Protagonists in Oyono’s Houseboy and Chinua’s Things Fall Apart

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Table of Contents

Introduction
Masculinity in Houseboy and Things Fall Apart
Conclusion
Works Cited

Introduction

Masculinity and machismo are opposed concepts, and the novels demonstrate erroneous masculinity in the main characters’ thinking, reasoning, and conduct. The essay will discuss the main protagonists of Things Fall Apart by Chinua and Houseboy by Oyono and compare the protagonists’ ideas, behaviors, and attitudes toward masculinity. Notably, Okonkwo and Toudi’s masculinity is a false image that is preserved by focusing on the symbol of masculinity and rejecting new ways of progress.

Masculinity in Houseboy and Things Fall Apart

Masculinity is one of the ways Achebe’s novel Things Fall Apart illustrates the difficulty of converging conventional and contemporary worldviews. Using the protagonist Okonkwo as an example, it is shown how an obsolete awareness of social structures leads to the system’s immobility that refuses to adjust to evolutionarily embedded innovative concepts. Okonkwo perfectly represents the transitory period of personality development. The Nigerian is compelled to reconcile the conflicts that have been constructed through time in traditional tribal life while carefully sticking to the concepts of binary oppositions.

Okonkwo’s denial of masculinity corresponds to his reluctance to inherit the experiences of prior generations. For example, Okonkwo was motivated “by one passion – to hate everything that his father Unoka had loved” (Achebe 13). This hatred emerges from a fight with his father, Unoka, who, according to the protagonist, exemplifies lethargy, confusion, and inefficiency – intrinsic characteristics in the feminine perspective. Okonkwo’s twisted traditionalism inverts the urge not to follow the father into the radicalization and brutalization of masculinity. His thoughts turn masculinity into machismo: the violent treatment of children and women, the affirmation of status via fistfights, and the aggressive resolution of any difficulty.

The transition of the newest experience into created behavioral patterns should begin with intrinsic modifications. If Okonkwo gets rid of harmful and violent machismo, this will stimulate the growth of the worldview. The latter can be used as an example in unusual situations, one of which is presented descriptively in the narrative. The scenario is the murder of Okonkwo’s adoptive son, Ikemefuna, who is a void in Okonkwo’s image of a harsh warrior. Bonding makes it impossible for a boy to die at the hands of an adoptive parent since tribal traditions prohibit it. Nonetheless, against custom, Okonkwo murders Ikemefuna on his own, incurring the anger of the community and, according to mythology, the gods. A man attempts to solve issues with his own hands rather than depending on the assistance of others (Achebe 51). The man becomes accustomed to and relies on mindless violence in order to achieve wealth, reputation, and dominance.

At first, Okonkwo seems to be an idealized masculine character, or indeed, he aspires for it by conduct and the primitive values’ adoption. In him, African civilization intersects with a European society striving to grow and change for years. Nonetheless, Okonkwo’s masculinity is a false image that should be maintained by focusing on the symbol of masculinity and rejecting new means of growth. This approach leads to a terrible conclusion for the protagonist – suicide: “Then they came to the tree from which Okonkwo’s body was dangling, and they stopped dead” (Achebe 171). It was a way for Okonkwo to break the complicated relationships between himself and society and remove the inconsistencies generated by his contradictory personality.

The second novel, Houseboy by Oyono, demonstrates an attempt by colonial authorities to undermine Toundi masculinity. The boy wears an apron and does humiliating household activities; no matter how old he grows, he will always be treated like a houseboy. Denying Toundi the full expression of his manhood and sexuality consequently loses him a crucial component of his individuality. Nevertheless, this duplicity of Toundi’s manliness is fractured when he sees that the Commandant is uncircumcised: “No, it can’t be true, I told myself, I couldn’t see properly. A Great Chief like the Commandant uncircumcised” (Oyono 33). Thus, readers understand that being circumcised is affiliated with masculinity and power; Toundi says: “I was relieved by this discovery…I knew I should never be frightened of the Commandant again” (Oyono 33). Hence, the protagonist commences to participate in manifestations of colonial system rejection; his confidence in white supremacy and the western civilization purpose successively breaks. The significance of Toundi’s interaction with the Commandant in the shower is a pivotal point in the story.

Significantly, both novels’ analyses demonstrate machismo when a man goes to extremes in order to look powerful and authoritative, as in Okonkwo’s case, or considers physical appearance and domination as masculinity, as in Toundi’s example. Because these processes are subconscious, a person is unaware that he is exhibiting a lack of masculinity in this way. The ability to resolve arguments with fists, violence or male circumcision are not indications of authentic masculinity.

Conclusion

To conclude, masculinity is a person’s blend of attributes such as self-confidence, a sense of social justice, a sense of obligation, and dignity. In contrast, machismo is an act of excessive and unnecessary courage. Masculinity is a central theme in Houseboy and Things Fall Apart; both protagonists, Toundi and Okonkwo, demonstrate a mistaken understanding of masculinity. The novels distinguish between authentic masculinity and machismo and help readers consider several viewpoints and perspectives on this essential subject.

Works Cited

Oyono, Ferdinand. Houseboy. Waveland Press, 2012.

Achebe, Chinua. Things Fall Apart. Knopf Doubleday Publishing Group, 1995.

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Protagonists in Oyono’s Houseboy and Chinua’s Things Fall Apart

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