february, 2009 webmasters ossai...kpaa nkụ ahụhụ and nwata bulie nna ya elu, is an attempt to...
TRANSCRIPT
OSSAI, BASIL CHUKWUEMEKA. REG NO: PG/MA/02/33277
PG/M. Sc/09/51723
CHARACTERIZATION AND STYLE IN NWADIKE’S TWO DRAMA TEXTS. ONYE KPAA NKU AHUHU AND NWATA
BULIE NNA YA ELU.
LINGUISTICS, IGBO AND OTHER NIGERIAN LANGUAGES
A THESIS SUBMITTED TO THE DEPARTMENT OF LINGUISTICS, IGBO AND OTHER
NIGERIAN LANGUAGES , FACULTY OF ARTS, UNIVERSITY OF NIGERIA, NSUKKA
Webmaster
Digitally Signed by Webmaster’s Name
DN : CN = Webmaster’s name O= University of Nigeria, Nsukka
OU = Innovation Centre
FEBRUARY, 2009
CHARACTERIZATION AND STYLE IN NWADIKE’S TWO DRAMA TEXTS. ONYE
KPAA NKU AHUHU AND NWATA BULIE NNA YA ELU.
BY
OSSAI, BASIL CHUKWUEMEKA. REG NO: PG/MA/02/33277
DEPARTMENT OF LINGUISTICS, IGBO AND OTHER NIGERIAN LANGUAGES, UNIVERSITY OF NIGERIA, NSUKKA
FEBRUARY, 2009
i
TITLE PAGE
CHARACTERIZATION AND STYLE IN NWADIKE’S TWO DRAMA TEXTS. ONYE KPAA NKU AHUHU AND NWATA
BULIE NNA YA ELU.
A RESEARCH PROJECT PRESENTED TO THE
DEPARTMENT OF LINGUISTICS, IGBO AND OTHER NIGERIAN LANGUAGES,
UNIVERSITY OF NIGERIA, NSUKKA
IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS IN IGBO WRITTEN
LITERATURE AND STYLISTICS
BY
OSSAI, BASIL CHUKWUEMEKA. REG NO: PG/MA/02/33277
FEBRUARY, 2009
CERTIFICATION
Ossai, Basil Chukwuemeka, PG/MA/02/33277 a postgraduate
student in the Department of Linguistics, Igbo and other Nigerian
Languages, University of Nigeria, Nsukka has satisfactorily completed the
requirements for courses and project report for the award of degree of
master of Arts (M.A) in Igbo written literature.
The work embodied in this project is original and has not been
submitted in part or full for any diploma or degree of this or other
University.
------------------------------------- ----------------------------------------- Supervisor Head of Department Department of Linguistics Department of Linguistics, Igbo Igbo & other Nigerian & other Nigerian Languages Languages, University of University of Nigeria, Nigeria, Nsukka Nsukka
------------------------------ --------------------------------------- External Examiner a Member of the
Postgraduate Committee
-------------------------------
Dean of Faculty
DEDICATION
This work is dedicated to my beloved heavenly father whose
presence was with me at the course of the study and to my lovely wife Mrs
Ossai Sabina.
ACKNOWLEDGMENT
I wish to express my profound gratitude and deep appreciation to the
Almighty God and to my supervisor, Dr. Mrs G. I. Nwaozuzu, without
whose constant advice, criticisms and corrections this work would not have
been successfully completed.
My indebted gratitude goes to my darling father, Mr Ossai Sunday,
for his continuous support and financial help.
May I acknowledge the encouragement and advice which I got
during the writing of this thesis by some of the lecturers in the Department
of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria,
Nsukka. They are: Prof. I. U. Nwadike, Prof C. N. Okebalama, Dr. B. M.
Mbah and others.
May I also acknowledge other personalities that have not only
inspired and prompted me through this rigorous and thorny road to the
accomplishment of this work; but have also offered me some invaluable
moral and academic support. Such great names include Mr Ohu John, Mrs
Ezeugwu Theresa, Mrs S. A. Nwadike and others. I am highly indebted to
all these people.
My gratitude goes to my wife Mrs Ossai Sabina and siblings
Promise, Fortune, and Thank God.
May I also use this opportunity to thank the entire members of the
Department of Linguistics, Igbo and Other Nigerian Languages, University
of Nigeria, Nsukka for their wonderful cooperation.
Finally, I am indebted to every member of my household for
understanding and tolerating my consistent disturbance with the academic
activities day in day out. In fact, I am grateful to all who contributed in one
way or another to make the work a success.
They are too numerous to mention here. May Almighty God reward
all of you immensely.
Ossai, Basil C. University of Nigeria, Nsukka
ABSTRACT
The study of Nwadike‟s characterization and style in his two plays Onye Kpaa Nkụ Ahụhụ and Nwata Bulie Nna Ya Elu, is an attempt to assess him as an Igbo playwright. The study tries to investigate his employment of characters and language in the two drama texts. The study shows that Nwadike proves his art of imaginative and artistic composition of events in Onye Kpaa Nkụ Ahụhụ and Nwata Bulie Nna Ya Elu. The sequence of events in the two drama texts are casually linked whereby both the characters, themes, actions, languages are united. Nwadike is highly moralistic in tone. He treats the theme of man‟s inhumanity to man especially with regards to girls‟ inordinate ambition in the area of choosing life partners. They suffer severely before they are rescued and restored. He projects characters through their actions, as well as statements made by other participating characters about them. Most of the characters are fully developed whereas some are partly developed. He makes use of real names in presenting human characters and most times, some of these names are meant to depict or reflect the action of the characters. In the plays, events of the stories are presented sequentially and in their order of occurrence from the beginning to the end. The plots of the stories follow a pattern in which the link or the relationships between events are governed by causality. Nwadike has the mastery of the art of language use. His language generally is standard Igbo though he sometimes enriches his work with as many stylistic devices as possible like the use of foreign or loan words, Igbonization of some English words, and use of dialectal words among others.
TABLE OF CONTENTS
Title of Page- - - - - - - - i
Certification - - - - - - - - ii
Dedication- - - - - - - - - iii
Acknowledgment- - - - - - - - iv
Abstraction - - - - - - - - v
Table of Content - - - - - - - - vii
CHAPTER ONE: Introduction
1.1 Background to the Study - - - - - 1
1.2 Statement of the Problem- - - - - 3
1.3 Objectives of the Study - - - - - 4
1.4 Scope of the Study - - - - - - 5
1.5 Significance of the Study - - - - - 5
CHAPTER TWO: Literature Review
2.1 Introduction- - - - - - - - 7
2.2 Theoretical Study- - - - - - - - 7
2.3 Empirical Studies - - - - - - - 12
2.4 Summary - - - - - - -- - 16
CHAPTER THREE:
3.0 Introduction - - - - - - - - 18
3.1 Research Design- - - - - - - - 18
3.2 Area of Study - - - - - - - - 19
3.3 Sampling Technique - - - - - - - 19
3.4 Research Instrument for Data Collection- - - - 19
3.5 Method of Data Collection- - - - - - 19
3.5.1 Primary Source- - - - - - - - 19
3.5.2 Secondary Source - - - - - - - 20
3.6 Method of Data Analysis- - - - - - 20
CHAPTER FOUR
4.0 Data Analysis - - - - - - - - 21
4.1 Introduction- - - - - - - - 21
4.1.1 Characterization in Nwata Bulie Nna Ya Elu
and Onye Kpaa Nkụ Ahụhụ- - - - - - 22
4.1.1 The Developed Characters - - - - - - 26
4.1.2 Partly, Developed Characters and
Non-Development Characters- - - - - - 30
4.2 Language- - - - - - - - - 32
4.2.1 Nwadike‟s Linguistic Experiment - - - - - 33
4.2.2 Sentence Types- - - - - - - - 34
4.2.3 Simple Sentences- - - - - - - 35
4.2.4 Complex Sentences- - - - - - - 36
4.2.5 Compound Sentences- - - - - - - 38
4.2.5.1. Rhetorical Questions- - - - - - - 41
4.2.5.2. Lexical Borrowing and Igbonization - - - - 43
4.2.5.3. Figurative Language- - - - - - 44
4.2.5.4. Anecdotes- - - - - - - - 44
4.2.5.5. Metaphor - - - - - - - - 46
4.2.5.6. Hyperbole - - - - - - - - 48
4.2.5.7. Proverbs- - - - - - - - 48
4.2.5.8. Dramatic Irony - - - - - - - 49
4.2.5.9. Mis-spelt Words- - - - - - - 50
4.2.5.10. Conclusion - - - - - - - - 51
CHAPTER FIVE: Summary And Conclusion
Summary and Conclusion- - - - - - - 53
References - - - - - - - - - 58
CHAPTER ONE
1.0 INTRODUCTION
Since the end of the Nigerian civil war in 1970, there has been
renewed interest in Igbo studies, particularly in the area of literature. Works
written so far in Igbo literature support scholarship and those works to a
great extent, have helped to manifest the rich potentials of the Igbo
language. Moody (1969:63) postulates that “a people‟s culture is
embodied in her literature”. The Igbo literature in effect has helped to
project the cultural life of the Igbo people.
