purple hibiscus essay on oppression

Power and Control: Themes of Oppression in Purple Hibiscus

This essay about “Purple Hibiscus” by Chimamanda Ngozi Adichie explores the pervasive themes of power and control within the narrative. Through the lens of the protagonist, Kambili Achike, and her family, the essay examines the oppressive influence of Eugene Achike, whose rigid adherence to religious doctrine becomes a tool for manipulation and domination. It into the broader socio-political dynamics of post-colonial Nigeria, where patriarchal authority and economic privilege intersect to perpetuate cycles of injustice. Against this backdrop, Kambili emerges as a symbol of resilience and resistance, challenging the oppressive structures that seek to confine her. Through her forbidden romance with Father Amadi, Kambili finds strength and solidarity, ultimately reclaiming her agency and paving the way for liberation.

How it works

In Chimamanda Ngozi Adichie’s captivating narrative “Purple Hibiscus,” the themes of power and control unfurl like intricate tapestries, intricately woven into the fabric of familial relationships and societal structures. Within the post-colonial landscape of Nigeria, Adichie masterfully navigates the nuances of oppression, peeling back layers to reveal the corrosive effects of domination and authority.

Central to the narrative is the figure of Eugene Achike, a complex character whose devout Catholicism serves as both a shield and a weapon. Eugene’s rigid adherence to religious doctrine becomes a guise for his tyranny, as he imposes his beliefs upon his family with an iron grip.

Through intimidation and violence, he enforces a code of silence and submission, manipulating his wife and children into obedience. Yet, beneath his veneer of piety lies a deeper struggle for control—a desire to maintain dominance in a rapidly changing world.

Eugene’s authoritarian rule mirrors broader power dynamics in post-colonial Nigeria, where the legacy of colonialism intertwines with indigenous structures of oppression. As a wealthy and influential businessman, Eugene wields economic and social capital to reinforce his dominance, silencing dissent and quashing opposition. His patriarchal authority becomes a microcosm of the societal hierarchies that privilege the few at the expense of the many, perpetuating cycles of injustice and inequality.

In contrast to Eugene’s suffocating control, the protagonist, Kambili Achike, emerges as a beacon of resilience and resistance. Through her eyes, we witness the gradual unraveling of her father’s grip as she discovers alternative modes of existence outside the confines of his influence. Encountering her outspoken aunt Ifeoma and cousins, Kambili experiences a world untethered from fear and repression, where love and laughter abound freely. These encounters sow the seeds of rebellion within Kambili, igniting a spark of defiance that refuses to be extinguished.

Crucial to Kambili’s journey is her forbidden romance with Father Amadi, a charismatic priest who challenges her to question the boundaries imposed upon her. In Father Amadi, Kambili finds not only love but also a source of strength and solidarity—a partner in resistance against the forces that seek to oppress her. Their clandestine relationship becomes a catalyst for Kambili’s emancipation, empowering her to confront her father and reclaim her agency in a society that seeks to subjugate her.

“Purple Hibiscus” thus becomes a narrative of liberation—a testament to the indomitable spirit that perseveres in the face of adversity. Through Kambili’s journey, Adichie reminds us of the transformative power of resilience and resistance, urging readers to interrogate systems of oppression and envision a future built on principles of justice and equality. In a world where power too often begets control, “Purple Hibiscus” stands as a poignant reminder of the enduring human capacity for hope and defiance.

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Themes and Analysis

Purple hibiscus, by chimamanda ngozi adichie.

This coming-of-age novel is quite engaging. Its principal themes are thought-provoking as they are visible in post-colonial Nigerian society. The book enkindles emotional outbursts ranging from pity, sorrow, happiness, anger, and relief.

Article written by Fave

B.A. in History and International Studies from University of Ilorin, Kwara State.

The author whose imagination was first sparked by homesickness creates a beautiful story on liberation, family life, and the Igbo culture.

Purple Hibiscus Themes

Religion is a central theme in this novel. The settings include religious rallies, festivals, and Churches. The author denotes Christianity religion as an oppressive factor that was introduced by colonialists. Although Papa and Aunty Ifeoma are Catholics, Papa is more rigid and unyielding in his beliefs. His father, Papa-Nnukwu is prevented from visiting him because he is a traditional worshipper. Papa is so devout to his beliefs that he forbids Igbo songs from being sung in Church and at home. His strict doctrines are imposed on his family and they are punished when they falter. Even though Papa promises to improve the standard of living of Papa-Nnukwu if he converts to Christianity, the old man refuses.

