UNIVERSITY OF MAIDUGURI
Maiduguri, Nigeria
CENTRE FOR DISTANCE
LEARNING
ARTS
ENG 239 – LITERARY APPRECIATION
ENG 239:
UNIT: 2
UNIT: 2
LITERARY APPRECIATION
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CDL, University of Maiduguri, Maiduguri
ENG 239 – LITERARY APPRECIATION
Published
UNIT: 2
2008©
All rights reserved. No part of this work may be reproduced in
any form, by mimeograph or any other means without prior
permission in writing from the University of Maiduguri.
This text forms part of the learning package for the academic
programme of the Centre for Distance Learning, University of
Maiduguri.
Further enquiries should be directed to the:
Coordinator
Centre for Distance Learning
University of Maiduguri
P. M. B. 1069
Maiduguri, Nigeria.
This text is being published by the authority of the Senate,
University of Maiduguri, Maiduguri – Nigeria.
ISBN:
978-8133-
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CDL, University of Maiduguri, Maiduguri
ENG 239 – LITERARY APPRECIATION
UNIT: 2
P R E F A C E
This study unit has been prepared for learners so that they can
do most of the study on their own. The structure of the study unit
is different from that of conventional textbook. The course writers
have made efforts to make the study material rich enough but
learners need to do some extra reading for further enrichment of
the knowledge required.
The learners are expected to make best use of library facilities
and where feasible, use the Internet. References are provided to
guide the selection of reading materials required.
The University expresses its profound gratitude to our course
writers and editors for making this possible. Their efforts will no
doubt help in improving access to University education.
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CDL, University of Maiduguri, Maiduguri
ENG 239 – LITERARY APPRECIATION
UNIT: 2
Professor M. M. Daura
Ag Vice-Chancellor
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CDL, University of Maiduguri, Maiduguri
ENG 239 – LITERARY APPRECIATION
UNIT: 2
HOW TO STUDY THE UNIT
You are welcome to this study Unit. The unit is arranged to
simplify
your
study.
In
each
topic
of
the
unit,
we
have
introduction, objectives, in-text, summary and self-assessment
exercise.
The study unit should be 6-8 hours to complete. Tutors will
be available at designated contact centers for tutorial. The center
expects you to plan your work well. Should you wish to read
further you could supplement the study with more information
from the list of references and suggested readings available in the
study unit.
PRACTICE EXERCISES/TESTS
1. Self-Assessment Exercises (SAES)
This is provided at the end of each topic. The exercise can
help you to assess whether or not you have actually studied and
understood the topic. Solutions to the exercises are provided at the
end of the study unit for you to assess yourself.
2. Tutor-Marked Assignment (TMA)
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ENG 239 – LITERARY APPRECIATION
UNIT: 2
This is provided at the end of the study Unit. It is a form of
examination type questions for you to answer and send to the
center. You are expected to work on your own in responding to the
assignments. The TMA forms part of your continuous assessment
(C.A.) scores, which will be marked and returned to you. In
addition, you will also write an end of Semester Examination,
which will be added to your TMA scores.
Finally, the center wishes you success as you go through the
different units of your study.
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ENG 239 – LITERARY APPRECIATION
UNIT: 2
INTRODUCTION TO THE COURSE
The course introduces students of literature in English to Literary
Appreciation. It is intended to enable students comprehend what literary appreciation
is. Students will know the various genres of literature and understand their
composition. Then they will learn how to appreciate and indeed enjoy literary works.
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ENG 239 – LITERARY APPRECIATION
ENG. 239:
UNIT: 2
LITERARY APPRECIATION
UNITS: 2
TABLE OF CONTENTS
PAGES
PREFACE
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HOW TO STUDY THE UNIT
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INTRODUCTION TO THE COURSE
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TOPIC 1:
SOLUTION TO EXERCISES
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TOPIC 1:
TABLE OF CONTENTS
PAGES
1.0.
TOPIC:
DEFINITION OF LITERATURE AND ITS GENRES,
THE IMPORTANCE OF LITERATURE AND WHAT
LITERARY APPRECIATION IS-
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1.1.
INTRODUCTION -
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1.2.
OBJECTIVES
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1.3.
IN-TEXT
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1.3.1 LITERATURE
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1.3.3 THE IMPORTANCE OF LITERATURE
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1.3.4 LITERARY APPRECIATION
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1.4.
SUMMARY -
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1.5.
SELF-ASSESSMENT EXERCISE -
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1.3.2 LITERARY GENRES
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1.0. TOPIC:
UNIT: 2
DEFINITIONS OF LITERATURE AND ITS
GENRES; THE
IMPORTANCE OF LITERATURE; AND WHAT
LITERARY APPRECIATION IS
1.1 INTRODUCTION
In order to understand what is meant by “literary appreciation” the students
needs to be reminded about what “literature” and its “genres” are, along with the
functions of literature.
1.2 OBJECTIVES
At the end of this topic, the student should be able to:
i. Define literature,
ii. Comprehend the major genres of literature,
iii. Appreciate the major importance or value of literature,
iv. Know what literary appreciation is.
1.3
IN- TEXT
1.3.1 LITERATURE
Simply, literature is the body of, or totality of a people’s creative and
imaginative works, which have artistic qualities. It may be oral or written.it is the
recreation of life. The events, beliefs and lifestyles that exist in society are recreated.
For the purpose of this course, we are concerned with only written literature. Written
literature may be in the form of a novel, play, poem, short story or essay. Literary
works derive materials, themes, and preoccupations from their societies. This is called
their social context or social milieu.
1.3.2 LITERARY GENRES
“Literary” is the adjective derived from “literature” it refers to anything which
is connected with literature. Therefore, literary genres are genres which deal with
literature. And by “genre”, we mean a particular type or style of literary writing. There
are three major forms of literature, or three major ways or styles of writing literature:
the prose, drama and poetry. These forms or types give birth to novels, plays, and
poems.
A novel is a long narrative usually in prose, dealing with imaginary or frictional
or recreated characters engaged in a sequence of events.
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A play is also an account of people and events, but with emphasis on action
and dialog as a means of communication.
A poem is also an account of people and event but its words and sentences
are used and arranged in special ways to achieve unique meanings and effects.
1.3.3
THE IMPORTANCE OF LITERATURE
Literature plays a very important role in our lives. We shall mention just
a few of its functions.
