{"id":1669,"date":"2017-01-21T09:21:20","date_gmt":"2017-01-21T09:21:20","guid":{"rendered":"http:\/\/www.poetsinnigeria.org.ng\/?p=1669"},"modified":"2017-01-21T09:21:20","modified_gmt":"2017-01-21T09:21:20","slug":"poetic-insight-issue-6","status":"publish","type":"post","link":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/poetic-insight-issue-6\/","title":{"rendered":"POETIC INSIGHT (ISSUE 6)"},"content":{"rendered":"\n<!-- WP QUADS Content Ad Plugin v. 1.7.8 -->\n<div class=\"quads-location quads-ad1\" id=\"quads-ad1\" style=\"float:none;margin:0px;\">\n\n <!-- WP QUADS - Quick AdSense Reloaded v.1.7.8 Content AdSense async --> \n\n<script async data-cfasync=\"false\" src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script><script type=\"text\/javascript\" data-cfasync=\"false\">\nvar quads_screen_width = document.body.clientWidth;\nif ( quads_screen_width >= 1140 ) {\r\n\/* desktop monitors *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}if ( quads_screen_width >= 1024  && quads_screen_width < 1140 ) {\r\n\/* tablet landscape *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}if ( quads_screen_width >= 768  && quads_screen_width < 1024 ) {\r\n\/* tablet portrait *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}if ( quads_screen_width < 768 ) {\r\n\/* phone *\/\r\ndocument.write('<ins class=\"adsbygoogle\" style=\"display:block;\" data-ad-client=\"ca-pub-5983616716487778\" data-ad-slot=\"\" ><\/ins>');\r\n(adsbygoogle = window.adsbygoogle || []).push({});\r\n}<\/script>\n\n <!-- end WP QUADS --> \n\n\n<\/div>\n<p><strong>POETIC INSIGHT (ISSUE 6)<\/strong><\/p>\n<p><strong>A TREATISE OF \u201cWEDDED AND WEEDED\u201d BY KUKOGHO IRUESIRI SAMSON<br \/>\n<\/strong><\/p>\n<p><em><strong>A Review by\u00a0Adewumi Olumide Benedict<\/strong><\/em><\/p>\n<p>The poem \u201cWedded and Weeded\u201d is one that invites the reader to a very familiar journey. A journey through the mapped path of two characters; a man and a woman who are in a webbed relationship of some \u201cheaven and hell\u201d affair. This journey\u2019s familiarity is based on the peculiarity of the poem\u2019s thematic pre-occupation as a coexisting phenomenon in our immediate society.<\/p>\n<p>The poem is titled, \u201cWedded and Weeded\u201d not just for the mere purpose of achieving a play on words, but to act as a way of giving passage to the reader\u2019s reception of the poem. The two most important words that form the title are, to a reasonable degree, contradictory, therefore producing an oxymoron. The word \u201cwed\u201d means to \u201cUnite or join firmly as if by the affections of bond or marriage\u201d (Merriam Webster dictionary), while \u201cweed\u201d (an agricultural allusion) means to remove an unwanted plant that has been deemed useless or redundant, which in this context represents a marital entity. It immediately becomes a question of bringing to notice, the reason these two contradictory words are placed together to form the title of the poem.<\/p>\n<p>First of all, the poet uses it as a way of introducing the reader to the power of tonality through the use of alliterated composition, including the point that they sound almost alike and have the same number of alphabets, and stress pattern (syllables). The second reason and the most important, is to function as a presage into the subject of the poem. This is inferred because of the arrangement of the words as wed precedes weed, there also, to be united precedes to be scattered. This makes the reader aware of the imminent event even from the start of the poem.<\/p>\n<p>The poem is paired into six stanzas with each pair under a heading, \u201cJust yesterday\u2026, Now today\u2026 and Tomorrow\u2026\u201d These headings create a time frame\/chronological arrangement of the poem whereby the reader is aware of what was, what is and what will be of the poem. It is composed of twenty-four lines with regular rhyme scheme except for the third stanza which has an irregular rhyme scheme; this could be as a result of the poet\u2019s ploy to graphically illustrate the violent atmosphere, tone and mood attached to that stanza.<\/p>\n<p>Plummeting into the poem, the first stanza of the first pair tells of a wedding ceremony where two couple walk down the aisle in a tie and veil, indicating a man and a woman:<\/p>\n<p><em>He wore a tie, she wore a veil.<\/em><\/p>\n<p><em>And yes, I looked, no face was pale<\/em><\/p>\n<p><em>As both of them walked down the aisle<\/em><\/p>\n<p><em>In sweet rehearsed musical style. <\/em>(Lines 1-4)<\/p>\n<p>&nbsp;<\/p>\n<p>Their faces are described as having no sign of paleness or emotional unhappiness, which expresses their mood. The poem does not specify whether the couple are in the presence of a congregation like normal everyday wedding processions, rather, only the couple are mentioned as existent. This must be a deliberate act on the poet\u2019s part to create a world where only the couple exist, therefore placing them in a role of emphasis. Although, there is an indication that the poem has a narrator, but this narrator appears to be part of their journey as he sees all they do in their hiding place. The narrator is both a first person narrator, seen through the use of \u201cI looked\u201d (Line 2) and also an omniscient narrator who sees evenly those things they will not reveal, as well as their future.