Quite a good number of works have been written on drama, prose
and poetry which form the major genres of Igbo literature. The most
important aspect of these works is the fact that a good number of them
contain the necessary aesthetic elements on which literary appreciation is
based. At present, there are many prose, drama and poetry texts in Igbo
available and many more are in the making. Among the numerous Igbo
creative artists, Inno Nwadike has grained popularity because of the
uniqueness of his style.
1.1 Background to the Study
Language is the most essential of all elements of literature. Without it
nothing can be said or written in the first place. Nwadike‟s Onye Kpaa Nkụ
Ahụhụ is a tragic play which deals with a lot of social criticism as well as
didactic qualities. Therein, deviations from normal standards in the society
and their consequences are exposed in order to make people think
intelligently about them and, in the process, proffer solutions to these
societal deviations.
The play revolves around Ikechukwu, a university student, who
seduces and puts Amaka, a teenage girl, in the family way. Amaka sues
for marriage and Ikechukwu refuses. Amaka desperately curses
Ikechukwu which results in Ikechukwu‟s later wife being barren. Finally,
Ikechukwu goes to beg Amaka for the revocation of her curse and there
comes the tragedy. Amaka faints and dies climaxing the drama.
Nwata Bulie Nna Ya Elu, another drama text written by Inno
Nwadike, draws its thematic significance from the parable of the prodigal
son in the Bible. In Nwata Bulie Nna Ya Elu, the author comments on the
new trend of richness prevalent in our society these days where ill-gotten
wealth is spread and spent with careless abandon. He deplores the
modern trend whereby our youths have become irresponsible and are out
of touch with the realities of life.
By writing Onye Kpaa Nkụ Ahụhụ and Nwata Bulie Nna Ya Elu, both
of which deal with social criticism of the Nigerian situation, Nwadike X-
rays and reflects the Igbo environment and seems to tell his follow
Nigerians. “This is your picture, learn to live better lives, for whoever is
asked to uphold his actions, is doing well, but whoever is asked to desist
from his actions, is not doing well at all”.
Various playwrights have contributed in no small measure in
enriching our knowledge of Igbo literature. Numerous literature on various
Igbo literary genres have attracted many criticisms. However, not all
aspects of the Igbo drama texts written by various authors have been
studied.
The present study considers the issues of characterization and style
in Nwadike‟s Onye Kpaa Nku Ahụhụ and Nwata Bulie Nna Ya Elu, so as to
bring out their appropriateness and effectiveness or otherwise as literary
texts. In doing this, we want to corroborate the observation of Emananjo
(1981:16) who posits,
Every good literary work should not be
seen only from the point of entertainment,
its appreciation should go beyond this to its
use and organization of the various
elements of literacy, aesthetics as well as
the manipulation of language.
1.2 Statement of the Problem
The language of Onye Kpaa Nku Ahuhu and Nwata Bulie Nna Ya
Elu, is unique in the sense that it has sparked off debates among literary
scholars. Unique in another sense that it toes a new literary line in the
world of Igbo drama. It is against this backgrounds that this work is being
embarked upon to reconcile the language arguments, and the new
innovation introduced by these drama texts.
In this study, we are going to look into Nwadike‟s style and
characterization in the two drama texts so as to be able to identify the
salient features of these texts and judge whether they are successful texts
or not. To appreciate Igbo drama fully, these facts must be known and
understood.
1.3 Objective of the Study
The objective of the study is to examine the issues of
characterization and style of Nwadike‟s Onye Kpaa Nku Ahụhụ and Nwata
Bulie Nna Ya Elu, drama texts.
Specifically, the researcher seeks to:
i) highlight the place of characterization and style in Nwadike‟s
drama texts.
ii) identify his areas of strength and weakness in his employment of
characterization and style in the two works.
iii) determine the suitability or otherwise of the characters and style
he uses in these two drama texts.
1.4 Scope of the Study
The researcher confines his research work to characterization and
style in Nwadike‟s Onye Kpaa Nkụ Ahụhụ and Nwata Bulie Nna Ya Elu.
However, the researcher in studying characterization and style in these
two work may make references to other works.
1.5 Significance of the Study
The study of characterization and style in Igbo drama is of great
importance for so many reasons. It will help to raise the status of Igbo
drama by highlighting the author‟s strengths and weakness and suggesting
possible solutions for improvement. This is why it is necessary to examine
characterization and style which Nwadike uses in his two drama texts and
how he has been able to use his wealth of professional experience to
promote Igbo literature.
This study will enable students of Igbo literature to know the
strengths and weaknesses of characterization and style in Nwadike‟s Onye
Kpaa Nku Ahuhu and Nwata Bulie Nna Ya Elu.
The study is also important because it will explore the literary
ingenuity of this author.
Furthermore, the works will contribute to the existing knowledge of
Igbo drama and serve as reference material for future researcher.
Finally, the findings of this research will act as a stimulus to other
Igbo playwrights especially those whose works are yet to attain scholarly
standards.
CHAPTER TWO
2.0 LITERATURE REVIEW
2.1 Introduction
This is a near overwhelming abundance of written materials and
works on Igbo literature. This notwithstanding, the prose fiction, genre has
gained more insights and review than drama and poetry. The critical views
of scholars on Igbo drama and the author understudy will be done so as to
help see how far drama has grown in Igbo literary life.
2.2 Theoretical Study
There was no serious scholarly and literary. – oriented interest in
Igbo drama unitl 1974 when A.B. Chukueze and Okechukwu Mezu wrote
Udo Ka Mma and Umu Ejima respectively.
Nwadike (1998:108) posits that these two drama texts added
another dimension to the growth of Igbo plays. It could equally be
observed that even though Igbo drama texts arrived late in the theatre of
literature in comparison with prose, yet a sizeable number of plays have
been recorded. Igbo literature in its entirety has not received adequate
study. In this regard Echeruo (1976) laments:
Very little work has been done on …
literature of the Igbo people. Some years
ago in the course of editing a book on
Igbo life and literature, I realized how little
else there was on the subject from which
any curious or interested outsider could
learn about our people.
Ugwuanyi (1985), analyzing Ukwa Ruo Oge Ya O Daa deals with Ubesie‟s
skill in characterization which he observes in the explicit omniscient as
representative of certain philosophy of Igbo life and association of
characters.
Nwadike (1991) opines that not much critical works had been done
on the Igbo fiction compared with its English and French counterparts.
Likewise, Igbo written drama has very little to show. Suffice. It to say that
critical appraisal on Nwadikes plays have been neglected or merely
glossed over by indigenous drama critics. In order to justify whether his
plays fall within the realm of Igbo literature, there is a need to define Igbo
drama.
Elemuo (2005:21) argues that drama as a literary composition tells a
story, usually of human conflict by means of dialogue and action, and is
usually performed on the stage by actors for an audience. By written Igbo
drama we mean the type of drama which is written drown for presentation
on a stage. The action is presented by actors and actresses on the stage.
Drama is all about imitation. It comes alive in actual performance and for
the sake of preserving the materials of drama, writing it down emerges.
Okebalama (2001:13) in a thematic study of Tony Ubesie‟s poetry
postulates that ubesie has revealed nine different facets of his make up in
his poems published in Akpa Uche. He notes that if the style is the man,
then the creative verbosity that is Tony Ubesie and a virtue in prose
narrative could raise the question in ubesie which critics have raised about
Chirina Achebe‟s poetic prowess in Beware Soul Brother.
Ngara (1982:10) sees language in terms of literature is more than an
exclusively human property consisting of a system of sounds, word
structures and meanings, it is creative in the sense that the individual is
capable of using it in a completely novel manner…
Warner (1961) asserts that since style is something ingrained in
writing and not stuck on top like a veneer, it follows that a man‟s way of
writing will be an expresser of his personality and his way of looking at life.
Even though Nwadike in his Onye Kpaa Nku Ahuhu contributed some
dialect words and expressions into the dynamic lexicon of standard Igbo,
he is not a dialectal writer. He consistently adopted lexical borrowing and
Igbonization strategies in enriching the Igbo language especially in the
area of love jargons. His fame as a playwright derives from his mastery of
Igbo languages. This makes his works easy to read and understand.
Three influences always exert their pressure on a writer‟s style. The
first is his personality, his own way of thinking and feeling which in turn
determine his mode of expression. The second is the occasion in which he
is writing, the particular purpose which diverts his pen at the moment of
writing, so that the same man employ different styles on different
occasions. The third is the influence of times in which he lives, for no writer
is ever completely cut off from his times. He draws his materials from that
society, and all these were reflected in Nwadikes Onye Kpaa Nku Ahuhu.
