The Dynamics of Defining a New Nation

Despite the emotional story of Remi's family tragedies, The Black Hermit parallels the exploration of those sorrows with the complicated dynamics involved in starting a nation.

Ngugi draws specifically on his experiences during the turbulent birth of his native Kenya. However, the national struggle in The Black Hermit is universal, applying to any nation just emerging from colonialism and grappling with how to balance its past with progress.

Through the idealistic Remi, Ngugi explores what defines a nation. Remi wrestles with whether a nation should be a loosely connected confederation of tribes or a united front of diverse peoples committed to a common goal.

The extended dialogue between Remi and his friend Omange in Act 2 is less a conversation between characters and more a reflection on the challenges new nations face. Remi criticizes Omange for his blind support of nationalism and his dismissal of tribal traditions. "People like you don't realize that the problems posed by Independence are different from those of colonial days. We can no longer justify our existence by discrediting the colonial powers. Without our history, who are we?"

The play does not offer a clear answer. Like the playwrights Ngugi admired, such as George Bernard Shaw and Henrik Ibsen, Ngugi raises important questions about societal crises but avoids simplistic solutions.

In the closing act, as Remi delivers his speech on his return to the village, he acknowledges that national identity is a complex, evolving process. "We must learn to help ourselves; build the schools we need; turn our hearts and minds to create our nation. Only then will tribe and race disappear." Ngugi's challenge is not only for Kenya but for all new nations shaping their identities.

The Struggle for Personal Identity

Before leaving Jane to return home, Remi confesses that he is married. Jane sharply critiques him: "You don't know yourself or what you really want. Only that you like thinking of yourself as…superior, so much better than anybody else."

Remi ignores this harsh truth, a sign of his immaturity and lack of self-awareness. This moment sets up the theme of coming of age, as Remi's journey to self-realization is central to the play. His decision to abandon Jane without compassion reveals his emotional detachment. Despite his education, Remi still has much to learn.

When Remi returns to his village, he arrogantly assumes the role of the village's savior. Caught up in the excitement of his return, he declares, "Everything will give way to my leadership." He believes the village's prosperity depends on him alone. "I now know all. My stay in the city has taught me everything." His overconfidence is echoed by the pastor, who momentarily views Remi as divinely sent but later recognizes the danger of this demi-god status: "The villagers should not blaspheme."

Remi's treatment of Thoni underscores his emotional immaturity. Just as he dismisses Jane's feelings, he disregards Thoni's love. Uncertain of his own emotions, he chooses the easier path of escape, fleeing to the city and the safety of academia.

Remi disavows his marriage upon his return, calling it a "weakness" and refusing to acknowledge Thoni's deep affection for him. His thoughtless rejection drives Thoni to despair, leading to her tragic suicide.

In the end, Remi's journey toward self-awareness is painful. Kneeling beside Thoni's lifeless body, he finally confronts the consequences of his actions. "What have I done, Thoni, what have I done?" This moment completes Remi's difficult education as he is forced to face the depth of his failings.

The Tragedy of Love Denied

Amid the political debates and Remi's grand...