Because literature is a recreation of life, it helps us to understand our
surroundings better. It makes us see life as it is. It enables us to relive life. Reality is
recreated in literature. Many events, which happened in the past, which are occurring
now and which may take place in the future are recreated in literature. The student of
literature consequently sees the past, the present and how the future might be.
Literature depends on its society or milieu for its materials. Often, as
changes occur in the society, the themes and styles of the literature of the affected
society also change in order to reflect those societal changes. Conversely, literature
can also change the society through its choice of themes (such as bribery, corruption)
and its use of literary devices or style (such as satire and symbolism).
Literature serves as a moral teacher. As events and characters in the
society are portrayed, with all the activities of greed, evil, goodness and kindness
highlighted, the student of literature can not but be touched and derive some moral
lessons.
Good literary works are models on how good English should be written
and spoken. The student of literature sees all the rules of English grammar
particalised in literary works and hence becomes a better student of English.
The last function of literature which we shall mention is entertainment,
which is more directly connected with our course, “Literary Appreciation”. Literature
is meant not only to be “studied” in order to pass exams. It is also often read solely
for its entertainment value. As we read novels, plays and poems and experience all the
actions, intrigues, resolutions, love, compassion, betrayals – we are entertained. We
derive joy in reading the lives which have been recreated for us in literary works.
1.3.4 LITERARY APPRECIATION
We know already that “literary” is an adjective which deals with anything
connected with literature. What about “appreciation”? To appreciate something, in
our context, means to recognize, value, admire and enjoy the great and beautiful
qualities of a literary work. Therefore, “literary appreciation” is the recognition,
estimation, admiration and enjoyment of literary works. Literary appreciation is
concerned with the aesthetics of literary works; that is, recognizing the beauty in
literary works and enjoying it.
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1.4
SUMMARY
In this topic discussion, we have defined what we mean by literature and its
major genres. The importance of it was highlighted, showing that because literature is
like a mirror which reflects our society, we are always in touch with what is
happening in the society. And we also defined what is meant by ‘literary
appreciation”.
The next topics will highlight the major ways and methods of appreciating
literary works.
1.4
SELF-ASSESSMENT EXERCISES
1.
What do you understand by literary genres?
2
Highlight the similarity and difference between a novel and a play.
3
Give three reasons why literature is important.
4
What is “literary appreciation”?
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UNIT: 2
TOPIC 2:
TABLE OF CONTENTS
PAGES
2.0. TOPIC:
WORK
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THE STRUCTURE OF A TYPICAL LITERARY
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2.1
INTRODUCTION -
2.2
OBJECTIVES
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2.3
IN-TEXT
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2.3.1
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DEFINITION OF STRUCTURE
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2.3.2 THE MAJOR COMPONENTS OF A LITERARY WORK
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2.4
SUMMARY
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2.5
SELF-ASSESSMENT EXERCISES
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2.0. TOPIC:
UNIT: 2
THE STRUCTURE OF A TYPICAL LITERARY
WORK
2.1
INTRODUCTION
In order to appreciate anything, one needs to know what it is
composed of. In this topic, we shall briefly study the structures of novels, plays and
poems in order to prepare us for a better literary appreciation of them.
2.2
i.
ii.
iii.
iv.
2.3
OBJECTIVES
The objectives of this topic are to enable the students:
Understand the meaning of literary structure,
Identify the major components of a literary work,
Define the major components,
Know the difference between a story and a plot.
IN- TEXT
2.3.1 DEFINITION OF STRUCTURE
A structure is the parts and the way the parts of anything are arranged or
constituted. Therefore the structure of a literary work is its components and the way
they are strung together.
2.3.2 THE MAJOR COMPONENTS OF A LITERARY WORK
Apart from the differences which we have highlighted already in 1.3.2 (topic
1), every novel, poem, and play should have, in varying degree, some important
components, such as (a) theme (b) character (c) action (d) story/plot (e) setting (f)
conflict and resolution and (g) language.
(a)
THEME
A literary work must have a major preoccupation. What is the work concerned
with? What is it talking about? This is what we call “theme” in literature. A literary
work could have one or more themes. It could have major and minor themes.
Authors get their materials for their themes from the society in which they live or
which they have experienced. The common themes or thematic preoccupations in
Nigeria today include corruption, dictatorship, exploitation, armed robbery, love and
faithfulness, marriage and family issues, women in society, military rule and the
Nigerian civil war.
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(b)
CHARACTERS
These are the men, women and children, animals and personified ideas (such
as love, envy, corruption and death) who are involved in the themes, who engage in
the themes. There would not be a good discussion on corruption without people
engaged in it. It would almost be impossible to be preoccupied with marital
relationship without men and women and children being involved.
(c) ACTION
The events and what characters do in a literary work are called action. Because
there are characters in literary works, they are expected to be engaged in some
activities. Therefore, action is an important aspect of literature, more so in drama and
the novel.
(d)
STORY/PLOT
A story in a literary work is a description of what the author is preoccupied
with; that is the theme. So, a literary work may tell the story of how some characters
are engaged in family affairs or in corruption or in conflict between tradition and
modernity.
How this story is told; how the account or description is given; how the story
unfolds is what we call plot. A story contains a series of events. A plot is how the
events are strung together. A good story may be spoilt if it is not well told. The
author may use description. He may use flashbacks. A flashback is the recalling and
retelling of events which had happened earlier on in order to create a better
understanding of what is taking place now. The author may use dialogue or
monologue or both. How well or not a story is told is what is called plot.
(e)
SETTING
This is where the action and characters who are engaged in them are located.
But setting involves more than just a place. It includes the location the characters and
the general situation. The actions of a literary work may have only one setting or at
times two or more settings. Another term for setting is locale.
(f)
CONFLICT AND RESOLUTION
Conflict is the disagreement or dispute, which exists between characters. The
conflict brings about animosity and quarrels between and among characters. Those
who are involved in the opposite sides of the conflict are called antagonists, while the
central character or characters they attack or quarrel with is/are called protagonists.
Resolution is the solving of the conflict at the end of a literary work. The resolution
may be positive, ending happily; or it may be negative, ending tragically. Sometimes, a
literary work ends without any resolution.
(g)
LANGUAGE
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All the component of a literary work mentioned above can not be expressed
or highlighted successfully by an author without the use of language. Language is the
means of communication. It can be used in many ways as we shall see in a
subsequent topic.
