PAPER 1 – SAMPLE TEXT & RESPONSE
'The Language of African Literature' (extract, 1986) by Ngũgĩ Wa Thiong’o
I was born into a large peasant family: father, four wives and about twenty-eight children. I also
belonged, as we all did in those days, to a wider extended family and to the community as a whole.
We spoke Gĩkũyũ as we worked in the fields. We spoke Gĩkũyũ in and outside the home. I can
vividly recall those evenings of story-telling around the fireside […]
There were good and bad story-tellers. A good one could tell the same story over and over again,
and it would always be fresh to us, the listeners. He or she could tell a story told by someone else
and make it more alive and dramatic. The differences really were in the use of words and images
and in the inflexion of voices to effect different tones.
We therefore learnt to value words for their meaning and nuances. Language was not a mere string
of words. It had a suggestive power well beyond the immediate and lexical meaning. Our
appreciation of the suggestive magical power of language was reinforced by the games we played
with words through riddles, proverbs, transpositions of syllables, or through nonsensical but
musically arranged words. So we learnt the music of our language on top of the content. The
language, through images and symbols, gave us a view of the world, but it had a beauty of its own.
The home and the field were then our pre-primary school but what is important, for the discussion, is
that the language of our evening teach-ins, and the language of our work in the fields were one.
And then I went to school, a colonial school, and this harmony was broken. The language of my
education was no longer the language of my culture. I first went to Kamaandura, missionary run, and
then another called Maanguuũ run by nationalists grouped around the Gĩkũyũ Independent and
Karinga Schools Association. Our language of education was still Gĩkũyũ. The very first time I was
ever given an ovation for my writing was over a composition in Gĩkũyũ. So for my first four years
there was still harmony between the language of my formal education and the language of [my]
peasant community.
It was after the declaration of emergency over Kenya in 1952 that all the schools run by patriotic
nationalists were taken over by the colonial regime and were placed under District Education Boards
chaired by Englishmen. English became the language of my formal education. In Kenya, English
became more than a language: it was the language, and all others had to bow before it in deference.
Ngũgĩ wa Thiong'o, ‘The language of African literature’, (1986).

Discuss the variety of views expressed by the narrator on language.
 How does the structure of this extract contribute to the views the narrator expresses?
Ngũgĩ wa Thiong'o – is the writer of this text extract. Refer to him as ‘Ngugi’ if choosing this extract.
Gĩkũyũ – is a language of the Bantu family spoken primarily by the Kikuyu people of Kenya.
Kenya – is a country in East Africa. Formally part of the British Empire, Kenya gained independence
in 1963.
deference – humble submission and respect.
Paper 1 Standard Level (SL) Student Response to ‘The Language of African Literature’
This passage is about the beauty of language and the loss of a language written by a first person
narrator. The passage was taken from ‘The language of African literature (1986); this implies that the
implied producer would be the author or first person writer. However, the actual producer could be
the variety of editors and publishers that have evaluated the text. The circumstance of this text is to
depict how the language of African literature was demolished as a country’s colonized Kenya. The
writer would be from Kenya, hence we can assume that the book was published in Kenya, though it
may actually be published in another country, interested in the language of African literature. The
context of reception, the receivers, would implied to be African people, however the actual audience
could range from university students studying literature, teachers, (school) students, language
analysts, and many more. The discourse and cultural perspective would be for English speakers
who are interested in the language of African literature. Additionally, the discourse can be further
linked to a loss of identity through language. The context of production could be to sell the book and
the idea of African literature, though in context of reception the message that this passage conveys
is one African person’s story, Ngugi, of the loss of identity through language. Fundamentally, the
purpose of this passage is to illustrate the importance of what language meant to a group of patriotic
people living in Kenya. Nonetheless, the dominant purpose is the loss of identity through language.
The structure of this passage follows a simple and sequential pattern. A pattern that follows
throughout the passage is that the paragraphs increase in content. They hold more information as
the audience proceeds to the third paragraph, and then start to gradually decrease. This is parallel to
the story being told because at first the African people are filled with joy and layers of stories,
however they gradually begin to lose their language, and so their joy. This is enunciated through the
decrease in paragraph size. Furthermore, there is a distinct flow as each paragraph continues to the
next. Each paragraph encloses a story, vignette, or a meaning that grasps an audience. The pattern
follows a very specific structure where the first paragraph explores the people who live in this village,
the second shows the language, and the third illustrates the value of the language. The first three
paragraphs captures the meaning of the language to the African people living in Kenya. The next
three paragraphs show the path of the loss of this beautiful language. The paragraphs are arranged
in a parallel, sequential and chronological order. The effect of this is large because it captures the
audience’s attention as there is a flow to the passage. Additionally, it students to distinguish between
the different sections and ideas of each paragraph of the passage. It widens incoming information for
a variety of audiences. The structure is parallel to the purpose because of the sequential flow of the
value of language and its deterioration.
The theme of the passage and its discourse relates to the loss of identity. From the beginning of the
passage the identity of the writer and family are formed. Each night members of the village would tell
a story and the difference of the story were shown through ‘the use of words and images’. Soon they
started to learn ‘to value words for their meaning and nuances’. The stories were told in their own
language, and they were repeated each night. That is why the tones and words used were important
because even though the story was the same it was new (due to different words). In this part of the
passage we see that the African people really value their language, Gikuyu. Nonetheless the
passage continues to explain that once Ngugi went to ‘a colonial school’ all ‘this harmony was
broken’. This is because the language he learnt, English, was not his culture. This was when the
Ngugi loss part of his identity. The writer changed school’s and was able to learn in his language, but
once the colonial regime took over, his language was history. This loss of identity is a dominant
theme that is present throughout the passage. Language was the identity of the Ngugi in the first few
paragraphs. Audience’s can clearly see that this is evident because of the joy and happiness it
brought to the writer and his village. But, we immediately see a change in tone when the Ngugi is no
longer able to learn and speak in his language. The loss of identity dominated.