<\/p>\n<p>At the end of the second stanza, all things pertaining to the wedding have been completed, as \u201cShe took the ring\u201d and sheds \u201csoft tears of joy amidst \u201cburied fears\u2026\u201d (Line 8). This act of shedding tears in the midst of fears is as a result of the spirit of expectancy, a yearning towards the unknown and a plunging into questions related to her imminent home and family.<\/p>\n<p>Grippingly, there is something particular about the lines contained in the second stanza. It is the exclusion of the woman from any form of verbal doings during the wedding and also her being relegated to act as a complete and enthralled receiver, and a partial puppet, which gives the impression that the wedding itself, even though appearing complete, does not really have a proper wholeness. This is seen as the man happens to be the only one who <em>\u201c\u2026gave the ring<\/em>\u201d to his partner, with \u201c<em>no guile\u201d<\/em> on his face, to act as a symbol of their marital bond, while the woman merely acts as one who \u201c<em>took the ring<\/em>\u201d from him without giving hers in return:<\/p>\n<p><em>He gave the ring sporting a smile<\/em><\/p>\n<p><em>And said the words showing no guile<\/em><\/p>\n<p><em>She took the ring brimming with tears<\/em>\u2026 (Lines 5-7)<\/p>\n<p>Conventionally, giving of rings during weddings, just like wedding bands, symbolises a binding of souls, a decree of complete fidelity to the ring-giver, whereby the one who receives the ring is under an oath, both physically, as she carries it around in his\/her ring finger (fourth finger) and also metaphysically, as a transcendent word of honour. That is why both partners are expected to give and receive their own rings to ensure an outright and even act of fidelity. But in the case where one partner is allowed the privilege of giving out a ring without receiving another in return, the one who receives becomes the oath taker, and the soul giver, just like how Portia in the <em>Merchant of Venice <\/em>offers a ring to Bassanio, her husband-to-be, therefore binding his mind to Portia\u2019s and as well placing him under her will: no wonder Portia becomes displeased when she learns of what happens to the ring.\u00a0 With this, the woman can therefore be said to be under her husband\u2019s authority, control and submission whereas the man isn\u2019t, because, of course, he has no ring!<\/p>\n<p>Although, it can still be debated that the man\u2019s avowal of his vows to his wife can stand in place of the ring he didn\u2019t receive since the woman also does not say her own vows. However, one can say this is merely the case of the lantern one sees and the sun one doesn\u2019t see; the former presents a physical presence and performs its duty while the latter does not. Also, one can say her acceptance of the ring which expresses a physical appearance by the woman is more valued and valid than words that cannot be verified as true.<\/p>\n<p>Also, it must be recognized that one cannot really say what the content of his vow is, whether or not it is the real thing or a negation of the actual popular marriage vow. But coming to reckon with why the woman\u2019s vow is skipped immediately creates an intuition that the content may, after all, be deceptive. If so, it means if the woman is allowed to recite the vow as well, it will become unfavourable for him in the long run. Thus the exclusion of the woman\u2019s recitation of her vow can be said to be a deliberate means of escape orchestrated by the man.<\/p>\n<p>The man in question, during the wedding performs various roles: he is the husband-to-be, he is the priest who officiates and seals the marriage, he is also the event planner who dictates when the words should be said; giving him the power to do and undo. This brings the question whether there is actually a real marriage in the first place since it is under an influence, even though the man shows no sign of deception and remained guileless during the wedding.<\/p>\n<!-- WP QUADS Content Ad Plugin v. 1.7.8 -->\n<div class=\"quads-location quads-ad2\" id=\"quads-ad2\" style=\"float:none;margin:0px;\">\n<script async src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\r\n<script>\r\n  (adsbygoogle = window.adsbygoogle || []).push({\r\n    google_ad_client: \"ca-pub-5983616716487778\",\r\n    enable_page_level_ads: true\r\n  });\r\n<\/script>\n<\/div>\n\n<p>In the first stanza of the second pair (third stanza) <em>\u201cNow today\u2026\u201d<\/em> there is a picture of what the marriage has become. There is a breach of peace and the destruction of happiness in the marriage of <em>\u201cyesterday\u201d. <\/em>The third stanza starts with, \u201c<em>He shouts and throws two angry fists\u201d<\/em> and as these blows collide with a surface, they \u201c<em>leave her pretty face reshaped\u201d<\/em> (Line 12). This portrays the level of violence that has grown in the marriage, her same eyes that brought out those <em>\u201csoft tears of joy\u201d<\/em> (line 8) have now become the <em>\u201cTwo teary eyes that defy their lids\u201d<\/em> (line 16). This type of situation where the man tortures his \u2018dear\u2019 wife, can be found in many homes existing in Nigeria. Many men who engage in the act of wife beating, do so for various reasons which include: to prove their physical dominance, to express their anger, and even some can be related to their biological background in the sense that these men who grew up in environments where their fathers beat their mothers may believe it is the right thing to do when any disagreement ensues, so they do the same over and over.