Contrastingly, Aunty Ifeoma is a more liberal Catholic. Chimamanda Ngozi Adichie portrays Aunty Ifeoma’s doctrines to be more accommodating and compassionate than Papa’s. Where Papa is extremely abusive, Aunty Ifeoma is kind. She prays with her family and sings Christian songs that have been translated into Igbo. She takes her children to traditional festivals.

Father Benedict and Father Amadi are also practicing Catholics with different methods of practicing. Father Benedict is a perfectionist who shares equal beliefs with Papa. With the character of Father Amadi, however, Adichie portrays the need for a balance in Christianity.

Another important theme in this book is family life. It is at the familial level that true behavior of Papa is exposed. To the public, he is a godly patron but privately, he is a violent dictator.

The structure of the Achike family is one built on fear and authoritarianism. The strict rules of Papa are followed to perfection and anything short of that leads to punishment. The family is also a very quiet one. Although the children are brilliant and talented, they have poor social skills and avoid interaction with others including their relatives.

On the other hand, Aunty Ifeoma’s family encourages conversations, arguments, and laughter. She creates a wholesome environment where the children are free to relate with their grandfather. Kambili and Jaja find freedom at Aunty Ifeoma’s house and they gladly welcome it. With this theme, Adichie aims to depict a flourishing family as one where every member is respected and comfortable.

Colonialism and Nigerian Politics

In this book, Adichie shows the different ways that Africans received colonialism. To Papa-Nnukwu, colonialism and its components had horrible impacts on Igbo society. He believes that Papa disregards him because Christianity preaches that the father and son are equal. Even when promised better life by Papa, he refuses to accept the religion.

In contrast, Papa is called a ‘colonial product’. He accepts the superiority of the Europeans and imitates them. He is grateful for colonialism because his education was sponsored by the missionaries. He abandons the traditions of his homeland and chooses to speak British English in public.

Father Amadi accepts that colonialism is the reason for his faith. He however believes that the new and old ways can co-occur. He advises Amaka to take an English name for confirmation because that’s how things are done in the Church, but he doesn’t insist that she uses it against her will. Aunty Ifeoma refuses the superiority of the Europeans and treats everyone equally.

In the book, a coup happens that leads to the beginning of military rule in Nigeria. Papa and Ade Coker use the Standard newspaper to criticize the corruption of the Head of state who is not democratically elected. The irony here is that while Papa criticizes the government’s dictatorial leadership, he is a dictator in his own home.

The novel takes place during a tumultuous period for the Nigerian government. The book depicts the effects of politics on the lives of citizens. Bribes are collected by police officers, workers’ strike, and students riot. Ade Coker is a character based on the real-life journalist Dele Giwa and is assassinated with a letter bomb. The author shows the horrible effects of corruption, colonialism, and oppression.

Kambili is the greatest victim of this theme. Even when she speaks, she says things that are expected of her, not what she wants to say. Her silence is a result of the abuse she endures at home. When talking becomes necessary, she stutters and whispers. Even Mama cannot freely talk in her home.

Jaja learns to use silence as a punishment. When Papa dies, the silence that envelopes the Achikes is different because it is not imposed by fear.

Silence is also depicted in the state of the country. People who are bold enough to criticize the government are arrested or killed. Aunty Ifeoma, Ade Coker, and Papa are victims of this.

Analysis of Key Moments in Purple Hibiscus

• Mama announces that she is pregnant and she is pleased because she has had a few miscarriages after the birth of Kambili.
• A coup is announced and a military leader comes into power.
• Papa beats Mama because of her hesitation to greet Father Benedict after church and this leads to the miscarriage of her pregnancy.
• Aunty Ifeoma takes Kambili, Jaja, Papa-Nnukwu, and her children to the traditional Aro festival.
• Kambili and Jaja’s visit to Aunty Ifeoma’s house in Nsukka. It is here they learn to be independent.
• Kambili’s meeting with Father Amadi. She is immediately taken by his melodious voice.
• Papa-Nnukwu’s arrival at Aunty Ifeoma’s house.
• The assassination of Ade Coker in his house. He receives a package from the Head of the state that turns out to be a letter bomb.
• Papa walks in on Kambili and Jaja looking at a painting of Papa Nnukwu. He tears up the painting and when Kambili falls on it, he beats her till she passes out.
• Mama’s visit to Aunty Ifeoma’s home after she has another miscarriage.
• Jaja’s refusal to take communion. Papa flings his heavy missal and breaks Mama’s figurines.
• The loss of Aunty Ifeoma’s job. She decides to apply for an American Visa. Father Amadi also decides to leave for missionary work in Germany.
• Kambili sees the Virgin Mary during the pilgrimage at Aokpe. This strengthens her faith in Catholicism.
• Papa’s death in his factory. The autopsy proves he was poisoned.
• Jaja surrenders to the police as Papa’s murderer.
• The news was that Jaja would be released after three years of imprisonment.

