The initial portion

The initial portion of the chapter introduces us to the art of story-telling which is a dominant aspect of African culture. Ekwefi recounts Ezinma a story abut a wily, cunning and a greedy tortoise, which persuades the birds to lend him feathers to make wings so that he can attend the feast in the sky with them. We notice that Achebe enumerates phrases in the fable that make the tortoise symbolic of the white man, that is, the British. It can be substantiated with words and phrases like:

"he began to plan how he would go in the sky",

"Nothing that happened in the world of animals ever escaped his notice; he was full of cunning.

",

"great orator", "sweet tongue", "ungrateful", "His speech was so eloquent that all birds...nodded their heads in approval of all he said."

"many coloured plumage"

All these examples illustrate the way the white man used to cleverly manipulate his subjects. The tortoise represents the vigilant, scheming nature of the Englishmen inorder to highlight the notion as to how they could exploit the Africans with their deceitful nature.

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Moreover, the instance that "he looked somewhat different from others" further demonstrates the idea of otherness or alienation as the tortoise is not a member of the flock. Yet, he introduces them to new customs that suit his purpose and ruin the history, language and identity of the Africans. The fact is brought to surface with the clever technique employed by the Tortoise of labeling himself as "All of you.

"

However, the folktale is pregnant with layers of implications. Firstly, through the fall of the tortoise, it provides us with a moral lesson which is reminscent of the English proverb, "Do onto others as you want others to do onto you." Also, the novelist presents two different ways of defeating the tortoise, i.e. the colonialists. These approaches include the stripping off the tortoise's feathers that the birds had lent him. This strategy invokes cooperation and unity among birds. When they refuse to concede to Tortoise's desires, he becomes unable to overpower them. The Parrot's trick suggests the second approach. It suggests that by taking advantage of the position as translator, the Parrot outwits the Tortoise. Read also an essay on  ust take away their guns

Therefore, the fascinating story within the story is embellished with an ethical, moral purpose which is applicable to the critic Samuel Johnson's view that Achebe "instructs by pleasing."

JUXTAPOSITION:

Achebe artistically juxtaposes the "silent" night's "Low voices, broken now and again by singing" with the "loud and high-pitched voice" of the priestess of Agbala, Chielo prophesying. A renowned belief that there is always silence before a storm thus suits the requirements of the scene. Chaos and disruption pervade the good portion of the novel and incorporates a sense of life being changing in ways that cannot be controlled.

IMAGERY:

The novelist makes use of numerous images in the chapter:

ANIMAL IMAGERY:

In the explanation of human behaviour and wisdom, the Igbo society often uses animal imagery to accentuate their rituals and belief systems such as the moral story of the Tortoise and the birds.

The "cock" indicates dawn while the "insects" are associated with the night. "Fireflies", "hen" and "kite" have also been incorporated. The presence of animals reflects the environment in which the Ibo people inhabit.

HARSH IMAGES:

The images connected with Chielo are harshand sinister as words like "metal" and "high-pitched voice" substantiate the fact.

RECURRENT IMAGE:

Kola-nut and palm-oil are recurrent images in the novel. They are used in the fable as well, symbolizing hospitality of the hosts towards their guests.

CONTRASTING IMAGE:

"Although the night was cool, Ekweifi was beginning to feel hot from her running." It is an pattern of intense imagery.

SIMILES:

"The nights were as black as charcoal" adds to the characteristic fear of the Ibo people towards the night.

"Ekweifi jerked her head sharply like an animal that had sniffed death in the air " and "she stood gazing in the direction of the voices like a hen whose only chick had been carried away by a kite". Achebe has meticulously captured maternal concerns of Ekweifi for Ezinma in these two similes.

Agbala's "voice was as clear as metal." Another simile associated with her voice is: "her voice cracking like the angry bark of thunder in the dry season". These show her authority over the people and her position in the society which needs to be respected.

ONOMOTOPOEIA:

"The first cock has crowed", "shrill cry of insects", "angry bark of thunder".

UNIVERSAL TRUTH:

"A baby on its mother's back does not know that the way is long." It instills the idea that as long as a child is under the exclusive protection of her mother, he/she is ignorant of the harsh realities of life as he is not confronted with them.

SYMBOLS:

Night: an eminent symbol which shows that it is a suitable time for the family to share interesting folktales. It is also associated with Ekweifi's fears as following Chielo, "she thought of alldie terrors of the night."

Moon: The absence of moon in the night accentuates its darkness and thus adds mystery to it just as the enigmatic episode of Chielo's arrival.

Raincloud: is symbolic of the mystery and muddle prevailing in the chapter at all levels: emotional and situational.

Tortoise: symbol of the colonizers.

"soft things" in the Tortois's house symbolize the luxurious lifestyle of the British while the "hoes, machetes, spears, guns and cannon" are symbolic of the tools that they used against anybody who disobeyed them, especially the marginalized people.

The birds who have "painted their bodies" in the story symbolizes the African custom of painting bodies before any feast.

The incompatability of the tortoise and birds is symbolic of the incompatability of colonialists and indegenous values.

"world of animals" is an evident symbol for Africa.

IRONY:

The Tortoise, a representative of the Imperialists, claims to the birds, "I have learned that a man who makes trouble for others is also making it for himself." This statement uttered by the tortoise is embedded with irony as he will deal with trouble by the end of the tale as a result of his trickery. Another ironic instance is when the priestess reaches Okonkowo's compound and wants to take Ezinma away, "Okonkwo pleaded with her to come back in the morning because Ezinma was now asleep." Here, we are shown that Okonkwo, the man of action and great physical strength is begging for the sake of his daughter. It reflects a true bonding of the child-parent relationship which lacked with his son.

NARRATION:

Third person narrative: Neutral omniscience.

It is a sequential storyline and more emphasis has been given to Okonkowo's second marriage and the daughter from the secon wife.

Achebe uses the concept of time and space to give us a narrative construction.

FLASHBACK:

While following the priestess, Ekweifi remembered a night long ago when she had seen one of the uncontrollable evil essences loosened upon the world. It was Ogbu-agati-odu.

The last paragraph of the chapter is also a flashback that tells us about the elopement of Ekweifi with Okonkowo. While sittting outside the cave of Agbala, Ekweifi remembers running away from her first husband to be Okonkowo;s wife. When he answered her knock at the door, they exchanged no words. He led her to his bed and began to undo her clothing.

SETTING:

The chapter starts off in a domestic setting, that is, Okonkowo's compounds and a wide area including the forests till Umuaehi, the farthest village in the clan is covered. Moreover, night is followed by the dawn which is symbolic of positivity.

PROPHECY:

The story of the Tortoise and birds is prophetic of the fact that the colonial rule is about to descend upon Umofia and things will eventually fall apart like the shell of the Tortoise.

LANGUAGE:

For Achebe, language is an essential component of his artistic strategy. So, we observe that through the use of the fable, he shows that Africa has its roots in story-telling and wise morals even before the arrival of the colonizers. Also, it is enriched with African words especially a chant uttered by Chielo: "Agbala do-o-o-o! Agbala ekeneo-o-o-o!" which gives a rhthmic effect to the situation.

AMBIGUITY:

A deliberate attempt on part of the author is witnessed in this chapter as he keeps the entire episode of Chielo taking away Ezinma as a mystery. Even till the end of the chapter, it has not been disclosed as to why Ezinma has been taken away to the god without the consent of her parents.

TONE:

The tone of the chapter alters with the transformation of the scenes. Initially, it is light-hearted but it gradually shifts with the arrival of Chielo and becomes dramatic and frightening.