The language of this passage attracts audiences from the very beginning. The writer, Ngugi, first
provided information about his family and area of Kenya he lives in. At the beginning of the second
paragraph (line 4-5) two short sentences open the paragraph. These two short sentences make it
clear that this passage is about language and its power. Ngugi stated that his people ‘spoke Gikuyu’
when working in the fields and they ‘spoke Gikuyu in and outside the home’. The repetition of ‘we
spoke’ indicates that there was a mentality where they work together. It shows the importance of
their language. The happiness that was due to the language was because they were able to learn in
that language and each night they would listen to stories. Visual imagery is used when Ngugi
explains that during the evenings they would listen to stories around the ‘fireside’. These stories
caused them to value language. Language evolved into becoming ‘not a mere string of words’ but an
emotion and power. This was their lexis, their way of choosing words and expressing feelings. This
metaphor of explained that language was more than a sentence, it was an emotion, whereby they
even made music of their language. Language is personified through this passage as their language
developed to have ‘a beauty of its own’. They used ‘images and symbols’ that enabled them to
perceive, view and interpret the world. This personification made language a power and lifestyle. A
sharp change in tone dominates the passage when Ngugi describes that this ‘harmony’ ended. This
was when he changed school. However, the impact was greatest when all the schools had to be run
by the ‘colonial regime’. This change in tone and feeling would impact an audience because Ngugi
made it clear that language meant everything, and now that it was being removed elicited sad
emotions. The culture in Kenya was a collectivist one where everyone worked together like one big
family. The beauty of this was that it was what language meant to them. This can be seen through
the poem when inclusive pronouns are used such as ‘us’, ‘we’, ‘as a whole’. Language meant
everything. Once Kenya was colonized English became the language of Ngugi’s education. The last
sentence of the whole passage would give rise to the biggest impact towards an audience. It is when
the audience fully realizes that Ngugi’s identity was loss. He stated that ‘English became more than
a language: it was the language’. The italics of the word ‘the’ gave rise to a literary feature to do with
punctuation that put emphasis on the word. English became the language of power as ‘all others had
to bow before it.’ Personification of language was used here to establish the significance of one
culture’s loss of power through language and another culture’s gain of power. It also creates visual
imagery and evokes emotion because it confirms the notion that the Gikuyu language is no more. An
audience interested in literature or for student, it could provide then with CONCERN, that language
was so important for this African people of Kenya. They can sympathize and empathize with them.
Essentially, this links to the purpose of the article which was the lost of identity. However, it also
gives rise to concern that is a direct response from an audience towards this passage.
In conclusion, the structure, language, theme, and techniques evokes emotion, concern and a
learning experience through a variety of audiences. I felt that this article made me realize the
important of language. It made me empathize with people who have to learn a new language and
forget their own. With language comes a history and an identity. The loss of identity is a loss of part
of one’s self. We sometimes take language, our identity and heritage for advantage and this is why
we don’t realize the impact of it until it is gone. This passage explains the significance and power of
language.
TEACHER’S COMMENTS:
Criterion A - Understanding of the text - 5 marks
The analysis of the text should show an understanding of the text's purpose, its context (where this
can be deduced) and target audience. One's analysis of the text needs to be supported by relevant
examples from the text.
4 out of 5 – This is a developed response. The student clearly appreciates the essence of the text,
albeit the commentary lacks the level of sophistication and perceptiveness that would take it to level
5. Contexts are discussed at some length, although some of this discussion seems somewhat
formulaic. Comments are consistently supported by reference to the text.
Criterion B - Understanding of the use and effects of stylistic features - 5 marks
The analysis of the text must show an awareness of how stylistic features, such as tone, style and
structure, are used to construct meaning. A good analysis comments on effects of these features on
its target audience.
4 out of 5 – There is a good awareness of the use of stylistic features. Tone, including its shift,
structure, and style are all considered at good length. Effect is discussed, but not consistently, and
this aspect of the discussion lacks an awareness and development that could take it to a level 5.
Criterion C - Organization and development - 5 marks
The analysis must contain coherent arguments that are well-developed. The analysis must be
organized effectively.
4 out of 5 – The student shows a good progression of ideas in quite an extensive response.
Paragraphing seems logically ordered for the most part, and the student frequently uses cohesive
devices effectively. The essay could arguably be more succinct, albeit the lack of brevity seems to
be mostly rooted in the student’s language (see criterion D).
Criterion D - Language - 5 marks
The language of the analysis must be clear, varied and accurate. The register of the analysis must
be appropriate, meaning it contains formal sentence structure, good choice of words and effective
terminology.
3 out of 5 – This is the weakest aspect of the student’s response. Frequently, the language is clear
and accurate, and the student reveals a good appreciation of register in most, but not all, instances.
However, there are a range of errors, some of which are quite basic and, at times, obfuscate
meaning. Given that the student has written at length, it is perhaps not surprising that error has crept
in; nevertheless, a higher mark cannot be justified.