According to Steiner (1973) style is the mode of expressing thought
in writing or speaking by selecting and arranging words with respect to
clearness, effectiveness, euphony or the like, that is characteristic of a
group, period, person or personality… He further defines style as those
components or features of literary composition that have to do with the
form of expression rather than the content of the thought expressed. From
these definitions, one could explain style as a distinct approach which a
writer may choose to present his work for easy understanding and
comprehension by the reader.
Enkvist et al (1978) observed as follows:
a writer‟s style may be regarded as an individual and
creative utilization of the resources of language
which his period, his chosen dialect, his genre and
his purpose within it offered him. To understand and
to make explicit his linguistic creativity, to appreciate
in full the alchemy by which he transmutes the base
metal of everyday languages into gold of art, it is first
necessary to recognize and where possible to
specify the ranges of language within which he is
working and upon which he is able to draw. To
attempt to do so in analytical detail is not to destroy
the wonder of literature, rather it should enhance it.
For any style to be what it should be, language is involved, that is to
say, a writer cannot write in isolation.
Cuddon (1977:271) in differentiating the two types of characters that
feature in literature observes that:
A „flat‟ character does not change in the course of a story or play, a
„round‟ one develops and thus alters.
Based on the above observation, it can be said that characters in
Nwadike‟s Onye Kpaa Nku Ahuhu are mostly round as that change with
circumstances. A writer is at liberty to use any means including these in
depicting characters.
i) From what people say about a character in the literary works,
ii) From what the character says or does in the literary work,
iii) Opinion people hold about the character in the work.
Based on these criteria, a character could be depicted as round or
flat. A flat character maintains the same trait of behaviour or action
throughout the literary work such as a novel or drama, a round character
changes with circumstances. Nwadike in his Onye Kpaa Nku Ahuhu uses
contemporary issues to depict his characters as will be fully analyzed in
due course.
2.3 Empirical Studies
Several studies have been carried out in Nigeria and other places to
determine the extent to which Igbo playwrights have been able to use
language creatively in their literary works as well as in the other genres of
literature such as prose and poetry.
Nwadike (2001:66) examines the militance, strategies and escapist
maneuvers as structural features in Tony Ubesie‟s novels and opines that
Ubesie very often imbues his chief or major characters with high
intelligence, which results in their being very resourceful and creative in
times of emergency to disentangle themselves from difficult situations. He
goes on to say that Ubesie creates and manipulates due sex machina
situation thereby resolving the episode or events or a happy note. In the
case of the present study, we shall examine how the author of Onye Kpaa
Nku Ahuhu and Nwata Bulie Nna Ya Elu has been able to use characters
creatively to resolves episode or events in his drama texts.
Ezike Ojiaku (2007:47) studies the ” themes in Tony Ubesie novels
and asserts that ubesie portrays the effects of environment and situation
on individual through artistic manipulation of setting, character, plot and
language. He further posits that such effects raise questions about
customs in courtship and marriage, male dominance, immorality,
egocentricism and gossip. In the same way, Nwadike in his drama text
under study always succeeds in decidedly pin-pointing a theme and
sticking strictly to it and very creatively too. This will be fully analyzed in
due course.
Nwadike (1999:2) continues to observe that many Igbo literary artists
like Nwaozuzu in her Ajo Obi uses simple language that flows with
standard Igbo and not encumbered with proverbs and other rhetoric
devices. He argues that the plot of the drama, Ajo Obi has a big flaw,
because it lacks credibility and realism. For instance, the consultation
made by Okwuchi Ezenwata‟s mother, to the dibia afa, to ascertain who
killed her son is „unlgbo‟ and unchristian like. In a similar study of
Akuebionwu he posits that the plot of the play lacks some creditability in
that there are some missing gaps and links.
He notes that the language the author uses in Akuebionwu needs
commendation. Thus, the authors made good use of the speech-pattern of
the literate Igbo who mix English and Igbo in their conversations. He
further posits that by writing Akuebionwu, a social criticism on Nigeria
situations, the authors have x-rayed and reflected their environment and
seem to tell Nigerians this is your true picture‟. In the same regard,
Nwadike‟s Onye Kpaa Nkụ Ahụhụ and Nwata Bulie Nna Ya Elu, mirror
social and moral decadence prevailing in our society at the present time
and warns the general public to desist from act that leads to vices.
Nwaozuzu (2001:64) studies the stylistic feature of Ubesie‟s first
three novels and says that Ubesie writes in such impeccable standard Igbo
that is difficult to distinguish his locality except in commentaries and
authorial interruptions where he tells the reader that Achi is his home town.
She goes on to describe Ubesie as consistently adopting lexical borrowing
and Igbonization strategies in enriching the Igbo language especially in the
area of military jargon.
Nwadike (1998) in his study of Juo Obuina, Ukwa Ruo Oge Ya O
Daa and Mrniri Oku E Ji Egbu Mbe describes ubesie as “a writer with
superb imagination”. This manifests in the way he presents his characters,
imbuing them with certain character traits which enable them to over come
difficult times. Also, in his study of Ukpana Okpoko Buuru (1986:9)
observes that Ubesie relates present events as if they happened in time
immemorial.
Uzochukwu (1999:84) studies the language of the Igbo novel and
observes that Igbo novelist tries to achieve some effects through language
usage. He goes on to assert that Igbo novelist uses variation in sentence
types, his paragraphing, his inversion of word order which is conjunction
with his use of parallel structures, helps in the establishment of Igbo prose
rhythm.
Okwuoma (1984) in his study of Ubesie‟s novels asserts that Ubesie
manufactures expressions of high creative intent. He sees Ubesie as a
poetic prose writer and a proverbialist.
Emenanjo (1982:58) in his study of the language problem of Igbo
novelist has this to say:
In a good deal of the available narrative, the language is too matter
of fact, and too flat to hold the reader for too long. There is little or no
originality in the way hackneyed proverbs and idioms are thrown at the
readers… At times one gets the impression that most writers of Igbo feel
that the only way of writing good Igbo is by forcing strings of proverbs
down the throats of readers. Open any of the so-called novels and the
number of proverbs is astonishing. In ubeie‟s Ukwa Ruo Oge Ya O. Daa,
There are 301 proverbs in 76 pages. Now Nzeako seems to be the worst
offender in this regard. In his Chi Aewere Ehihie Jie, for example proverbs
here is simply nauseating. Much as proverbs form the oil with which the
Igbo eat their speech, proverbs do not form the soup for oil is only one of
many different ingredients with which soup is made. And indeed some
soups can be made without oil.
Clusting of proverbs consists of using many synonymous proverbs to
illustrate a point where one at most two, can serve.
Ozo (1983) studies Ubesie‟s content and style in Juo Obuina and Isi
Akwu Dara Nala and observes that he did well in the language and style of
all his novels but his problem lies in the superfluous use of proverbs where
only one proverb can serve.
Nwadike‟s language in Onye Kpaa Nku Ahulu and Nwata Bulie Nna
Ya Elu is unique in the sense that it has sparked off a lot of debates
among literature scholars. Nwadike‟s language is unique in another sense
that it toes a new literary line in the world of Igbo drama. The author uses
words denotatively and connotatively. Code-switching was equally
judiciously utilized in his drama texts –Onye Kpaa Nku Ahuhu and Nwata
Bulie Nna Ya Elu.
3.4 Summary
From the related literature reviewed so far, we could observe that
since the end of the Nigeria civil war in 1970, there has been renewed
interest in the Igbo literary studies. Works written so far in Igbo literature
evince tremendous scholarship and those works to a great extent, have
helped to manifest the rich potentials of Igbo language. As noted by Moody
(1968:63) a peoples culture is embodied in her literature. Lostracio and
Wilkerson (1979:18) note that language is the most essential of all
elements of fiction, for without it nothing can be said or written in the first
place. Characterization is equally important in the understanding of any
drama text. This is because without characters, there would be no action
since the events are determined by them. These characters are not only
human characters, there are also animal, spirit and supernatural
characters. There are also personified inanimate objects.
In fact, a reasonable number of works have been written on prose,
drama and poetry. The most commendable aspect of this works is the fact
that a good number of them contain the necessary aesthetic elements on
which literary appreciation is based. Among the various Igbo creative artist,
Inno Nwadike has gained popularity because of the uniqueness of his style
as will be shown in this study.
In respect of all the scholarly works reviwed above, my concern is
strictly on Nwadike‟s drama texts: Onye Kpaa Nku Ahuhu and Nwata Bulie
Nna Ya Elu. While others write on Ubesies novels, mine is geared towards
bringing out vividly all the style and characterization of Nwadike in the two
drama texts under study which have not been given adequate attention by
other writers.