2.4
SUMMARY
We have shown how any literary work is made up of a structure. We
recognized and defined some of the important components of a literary work. In the
following few topics, we shall discuss in more detail some of the most important
components.
2.5. SELF – ASSESSMENT EXERCISES
1.
What do you understand by the structure of a literary work?
2.
Mention and define any five major components of a literary work.
3.
Differentiate between a story and a plot.
4.
Highlight the importance of theme and characters in a literary work.
5.
“In a literary work, language is not important.” State why you agree or
disagree with this statement.
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TOPIC 3:
TABLE OF CONTENTS
PAGES
3.0 .
CHARACTERS AND CHARACTERIZATION
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3.1.
INTRODUCTION
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3.2.
OBJECTIVES
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3.3.
IN – TEXT
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3.3.1. DEFINITIONS OF CHARACTER AND
CHARACTERIZATION AND THEIR DIFFERENCES
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3.3.2. METHODS OF ACHIEVING CHARACTERIZATION
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3.4.
SUMMARY
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3.5.
SELF- ASSESSMENT EXERCISES
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3.0
TOPIC:
UNIT: 2
CHARACTERS AND CHARACTERIZATION
3.1
INTRODUCTION
In this topic, we shall define characters and characterization and illustrate how
characterization is achieved.
3.2
OBJECTIVES
At the end of this topic, students should be able to:
i.
Define character and characterization and recognize the difference
between the two.
ii.
Master the various methods authors employ in order to achieve
characterization.
3.3
IN –TEXT
3.3.1 DEFINITIONS
OF
CHARACTER
AND
CHARACTERIZATION AND THEIR DIFFERENCES
For the purpose of this topic, character will be defined in two ways: character
will have two meanings.
In the first definition, character refers to a person/animal etc. who performs
or acts a role in a literary work. Characters in a play or novel are the personalities or
animals or personified ideas engaged in conflicts/activities.
`The second definition refers to the characteristics or qualities (good or bad)
which an individual (a character) may have to distinguish him from another person.
Therefore you may say that Okonkwo in Chinua Achebe’s Things Fall Apart is
aggressive and afraid of failure. These qualities form part of Okonkwo’s character;
they form part of his characteristics.
Characterization, on
the other hand, is the method which a writer employs in order to bring out the
character or qualities or characteristics of a person, of a character. Characterization is
the way an individual’s qualities are created and highlighted.
The critics broaden the
meaning of characterization to include not only the way the characteristics of persons
(i.e characters) are created, but also the characters themselves. The quality of the
characters created and the manner of their creation are all defined as characterization.
Therefore, if the characters in a work of art have been well created and they play their
roles effectively and realistically, you can say that characterization in the work is good.
3.3.2 METHODS OF ACHIEVING CHARACTERIZATION
Writers, especially of plays and novels, employ many methods of
creating and highlighting the characteristic qualities of their characters (persons). We
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shall identify and underline some of them in order to better help in the appreciation
of literature.
(a) WHAT THE CHARACTERS DO
Writers let the reader or audience know more about the
qualities of their characters through what they (the characters) do. You will know a
man of action through what he does. If an author wants to portray the violent quality
of a character, he will make him perform certain violent actions.
(b) WHAT THE CHARACTERS DO NOT DO
Sometimes from the inaction of a character.we know more about his
characteristics. When he is supposed to act and he does not, the character may be
exposing that he is weak or procrastinating or cowardly - depending on the situation
or context.
(c)
WHAT THE CHARACTER SAYS
The character will often say a few things about himself and/or about other
characters. Through his utterances, he will reveal a lot about himself. The reader or
audience will be able to know whether the character is arrogant, gentle, ambitious,
wicked or envious.
(d)
WHAT THE CHARACTER DOES NOT SAY
Often, people talk when they are not supposed to; and sometimes they do not
talk when they are expected to. Depending on the context, a character’s silence will
show him to be cowardly or courageous or tactful or careless.
(e)
WHAT
OTHER
CHARACTERS
SAY
ABOUT
A
PARTICULAR CHARACTER
As the saying goes,”People must talk about you”. The reader of a literary work
will know more about a particular character (such as a hero or heroine) from what
other people say about that particular person. From them, you will know whether the
person is respected or despised; whether he is crooked or upright; whether he is
reliable or untrustworthy.
(f)
WHAT THE AUTHOR SAYS ABOUT THE CHARACTER
The author of a work of art says a lot about his characters. He makes authorial
comments and descriptions about the characters. [Even in drama, the “comments”
and “descriptions” can be seen in Stage Directions.]
3.4
SUMMARY
We have defined “character” and “characterization”. The differences between
the two terms have been highlighted. The important methods which authors use in
order to achieve characterization have been identified and explained.
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3.5
UNIT: 2
SELF-ASSESSMENT EXERCISES
1. Name the five methods discussed which an author can employ to
highlight the qualities of his characters.
2. Differentiate between character and characterization
3. Highlight the importance of what a character says about himself or other
characters.
4. Show how action and inaction are important in portraying the qualities of
a character in a literary work.
TOPIC 4:
TABLE OF CONTENTS
PAGES
4.0
TOPIC:
THE LANGUAGE OF LITERATURE I
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4.1
INTRODUCTION
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4.2
OBJECTIVES
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4.3
IN –TEXT
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4.3.1 LANGUAGE AND ITS FUNCTION
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4.3.2 PROSE LANGUAGE
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4.3.3 DIRECT AND INDIRECT SPEECH
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4.3.4 DIALOGUE
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4.3.5 MONOLOGUE
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4.4
SUMMARY
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4.5
SELF- ASSESSMENT EXERCISES
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4.0. TOPIC:
UNIT: 2
THE LANGUAGE OF LITERATURE I
4.1
INTRODUCTION
Language, in any situation, is the means or medium of communication. To
achieve communication, language is used in many ways to serve several purposes. We
shall examine some of the ways language is used and highlight a few of the purposes
achieved.
4.2
OBJECTIVES
This topic is intended to help students understand:
i.
ii.
iii.
4.3
The functions of language,
The various ways language can be used,
Some of the goals to be achieved by using the ways.
IN-TEXT
4.3.1 LANGUAGE AND ITS FUNCTIONS
For the purpose of this course, let us define language as a means of
communication between people, using words, phrases, clauses and sentences in
speech and writing. The language of literature means the way or style language is used
in literary works. Language plays a very significant role in literary works. For example,
language is used to develop themes, create the setting and atmosphere, sketch the
characters and generally tell the story.
