TRADITIONAL AESTHETICS TRANSFER
AND THE AFRICAN NOVELISTS: A STUDY
OF ACHEBE’S THINGS FALL APART AND
LAYE’S THE AFRICAN CHILD
OLALEYE OYEBOLA DAMILARE
07/15CD135
AN ESSAY SUBMITTED TO THE DEPARTMENT OF ENGLISH,
FACULTY OF ARTS, UNIVERSIY OF ILORIN, ILORIN
IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE
AWARD OF THE DEGREE OF BACHELOR OF ARTS (HONOURS) IN
ENGLISH LITERATURE
JUNE, 2011
1
CERTIFICATION
This project has been read and approved as meeting part of
the requirement for the award of a Bachelor of Arts (Honours)
Degree in the Department of English of Faculty of Arts, University
of Ilorin, Ilorin.
__________________
DR. A.S. ABUBAKAR
SUPERVISOR
___________________
DATE
__________________
DR. S.T. BABATUNDE
HEAD OF DEPARTMENT
___________________
DATE
__________________
EXTERNAL EXAMINER
___________________
DATE
2
DEDICATION
This research project work is to dedicated to God Almighty
the giver of life and,
My father, Mr. Gbemisoye Alabi Olaleye. You
are everything to me; you are always there to
help me and strengthens me when I am
about to give up. I love you “Daddy mi”
And to my mother, Mrs. Deborah Aduke
Olaleye. I may seldom say it but, I want you
to know that you’ll always be my Jewel. You
are the greatest mum in this universe and I
love you “Mummy mi”
And to my two sweetest sister. The bond we
share is so rare and precious. I love you,
Sister Funmike and Sister Victoria.
3
ACKNOWLEDGEMENT
There is no road without end; likewise there is no Journey
without destination. This is the Lord’s doing, it is marvelous in my
sight. The completion of this project is through the special grace
of God. Lord I thank you.
My unreserved gratitude goes to my supervisor, Dr. A.S.
Abubakar, who despite his tight engagements, sacrificed his time
in guiding and encouraging me through out this work. His interest,
advice and comment has made this work a reality. May Almighty
God bless you, ‘Oga’ you are the best.
My profound gratitude goes to my caring, loving and
intelligent parents, Mr. Gbemisoye Alabi Olaleye and Mrs.
Deborah Aduke Olaleye. You are my backbones, thanks for your
love, support, encouragement, care and provision. I love you, I
pray you live to eat the fruit of your labour.
Special thanks to my caring uncle, Mr. M. Olaleye, who has
been like a father to me, I appreciate your financial support
4
throughout my University education and his wife, Mrs. F Olaleye,
you are more of a mother to me.
I would like to express my heart felt gratitude to my two
loving sisters, Mrs. Olawale Oluwafunke and Mrs. Victoria
Odediran. I love you and appreciate your moral and material
support. My brother, Mr. Samuel Olaleye, thank you for being
there always. My aunt and her husband, Mrs. Oyeyemi Grace
and Barrister Oyeyemi, thank you.
My profound appreciation goes to Rev. Dr. G.A. Ajadi and
his family members I appreciate your kindness.
My wonderful cousins, nephews and nieces, Hannah, Victor,
Ronke, Stephen, Ife, Fulfillment, Mercy, My sweetheart Mercy,
Mary, Pelumi, Caleb, Olanike, Paul, and my baby Ibukun. I love
you and will always be there for you.
I would like to appreciate my heartfelt gratitude to Sheyi
Ayodele, thank you for stepping into my life at the right time. I
appreciate your encouragement and love, thank you.
5
Among friends, room-mates and course mates who
encouraged me are, Yetunde, George, Keren, Simi, Shakirat,
Femi, Kemi, Bukola and others. Timothy Ishola and Oyelekan
Sunday Sola, you guys are great people and wonderful friends.
Thanks for being part of my life, you are special.
To all my colleagues in English Department 2010/2011
graduate; I will miss you all.