Style and Tone

The style of writing employed in ‘ Purple Hibiscus ‘ is the first-person narrative. The story is told through the lens of a fifteen-year-old who is raised in an abusive household. The tone used in the book is subdued and resigned. The constant whispers of the main characters point to the restrictions that they face. The language used is straightforward. Chimamanda Adichie uses the Igbo variety of the Nigerian English language. The book contains a choice of words and parables that point to this fact.

Analysis of Symbols

The purple hibiscus is a flower growing in Aunty Ifeoma’s garden. Jaja is drawn to the flower and in fact, takes some strands back to Enugu and asks the gardener to plant them there. The hibiscus is a symbol of courage and individuality. Jaja is so taken by the flowers that he tends to them in Aunty Ifeoma’s house. A chore he never had at Enugu. Jaja’s confidence and individuality grow as slowly and at the same pace as the purple hibiscus that he planted grows. The freedom that Jaja sought is represented by the purple hibiscus. When Aunty Ifeoma loses her job, Jaja does not ask for permission from Papa, he just informs him of his decision to go visit her.

The Figurines

The figurines of ballet dancers that Mama cleans after a domestic violence episode were a symbol of submissiveness, silence, and resignation. The cleaning of the figurines was Mama’s coping mechanism after violence. When Papa breaks the figurines on a Palm Sunday, Mama tells Kambili she would not need to replace them. Like Jaja, Mama is going to stop being a victim and fight back against violence. Her statement is better understood when she confesses to poisoning Papa. The presence of the figurines symbolized silence and subjugation. The breaking of the figurines signified freedom.

How did the political agitation and corruption in Nigeria affect the Achike family?

Kambili and Jaja may be protected children, still, the corruption ongoing in Nigeria affects them mostly negatively. They have a few experiences with bribery and murder. Ade Coker who is a friend to Papa and also a journalist that works for him is killed. His death affects Papa and makes him distraught. The political agitation however proves to also be useful when Papa dies and Jaja is imprisoned. Members of pro-democracy groups that Papa belonged to claim he was assassinated by the Head of state.

What is the core theme of Purple Hibiscus?

The core theme of this novel is freedom from oppression. Kambili, Jaja, and Mama endure toxicity, extremism, and violence until they experience a different and healthy environment. The children metamorphose into mature, capable teenagers. In the latter part of the novel, Kambili believes she does not need an explanation for the things she does. She just goes ahead to do them.

Why does Mama poison Papa?

Mama murders Papa to protect herself from violence. Also, she feels she is left with no other option. She tells Aunty Ifeoma that she cannot leave her marriage with Papa because she cannot care for two kids alone. After years of putting up with abuse and several miscarriages, she does not want to leave empty-handed, so she decides to poison him

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“Purple Hibiscus”, analysis of the novel by Chimamanda Ngozi Adichie

The purple hibiscus is a novel set in post-colonial Nigeria and follows the story of Kambili as she grapples with changes in her life. Having faced a brutal and tyrannical father her whole life, she soon realizes following a visit and stay at her Aunty’s place in Nsukka, that what she has considered being a way of life for her is not what life is supposed to be.

The purple hibiscus is a symbol of freedom and is a flower growing in Aunty Ifeoma’s garden, giving renewed hope to Kambili and Jaja. The characters in the novel are a representation of the new breed of people, with divergent beliefs and cultures in a new political era, all trying to address socio-political and cultural issues depending on how they have been molded.

The novel is written against a backdrop of a changing Nigerian society, coming just a few decades after independence from English rule. Post-colonial Nigeria is a country facing economic and political challenges, with new and emerging industrialists and elites such as Eugene, imposing their dominance against traditional Igbo culture.