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4.3.2 PROSE LANGUAGE
Prose is language in which the words, phrases, clauses and sentences express
their ordinary, everyday meanings. Prose is simple, straightforward, without recourse
to deliberate flowery and complicated expressions. In prose, words and sentences
usually express their literal or usual meanings
4.3.3 DIRECT AND INDIRECT SPEECH
Writers, like users of any language, use direct and indirect speech. A direct
speech is a situation where a person’s exact words or sentences are quoted; that is,
they are repeated word for word. The exact expressions are enclosed in quotation
marks. For example; He ordered me, “Get out of my house!”
Indirect expressions are not quoted; they are rephrased. They are reported.
Therefore, an indirect speech is often called “reported speech.” The quotation cited
above could be reported thus: He ordered me to get out of his house.
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4.3.4 DIALOGUE
This is a form of language in which direct communication takes place between
two or more persons/characters. It enables characters to exchange ideas and views,
expressing agreement and disagreement. Through dialogue the characters reveal their
qualities and the reader gets to know the persons more and more.
4.3.5 MONOLOGUE
This is the system of communication in which one character speaks at a time.
In plays, some characters speak their thoughts aloud when they are alone. Sometimes,
they whisper the thoughts so that the audience will hear, but not the other characters.
This method is called soliloquy. Often, the character’s thoughts are not spoken out.
Instead, the author lets us into the character’s brain and makes us “hear” the
thoughts. This method is called internal monologue. Monologues, like dialogues, let
the reader know more about a character’s characteristics. Imagine men and women
alone and you can “hear” their thoughts! You would be amazed at what you learn
about the persons!
4.4
SUMMARY
This topic has examined language and its function. It has highlighted prose
language and direct and indirect speech. The importance of dialogue and
monologue has been underlined.
4.5
SELF – ASSESSMENT EXERCISES
1.
2.
3.
Define language and prose language.
What is the difference between dialogue and monologue and how
important are they?
Differentiate between direct and indirect speech.
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TOPIC 5:
TABLE OF CONTENTS
PAGES
5.0
TOPIC:
THE LANGUAGE OF LITERATURE II
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5.1
INTRODUTION
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5.2
OBJECTIVES
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5.3
IN – TEXT
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5.3.1 FIGURATIVE LANGUAGE
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5.3.2 FIGURES OF SPEECH
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5.3.3 SOUNDS IN FIGURES OF SPEECH
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5.4
SUMMARY
19
5.5
SELF-ASSESSMENT EXERCISES
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5.0
TOPIC:
5.1
INTRODUTION
UNIT: 2
THE LANGUAGE OF LITERATURE II
This topic will concentrate on figurative language. It will define and examine
the roles of significant figures of speech and illustrate some figurative use of sounds
in language use.
5.2
5.3
OBJECTIVES
Students will be able to:
i.
Define figurative language
ii.
iii.
Identify and comprehend the use of some figurative expressions.
Comprehend the use of sounds in figurative expressions.
IN-TEXT
5.3.1 FIGURATIVE LANGUAGE
In this type of language, words, phrases, clauses and sentences are used in
extraordinary ways to achieve unusual and imaginative meanings and effects.
5.3.2 FIGURES OF SPEECH
These are expressions which are used in unusual ways, are employed to
achieve meanings other than their literal meanings, and create imagery which is
intended to paint mental pictures. Here are simple examples and explanations of
some figures of speech
(a) .
SIMILE
This is a method of comparison in which one thing is said to be like the other.
“She is as beautiful as a flower” or “She is like a flower.” “He is as strong as a lion”
or “He is like a lion.”
(b) .
METAPHOR
This is also a system of comparison. But here, in stead of saying that one thing
is like the other, we say one thing is the other. “He is a lion,” instead of “He is like a
lion” or “He is as strong as a lion.” We say, “She is a flower” instead of “She is like a
flower” or “She is as beautiful as a flower.”
(c) .
SYMBOLISM
This is the use of objects or symbols to represent ideas or things. In Ngugi Wa
Thiongo’s Petals of Blood, the railway is used as a symbol of exploitation because it is
shown as a source of carting away the resources of Kenya by neo- colonialists and
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UNIT: 2
their agents. In Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born, dirt and
excreta are used as symbols of corruption.
(d) .
PERSONIFICATION
This is the giving of human qualities to inanimate things. “Death,” for
example, can be described to as a wicked but cowardly person. In “Death, you are a
wicked and cowardly soul!” Or, you can give human qualities to”morning”, by saying,
“When I woke up, morning smiled at me.”
(e) .
IRONY
This is the use of words to say the opposite of what is really intended. It is
also the creation, in literature, of a situation in which an unexpected thing happens.
To illustrate the first definition, if some one is wearing a hat which does not suit him,
one my say ironically to him “Oh, that’s a beautiful hat!” To illustrate the second
meaning, a writer may create a situation in which a man of peace suddenly meets a
violent death in the hands of his enemies.
5.3.3 SOUNDS IN FIGURES OF SPEECH
Sounds in expression are also figuratively used in literature to achieve unusual
and imaginary effects. A few examples will suffice.
(a).
ONOMATOPEIA
This is the use of words where sounds reveal or suggest their meanings. The
examples in the following sentences reinforce the meaning of onomatopoeia: A cock
crows. Cats mew. Cows moo. Docks quack.
(b).
ALLITERATION
This is the repetition of words which have the same letters or sounds. For
example, “Bring back the bags you borrowed”.
(c).
ANAPHORA
This is the repetition of words or phrases at the beginning of consecutive
clauses or verses (in poetry). For example, at the beginning of each verse or stanza in
a poem, the poet might begin with “Abandoned”, if he wants emphasis to be given to
the word.
(d).
REPETITION
Whereas anaphora is the repetition of words or phrases at the beginning of
successive clauses or verses, repetition can occur anywhere. Repetition is the
reoccurrence of words, phrases or sentences anywhere in a literary work in order to
lay emphasis on what is repeated.
(e).
RHETORICAL QUESTION
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This is a question which does not require an answer. A writer may ask a
rhetorical question or make his character ask a rhetorical question in order to
emphasize a particular situation; but to which no answer is given. The answer may be
implied, but the reader will not hear any person in the work directly or immediately
giving an answer.