CHAPTER THREE
RESEARCH METHODOLOGY
3.0 Introduction
In this chapter, I will explain how I collected and analyzed the
relevant information to address the research theme. The nature of the
research problem and theoretical orientation have led me to select relevant
research methodology, research design, area of study, sampling
technique, research instrument for data collection, method of data
collection, method of data analysis.
3.1 Research Design
The research design adopted for this study is a survey type. Survey
method seemed to be the most appropriate, and suitable for this kind of
study. This is to help the researcher to be able to ascertain accurately the
extent to which I. U. Nwadike has been able to use language effectively to
achieve his purpose in Onye Kpaa Nku Ahahu and Nwata Bulie Nna Ya
Elu. The second purpose is to assess how he has been able to employ the
characters in the two drama texts to address the prevailing societal
problems.
3.2 Area of Study
The study is based on two drama texts of Nwadike. The aim is to
assess characterization and language as used by Nwadike in Onye Kpaa
Nkụ Ahụhụ and Nwata Bulie Nna Ya Elu.
3.3 Sampling Technique
The researcher used personal enquiry (oral interview) to elicit
information about the author‟s life history and motivation in writing the two
drama texts under review. In addition to the field work data collected the
researcher reviewed a wide range of written materials for information on
characterization and style (language) in Igbo drama texts.
3.4 Research Instrument for Data Collection
Library materials were used such as: Journals, textbooks, published
and unpublished works. Oral discussions were also held with individuals
who have read the two drama texts under review.
3.5 Method of Data Collection
3.5.1 Primary Source
Our primary source consists of oral interview with the author which
was tape-recorded for interpretations and analysis.
3.5.2 Secondary Sources
Here libraries were visited such as the Nnamidi Azikiwe library, the
department of linguistics library as well as private libraries where
information relevant to the research problem was gathered.
3.6 Method of Data Analysis
For our data analysis considerable information was gathered for
analysis in this study. The actions of the characters are interpreted to see
whether their actions help the author to achieve his purpose in addressing
the prevailing societal problems. Secondly, the language of the author are
scrutinized to see whether they actually conform to the rules for writing the
Igbo language as well as to ascertain whether he goes beyond the
possibilities of the language.
CHAPTER FOUR
DATA ANALYSIS
4.1 Introduction
This chapter deals with a thorough look at Nwadike‟s method of
characterization and style in Onye Kpaa Nkụ Ahụhụ and Nwata Bulie Nna
Ya Elu. The characters in these drama texts as the authors presented
them are traditional Igbo men and women. They are portrayed in the
manner and lifestyle that associate with Igbo men and women. Some of
the male character traits are portrayed positively while others are
negatively portrays. Nwadike portrayed both the male and female
characters as seen in real life situation of Igbo people.
When a writer has conceived what to tell he must do that through the
use of language. Language is used to communicate, and for effective
communication, one needs to be proficient in the use of one‟s language of
choice. A man‟s use of language depicts his place in society. The
technique of choosing a language depends on the ability of the author to
know the rudiments to that language. Izuka (1987:29) posits that language
is the medium through which the effectiveness and beauty of drama and
any creative work of art are realized. All the features of creative literary
work are made explicit through the use of language. Based on this we shall
examine the beauty and the deft use of language following these factors:
linguistic experiment, diction (choice of words) sentence structure, use of
figurative language, use of borrowed words and finally the aesthetic effect
all these have on readers.
4.1 Characterization in Nwata Bulie Nna Ya Elu and Onye Kpaa Nkụ
Ahụhụ
Characterization refers to the description and development of
characters, plots and settings generally work to develop character.
Nwachukwu Agbada (2001:19) posits that “without characters, there would
be no action since the events are determined by them”. The characters
may be human, animal, spirit or supernatural characters as well as
personified inanimate objects. As long as any of these entities can be
shown to participate dynamically in a work of art, they can be described as
characters.
Nwadike creates credible characters in his plays-Nwata Bulie Nna
Ya Elu and Onye Kpaa Nkụ Ahụhụ. He has both flat and round characters
in these plays. Many of these characters are fully developed whereas
others are partly developed. He presents the characters to the reader as
they act, reflect, talk and interact without much effort. He concerns himself,
with a portrayal of true-to-life characters especially as he portrays the
prevailing social ills in our society. He gives Igbo names to his characters
since he has for his audience, the Igbo people. The names are meaningful
to situations or experiences associated directly or indirectly with the person
that answers them.
Nwadike gives his characters proper names, which are verbal
expression of the particular identity of each individual person, most names
he gives portray their actions in the plays. Emuka in Nwata Bulie Nna Ya
Elu is portrayed himself as a prodigal son of his father. He demands for his
own share of his father‟s wealth, goes to one of the developed townships
and squanders the money given to him by his father Emuka‟s teacher in
the school describes him in the following words.
Nneezi: Achoputara m na Emuka bụ nwa mmefu. Kwa ụbọchi kwa
ego ọ na-emefu. O bụ ya na -azụrụ ụmụakwụkwọ ibe ye ihe ahia kwa
ụbọchi… (pg 4) (I have discovered that Emuka is a prodigal son. He
spends a lot of money daily in the school. He is the person who buys
everything for his colleagues in the school…)
Nneezi is Emuka‟s teacher in the school. The author portrays her as
a very responsible teacher who is very much interested in the welfare of
her pupils. For instance, Emuka‟s deviant behaviours in the school are
reported to his father while Nneezi visits Emuka‟s father (Iloka) in the
following words:
Nna m, dị ka onye ọganiihu na ọdịmma ụmụ akwukwọ ya na-atọ
ụto, asị m ka m bịa ka anyị kpaa obere ụbụbọ gabsara nwa anyị nwoke bụ
Emuka …(pg3) (Father, as someone who is interested in the welfare of her
pupils, I have decided to come and discuss with you some of my
observations of your son‟s (Emuka) deviant behaviour in the school).
Nneezi is here portrayed as an exemplary teacher worthy of emulation.
Iloka is Emuka‟s father. He always gives his son (Emuka) good
advice. He is depicted as a responsible father. He prays for God‟s
guidance and protection of his son when he is about to leave home to look
for a greener pasture in one of the cities. He always cautions his son
whenever he misbehaves.
Ntiwunka is another character in the play. He is a good adviser to his
friend Iloka. His actions in the play is stereotypical of his name. As his
name implies, he is always giving useful advice to his friends in trouble.
Some characters in the play behave in certain ways to reflect their
personalities. Nwadike gives appropriate names to his characters as they
are indexes to their actions on stage. Such names as Ahudiya, Chiichii,
Egondu, Apunaanwu, Obizuo, Eze, Ibekwe, Ikodiya etc can be identified
as Igbo, and their actions in the plays may refer to events and situations in
Igbo.
The minor characters such as Chiichii, Egondu, Eze, Obizuo, Ibekwe
etc have some influence on the plot. They help to highlight the more
developed characters, reinforce the author‟s theme and his comment on
human conditions. They do not distract the unity of the play rather they
strengthen them.
Some of the characters in Onye Kpaa Nkụ Ahụhụ are Ikechuwkwu,
Nnenna, Amaka, Chikwado, Arisa, Profet, Chijioke, Ngozi and Ụkachi.
Most of these characters are true to life. They exhibit what obtains in real
life human situation. Some of these characters such as Ikechukwu,
Nnenna and Amaka are developed whereas others such as Ngozi and
Ukachi are less-developed. The less developed characters helps to
strengthen the developed characters.
Ikechukwu is portrayed in the play as a deceiver. He impregnats
Amaka and deserted her. When Amaka comes to inform him about her
condition, Ikechukwu dismisses her in the following words:
Ikechukwu: Biko, si ebe a pụọ, tupu iwe ewee m.
(Please, leave this place before I get annoyed).
Ikechukwu, a university student, seduces and puts Amaka, a
teenage girl, in the family way. Amaka sues for marriage and Ikechukwu
refuses. Amaka desperately curses Ikechukwu. Later he goes to beg
Amaka for revocation of the curse and tragedy struck. Amaka faints and
dies, climaxing the drama.
Ikechukwu marries Nnenna and after fifteen years later, they had no
issue. The profet was invited by Nnenna who informs them of the cause of
their childlessness. The profet in the play performs the role of a diviner in
identifying the cause of certain misfortunes in people‟s life and proffers
solutions.
Nnenna is Ikechukwu‟s wife. Nwadike portrays Nnenna as a
Christian with double face. She practices Christianity and at the same time
has faith in traditional religion. This is portrayed in the following words by
the Nnenna.
Obasi bi n‟ elu, Agbabatala m n‟ ime gi, ka I zọpụta m, na nkori a
ụwa na-akọrị m. ala m biara ije di, ala ụmụebi, Ejighi m ụrụ bata n‟ ime gi,
Emejọbeghikwanu m gị. Biko, nye m ngozi a di oke ọnụ, n‟ ịkpeazụ mu
ewere mkpị na ebule bịa nye gị ekele (Lord that lives in the sky, you are
my refuge. Since I come to live in Umebi, I have not offended you. Please,
bless me with a child and at the end I will bring you a he goat and a ram as
thanks-offering).