Outspoken intellectuals like Aunty Ifeome, are also coming up and trying to find their footing in the Nigerian society. Though not wealthy, they are critical of government rule and try to highlight societal ills including political censorship, freedom of speech and corruption, to the great discomfort of the ruling class, who are hell-bent on silencing them.

Colonialism and Politics

Colonialism and Politics is a central theme and problem that is addressed in the novel Purple Hibiscus. Eugene is a product of colonial rule and believes that traditional beliefs have no room in modern Nigeria. He despises all traditionalists and is a devout catholic, who does everything according to the traditions and practice of the catholic faith.

Politics is also a central problem in the novel, as Eugene also publishes the Standard Newspaper that is critical of the government, and her sister is also critical of the government leading to her expulsion from her teaching job in the university.

Violence as a problem is also addressed several times in the novel Purple Hibiscus. Domestic violence is demonstrated through Eugene’s heavy-handedness and overbearing nature against his family. Eugene has used physical violence against his wife, son, and daughter many times, and it is shown how violence begets violence, as Eugene himself dies through poisoning by his wife.

Nationally political oppression and violence are used through the military enforcing political censorship and assassinations, including the killing of Ade Coker and Nwanketo Ogechi an activist. Aunty Ifeoma also faces the brunt of brutal oppression, as her apartment is ransacked, and is dismissed from her teaching job at the university.

Religion and Traditional beliefs

The problem of modern religion against traditional beliefs is also brought out in this novel. Eugene’s staunch belief in his faith in the Catholic church is super-imposed against the traditional beliefs of his father Papa-Nnukwu, and the liberal beliefs of his sister Aunty Ifeoma.

Description of main characters

Kambili Achike

The novel’s entire plot revolves around Kambili, as she is the narrator of the story. She is a 15-year-old girl, one of the two children of Eugene and Beatrice Achike. Due to her father’s tyranny, she has grown up shy and doesn’t express herself. She is always afraid of upsetting her father, and even shows fear on behalf of her brother and mother, cringing many times when her rebellious brother responds inappropriately to their father.

As the story evolves she builds her self-esteem, and becomes more outspoken, mostly as a result of her experiences at the home of her Aunt.

Jaja (Chukwuka Achike)

Jaja is the elder child of Eugene and Beatrice and the brother of Kambili the narrator of the story. He is an intelligent and bold character, who has grown under the tyranny of his father. He openly defies him and abandons their Catholic faith, to his great chagrin.

He is also courageous and loyal to his sister and mother, and without thought to his safety takes the fall on their behalf. On numerous occasions, he takes the blame on behalf of his sister to shield her from her father’s wrath. When her mother poisons their father, he also claims responsibility and is consequently jailed for three years.

Eugene Achike

Eugene Achike is the father of Kambili, who affectionately calls him “Papa”. Eugene is a wealthy industrialist, who also publishes the Standard Newspaper. He is a devout Catholic, who goes to great lengths to practice his faith and strictly imposes the same upon his entire family. He is a favorite of their local priest Benedict, due to his philanthropic giving to the causes of the church.

At home, Eugene is a domineering tyrant, unleashing terror upon his entire family. He physically abuses his wife and children and has twice led to his wife’s miscarriage. He also despises the Igbo culture including his father for his traditional beliefs.

Beatrice Achike

Beatrice is the Matriarch of the Achike family and is a victim of Eugene’s tyranny and violence. She maintains a quiet and passive demeanor throughout the novel and maintains her loyalty despite suffering two miscarriages at the hands of Eugene.

Eventually, she is unable to bear the constant abuse from her husband, and she poisons him to death. Her son Jaja claims responsibility, to which he goes to jail for three years. Following the death of Eugene and the jailing of her son, her condition deteriorates significantly, a situation that does not change even to the end of the story.

Aunty Ifeoma

Aunty Ifeoma is the paternal aunt of the narrator Kambili. She is Eugene’s only sister and is described as being physically tall. She is outspoken and intelligent and was instrumental in shaping the character of Kambili and Jaja.

She is also a liberal Catholic, who is understanding and tolerant of her father’s traditional beliefs, unlike her more affluent brother.

Her political outspokenness and criticism of the government leads to her expulsion from the university, and she subsequently gets a visa and relocates to the United States of America.