(f)
ALLUSION AND INVOCATION
Allusions are references in literature to significant historical and cultural
people, events and places. Sometimes too writers use direct addresses. They directly
address or call or invoke people or issues.
(g)
RHYMING
This is a device in poetry where words with similar end sounds are found at
the end of poetic lines, following some regular order or organization. When the
words at the end of two or more lines of a poem have the same end or terminal
sounds, they are said to rhyme. In these two lines, maggots and faggots rhyme:
He went to the bush for maggots
But returned home with faggots.
5.4
SUMMARY
During this topic, we have seen how language, especially figurative language,
can be used in unusual and special ways to achieve extraordinary and imaginative
meanings and effects.
5.0
SELF- ASSESSMENT EXERCISES
1. Why do writers employ similes and metaphors in their works?
2. What do you understand by “figures of speech”?
3. What is the difference between personification and symbolism?
4. Differentiate between alliteration and anaphora.
5. What is the relevance of sounds in figures of speech?
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UNIT: 2
TOPIC 6
TABLE OF CONTENTS
PAGES
6.0.
TOPIC:
THE APPRECIATION OF LITERATURE
21
6.1.
INTRODUCTION
21
6.2.
OBJECTIVES
21
6.3.
IN –TEXT
21
6.3.1 COMPREHENSION
21
6.3.2 THE CHARACTERS
1
6.3.3 THE LANGUAGE
21
6.3.4 THE PLOT
21
6.3.5 OTHER GUIDES
22
6.4.
SUMMARY
2
6.5.
SELF-ASSESSMENT EXERCISES
22
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6.0. TOPIC:
UNIT: 2
THE APPRECIATION OF LITERATURE
6.1. INTRODUCTION
This topic is aimed at showing the students the important steps to take in
order to see the beauty of literature and enjoy it. In order to appreciate literature, the
student has to know what literature is, what its structure is, and the techniques which
the authors employ to create their works. The proceeding lectures have handled these
topics. It is now left for us to use the tools learnt to really appreciate literature.
6.2. OBJECTIVES
At the end of this topic, the students are expected to:
i.
know the steps to take in order to appreciate and enjoy any literary
work they may come across.
ii.
know the technique of literary appreciation.
6.3. IN TEXT
6.3.1.
COMPREHENSION
The first step to take in order to appreciate a literary work is to read it in order
to understand it. You may read it more than once, if you don’t understand it the first
time. When you read a piece of work, the aim is to find out what it is all about – what
is the theme, who are the characters, what is the setting?
6.3.2 THE CHARACTERS
In order to appreciate the characters, ask yourself some guiding questions.
Who are the characters and what do they do? What do they say? How are they
portrayed by the author? What are their qualities which are highlighted. Are you
favourably disposed towards them? Do you dislike them? What are the characteristics
in the characters which attract or repel you? Is it the way the persons talk or behave
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or both? The more you ask and answer these and similar questions, the more you
appreciate the characters and the literary work.
6.3.3 THE LANGUAGE
Try as much as possible to appreciate the language used in a literary work of
art, or even in a piece of it. Does the author make his characters communicate in
dialogue, or is there also some monologue? Does the author effectively use both
techniques? Are there instances of the use of figurative expressions in the work?
Have similes, metaphors, personification been effectively employed? What about the
use of sounds to arouse imagination and achieve meaning?
6.3.4 THE PLOT
As you read the literary work, do you enjoy the story? Has the story been will
told? Do events follow one another logically. Are you eager to find out what is going
to happen next? Are you kept in suspense? Does the author use effective description?
Are there flashbacks? Or is the story not well told? As you read, are you bored? Do
you know the outcomes of events even before you reach them? It is questions such
as these which aid your rewarding appreciation of literature
6.3.5 OTHER GUIDES
As you try to appreciate a literary work, look out for other literary techniques
employed by the author. Such techniques include the use of conflict. Certain
characters are in involved in a conflict. They are antagonists. They have a bone of
contention which makes them clash. Find out such a bone of contention and
appreciate the conflict. Note also how the conflict is eventually resolved – if it is.
Also from the conflict resolution you may be able to appreciate the author’s
standpoint or viewpoint. What is his philosophy about life, about the characters, the
themes and situations created?
6.4. SUMMARY
Literature, because it is a recreation of the society in which we live, is all about
us, and we should enjoy it, appreciate it to the fullest. The techniques which help our
appreciation of literature are simple and easy to apply.
6.5. SELF- ASSESSMENT EXERCISES
1. Examine the first step to take in order to appreciate a literary work.
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2. “The importance of understanding characters and their roles in literary
appreciation cannot be underestimated.” Discuss
3. How does mastering the language used help in appreciating a literary
work?
4. Name and explain any other two techniques (apart from comprehension,
characters and language) which will help a student appreciate literature
better.
TOPIC 7:
TABLE OF CONTENTS
PAGES
7.0.
TOPIC:
7.1.
INTRODUCTION
24
7.3
IN-TEXT
99
7.3.1 THE PASSAGE
24
7.4
PROSE PASSAGE FOR APPRECIATION I
24
QUESTIONS / COMMENTS / GUIDES TO HELP THE STUDENT
APPRECIATE THE PASSAGE
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7.0
TOPIC:
7.1
INTRODUCTION AND OBJECTIVES
UNIT: 2
PROSE PASSAGE FOR APPRECIATION I
Students are expected to read and appreciate the following passage and answer
the questions which follow it
7.3
IN-TEXT
7.3.1 THE PASSAGE
Afi opened her eyes slowly and found herself lying in a thatched hut. The
bamboo bed on which she lay was firm and smooth. She made to get up but
discovered she could not because of the pain she felt in her sides. The desperate
struggle for life must have inflicted on her the burning pain she felt. Suddenly, she
heard footsteps thudding through the leaves outside the hut. She prepared herself for
whoever it was that brought her out to this jungle instead or leaving her to her fate.
“Ha! You are back,” said a manly voice. He walked up to her and looked
down smilingly at the woman whose life would have been history but for his timely
intervention. He was glad that he had saved her life anyway; whatever she herself may
think or say would not be important to him.