6
ABSTRACT
African novelists draw their raw materials from different
sources, some draw their raw materials from the folktales being
told at night, some writes about the village life before the Colonial
masters while some transfer the beauty in African tradition into
their works. Laye’s The African Child and Achebe’s Things fall
Apart are embodiment of African tradition as observed by other
criticis. Therefore this research work examines the transfer of
traditional aesthetics in The African Child and Things fall Apart.
This research work limits it’s analysis to the traditional aesthetics
in The African Child and Things fall Apart. In conclusion, through
the research findings, it has been discovered that The African
Child and Things fall Apart are loaded with the best of traditional
aesthetics. The two novelists through the use of traditional
aesthetics in their novels have been able to show to the world, the
beauty in African tradition.
7
TABLE OF CONTENT
Title page
i
Certification
ii
Dedication
iii
Acknowledgement
iv-vi
Abstract
vii
Table of content
Chapter one
1.1
Introduction
1
1.2
Purpose of the Study
5
1.3
Justification of the Study
6
1.4
Scope of the Study
6
1.5
Methodology
7
Chapter two
2.1
Literature review
18
8
Chapter three
3.1
The Culture of the Igbo people of Nigeria and
the Malinke people of Guinea and how Achebe
and Laye have perceived it
3.2
Synopsis of Things fall Apart and The African
Child
3.3
28
The Concept of aesthetics transfer in Things fall
Apart and The African Child
3.4
37
Entertaining or ceremonial aesthetics in Things
Fall Apart and The African child
3.6
41
Ritual Aesthetics in Things Fall Apart and The
African Child
3.7
29
Moral aesthetics in Things Fall Apart and The
African Child
3.5
24
44
Importance of traditional aesthetics transfer in
Things fall Apart and The African Child
9
45
Chapter four
4.1
Summary and Conclusion
47
Reference
50
10
CHAPTER ONE
1.1
INTRODUCTION
Reading through African novels, this research work was
triggered by a lot of borrowing from oral traditional aesthetics in to
the written form by African novelists. The transfer of traditional
aesthetics is a common feature in African novels. According to
Bodunde
(2001)
“….
aesthetic
transfer
investigates
the
transformation of different aspects of indigenous heritage….” (p.7)
African traditional setting in general comprises cultural
activities that constitute the concept of beauty or aesthetics.
These aesthetics are enriched in the belief of or custom handed
down from one generation to another. The aesthetics can be
found in the people’s early beliefs, religions, customs, festival,
myth, legends, laws, folktales, settings, communities, metaphysics
and magical ceremonies of the people. African novelists mostly
source their raw materials from African traditions. This is why the
transferred aesthetics were formally oral.
11
TRADITIONAL AESTHETIC TRANSFER AND THE AFRICAN
NOVELISTS
Many African novelists owe much to traditional aesthetics.
There are many examples of African novelists that their works
show evidence of traditional aesthetic. Good examples are: Wole
Soyinka, Amos Tutuola, Sembene Ousmane and Ngugi wa
Thiongo. These writers are African novelists and they are
competent in using traditional aesthetics in their works. Amos
Tutuola in his novel The Palm wine Drunkard makes use of lots of
traditional
aesthetics.
Amos
Tutuola
writes
about
African
cosmology, myth, legend, folktales, belief in supernatural powers
and the African sociology. The novel is rich in morals, rituals, and
entertainment. The novel brings out rich cultural elements Just as
Chinua Achebe and Camara Laye had brought about the cultural
elements in Things fall Apart and The African Child.
Also in Weep Not Child by Ngugi wa Thiongo. Ngugi wa
Thiongo makes use of traditional aesthetics like traditional
custom, traditional settings and governance, myth and legend,
12
superstitious belief and folktales. In Weep Not Child, Kimathi is a
legendrical figure and the myth about Gikuyu and Mubi. There is
also the custom of circumcision. Also is the traditional setting;
Ngotho is the head of his family and he built his household huts
by himself. Ngotho’s polygamous family is a model, because of
Ngotho’s sense of ruling. This view shows that most African
novelists transfer the traditional aesthetics in to their works.