Arisa is Ikechukwu‟s servant. He is portrayed in the play as a foolish
boy-servant: his character in the play provides comic relief to the feelings
of the audience.
There are developed characters in the two drama texts – Onye Kpaa
Nku Ahụhụ and Nwata Bulie Nna Ya Elu, but few of these developed
characters will be discussed here.
4.1.1 The Developed Characters
Developed characters are those characters that features from the
beginning of the story to the end of it. They are usually the main
characters. But at times we find some auxiliary characters that are able to
function from the beginning to the end.
However, there are other characters that have prominent roles but
may not function from the beginning to the end of the story before their
roles are completely exhausted. In other words, everything they are
expected to say or do is fully accomplished before the end of the story.
These characters also could be developed characters.
In Onye Kpaa Nkụ Ahụhụ, Ikechukwu is the main character around
whom all events center. He is seen from the beginning to the end of the
play. The details provided about his life and activities from the beginning to
the end and the full presentation of his personality readily give the reader a
full picture of this man called Ikehcukwu. Nwadike so creatively pictures
Ikechukwu with all flaws. Ikechukwu is a combination of a man ambition
and man of gross irresponsibility. In other words, although he is
determined to continue his university education, he as well loves women.
This leads to his impregnating Amaka, a teenage girl. He is as well
presented by the author as a coward in the following words as he presents
his situation or predicament to his friend, friend Chijioke:
Ikechukwu: Agwọ nọ n‟ akịrịka,
Enyi gị nwoke nọ na nnukwu nsogbu o.
(Danger is looming, your friend is in trouble)
Chijoke: I dara ule knọmọn entrans?
(Did you fail common entrance exam?)
Fate turns against Ikechukwu and he assumes another personality.
He becomes fearful about the outcome of Amaka‟s pregnancy. His friend,
Chijoke, advises him on what to do to scare Amaka away. He becomes
afraid and troubled. He does as his friend advises him but it turns out to be
the end of his getting a child of his own. Amaka curses him and after
sixteen years of marriage with Nnenna, they are not blessed with any child.
This leads them to inviting a prophet who comes and discloses the source
of their childlessness. Nnenna is presented as a courageous woman who
in spite of her husbands warning not to invite the prophet finally succeeds
in inviting the prophet as well as convincing the husband about visiting the
prophet. She refuses all the warnings from her husband. If she had given
thought to those timely warnings not to visit the prophet, she would have
saved the life of Amaka. Who dies when she and her husband go to ask
for Amaka‟s forgiveness and revocation of the curse on Ikechukwu.
In onye Kpaa Nkụ Ahụhụ, we see characters that emerge in the
course of the story. They do not actually start from the beginning yet they
are developed characters. We have Arisa and Chijioke. We also have ones
that start at the beginning, fizzle out at the center and feature at the end of
the story. For example, Amaka is a highly developed character in the play.
She is seen at the beginning and at the end.
In Nwata Bulie Nna Ya Elu, Emuka is the main character around
whom all events in the story revolves. He is the son of Iloka and his wife
Ahudiya. He is seen right from the beginning to the end of the play. Details
provided about his life and activities from the beginning to the end of the
play portray him as a prodigal son. He is portrayed as a lover of women.
He demands his own share of his father‟s wealth. His father (Iloka) gives
him a huge amount of money to start off a business of his choice. He
collects the money, goes to one of the developed cities and squanders the
money with such women as Chiichii, Apụnaanwu and Egondụ. Emuka is
seen as a hardworking boy, as he is always seen helping his father in farm
work. Nwadike describes creatively creates Emuka with all flaws-flirteous
life. Iloka is another developed character in the play. He is the father of
Emuka. He is a tact disciplinarian. He always advises his son Emuka to be
of good behaviour. He is portrayed as a rich man. As such, Emuka uses
his money to buy things for his friends in the school. This was reported to
Iloka by Emuka‟s teacher Nneezi. At the initial stage, he does not allow
Emuka to go and live in the township. But pressure from Emuka and
advice received from his friend Ntịwụnka make him to change his mind. He
is not a man of his words. He changes his mind as situation changes.
Another developed character in the play is Ahudiya, Emuka‟s
mother. She is seen as a responsible mother who does not take side with
her children when they misbehave. She does not support Emuka when
Nneezi reported his extravagant spending in the school. She always heeds
the husband‟s advice.
4.1.2 Partly Developed Characters and Non-Developed Characters
The partly developed characters are those characters that are partly
developed and are either because of forgetfulness on the part of the writer
or inability to accommodate them any longer. They are dropped. Their
dropping is never because they have exhausted their functions. It will be
very glaring that the important roles assigned to them are halfway done.
Another reason for this could be that the writer was rushing to wind up the
story as a means of controlling the volume.
Partly developed characters may be those that are apportioned
minimal roles and who feature in a few episodes. They are either seen at
the beginning, middle or tail end of the story. Their actions do not run
through the play.
Some of these partly developed characters in Onye Kpaa Nku
Ahụhụ are: Prophet, Chikwado, Ngozi and Ukachi. Prophet is the pastor
that reveals the secrets behind Ikechukwu and Nnenna‟s childlessness.
Chikwado is the son of Ikechukwu born to him by Amaka. Ngozi is
Nnenna‟s friend while Ukachi is Amaka‟s mother.
In Nwata Bulie Nna Ya Elu, the following constitute the partly
developed characters. Madụmere was is one of Emuka‟s friends living
abroad; Nneezi, Emuka‟s teacher in the school. She is the symbol of a
dedicated teacher. Other are Apụnanwu, Chii Chii and Egondụ who are
Emuka‟s girl friends. Their characters are never developed; all we know
about them is that they help Emuka to squander his money.
Ndi mmanya are Emuka‟s friends who contribut in impoverishing him
through excessive drinking. Obizuo is Emuka‟s servant. Other characters
in the play include: Eze, Igwe, Ibekwe, Onye nche, okụ ekwe, oha obodo,
Kamalu, Ogonba, savis (service) and onye Ngụpụta. They are non-
developed characters in that they are just mentioned and by passed. At
times they are merely used to achieve some ornamental effects.
Sometimes they are there as mere functionaries, standing in as friends or
relations to a developed character. In Nwata Bulie Nna Ya Elu, Chiichii,
Egondu and Apụnanwu, are mentioned as Emuka‟s girl friends. Apart from
man –woman relationship, nothing else is said or heard of them again till
the end of the story. In Onye Kpaa Nkụ Ahụhụ, Ukachi is just mentioned as
Amaka‟s mother who consoles her about her pregnancy, which she got
through Ikechukwu. In the same vein, Ngozi is just mentioned as a friend
to Nnenna who visits her once and nothing more is heard of her action in
the play.
In conclusion, Nwadike‟s style of characterization is three
dimensional. He creates collective character types in his play, Nwata Bulie
Nna Ya Elu where he expresses the communal life of the Igbo people in
particular and African in general. For example, we have such characters in
Nwata Bulie Nna Ya Elu, as „Ndi mmanya‟ and „oha obodo‟. These are
collective characters. There is deep exploration of characters as he pays
much attention to the behavioural traits of these characters. Some of the
characters are developed while others are not developed. These
characters are differentiated through their actions and what they say as
well as what other characters say about them.
4.2 Language
Man uses language to communicate and for effective
communications, one needs to be proficient in the use of one‟s language of
choice. One‟s use of language depicts his or her place in society. The
technique of choosing a language depends on the ability of the author to
know the rules governing that language. Izuka (1987:29) writing on
language asserts that language is “the medium through which the
effectiveness and beauty of drama and any creative work of art are
realized”. All the features of creative literary work are made explicit through
the appropriate use of language.” On the basis of this, we examine the
beauty and the creative use of language in Nwadike’s Nwats Bulie Nna Ya
Elu and Onye Kpaa Nku Ahuhu, based on the following diction, sentence
structure, his use of figurative language, borrowed word and his overall
stylistic presentation and achievement of aesthetic effects in his plays
under study.
4.2.1 Nwadike’s Linguistic Experiment
The linguistic success of Nwadike‟s plays is achieved through his
imaginative experiment in the use of language aimed at capturing the Igbo
reality. Language is an important aspect of Nwadike‟s dramatic devices.
His language in the two plays is simple and very accessible to the reader.
He uses the language of every day life. He writes in standard Igbo but in
some places mixes Igbo with English. In Onye Kpaa Nku Ahuhu these
sentences are seen. How I wished na ọ bụ m. (pg 5). Ikechukeu: yes? (na
nchakasi anya) pg 6.
The writer equally uses Igbonized words. Example of his use of
Igbonized words can be seem in Nwata Bulie Nna Elu. There are:
Emuka: Ego nne m,
Agara m bizines trip ụnyaahụ (pg 28) (Ego my sister I went on a business
trip yesterday).