Afi avoided his face at first without knowing why. He continued to ask
questions and she simply looked away from him. She was angry with this stranger for
saving her life. The man came close enough and sat on the edge of the bamboo bed
beside her and, wistfully, she looked away again. She could not tell how the man
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looked except that he was a man. Like the one from whom she was running earlier
that morning. She did not what to see his face at all. The man was transfixed to the
spot where he sat, watching Afi’s averted face intently without saying a word. After a
while, he got up and walked out. Afi’s eyes had followed his departing figure until it
disappeared. She continued to stare into the emptiness that had consumed him. She
could not quite tell his face but she knew that whoever owned that figure must be a
confident and strong man who could rescue a drowning woman out of that cold
water. She remained in her lying position, thinking of what was to happen to her
next. She could not stay there with this man even if she wanted to. And the questions
he had asked her, which she could not bring herself to provide answers to, would
have to be answered in due cause. She too wanted to ask him about himself especially
what he was doing in the jungle at that crucial moment of her life and what he
thought he was doing diving to get her out like that, as though he was asked to. And
above all, to ‘thank’ him so to speak, for bringing her back to her misery. After a meal
of roast plantain, which they washed down with water from the river in which they
had made their acquaintance, the man began to pry again1.
1
7.4
Razinat T.Mohammed, “Something to Live for” in A Love Like a woman’s
(Ibadan: Kraft Books Limited, 2006), pp. 10-11.
QUESTION/COMMENTS/GUIDES
TO
HELP
THE
STUDENTS APPRRECIATE THE PASSAGE
1.
On what was Afi lying and where was it situated?
2.
In what physical condition was Afi?
3.
What major favour had the man done Afi just recently?
4.
5.
6.
What was Afi’s attitude towards the man?
Why did she have this attitude towards him?
How was the author able to create the situation or atmosphere
presented?
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TOPIC 8:
TABLE OF CONTENTS
PAGES
8.0.
PROSE PASSAGE FOR APPRECIATION II
27
8.1.
INTRODUCTION
27
8.2.
OBJECTIVES
27
8.3.
IN-TEXT
88
8.3.1. THE PASSAGE
27
8.4.
28
QUESTIONS/COMMENTS/ GUIDES FOR THE STUDENT
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8.0
TOPIC:
UNIT: 2
PROSE PASSAGE FOR APPRECIATION II
8.1. INTRODUCTION
Students are expected to apply the techniques already learnt to appreciate the
following passage
8.2
OBJAECTIVES
i.
Students should be able to read a literary passage and appreciate it.
ii.
Students will be able to find answers to the questions on the passage.
iii.
The questions will guide the students to better appreciate the passage.
8.3
IN-TEXT
8.3.1 THE PASSAGE
As she crossed the living-room the knock came again. ‘yes please,’ she
answered, experiencing the same cold foreboding all over again.
Then she opened the door.
Jimmy stood there.
I don’t know if you have ever stepped, barefooted, on a red- hot ember you
thought was a pebble. They experienced the shock at the same time. But their
reactions differed. Eno recognized him first. He was, of course a little leaner than the
last time she saw him in detention four years before, but the same confident,
uncompromising look was written all over his features. His ready smile, completely
dropped now on seeing her, had been there when she opened the door. The ebonydark complexion, the powerful structure, the handsome, even features, belonged to
only one person - Jimmy, her husband. And this was Jimmy before her, some forty
hours too early.
Jimmy was more than shocked. For what seemed to be eternity, he stood there
paralysed. Then, like an epileptic patient recovering from an attack, his powers of
reason slowly began to waken and he saw, silhouetted against the bright fluorescent
light of the television set, a woman well on the wrong side of forty. She was grossly
overweight, and was dressed in a well sewn blue and pink lace outfit, but even the
roomy buba was incapable of disguising the size of her huge breasts. Large drops of
sweat had traced paths down the sides of her face, through her badly applied makeup. She looked like a shop dummy that a child with a tube of crayons had been
playing with. Her bright red lipstick outlined her thin lips into an unconscious sulk.
She clutched a black handbag.
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For a moment Jimmy was going to ask her for the whereabouts of his wife.
He wiped his eyes to convince himself that he was seeing clearly. In another moment
he was wondering what he was doing there. This was not the woman he married, he
thought, and he didn’t belong there. He imagined himself running…running away
across some wild desert… running away into the unknown.
Then he recollected himself and looked at her again. Neither spoke. After a
while he told himself that there was no running away. This was Eno, his wife, and
this was his home. He pushed his way past the woman into the living-room and
looked round1.
1
Sonala Olumhense, No Second Chance (Lagos: longman Nigeria Plc, 1982), pp
30-31
8.4
QUESTIONS/COMMENTS/GUIDES FOR THE STUDENTS
1.
How does the author achieve suspense?
2.
What is the relationship between Jimmy and Eno?
3.
Give a brief description of Jimmy’s physical features.
4.
Give a description of Eno.
5.
From the picture painted of Eno, what is author’s attitude towards her?
6.
Give an example of a rhetorical question/statement from the passage.
7.
Where and when did Eno last see her husband before the present
encounter?
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TOPIC 9:
TABLE OF CONTENTS
PAGES
9.0
POEMS FOR POETRY APPRECIATION
30
9.1
INTRODUCTION
30
9.2
OBJECTIVES
30
9.3
IN-TEXT
00
9.3.1 1ST POEM
9.3.1.1
QUESTIONS/COMMENTS/GUIDES FOR THE STUDENTS 30
9.3.2 2ND POEM
9.3.2.1
30
31
QUESTIONS/COMMENTS/GUIDES FOR THE STUDENTS 31
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9.0. TOPIC:
UNIT: 2
POEMS FOR POETRY APPRECIATION
9.1. INTRODUCTION
Two poems are given for students to appreciate.
9.2
OBJECTIVES
i.
Students will be able to read and understand the poems.
ii.
iii.
They will be able to identify and analyse the techniques used by the
poets
The comments/notes at the end of each poem will help the students to
appreciate the poems better.
9.3. IN-TEXT
9.3.1.
1ST POEM
I was the leader of the girls
And my name blew
Like a horn
Among the payira.
And I played on my bow harp
And praised my love
Ocol, my husband,
My friend,
What are you talking?
You saw me when I was young.
In my mother’s house
This man crawled on the floor!
The son of the Bull wept
For me with tears,
Like a hungry child
Whose mother has stayed long
In the simsim field!1
1
Okot p’ Bitek, “My Name Blew Like a Horn Among the Payira” in Song of
Lawino and Song of Ocol (London: Heinemann Educational Books Ltd. 1966,
1967), p. 48
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9.3.1.1. QUESTIONS/COMMENTS/GUIDES
UNIT: 2
FOR
THE
STUDENTS
1. Identify the use of alliteration in the poem.
2. Identify the use of direct address/innovation.
3. Do you notice any rhetorical question?
4. Identify any simile and/or metaphor.
9.3.2.