<\/p>\n<p>In most cases their wives are not able to hinder the continuity of this violent act due to their unequal physique, as challenging them may result into further abuse. Another hindrance is their belief in the spiritual dominance of their husbands as their head and that standing up to them, may incur curses on her.<\/p>\n<p>According to Wikipedia, \u201cvictims of domestic violence may be trapped in domestic violent situations through isolation, power and control, cultural acceptance, lack of financial resources, fear, and shame or to protect children.\u201d No wonder why she hides \u201c<em>Under a bed\u2026\u201d<\/em> as her <em>\u201c\u2026young heart bleads<\/em>\u201d (line 15). The word \u201cunder\u201d indicates inferiority and oppression, to be under is to remain beneath which shows that she is not only emotionally oppressed, or just physically, but also mentally as she becomes scared or ashamed of revealing her pain, perhaps for the protection of her children or perhaps her marriage (which still ties her down to the ring). What does one find under the bed, but things that have been lost or regarded irrelevant? That is the kind of state she is reduced to, a state where her state of mind states no further importance. This violent state reveals further the true intent of the content of the man\u2019s marriage vow: that it is indeed a negation of the actual vow since he does the exact opposite by becoming the sickness that impedes his wife\u2019s wellbeing.<\/p>\n<p>The last pair of stanzas conjoined into \u201cTomorrow\u201d is a prophetic inference into the future. This can be implied through the extensive use of the modal auxiliary verb \u201cwill\u201d which is a future tense. The poet tries to warn against domestic violence and marital oppression by revealing the end result of such domestic inconsistencies. Most violence invested marriages usually end up as broken homes, where the couple with \u201cbulging files\u201d in their hands head to court for a separation. It is for this reason the number of words that form each stanza titles, <em>\u201cJust yesterday\u2026, Now today\u201d<\/em> which are two words changes into one, \u201cTomorrow\u201d to symbolise a break up or separation between the couple in the future. The two people who have been together through the other conjoined stanzas are now standing as one in the last pair of stanza.<\/p>\n<p>Additionally, there is a reason for the pluralization of \u201crings\u201d in Line 17, \u201c<em>They\u2019ll go with bulging files- not rings-\u201d<\/em>: it is firstly a way of referring to an allusive boxing ring, depicting their violent marriage while the second ring is the wedding ring that is given to her by her husband, which symbolises the physical and spiritual leverage the man has over his wife. So the addition of these two types of ring is what the poet pluralizes to become \u201crings\u201d. The removal of these rings, implies an end to their life together, as before the court eventually grants them divorce, they are already unofficially separated.<\/p>\n<p>Furthermore, one thing with broken homes is that, the grasses always suffer the tramping of the fighting elephants. The children become the collateral damages of the divorce. They become \u201c<em>wrinkled and scarred before their teen<\/em>\u201d (Line 24). They become broken and pained because the joy in receiving love from both parents is no longer there. This most likely may lead to parental alienation, where the child is psychologically torn from his\/her parents as a result of a divorce. Some after going through the trauma of seeing their parents exchange words like spittle to tongue, they will have to also experience the start of the parent\u2019s marital end or separation; this tears them apart, rips their emotional and mental states and leaves them unguided and unprotected.<\/p>\n<p>Conclusively, the poem, \u201cWedded and Weeded\u201d systematically admonishes married couples against erring their marriage vows by engaging in violent activities, both verbal and non-verbal\u00a0 that may lead to injury, death, pain, fear, \u201creshaped\u201d faces and broken homes which in the long run will result into a deformed, nonchalant and defaced parental upbringing for their offspring. It warns against the usual thingification that occurs in many African homes where the man sees his wife or, perhaps vice versa, as an item, a \u201cthing\u201d or property that can be thrown around with no care or consideration of health. Also since a larger percentage of kids from broken homes end up as law breakers, and add to the issues of the society, the poem preaches against these act of violence in order to curb the rise of the ills perpetrated in the society by kids traumatized by such mishap.