The examination of the traditional aesthetics and the African
novelists, a study of Achebe’s Things Fall Apart and Laye’s, The
African Child, the goal of this research work. The transfer of
African traditional aesthetics in the contemporary world such as
myths, proverbs, festival, folktales, superstitious belief, cultural
celebration are features of most African novels.
SIMILARITIES IN THE SETTINGS OF THINGS FALL APART
AND THE AFRICAN CHILD
According to David (1980) who made a comparative
analysis of the setting in Things Fall Apart and The African Child.
He observed some similarities in, the setting of the Igbo people of
13
Nigeria and Malinke people of Guinea in the respective novels.
They both lived in an extended family compounds, both are
autonomous and self ruled. They lived in an oral society where
learning was done traditional through songs, stories and proverbs.
Farming was their predominant profession.
The traditional aesthetics in The African Child and Things
Fall Apart are similar in the sense that we received detailed
accounts of family, tribal, rituals, customs, ceremonies through the
stories the characters tell.
The similarities in the setting of the two novels explain the
similarities in the use of traditional aesthetics. It also explains the
transfer of traditional aesthetics of African tradition and cultural
heritage in relation to the two texts.
1.2
PURPOSE OF THE STUDY
The purpose of this study is to examine the traditional
aesthetic transfer in two of African novels. Chinua Achebe Things
Fall Apart and Camara Laye’s The African Child.
14
This research also aims at making a critical analysis of the
various traditional aesthetics used by Camara Laye in The African
Child and Chinua Achebe’s Things fall Apart.
Finally, the researcher shall discuss importance of the
traditional aesthetics in the two texts.
1.3
JUSTIFICATION
This study is embarked upon because no study of this
nature to the researcher’s knowledge has focused specifically on
the transfer of traditional aesthetics, using the two texts: Things
Fall Apart and The African Child.
The works that the researcher came across in the
information collection include, Kilam (1969) which focuses on the
use of language and literary devices in Things Fall Apart. Another
is Idowu (2009) which deals with the use of mythology and
superstitious belief in Laye’s The African Child.
The researcher also came across Ashaolu (1989) who
focuses on the image created by Chinua Achebe in Things Fall
Apart.
15
The difference of this work from Kilam (1969), Ashaolu
(1989) and Idowu (2009) is that the researcher intends to focus on
the traditional transfer in Things Fall Apart and The African Child.
1.4
SCOPE OF THE STUDY
This research work shall be restricted to the analysis of the
traditional aesthetic transfer in Camara Laye’s The African Child
and Things Fall Apart by Chinua Achebe. This research shall not
divert into their other works.
The researcher shall specifically bring out the traditional
aesthetics that are similar to the two novels and give their
importance.
1.5
METHODOLOGY
The theoretical approach of this research study is
functionalism. The reason is that the approach addresses the
society as a whole in terms of the function of its constituent
elements namely norms, customs, traditions and institution.
The chosen texts shall be employed as functional novels as
they also deals with the socio-cultural patterns of their respective
16
settings. Also, the belief in the uni-linear and parallel stages of
social evolution which all societies must pass through.
17
CHAPTER TWO
LITERATURE REVIEW
2.1
INTRODUCTION
This chapter will examine what other scholars have written
on Chinua Achebe’s Things fall Apart and Camara Laye The
African Child.
Chinua Achebe’s and Camara Laye are renowned African
novelists. Their works Things fall Apart and The African Child
have attracted many criticisms. Some writers writes about the
rituals in the novels, some on the culture and tradition while some
on the ideological approach, myth and rite. It is therefore
important to examine some of the criticisms.