2ND PASSAGE
Sleep well, my love, sleep well:
the harbour lights glaze over restless docks,
police cars cockroach through the tunnel streets;
from the shanties creaking iron-sheets
violence like a bug-infested rag is tossed
and fear is immanent as sound in the wind-swung bell;
the long day’s anger pants from sand and rocks;
but for this breathing night at least,
my land, my love, sleep well.1
1
Dennis Brutus, “Nightsong City” in Poems of Black Africa ed.by Wole Soyinka
(London: Heinemann Educational Books Ltd, 1965), p 112.
9.3.2.1. QUESTIONS/COMMENTS/GUIDES
FOR
THE
STUDENTS
1. Note the invocation and direct address to “my love”.
2. Note personification in line 2. The harbour lights “glaze” over restless
docks as if they had human eyes.
3. Note also how “cockroach” is turned into a verb to show how the
police cars move like cockroaches through tunnel streets.
4. Note the use of onomatopoeia in “creaking” iron-sheets.
5.
Note the use of simile in “Violence like a bug-infested rag is
tossed…”
6.
And note how anger “pants”, as if it were a living thing.
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TOPIC 10:
TABLE OF CONTENTS
PAGES
10.0. TOPIC:
DRAMA EXTRACT FOR APPRECIATION
33
10.1
INTRODUCTION
33
10.2
OBJECTIVES
33
10.3
IN-TEXT
99
10.3.1 DRAMA PASSAGE
33
10.4
35
QUESTIONS/COMMENTS/GUIDES FOR THE STUDENTS
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10.0 TOPIC:
UNIT: 2
DRAMA EXTRACT FOR APPRECIATION
10.1. INTRODUCTION
After appreciating extracts from a story, a novel and two poems, our attention
now shifts to drama.
10.2. OBJECTIVES
i.
Students will be able to read and understand what the extract is
focusing on
ii.
They will be able to identify and analyze the major techniques used by
the dramatist
They will be able to answer the questions asked in the questions
section
The questions will help the students appreciate the extracts better.
iii.
iv.
10.3
IN-TEXT
10.3.1
THE
Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
DRAMA EXTRACT
Let me take it.
No
Let me. [Seizes the pail. Some water spills on him.]
[delighted]
There. Wet for your pains.
Have you no shame?
That is what the stewpot said to the fire.
Have you no shame-at your age
Licking my bottom? But she was tickled
Just the same.
The school teacher is full of stories
This morning. And now, if the lesson
Is over, may I have the pail
No. I have told you not to carry loads
On your head. But you are as stubborn
As an illiterate goat. It is bad for the spine.
And it shortens your neck, so that very soon
You will have no neck at all. Do you want to look
Squashed like my pupil’s drawings?
Why should that worry me? Haven’t you sworn
That my looks do not affect your love?
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Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
UNIT: 2
Yesterday, dragging your kneels in the dust
You said, Sidi, if you were crooked or fat,
And your skin was scaly like a…
stop!
I only repeat what you said.
Yes, and I will stand by every word I spoke.
But must you throw away your neck on that account?
Sidi, it is so unwomanly. Only spiders
Carry loads the way you do.
[huffily, exposing the neck to advantage.]
Well, it is my neck, not your spider.
[looks, and gets suddenly agitated.]
And look at that! Look, look at that!
[Makes general sweep in the direction of her breast.]
Who was it talked of shame just now?
How often must I tell you, Sidi, that
A grown-up girl must cover up her…
Her… shoulders? I can see quite … quite
A good portion of - that! And so I imagine
Can every man in the village. Idlers
All of them, good-for-nothing shameless men
Casting their lustful eyes where
They have no business…
Are you at that again? Why, I’ve done the fold
So high and so tight, I can hardly breathe.
And all because you keep at me so much.
I have to leave my arms so I can use them…
Or don’t you know that?
You could wear something.
Most modest women do. But you, no.
You must run about naked in the streets.
Does it not worry you…the bad names,
The lewd jokes, the tongue-licking noises
Which girls, uncovered like you,
Draw after them?
This is too much. Is it you, Lakunle,
Telling me that I make myself common talk?
When the whole world knows of the madman
Of Ilujinle, who calls himself a teacher!
Is it Sidi who makes the men choke
In their cups, or you, with your big loud words
And no meaning? You and you ragged books
Dragging your feet to every threshold
And rushing them out again as curses
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Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
Lakunle:
Sidi:
1
UNIT: 2
Greet you instead of welcome. Is it Sidi
They call a fool - even the children Or you with your fine airs and little sense!
[first indigent then recovers composure.]
For that, what is a jewel to pigs?
If now I am misunderstood by you
And your race of savages, I rise above taunts
And remain unruffled.
[furious, shakes both fists at him.]
O… oh, you make me want to pulp your brain.
[retreats a little, but puts her aside with a very lofty gesture.]
A natural feeling, arising out of envy;
For as a woman, you have a smaller brain
Than mine.
[madder still.]
Again! I’d like to know
Just what gives you these thoughts
Of manly conceit.
[very, ver, patronizing.]
No, no, I have fallen for that trick before.
You can no longer draw me into arguments
Which go above your head.
[can’t find the right words, chokes back.]
Give me the pail now. And if you ever dare
To stop me in the streets again…
Now, now, Sidi…
Give it or I’ll…
[holds on to her.]
Please, don’t be angry with me
I didn’t mean you in particular.
And anyway, it isn’t what I say.
The scientists have proved it. It’s in my books.
Women have a smaller brain than men
That’s why they are called the weaker sex.
[throws him off.]
The weaker sex, is it?
Is it a weaker breed who pounds the yam
Or bends all day to plant the millet
With a child strapped to her back?1
Wole Soyinka, The Lion and the Jewel (Oxford: Oxford University
Press, 1963) pp1-4
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10.4. QUESTIONS/COMMENTS/GUIDES FOR THE STUDENTS
1. How does Soyinka paint the character of Sidi?
2. How does he reveal the characteristics of Lakunle?
3. What is the relationship between Sidi and Lakunle?
4. What is Sidi’s attitude towards Lakunle?
5. What is Lakunle’s attitude towards Sidi?
6.