Papa-Nnukwu

Papa-Nnukwu is the grandfather of Kambili the narrator of the story and is the father of Eugene and Aunty Ifeoma. He is kind-hearted and warmly affectionate towards his children and grandchildren. He is a traditionalist who follows Igbo traditions, a fact that led to the cutting of ties with Eugene and her family.

As the narrator gets to interact with Papa-Nnukwu at her aunty’s home in Nsukka, she develops a new respect for him, and understands the traditional religious practices, considering them to be comparable to her Catholic beliefs.

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Chimamanda Adichie's Purple Hibiscus: A Postcolonial Inquiry

The Purple Hibiscus (2013) is the debut novel by Chimamanda Ngozi Adichie, that was received with critical acclaim in literary circles all around the world. It is a bildungsroman novel set in the political context of a military coup in 1980's Nigeria. The present paper attempts to examines how the writer portrayed, through the medium of English, the destructive influences of post-colonialism to present to the world the awareness towards the traditions of Africa and its legacy that remained buried beneath the land of colonized Nigeria. For a thorough analysis of the selected text the qualitative research paradigm, guided by thematic textual analysis, has been used. The results show that Purple Hibiscus, as a post colonial text, critiques the associated violence of the colonial forces, religion, and patriarchal domination.

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Chimamanda Ngozi Adichie, a Nigerian writer and social activist has achieved her fame throughout the world for depicting the social, cultural and political matters in her novels and short fiction. With her literature she has drawn the new generation of readers to the African Literature. To name a few of her novels and short fiction that got critical acclaim worldwide for are

Purple Hibiscus is an African postcolonial Gothic tale cautioning and warning against the falsely assumed sense of absolutism of the Roman Catholic Church and its definitive contestation with the concept of tradition. Adichie’s auto-fiction tells a tale of a child transgressing beyond a complicated set of interwoven boundaries in order to find herself and establish herself in the realms of religion and tradition – embodying two assumed contesting concepts. It is only through an extreme disassociation with herself that Kambili finds a sense of physical and emotional piece and forgiveness – she assumes the role of Kambili that was previously denied by her tyrannical father. Kambili’s shared, yet emotionally exclusive experiences with her mother and brother Jaja, provided the opportunity for these characters to emancipate themselves from the absolutist dystopian reality they were led to believe was the only reality.

Mediterranean Journal of Social Sciences, 2018

This article digs into Adichie’s world view of the post-colonial Nigeria via her use of the English language in two extracts culled from her Purple Hibiscus. To go into details, the study examines how Adichie makes use of particular types of transitivity patterns to weave into her text her thematic construction of Nigeria after independence. To this end, the Experiential Meaning has been used as a theoretical lens given that the exploration of the transitivity properties in/of a text can provide a full insight into how the writer encodes his/her experience of the world therein as advocated by Systemic Functional Linguistics scholars like Halliday (1971/1976), and his followers Hassan (1985/1989), Eggins (2004), and Matthiessen (2004/2006). As a matter of fact, the study offers a linguistic analysis of the selected extracts, a summary of the findings, and the ensuing interpretation. Actually, the interpretation of the findings has revealed that Adichie has encoded tremendous meanings...

The Journal of Commonwealth Literature, 2019

Focusing on Chimamanda Ngozi Adichie's critically acclaimed Purple Hibiscus (2003), this article argues that subversion, an aggressive performance that aimed at overthrowing and displacing patriarchal institutions which initially impact on the choices and activities of the oppressed, is the hallmark of the fictional figures' responses to oppression. The essay contends that such forceful reactions to repression expand our understanding of twenty-first century Nigerian female-authored narratives. This argument I contrast with earlier critical readings, observing that while critics are eager to expose and endorse a female presence in the text, the readings often undermine its revolutionary suggestions. Through a radical feminist approach, my analysis of the novel highlights the heroines in order to demonstrate subversive behaviours in their drive to establish female agency, and notes such defiance to be necessary considering their repressive milieu. In doing so, I conclude with the notion that dissidence is a remarkable feature of the novel and that the radical feminist paradigm is useful in widening awareness of this groundbreaking tenor.