Ndi mmanya: oga sa,
O, bu anyi O,
Ndi ụka senti bọtụlụ (pg 30)
(Master, sir,
it is us, members of saint bottle)
Emuka:…. di ka ekwere m ya nkwa
Ikpọga ya shọpini? (pg 35)
… as I promised her
that I would take her out for shopping)
Emuka: I dikwa shọọ? (pg 38)
(Are you sure?)
Emuka: Savis! Savis!! Saaaavis!!!
(service ! Service !! Service !!!)
Emuka: muuziki !! (pg 42 (music)
The writer‟s use of Igbonized words here reflects the characters‟ academic
background and level of exposure in their environment. It also reflects the
language of those in the urban cities.
4.2.2 Sentences Types
Orekeyi (1987:1) posits that the ability of an author to blend different
types of constructions for effectives conveyance of his ideas and emotions
to his audience in a literary work of art is the secret behind his success as
a powerful writer. The writer‟s type of sentence construction is a matter of
choice. Plays need simple concise and forceful constructions to make for
ease of understanding by the audience. However, Izuka (1987) posits that
this does not mean that once in a while one does not use complex and
compound sentence constructions for variety and aesthetic purpose.
Nwadike‟s use of the simple, complex and compound sentences to
express his ideas, themes and other literary features in his plays is worthy
of note.
4.2.2.1 Simple Sentences
A simple sentence is a sentence having one subject and one
predicate. It consists of one and only one independent clause. It contains
only one main idea which it conveys through a finite verb. It can be said to
form the main sentence type in the play under study. Nwadike makes
abundant use of simple sentences in his dramatic works to produce
wonderful effects. A few examples will illustrate this, while wailing and
lamentation as a result of unwanted pregnancy contracted through
Ikechukwu, Amaka uses the following short and pity provoking sentence.
Amaka: Chi m egbuo m! ( I am gone)
Ikechukwu a rapụtala moo
(Ikechukwu has put me into trouble)
atọkwa m ( I am finished)
efuo m. ( am lost)
Onye Kpaa Nku Ahuhu (pg 1)
Nneezi (Emuka‟s teacher) introduces herself to Iloka in the following
simple sentences.
Nneezi: Aha m bụ Nneezi
Ana m akụziri Emuka Nwa gi (pg 3)
(My name is Nneezi)
I am Emuka‟s teacher)
Nwata Bulie Nna Ya Elu (Pg 3)
The effect of these simple sentences makes one picture vividly the
character of Nneezi, Emuka‟s teacher in the school as a dedicated teacher
trying to show Iloka her disapproval of Emuka‟s extravagant spending
habit in the school.
4.2.3 Complex Sentences
Webster (1994:31) asserts that a complex sentence is a sentence
that consists of one independent clause and one or more subordinate
clauses. A complex sentence mirror complex thoughts containing one
central idea or main clause and other subordinate clauses.
Nwadike makes good and effective use of complex sentences in his
plays. The following few examples illustrate this assertion.
Madumere:
Nwoke M, ọrụ ugbo gi di mma n‟ihi na ọ na – enye aka na-azụ anyi bu ndi
bi na tawunship mana ka m gwa gi na a naghi anọ n‟ ụlọ enwe chi ọma,
Nwata bulie nna ya elu (pg.14
(Mr man, your farm work is good, because you help to provide for
those of us living in the township but I want to inform you that nobody stays
at home and realizes his good luck).
When Ikechukwu goes to Amaka to plead for forgiveness of what he had
done to her he pleads in the following complex sentences:
Ikechukwu:
(Amaka, please I have come to plead for forgiveness of the wrong done to you by me. Twenty years ago, I impregnated you And denied, out of mere foolishness, God‟s which blessing Which many people have long been looking for. (Onye kpaa Nku Ahụhụ, p. 54)
The effect of complex sentences differs from the effect of the simple
sentences. Unlike the situation of anger, joy, hurry that compel one to
simple sentences, complex sentences are used in a more relaxed situation
where the user has time to think and compose such sentences. Here,
Ikechukwu is trying to convince Amaka that the wrong he had done to her
was out of foolishness.
4.2.4 Compound Sentences
Perin (1959:49) describes compound sentence as a sentence that is
made up of two or more clauses that might stand as independent
sentences but they are joined in equal grammatical rank. This means also
that compound sentences are joined together by a coordinating
conjunction. Nwadike sparingly uses this in his two plays under study. for
examples, Ikechukwu in his attempt to dissuade Nnenna from going to see
the prophet to find out the cuase of their childlessness says:
Ikechukwu: otu Nwoke otolo Nnwei
Siri n‟elu nkwụ, kụọ n‟ala
lechaa onwe ya anya
Chọpụta na ọ dịghi
Ihe meruru ya ahu,
O wee tikuo Chineke ya,
Si ya.
Nke ahu buru egwu,
Kwusikwa ya.
Egwusikwala m ụdị egwu a
Ọzọ
Ya bu,
Okwu profeti maobụ bụ pastọ
Esikwala gị n‟ọnụ apụta ọzọ
Onye Kpaa Nku Ahuhu (pg 33)
(One man from Otolo Nnewi
Who fell from a palm tree,
Looked at himself
And discovered that he
had no wound at all,
He called upon his God
And said,
If this action is a play,
Stop it,
And don‟t play with me like this
Again,
That is
The issue of prophet or pastor
Should not come out again)
In Nwata Bulie Nna Elu, the following example of compound sentences
can be seen from Kamalu‟s utterances to Onukwubiri in describing
Emuka‟s conditions at Ogbundịọma village
Kamalu: Ka m lepụrụ anya,
M njụọ ya ma onye ahụ
Ọbụ onye ara
Ka ọ bụ onye mekaniki.
Ma ọ dighi nke o kwetara
Onye ahụ bụ kama na
Ọ sị ọ bụ onye anya doro
Gahiere ụzọ;
Mmiri ụwa ana-ama ya.
Nke a mere ka m lema anya elema
Maka na onye otu anya hụrụ ihe,
Mechaa gaghachi,
Lekwaa ya anya ozo,
Kwee n‟ isi na ya ejirila
Anya ya abụọ hụ ya‟ … (pg 54).
As I saw,
I asked him whether
That man is a mad man
Or is he a mechanic.
But he did not accept any of them, he said he is not insane
He is not a lucky man
And is now facing the bitterness of the world.
This made me to look at him a second time
Because one-eyed man saw something,
And later went back, nodes his head saying that he has used his two eyes
to see it.
In conclusion, Nwadike perfectly blends the simple, the complex and
the compound sentences to avoid monotony, to show changes in emotion
and situation and to show effects of such changes in the character. The
variation in the use of these structures adds to the aesthetics of the work
as posited by Izuka (1987:31).
4.2.5 Rhetorical Questions
Abrams (1957:49) assets that
“a rhetorical question is:Question asked not to
evoke an actual reply, but to achieve an
emphasis stronger than a direct statement.The
rhetorical question are mostly used in
persuasive.Discourse, and tends to impart
oratorical tone to the speech”.
Rhetorical questions are also used to achieve stylistic effect.
Nwadike uses this device extensively in his two plays under study. He
uses it mostly when emotion is heightened, when there is tension and
where there is doubt on what important decision to take. Amaka expresses
her emotional feelings for her unwanted pregnancy in the following.
rhetorical questions,
Gịnị ka m ga-agwa Chi m?
Gịnị ka m ga-agwa nne m?
Amaka ịturụ ime?
Gini di ka ụwa ga-agwa m?
Gịnị dị ka ụlo orụ anyi ga-ekwu?
Olee anya m ga-eji ahụ ụkọchkwu anyị?
O bu m gawa agawa ka o m lawa alawa?
Onye Kpaa Nkụ Ahụhụ pg 1).
(What will I tell my God?
What will I tell my mother?
Amaka being pregnant?
What will my co-workers say?
Which eye will I use to see our pastor?
Am I to go forward or backward?)
Here Amaka expresses her utmost fear of the consequences of her
unwanted pregnancy.
In Nwata Bulie Nna Ya Elu, the following use of rhetorical questions can be
seen.
Iloka in an attempt to caution Emuka on his intention to challenge him
(Iloka) in a combat should he (Iloka) fail to meet his demand is seen using
the following rhetorical questions.
Isi o zukwara gi oke?
Ojukwu diobu o mebiela gi isi?
(Are you mentally healthy?
Has Ojukwu Diobu spoiled your head)?
4.2.6 Lexical Borrowing and Igbonization
Nwadike adopts the style of bringing in English words in his plays and
spells them in Igbo probably because a good creative writer cannot do
without bringing in loan words. Ugonna (1979:35) writing about authors
use of loan words observes that:
… like some mystical animal, language
feeds partly on itself and partly on other
language for its growth and development
language… thrives on borrowing, on loans,
whether from internal or external sources.