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>References<\/strong><\/p>\n<p>Kukogho, Samson. \u201cWhat Can Words Do?\u201d Lagos: Parresia Publishers Limited. 2013.<\/p>\n<p>Wikipedia \u201cDomestic Violence\u201d. January 10, 2017. January 14, 2017.&lt;<a href=\"http:\/\/en.m.wikipedia.org\/wiki\/Domestic_Violence\">http:\/\/en.m.wikipedia.org\/wiki\/Domestic_Violence<\/a>&gt;<\/p>\n<p>\u201cWed\u201d. Merriam Webster Dictionary Electronic Dictionary: Paragon Software Group, 2007.<\/p>\n<p><strong><em>\u00a0<\/em><\/strong><\/p>\n<p><strong><a href=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg\"><img data-attachment-id=\"1670\" data-permalink=\"https:\/\/www.poetsinnigeria.org.ng\/index.php\/poetic-insight-issue-6\/adewumi-olumide-benedict\/\" data-orig-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?fit=3072%2C2928&amp;ssl=1\" data-orig-size=\"3072,2928\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1457585378&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Adewumi Olumide Benedict\" data-image-description=\"\" data-medium-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?fit=300%2C286&amp;ssl=1\" data-large-file=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?fit=790%2C753&amp;ssl=1\" loading=\"lazy\" class=\"size-medium wp-image-1670 alignleft\" src=\"https:\/\/i2.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict-300x286.jpg?resize=300%2C286\" alt=\"Adewumi Olumide Benedict\" width=\"300\" height=\"286\" srcset=\"https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?resize=300%2C286&amp;ssl=1 300w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?resize=768%2C732&amp;ssl=1 768w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?resize=1024%2C976&amp;ssl=1 1024w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?w=1580&amp;ssl=1 1580w, https:\/\/i1.wp.com\/www.poetsinnigeria.org.ng\/wp-content\/uploads\/2017\/01\/Adewumi-Olumide-Benedict.jpg?w=2370&amp;ssl=1 2370w\" sizes=\"(max-width: 300px) 100vw, 300px\" data-recalc-dims=\"1\" \/><\/a>Adewumi Olumide Benedict<\/strong> A.K.A. Mide Benedict is a poet, playwright and a prosaist. He studied Literature in English at Obafemi Awolowo University Ile Ife. Some of his works have appeared on several online forums and have been published both in print and in E-formats. He&#8217;s a graphic designer, blogger at Temple of Words and a lover of art.<\/p>\n<p>&nbsp;<\/p>\n\n<!-- WP QUADS Content Ad Plugin v. 1.7.8 -->\n<div class=\"quads-location quads-ad3\" id=\"quads-ad3\" style=\"float:none;margin:0px;\">\n<script async src=\"\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\r\n<script>\r\n  (adsbygoogle = window.adsbygoogle || []).push({\r\n    google_ad_client: \"ca-pub-5983616716487778\",\r\n    enable_page_level_ads: true\r\n  });\r\n<\/script>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>POETIC INSIGHT (ISSUE 6) A TREATISE OF \u201cWEDDED AND WEEDED\u201d BY KUKOGHO IRUESIRI SAMSON A Review by\u00a0Adewumi Olumide Benedict The poem \u201cWedded and Weeded\u201d is&hellip; <\/p>\n","protected":false},"author":2,"featured_media":1670,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[28],"tags":[321,114,81,322,323],"jetpack-related-posts":[{"id":1762,"url":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/pin-quarterly-journal-issue-6\/","url_meta":{"origin":1669,"position":0},"title":"PIN QUARTERLY JOURNAL (ISSUE 6)","date":"January 21, 2017","format":false,"excerpt":"PIN QUARTERLY JOURNAL (ISSUE 6) EDITOR'S NOTE \u2026a vast garden of literary comeliness There is a mine in every mind yearning for the extraction of potentials in dire need of refinement and exposure to opportunities characterized by appreciation. 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Heeding the Call for Submission made in February 2016, entries spanning the advertised columns were received and subjected to intense assessment\u2026","rel":"nofollow","context":"In \"Activities\"","img":{"src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts\/1669"}],"collection":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/comments?post=1669"}],"version-history":[{"count":1,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts\/1669\/revisions"}],"predecessor-version":[{"id":1671,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/posts\/1669\/revisions\/1671"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/media\/1670"}],"wp:attachment":[{"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/media?parent=1669"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/categories?post=1669"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.poetsinnigeria.org.ng\/index.php\/wp-json\/wp\/v2\/tags?post=1669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}