hypocrisies of church ceremonial in the last

Hopkins's poetry was in Okigbo's mind in 1962 as the prime example of blind religious yea-saying that tiffany bracelets a clear-sighted response to life. What Okigbo did in 1966 was to foreground and highlight the Hopkins's allusion. The whole passage about perilous sea-faring in the second movement written in 1962 is best read as the detail of the voyage of the nuns. Okigbo's rejection of the Christian viewpoint, which begins in the 1966 text with the allusion to "The Wreck of the tiffany bracelets," pervades the entire poem.

It reaches its peak in the description of the mummeries and hypocrisies of church ceremonial in the last Tiffany Bracelets. But the voyage of the second movement can also be understood as a metaphor of the shipwreck of Chief Awolowo's and Patrice Lumumba's political voyage. In this context, the final movement of the poem would be a comment on the deceptions and banalities of political establishments. The existential pessimism of "Silent Sisters" is a single tragic vision.

We must, however, begin by asking what exactly Okigbo meant by describing his poetry as music. In tiffany bracelets in June 1962, the idea was the focus of everything he said. When Lewis Nkosi invited him in August 1962 to talk about Limits, he discussed the work as a tiffany bracelets score only, pointing out that in the collection, the first poem is "the prelude to the preludes, and the second one which is a response by a chorus. The third one is the first development, and the fourth one is a divagation" (Nkosi 41).