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This study examines how Chimamanda Ngozi Adichie's Purple Hibiscus interrogates the oppressions of women in the Nigerian patriarchal society and how women empower each other lead them to women empowerment. The study shows how the oppressions of women is represented through female characters which perpetually put women in disadvantaged positions as portrayed in Purple Hibiscus. One of the most despicable oppression among the so well-known cultural practices in Nigeria is the patriarchal oppression. However, as the events unfold, efforts will be made in order to reveal of how African women are rated based on the good and real women as represented by Beatrice and Ifeoma. I argue that Adichie's approach to subvert patriarchal oppression describes that despite the struggle and pain, women assert themselves in the world of patriarchy through education and sisterhood. Adichie’s novel suggests women empowerment through social transformation confronted by women. The title of the nove...

Kambili's Journey to Dignity, and Self-empowerment: A Womanist Approach to Chimamanda Ngozi Adichie's Purple Hibiscus, 2022

Using womanist theory as a theoretical framework, this study has analyzed identity formation and self-empowerment. Adichie is considered a feminist writer, but her ideals and ideas are very different from Western ideals and aim to survive and challenge patriarchal culture. In her debut novel, Purple Hibiscus, Adichie argues for a change in society's attitude toward the oppression of women and children. Adichie articulates a womanist ideology that relates to universal human suffering. This study considers the postcolonial background of the main characters, who confront the hybridity that occurs with identities that encounter a postcolonial culture. The domination of women is the most basic form of female subjugation in postcolonial Nigerian society. This is largely due to the cultural influences of patriarchal culture inherent in African society, which promotes prejudice against women and accepts violence against women and children as normal. Patriarchal violence is analyzed to explain how surveillance and punishment imprison the characters in the novel and isolate them from others. This analysis aims to show that liberation from oppression is only possible through unity with others, courage, and the achievement of dignity. Keywords: change, Christianity, dignity, identity, Igbo tradition, interaction, liberal- and radical feminism, mimicry, Nigeria, patriarchal violence, postcolonialism, self-empowerment, womanism

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Freedom in “Purple Hibiscus” by Chimamanda Adichie Essay

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Introduction

Bibliography

Chimamanda Adichies first novel “Purple Hibiscus”, published in 2004, has made a considerable success all over the world due to its deep realism and the wide variety of philosophical and moral questions, raised by the author. She makes the reader to look at the world through the eye of a teenager, fifteen year-old girl Kambili; the task, which is difficult to fulfill, because adults are seldom able to recreate their childhood experiences.

The most dominant motif of “Purple Hibiscus” is the concept of freedom; by contrasting Kambilis and Aunt Ifeomas families, Chimamanda Adichie proves that perception of freedom can vary. Additionally, the author shows the evolvement of the main characters (Kambili, her mother Beatrice and her brother Jaja), paying extra attention to the process of their emancipation. In this respect, it should be also mentioned that the novel is full of symbols, for example, the gorgeous house that the main character lives in. At first glance, it may seem that it is a palace, or a dream, but in fact, it proves to be the prison, governed by Eugene Achilike, Kambilis father. This character is one of the central figures in the novel, his is trying to rule over (such formulation is the most appropriate in this case) other members of the family by stick and carrot; he can be loving and cruel simultaneously. Being a religious fanatic, he wants everyone to follow his example. Every deviation from the rules is severely punished.

However, his totalitarian regime is gradually falling into a decline, members of the family are starting to rebel against his rule. The narrator says “Things started to fall apart when my brother Jaja did not go to communion”(Adichie, 4). Yet, this is just the first sign of the mutiny, which is not mature enough. The main characters are still subdued to the rule of Eugene. For instance, Kambilis mother, Beatrice silently tolerates her husband’s tyranny, to some extent, she symbolizes an average Nigerian woman, who is practically deprived of her rights. Beatrice takes her husband’s brutalities for granted, despite Ifeomas advice to leave Eugene. As regards Jaja, Eugene’s son, it should be mentioned, that he is trying to show signs of disobedience to his father, but he is not strong enough to oppose (not only physically but also spiritually) him. The main character and the narrator Kambili, is virtually silent in the presence of her father, she can hardly express her views, knowing that it may result in a fit of her father’s anger.

