walls in patterned grime (type of dirt or filth that has accumulated on a surface over time)
The ghoul (The term "ghoul" generally refers to a legendary creature or monster from Middle Eastern folklore that is said to feed on human flesh, particularly corpses in graveyards or other places of burial; In modern usage, the term "ghoul" may also be used more broadly to describe someone who is fascinated with death, horror, or the macabre):
Flushed (red-faced) from hanging, sniffles
Snuff (consume Drug), to clear his head of
Sins -- the law
Declared -- that morning's gallows (structure, typically made of wood, that was used in the past for the execution of criminals by hanging) load were dead of.
The voyeur (a person who gets pleasure or enjoyment from watching others, often in a sexual context, without their knowledge or consent.):
Times his sly patrol (takes a round)
For the hour upon the throne (toilet seat)
I think he thrills
To hear the Muse's (Daughters of Zeus (group of nine daughters) – goddesses on poetry inspiration – here Muse refers to the poet himself) constipated groan
Critical Analysis
Wole Soyinka’s poem Live Burial vividly portrays the horrifying experience of a prisoner who suffers torture and ultimately dies for a crime they did not commit. The poem is deeply personal, as Soyinka himself endured 22 months of imprisonment under false accusations of conspiracy.
The title Live Burial serves as a powerful metaphor for the intense physical and psychological suffering that Soyinka endured at the hands of the Nigerian government. The idea of being buried alive while still conscious is deeply unsettling, tapping into humanity’s most primal fears, particularly the terror of an untimely death.
The poem’s opening line, “Sixteen paces by twenty-three,” immediately sets a bleak and oppressive tone, suggesting the confined space of a prison cell or even a grave. Throughout the poem, Soyinka explores themes of oppression, resilience, and the struggle for truth. He uses ‘Truth’ as a metaphor for himself, illustrating how his imprisonment was an attempt to suppress truth itself. The poet acknowledges that his captors deliberately isolate him, using time as a weapon to break his spirit. The word ‘drill’ conveys the slow, relentless erosion of his will and sanity. The title not only symbolizes the suppression of truth but also reflects the suffocating experience of solitary confinement, making the poet feel as though he is being buried alive. The cell’s oppressive conditions weigh on his mind, leading him to imagine his own death. This overwhelming sense of entrapment fuels his fear of dying before his time. Deprived of freedom and human interaction, the poet is left with restless energy and no means of expression, reinforcing the poem’s chilling theme of isolation and psychological torment.
Antigone’s courage led to her being buried alive. Her lover, Haemon, was heartbroken and took his own life, followed by his grieving mother, Queen Eurydice. Soyinka uses “corpses of yester-year” as a symbol of hidden truths—just as bodies are buried, truth can also be buried by those in power. He highlights how the dead, like truth, cannot defend themselves when silenced by authority.
The poet compares the innocent prisoner to Antigone’s lover, Haemon, who suffered because of a disagreement with his father. Soyinka criticizes how people are unfairly punished for things they never did, disturbing their peace.
In the third stanza, Soyinka describes his suffering as “Stygian”—dark and hopeless, like the River Styx that separates the living from the dead in Greek mythology. He feels trapped and isolated, as if he is already dead but still alive. The phrase “Seal him live / In that same necropolis” suggests that he is buried alive in his prison cell, which is worse than death. The mention of a “ghost mistress” adds an eerie feeling, making his suffering seem even more terrifying.
The poem’s tone changes in the fourth stanza. The prison guards describe Soyinka’s condition in a simple, emotionless way, saying he “sleeps well, eats well.” They claim that doctors see no physical harm, which could mean either that he is unharmed or that he is enduring the harsh treatment well. The guards also say that “plastic surgeons” help fix any damage to his appearance, suggesting that the authorities try to hide the signs of torture.
In Live Burial, Wole Soyinka employs cryptic language, literary references, and unsettling imagery to delve into themes of oppression, resistance, and the transformative power of art. The poem presents a grim portrayal of the brutality of imprisonment, exposing the corruption and hypocrisy of those in power. Soyinka’s language creates a pervasive sense of decay, symbolizing a broader societal collapse where injustice is normalized and truth is distorted for public consumption.
Through the depiction of grotesque figures such as the guards—whom he names "The Lizard," "The Ghoul," and "The Voyeur"—Soyinka highlights the dehumanization and cruelty of individuals complicit in oppression. These figures are not just enforcers of authority; they represent a system that derives pleasure from the suffering of others. Their actions reflect a lack of morality, suggesting that those in positions of power often become numb to the injustice they perpetuate.
Despite this bleak reality, Soyinka also presents moments of resistance and resilience. He emphasizes the idea that art holds the potential to reveal deeper truths about the world, even in times of severe oppression. By referencing historical figures such as Galileo, Soyinka draws a parallel between past and present injustices, illustrating how those who challenge the status quo have always faced persecution. Galileo’s struggle against the Catholic Church mirrors Soyinka’s own battle against a government that sought to silence him.
Furthermore, the poem critiques the way propaganda manipulates public perception. Phrases such as "plastic surgeons tend his public image" suggest that governments often distort reality to maintain control, presenting a polished narrative that conceals underlying injustices. This reinforces Soyinka’s broader theme—that truth is often hidden beneath layers of deception, and it is the role of artists and intellectuals to uncover and expose it.
In the final stanzas, Soyinka shifts focus to the physical and psychological torment he endured while imprisoned. The guards, particularly "The Voyeur," are depicted as sadistic figures who find pleasure in Soyinka’s humiliation. The metaphor of "the Muse’s constipated groan" serves a dual purpose—it signifies both Soyinka’s creative struggle in captivity and the broader theme of oppression as a blockage preventing intellectual and artistic freedom. The act of writing, therefore, becomes an act of defiance, a way of reclaiming agency in an environment designed to break the human spirit.
In conclusion, Live Burial is a deeply evocative poem that critiques the abuse of power, the role of propaganda in shaping public perception, and the dehumanization that occurs in oppressive regimes. Through dark and disturbing imagery, Soyinka forces the reader to confront uncomfortable truths about authority, complicity, and human suffering. Yet, within this bleak depiction, he also offers a hopeful perspective—art, despite its constraints, remains a powerful tool for resistance and truth-telling.
References :
Henderson, Joel. “African Post Colonial Literature in English .” Soyinka’s “Live Burial,” Mar. 2002, www.postcolonialweb.org/soyinka/burial1.html. Accessed 20 Feb. 2025.
Soyinka, Wole. “Live Burial.” Nigerian Poetry Library, 2024, nigerianpoetry.com/2024/06/28/live-burial/. Accessed 20 Feb. 2025.
The Editors of Encyclopaedia Britannica. "Wole Soyinka". Encyclopedia Britannica, 31 Dec. 2024, https://www.britannica.com/biography/Wole-Soyinka. Accessed 20 February 2025.
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