The important thing is that it digests well.
These loaned materials and turns them into
its organic self.
Nwadike makes extensive use of igbonized word in Nwata Bulie Nwa Ya
Elu. The following examples are drawn from the text:
Borrowed words English Igbo meaning
Tawunshipu Pg 14 township obodo mepere emepe
Bizines trip Business trip Njem azụmahia
Shopin (pg 35) shopping ịga zụta ahia.
Levulu (pg 37) level Ala idi mma
Zuu (pg 37) zoo ebe a na-azu ụmụ anụmanụ
shọọ (pg 38) sure Iji aka
In Onye Kpaa Nhu Ahụhụ, we have borrowed words like “How, wished” in
the expression:
English Igbo
How I wished na ọ bụ m asị ihe a bụrụ m…
It is possible that some of these borrowed words express his idea
more clearly and powerful than their translated form. He chooses to use
them in appropriate situations to achieve aesthetic effect.
4.2.7 Figurative Language
A figurative language is an intentional departure from the normal use
and meaning of words to achieve special effects (Elemuo, 2005:97) it is
language use that involves figures of speech.
Anecdotes:
One of the figure of speech which we will consider is Nwadike‟s use
of anecdotes. Anecdotes are stories told in the course of speech making.
They are like proverbs in their being, used to embellish speech. Anecdotes
are more extended than proverbs Nwadike uses anecdote in Onye Kpaa
Nkụ Ahụhụ to bring in humour and comic relief to his work. For example.
Otu nwoke Otolo Nnewi
Sị n‟ elu nkwụ kụọ n‟ ala
Lechaa onwe ya anya
chọpụta na ọ dịghị
Ihe merụrụ ya ahu
O wee tikwuo Chineke ya,
Sị ya;
Nka ahụ bụrụ egwu,
Ya kwusikwa ya.
Egwusikwala m udi egwu a
Ọzọ (pg 33)
(One man from Otolo Nnewi
Fell from a palm tree
Looked at himself
Finds out that he
Did not sustain any injury,
He call his god,
If this is a play,
You should stop it,
Don‟t play with me like this
Again.)
Metaphor
Metaphor is a figure of speech that involves comparison between
two things in which one objects is identified with another. These two things,
in ordinary usage, are different from each other. Maduakor (1999:10)
asserts that when comparison is implied “it is not signified by the signature
words “like” and “as” which are rather used to indicate something different
from the literal meaning. Unlike simile; metaphor is a compressed form of
comparison or description”. In Nwata Bulie Nna Ya Elu Ahụdiya bemoans
her son‟s misconduct in the school in the following words:
Olee ihe iji chọọ iji ọkpa ọkụkọ rachapụ mmanụ dị n‟ ọkụ? (pg 10)
(Why is, it that you want to use
Fowls leg to sip the oil on fire)? Ma chetakwa na nwata bulie nna ya elu,
ọgọdọ nna ya ayochie ya anya (pg 76)
(but remember that when a child raises his father shoulder high,
His father‟s loin cloth will cover his eyes)
The writer uses the above metaphor to warn Emuka against the danger
inherent in his intention to fight his father, if he refuses to settle him
amicably.
Simile
Simile is defined in the Princeton Encyclopedia of poetry and poetics
(1975:767) as “a comparison of one thing with another explicitly
announced by “like” or “as” In Onye Kpaa Nkụ Ahụhụ, the following simile
are recorded.
Chijoke addressing Ikechukwu has this to say;
Kedu nke ị na-adaghari
Ka onye ovanaịtị na-achụ ọsọ? (pg 3)
(Chijioke addressing Ikechukwu: Why are you staggering as one being
pursued by overnight).
Nnenna describing Arịsa has this to say
Ọnọdụ ya n‟ụlo a
Dị ka nke ikere bere n‟ amụ
I hapu ya,
Ọ mikpọọ amụ,
I sịkwa ka i gbuo ya
I kụpia mkpụrụ amụ (pg 25)
(His stay in this house,
is like tse-tse fly that perches on the testis.
If you leave it
It will puncture the testis, if you try to kill it
You will break you testis).
In Nwata Bulie Nna Ya Elu, Iloka describes Nneezi‟s caring attitude
towards her pupils in the following words:
Chere, nwa m,
Ị kpara agwa di ka nwa amaala (pg 7)
(Wait, my daughter,
You acted like a good citizen)
Hyperbole
This is also known as overstatement. It is an exaggeration of fact,
often deployed for serous or comic effect. This is often used in utter
excitement or under a powerful spell of emotion to achieve either a serous
or comic effect. For instance in Nwata Bliu Nna Elu, Chii Chii is described
as being so attractive in this way:
leedi ka anya gi na eke riri ka kpakpando (pg 26) See how your eye is
glistering like the star)
Proverbs
Obiechina (1993:22) defines proverbs as:
“Kernels that contain the wisdom of the people.
They are usually philosophical or moral
expositions reduced to a few words and form a
mnemonic device in societies in which everything
worth knowing and relevant to the day-to-day life
of the people had to be committed to memory”.
Proverbs deal with all aspects of life. They are verbal arts which old
men usually use to spice their speeches. Nwadike understand that
language plays an important role in literary art and thus uses the proverbs
of everyday life in his play. He uses them for the purpose of clarity,
reinforcement and embellishment. In Onye Kpaa Nku Ahụhụ, Ngozi
describes the purpose of her visit to nnenna in the following way:
Ngozi: Nneọma,
i) Awo anaghi agba ọsọ ehihie n‟efu.
Ọnọdụ gị na-echu m ụra
Ndi ala anyị turụ ilu sị:
ii) anya bewe, imi ebewekwa (pg 23)
(Nneọma,
A toad does not run in the day time for nothing.
Your condition is what worries me
For our people use this proverbs:
iii) When the eye cries, the nose joins it).
In Nwata Bulie Nna Ya Elu, the title of the play uttered in proverb.
Dramatic Irony
Nwadike makes use of irony as powerful tools of expression in his
plays. Verbal irony is a statement in which the implicit meaning intended by
the speaker differs from that which he ostensibly asserts.
A good example of this is seen in Nwata Bulie Nna Ya Elu, when
Chiichii is falling in love with Emuka whom she teases, and ironically
posits:
Ọ bụ gi bụ okaa omee m hụrụ anya
Kamgbe mu na ụmụ nwoke chịwara ahụbeghi m oyiri gi
ị weputa okpogho anaghị ara gi ahu
Otu ọ bụla m dị
O bụ gị mere m ya.
(Since I started dealing with men, I have never seen your kind. Giving out
money is not difficult for you. Whatever I am, you made me to be so).
Mis-Spelt words.
There are some words in the plays under study that are wrongly
spelt. It is worthy to note that some of such errors may be typographical. It
might also be said that some of these spelling errors were not seen by the
playwright while he proofreads the plays. These are some of the examples
from Onye Kpaa Nku Ahuhu.
Nwokem (pg 3) instead of Nwoke m
N‟ofe (pg 17) instead of ofe
Nile |(pg 32) instead of nille.
Di nta (pg 440 instead of dinta
Gwam (pg 47) instead of gwa m
Nnke (pg 50) instead of na nke
Conclusion
In conclusion, it is observed that the playwright, through language,
has transmitted the culture and some experiences of a people thereby
making the readers to organize and pattern their thought processes and
concepts about life in general. His language is clear, lively and intelligible.
His diction is superb. It wets the readers appetite and thereby engenders
continuous reading till the end of the plays. His use of suspense, comic
relief, humour and figures of speech contributes, in no small measure, to
the grasping of the gist of the drama. He chooses naturalness to
artificiality, even at the risk of being accused of code-switching as is seen
in the exchange of word between Arisa and Ngozi in the event of Ngozi‟s
visit to Nnenna and also in the conversation between Ikechukwu and
Chijioke over Ikechukwu‟s impregnation of Amaka. He makes use of
standard Igbo though there are few dialect words used to achieve
aesthetic effect. There are few spelling errors which may be corrected
during the next edition. In fact, his language in the two plays under study is
simple and appealing too.
Nwadike creates credible characters in his two plays. Some of the
characters in the two drama texts behave in certain ways to reflect their
personalities. He mixes flat and round characters effectively to convey his
messages in the two plays. Some of the characters in the two plays are
highly developed while others were less developed. The less developed
character help in the understanding of the drama texts.
CHAPTER FIVE
SUMMARY AND CONCLUSION
Many of our authors and their literary creations can compare
favourably with their counterparts elsewhere in the world. Nwadike, in
Onye Kpaa Nku Ahuhu and Nwata Bulic Nna Ya Elu, goes a long way to
reflect on the richness of Igbo traditions. Nwadike uses his work as an Igbo
playwright to generate keen awareness among his audiences through the
medium of his plays which he utilizes as a weapon of social adjustment.