As it has already been mentioned earlier, the novel is full of contrasts and oppositions. The situation takes an unexpected turn, when Kambili is sent to her aunt Ifeomas house, which is entirely different from the luxurious prison, she lives in. The transition is quite noticeable even in the language of the main character. At the beginning of the novel, the narrator speaks in Standard English, but later, she mixes it with Igbo words, which were strictly prohibited by her father. Aunt Ifeoma is a very educated person; however, she does not reject her native culture. Additionally, she does not impose fixed schedules on her children, or punish them for every alleged “sin”, as her brother is prone to do. Kambili is given a free hand, which is very unusual to her. In this respect, it should be mentioned that even the title of the book is symbolic. The main character can be compared to the flower, hibiscus, which is finally allowed to bloom. She even falls in love with the priest, father Amadi. Such thing would have been inconceivable, if she had continued to live with her father.

Aunt Ifeomas influence is also noticeable in the behavior of Beatrice, who is no longer able to suffer Eugene’s dominance, and she poisons him. However, Aunt Ifeoma should not be viewed as the instigator. She just gives Beatrice the stimuli to emancipate herself. The murder is a natural result of Eugene’s cruelty and brutality. It is worth mentioning that Jaja screens his mother, which means that he does not view her act as a crime, at least, in terms of his moral.

It is quite possible to say that freedom, obtained by main characters, can be ascribed to two factors: first, Aunt Ifeomas impact, because she shows them that there is the world without bondage and oppression. Another factor is the reaction to Eugene’s cruelty (especially it concerns Beatrice), because sooner or later, every human being is bound to overthrow his or her oppressor.

Chimamanda Ngozi Adichie. “Purple Hibiscus”. Anchor Books, 2004.

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Purple Hibiscus

Chimamanda ngozi adichie.

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Related to the strictness of Papa ’s beliefs and the corruption of the Nigerian government is an important theme of freedom, and its opposite, tyranny. Politically, Papa and Ade Coker represent a freedom of the press that protests against the censorship and corruption of the Head of State . Aunty Ifeoma , a university professor, also speaks her mind and criticizes those in power. The political tyranny in the Nigerian government responds to this assertion of freedom with brutal action. Ade Coker is assassinated, the Standard and Papa’s factories are shut down, and Ifeoma is fired from the university. Hope for political freedom only comes in the novel’s last section, when the Head of State dies and democracy is tentatively restored.

Freedom and tyranny exists among Adichie’s individual characters as well. Though Papa bravely stands up for political freedom, in the world of his own family—where he is the one in control—he acts like a tyrant. He allows no freedom or independence for Mama , Kambili , or Jaja . He schedules his children’s every minute and even chooses the color of the drapes. When anyone acts out or tries to assert their freedom, he responds with violence. Kambili and Jaja thus get their first real taste of freedom at Aunty Ifeoma’s house. After seeing this totally different family dynamic—one where all the children are encouraged to speak their minds and question everything—Kambili and Jaja start feeling more rebellious and independent. Kambili’s assertion of freedom begins by keeping the painting of Papa-Nnukwu , while Jaja grows more openly rebellious, refusing to speak to his father and then refusing to go to church on Palm Sunday. Jaja’s Palm Sunday actions signal a turning point for the family. The most surprising twist comes at the end, however, as Mama turns to her own kind of tyranny—murder—to assert her freedom from Papa. This leads to prison for Jaja, which ends up as just another version of the cycle of freedom and oppression. There is finally some hope with Jaja’s impending release, which also coincides with the Head of State’s death, as both Nigeria and Kambili’s family hope to find true freedom at last.

Freedom vs. Tyranny ThemeTracker

Freedom vs. Tyranny Quotes in Purple Hibiscus

Papa was staring pointedly at Jaja. “Jaja, have you not shared a drink with us, gbo ? Have you no words in your mouth?” he asked, entirely in Igbo. A bad sign. He hardly spoke Igbo, and although Jaja and I spoke it with Mama at home, he did not like us to speak it in public. We had to sound civilized in public, he told us; we had to speak English. Papa’s sister, Aunty Ifeoma, said once that Papa was too much of a colonial product. She had said this about Papa in a mild, forgiving way, as if it were not Papa’s fault… “ Mba , there are no words in my mouth,” Jaja replied. “What?” There was a shadow clouding Papa’s eyes, a shadow that had been in Jaja’s eyes. Fear. It had left Jaja’s eyes and entered Papa’s. “I have nothing to say,” Jaja said.