What is Lakunle’s opinion of women generally?
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SOLUTION TO EXERCISES
SECTION A:
GUIDES FOR SOLVING SELF-ASSESSMENT EXERCISES FOR
TOPICS
1-6
TOPIC 1
1.
2.
3.
4.
See 1.3.2
See 1.3.2
See 1.3.3
See 1.3.4
TOPIC 2
1.
2.
3.
4.
5.
See 2.3.1
See 2.3.2 (a)-(g)
See 2.3.2 (d)
See 2.3.2 (a) and (b)
See 2.3.2 (g)
TOPIC 3
1.
2.
3.
4.
See 3.3.2 (a)-(f)
See 3.3.1
See 3.3.2 (c)
See 3.3.2 (b)
TOPIC 4
1.
2.
3.
See 4.3.1
See 4.3.4 and 4.3.5
See 4.3.3
TOPIC 5
1.
2.
3.
See 5.3.2 (a) and(b)
See 5.3.2 (a)-(e)
See 5.3.2 (c) and(d)
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4.
5.
UNIT: 2
See 5.3.3 (b) and (c)
See 5.3.3 (a)-(g)
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TOPIC 6
1.
2.
3.
4.
See 6.3.1
See 6.3.2
See 6.3.3
See 6.3.4-6.3.5
SECTION B:
SUGGESTED ANSWERS FOR THE QUESTIONS ON THE
EXTRACTS FOR LITERARY APPRECIATION FOR TOPICS 710
TOPIC 7
1.
2.
3.
4.
5.
6.
On a bamboo bed in a thatched hut
She was suffering from pain in her sides.
He had just saved her life; he had saved her from drowning.
Afi did not trust him yet. She was wary of the man.
The man resembled the other man she was running away from.
The author was able to create the situation or atmosphere through the use of
apt description and flashback.
TOPIC 8
1.
2.
3.
4.
5.
6.
7.
Through apt description; making Jimmy to meet Eno when she is not
expecting him; making Eno surprised to see her husband; making Jimmy
shocked and surprised at Eno’s ugly figure/shape; asking a rhetorical question
They are husband and wife.
Jimmy is ebony-dark in complexion; he has a powerful structure; and he is
handsome.
Eno, on the other hand, is overweight; she has very big breast; she is sweating;
and she has badly applied make-up.
The author’s attitude towards her is negative; he does not seem to admire her.
“I don’t know if you have ever stepped, barefooted, on a red-hot ember you
thought was a pebble.”
In detention, four years before.
TOPIC 9
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ENG 239 – LITERARY APPRECIATION
UNIT: 2
1ST POEM
1.
2.
3.
4.
Alliteration is found in “leader” and “like” and in“payira”, “played” and
“praised” in the first verse.
Direct address is found in lines 1 and 2 of the second verse: “Ocol, my
husband/My friend”.
“What are you talking?” is a rhetorical question.
The son of the bull wept
.
Like a hungry child
Whose mother has stayed long
In the simsim field!
2ND POEM
(No questions; no suggested answers.)
TOPIC 10
1.
2.
3.
4.
5.
6.
Through what Lakunle says about her; through what she says about herself;
through the things she does; through what the author tells us about her in the
stage directions/comments.
Apply the same analytical style as in (I) above.
There is a love relationship between them.
Sidi believes that Lakunle is weird or strange, because of his learning,
expressions and actions.
Lakunle is in love with Sidi but believes she is not educated enough for him.
He sees her as being rustic.
Women are of a lower quality then men.
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ENG 239 – LITERARY APPRECIATION
CDL, University of Maiduguri, Maiduguri
UNIT: 2
48
ENG 239 – LITERARY APPRECIATION
UNIT: 2
REFERENCES
The following books helped in providing materials for the notes for the topics in this
booklet and students will find them useful.
Marjorie Boulton’s
The Anatomy of Poetry
The Anatomy of the Novel
The Anatomy of Drama
The Anatomy of Language
The Anatomy of Prose
The Anatomy of Literary Studies
published by Routledge and Regan Paul Limited, London
Dathorne, D.R. African Literature in the Twentieth Century. London Heinemann,
1974
Etherton, Michael. The Development of African Drama. London: Hurchison
University library, 1982
King, Bruce (ed.). Introduction to Nigerian Literature. Lagos: University of Lagos
and Evan Brothers, 1974.
Lason, Charles R The Emergence of African Friction. Bloomington/London:
Indiana University press,1971.
Lillis K.M. African Literary Appreciation. London: University of London press,
1975
Moody, H. L. B. The Teaching of Literature. London: Longman,1977
Moody, H.L.B. Literary Appreciation: A Practical Guide to the Understanding and
Enjoyment of Literature in English. London: longman, 1968.
Nkosi,Lewis. Tasks and Masks: Themes and Styles of African Literature, London:
Longman,1981.
CDL, University of Maiduguri, Maiduguri
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ENG 239 – LITERARY APPRECIATION
UNIT: 2
SUGGESTED PLAYS, POEMS, AND PROSE TO BE READ FOR
LITERARY APPRECIATION
Achebe, Chinua. Things Fall Apart London: Heinemann, 1958
_____________. Anthill Of The Savannah. London: Heinemann,1987
Aidoo, Ama Ata. The Dilemma of a Ghost Harlow,Essex longman,1965.
Aluko, T.M. One Man, One Matchet. London: Heinemann, 1964
Ba, Mariama.So Long a Letter.Ibadan. Newhorn Press (Translated by Modupe
Bode Thomas),1981
Mohammed, Razinat T. A Love Like A Woman’s and Other Stories. Ibadan: Kraft
Books.Limited, 2006
Ngugi Wa Thiongo. Weep Not, Child. London: Heinemann, 1964
Okot p.’Bitek. Song of Lawin andSong of Ocol. London: Heinemann,1966,1967
Olagoke.D, Olu: The Incorruptable Judge. London: Evans Brothers, 1962
Olumhense, Sonala.No Second Chance. Lagos:longman,1982
Soyinka, Wole. The Lion and The Jewel. Oxford University press, 1963
___________ ed. Poems of Black Africa. London: Heinemann,1975
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ENG 239 – LITERARY APPRECIATION
UNIT: 2
TUTOR- MARKED ASSIGNMENT
Students should be given passages or extracts in prose, drama, and poetry to
test their ability in literary appreciation --as illustrated in topics 7, 8, 9, and 10.
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