He use the plays to champion a revolt against the ills of social behvaour
whether in marriage contract, family, relationship, cultural values and
norms. His Onye Kpaa Nkụụ Ahụhụ tells us of the need for absolute love in
marriage. Marriage by infatuation later results in hatred and divorce.
In Ony Kpaa Nkụ Ahụhụ, men that are unfaithful to their wives are
exposed. The author uses the medium to expose men as people who only
remain with their wives as long as they can give birth to male children but
abandon them when they give birth to only female children. The play
teaches us the bad effect of such behaviour as Ikechukwu‟s desertion of
Amaka led to his childless marriage later and finally led to her death at the
end.
In Nwata Blu Nna Ya Elu, we realize that some children live prodigal.
Their lives are subsequently affected by whatever deeds evil or good they
do. He portrays Emuka as a prodigal son and uses Emuka to warn the
youths in our society about the dangers inherent in misbehaviour.
Nwadike uses his plays to entertain, inform and educate enthusiastic
readers/audience. He is to be seen as one of the experimental dramatists
among contemporary Igbo playwrights. Though one may say that his plays
are limited to only the Igbo audience, but he successfully involves his
audience regardless of their cultural background. The messages of the
plays are usually not delivered in a heavy-handed manner, but are often
delivered from the characters, their actions or situations in the plays.
There are several themes and sub themes in his plays. For example,
the theme of marriage, female degradation are what we see in Amaka.
Extravagant spending is observed in Emuka. His abiding concern for the
young girls and their relationship with the opposite sex is manifested in
varying ways in Onye Kpaa Nkụ Ahụhụ.
In Onye Kpaa Nku Ahuhu, the female protagonist for example, is
sufficiently endowed with negative delineated personality which not only
commands disrespect but arouses pity for her hastey marriage to
Ikechukwu, her loved one. The playwright traces the traumatic experiences
which this poor girl had to undergo as a result of wrong choices and
emotional conflicts.
In Onye Kpaa Nkụ Ahụhụ, Nwadike is sensitive, reactive and worried
about the unreasonable lust the male protagonist (Ikechukwu) has for the
female protagonist (Amaka) which eventually lead to the death of
Ikechukwu. Suffice to say here too that Nwadike seems to be a teacher
about retributive justice, he make sure that Ikechukwu in the play reaps
what he sows.
In Nwata Bulie Nna Ya Elu, the playwright challenges the bad deeds
of our youths and calls on the Igbo to rise up and reject bad habits that
cripple their progress. He believes that any bad behaviour will attract its
penalty.
He consciously employs the devices of oral literature and traditional
performance mode in his plays, to create a popular theatre form with which
the audience can easily identify. With his style and language, Nwadike
manifests a surprising level of mastery of oral tradition. This can only be
explained by the fact that he was never outside the Igbo tradition. He
therefore is able to communicate effectively with his audience.
He is distinguished in his use of standard Igbo though he uses some
dialect words and expression in his plays. He also adopts lexical borrowing
and igbonization strategies which helps in enriching the Igbo language. He
has a wide knowledge of Igbo proverbs and idioms and so he is a man
who will not live to see Igbo culture die and will always contribute to its
survival.
He is known for his sense of humour which entraps the audience,
dramatic irony which makes them pronder over meanings and motives in
every human action. He also uses authentic characterization which fixes
the human beings in the world of the play indelible in the mind of the
audience.
Nwadike creates authentic characters in his plays. The characters
are stereotype of what they are named and what they are said to be. He
does not hesitate to highlight the danger inherent in marriage not founded
on love. He therefore, draws the attention of the audience to the sanctity of
marriage in Igbo cosmology. His objective, it seems, is the establishment
of good and peaceful home, in which the rights of the husband, wife and
children would be assured.
Also, Nwadike brings to limelight the importance of western formal
education which has gone a long way to checkmate illiteracy in our society.
Thus, Emuka‟s father sends him to school to acquire western formal
education but his aim was defeated as Emuka abandons his education in
pursuit of pleasure.
In conclusion, Nwadike is a good playwright. He is by all standard a
great Igbo playwright whose plays require to be known beyond the
frontiers of the Igbo world. He is a highly successful writer in Igbo
Language. He shares a lot with other creative writers. He centers the
actions in his plays on specific themes, build up organic plots, employs
creative dialogue and delineates credible characters.
However, the two drama texts contain some spelling errors and
exuberant use of dialect and loan words. This is not to suggest that the
author is unmindful of the significance of standard Igbo.
REFERENCES
Abrams, M. H. (1957). A Glossary of literary Terms (3rd Edition). New York: Rinehart and Winston, Inc.
Cuddon, H. C. (1977). A Handbook to Literature Indianapolis: The
Odyssey Press. Echeruo, M. J. C. (1976), Method and System in Igbo Studies”. Odenigbo
Vol 1. July, 1976, p 35. Emenanjo, E. N. (1981). “The language of literature the situation in Igbo”
Paper read at a seminar on Igbo literature at the University of Nigeria, Nsukka. August.
Encyclopedia of Poetry and Poetic (6th edition) (1995). Metaphor. London.
Macmillan Press Limited. Emenanjo, E. N. (1982). “What is creative language: the case of Igbo”.
Igbo Journal of Spilc No.1. March 1982, pp. 58-65. Encyclopedia Britaunnca (1995) Australian: National University Press
Adalaide Australia. Erikrist, N. E. (1978) Linguistics and Style. London: Oxford University
Press. Ezikeojiaku, P. A. (2001). “Themes in the Novel of Tony Ubesie”, In Nolue
Emenanjo (ed.) Tony Ubesie: The Man and the Artist. Aba NINLAN Press and Bookshops.
Ezikeojiaku, P. A. (2007). “A Critique of Aspects of Setting & Themes in
Tony Ubesie Novel” Seminar Organization by the Centre for Igbo Studies: Imo State, University, Okigwe.
Lostracco, J. (1979) Analyzing Short Fiction. Texas: Sterling Swift
Publishing Company. Izuka, E. I. (1987). A Critical Appreciation of Enyinna Akoma‟s Obidiya
Unpublished BA Long Easy, University of Nigeria, Nsukka. Maduakor, O. (1999). Introduction to Poetry. Nsukka : Fulladu.
Moody, H. I. B. (1968). Literary Appreciation. London: Longman. Ngara E. (1982) Stylistic Criticism and the African Fiction Ibadan:
Heinemann. Nwachukwu-Agbada, J. O. Jr (2001). A Handbook of Creative Writing.
Enugu: John Jacob‟s Classic Publishers. Nwadike, I. U. (1989) Onye Kpaa Nku Ahuhu. Ontisha: Kawuriz and
Manilas Publisher Nigeria Limited. Nwadike, I. U. (1992) Nwata Buli Nna Ya Elu. Obosi: Pacific College
Press. Nwadike, I. U. (1999) “Stylistic Study of Ubesie‟s First Three Novels, In
Nolue Emenanjo (ed.) Tony Ubesie: The Man and the Art. Aba: NINLAN Press and Bookshops.
Nwadike, I. U. (2001). “Criticism Trend in Igbo Fiction”. IHAFA Journal of
African Studies. Vol. III (1) pg.49-60. Nwadike, I. U. (1991) Okwe Agbaala. Lagos: Macmillan Nigeria Publisher. Nwaozuzu, G. I. (2001). “Characterization in Tony Ubesie‟s Novel” In
Nolue Emenanjo (ed.) Tony Ubesie: The Man and the Art. Aba: NINLAN Press and Bookshops.
Obiechina, E. N. (1973) Language and Theme. Ibadan: Heinemann. Okebalanma, C. N. (2001). “A Thematic Study of Tony Ubesie‟s Poetry”, in
Nolue Emenanjo (ed.) Tony Ubesie: The Man and the Art NINLAN Press and Bookshops.
Okwuma, A. N. (1984). “The Novels of Ubesie: A Linguistic Survey”.
Unpublished B. A. Long Essay, University of Nigeria, Nsukka. Orakeyi L. C.M. (1987). The Language of Chukwuez‟s Aku Fechaa and
Akwa Nwa. B. A. Propjet Department of Linguistics, University of Nigeria, Nsukka.
Steiner, G. (1961). The Death of Tragedy. London: Faber and Faber.
Ugonna, N. (1979). ”A Brief Survey of the Development of Igbo Novel”. Nsukka Studies in Literature Vol. 2 (1).
Ugwuanyi, C. N. (1985). “Language and Characterization in Ubesie‟s
Novel”. Unpublished B. A. Long Essay, University of Nigeria, Nsukka.
Uzochukwu, S. (1999). “The Language of the Igbo Novel”. IHAFA. A
Journal of African Studies Vol 111 (I) pg 84-90. Warner, A. (1961). A Short Guide to English Style. London: DUP. Webster, N. (1994). Webster Fourth New International Dictionary, London:
G Bell and Sons Ltd.