I lay in bed after Mama left and let my mind rake through the past, through the years when Jaja and Mama and I spoke more with our spirits than with our lips. Until Nsukka. Nsukka started it all; Aunty Ifeoma’s little garden next to the verandah of her flat in Nsukka began to lift the silence. Jaja’s defiance seemed to me now like Aunty Ifeoma’s experimental purple hibiscus: rare, fragrant with the undertones of freedom, a different kind of freedom from the one the crowds waving green leaves chanted at Government Square after the coup. A freedom to be, to do.

“They are always so quiet,” he said, turning to Papa. “So quiet.” “They are not like those loud children people are raising these days, with no home training and no fear of God,” Papa said, and I was certain that it was pride that stretched Papa’s lips and tightened his eyes. “Imagine what the Standard would be if we were all quiet.” It was a joke. Ade Coker was laughing; so was his wife, Yewanda. But Papa did not laugh. Jaja and I turned and went back upstairs, silently.

I did not say anything else until lunch was over, but I listened to every word spoken, followed every cackle of laughter and line of banter. Mostly, my cousins did the talking and Aunty Ifeoma sat back and watched them, eating slowly. She looked like a football coach who had done a good job with her team and was satisfied to stand next to the eighteen-yard box and watch.

“I hear he’s very involved in the editorial decisions. The Standard is the only paper that dares to tell the truth these days.” “Yes,” Aunty Ifeoma said. “And he has a brilliant editor, Ade Coker, although I wonder how much longer before they lock him up for good. Even Eugene’s money will not buy everything.” “I was reading somewhere that Amnesty World is giving your brother an award,” Father Amadi said. He was nodding slowly, admiringly, and I felt myself go warm all over, with pride, with a desire to be associated with Papa.

“Kambili, you are precious.” His voice quavered now, like someone speaking at a funeral, choked with emotion. “You should strive for perfection. You should not see sin and walk right into it.” He lowered the kettle into the tub, tilted it toward my feet. He poured the hot water on my feet, slowly, as if he were conducting an experiment and wanted to see what would happen. He was crying now, tears streaming down his face… I watched the water leave the kettle, flowing almost in slow motion in an arc to my feet. The pain of contact was so pure, so scalding, I felt nothing for a second. And then I screamed. “That is what you do to yourself when you walk into sin. You burn your feet,” he said.

Ade Coker was at breakfast with his family when a courier delivered a package to him. His daughter, in her primary school uniform, was sitting across the table from him. The baby was nearby, in a high chair. His wife was spooning Cerelac into the baby’s mouth. Ade Coker was blown up when he opened the package—a package everybody would have known was from the Head of State even if his wife Yewande had not said that Ade Coker looked at the envelope and said “It has the State House seal” before he opened it.

It was what Aunty Ifeoma did to my cousins, I realized then, setting higher and higher jumps for them in the way she talked to them, in what she expected of them. She did it all the time believing they would scale the rod. And they did. It was different for Jaja and me. We did not scale the rod because we believed we could, we scaled it because we were terrified that we couldn’t.

“It is not about me, Chiaku.” Aunty Ifeoma paused. “Who will teach Amaka and Obiora in university?” “The educated ones leave, the ones with the potential to right the wrongs. They leave the weak behind. The tyrants continue to reign because the weak cannot resist. Do you not see that it is a cycle? Who will break that cycle?”

“It’s your father. They called me from the factory, they found him lying dead on his desk.” Mama sounded like a recording… Jaja grabbed the phone. Aunty Ifeoma led me to the bed. I sat down and stared at the bag of rice that leaned against the bedroom wall… I had never considered the possibility that Papa would die, that Papa could die. He was different from Ade Coker, from all the other people they had killed. He had seemed immortal.

“I started putting the poison in his tea before I came to Nsukka. Sisi got it for me; her uncle is a powerful witch doctor.” For a long, silent moment I could think of nothing… Then I thought of taking sips of Papa’s tea, love sips, the scalding liquid that burned his love onto my tongue. “Why did you put it in his tea?” I asked Mama, rising. My voice was loud. I was almost screaming. “Why in his tea?”

There are people, she once wrote, who think that we cannot rule ourselves because the few times we tried, we failed, as if all the others who rule themselves today got it right the first time. It is like telling a crawling baby who tries to walk, and then falls back on his buttocks, to stay there. As if the adults walking past him did not all crawl, once.

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Published: Mar 19, 2024

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Silence and oppression, religion and tradition, family and relationships.

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