CRITICS VIEW ON RITUALS IN THINGS FALL APART AND
THE AFRICAN CHILD
In the opinion of Tiffin (1988) he views that Chinua Achebe’s
Things fall Apart exposes the rituals of the people and keeping the
western historising at bay:
The complexity and communal density of the
people’s culture were exposed through festivals,
18
rite and rituals are established … his novel
focuses on the Ibo society and his use of style rely
on the Ibo traditions and reputation of rituals and
festivals. (p. 60)
Liukkonen (2008) views The African Child as a novel that
portrays Laye’s nostalgically happy childhood, his parent,
initiations of manlike culture, ritual circumcision and the end of his
youths (p. 27).
These writers writes about the rituals aspect in Things fall
Apart and The African Child. The ritual aspect of the novels is
important but this research work is not concerned with that
aspect.
CRITICS VIEW ON THE USE OF LANGUAGE IN THINGS FALL
APART AND THE AFRICAN CHILD
Ibrahim (2008) is of the opinion that the style makers that
we have in Things fall Apart are in accordance with the Ibo
tradition and the effect is that the reader’s mind is kept intact
throughout the narration. Ibrahim means that Things fall Apart
appeals to his readers through the use of style (p. 80)
19
Simon (1977) describes Achebe’s Things fall Apart as a
special work that lies in the usage of structure and language
(p.10).
Steven (1979) is of view that the language of the novel is
simple but dignified. “When the characters speak, they use
elevated diction which is meant to convey the sense of the
Ibo”.(p.12)
In the view of Hay (2000), he writes that “Things fall Apart is
a good text, organic autobiography, good use of language and
detailed in description” (p. 20)
According to these writers, Achebe’s use of language and
style is unique and appealing to the reader. Achebe makes use of
simple language, to vividly express the mind of his characters.
Laye’s use of language according to critics is good and
detailed. This research work is not concerned with the use of
language in the chosen texts but to explore the traditional
aesthetics in the chosen texts.
20
CRITICS VIEW ON TRADITIONAL VALUES IN THINGS FALL
APART AND THE AFRICAN CHILD
Margaret (2000) summarizes Achebe’s uniqueness in the
presentation of African tradition saying that;
Things fall Apart vividly recreated the Igbo society
in the early twentieth century. Achebe makes no
effort to hide those sensible aspects of traditional
values comprehensibly and sets them in contexts.
(p. 16)
Umesiagbu (1995) opines that “Achebe has revealed the
culture of his people very carefully accurately by doing so, shows
vividly the tragedy that befalls the African people in his novel as a
result of his class culture (p. 26)
Gerald (1960) writes, “Achebe has revealed to us a way of
life
which
has
almost
disappeared
and
has
done
with
understanding, with realism” (p. 15)
Angola (1960) noted how important the communal life in Ibo
tradition (p. 12) In Things fall Apart the characters do their things
in common and there is great joy in this.
21
Lindfors (1997) comments on the rich portrayal of Ibo
traditional society glowed with compassions “in Things fall Apart,
the customs, beliefs, institutions, the lives of the village are
presented before the arrival of the white men (p. 32).
Cengage (2002) writes, “Achebe depicts the Ibo as a people
with great social institutions, the culture is heavy in traditions and
laws that focus on Justice and fairness” (p. 17)
It is necessary here to say Chinua Achebe’s Things fall
Apart has gotten rich cultural elements, traditional institutions of
the Ibo people of Nigeria. “The African Child by Camara Laye
shows the African search for identity in colonial time. A child that
gradually moves from African tradition to an increasing western
education” As Jimenez (1991) submits.
Duffy (2000) states that “The African Child is Laye’s
autobiography, trailing the development of his culture, personal
value of a young man coming of age within Malinke tradition”
(p.31). The means that The African Child is an account of Camara
22
Laye’s , his growing up and the growing of his culture. And his
own interests and love as a young within Malinke Tradition.
Marceline (1964) writes “The African Child is not just the
autobiography of sacred traditions, customs”.
Eromonseu (2005) “The novel tells us about the importance
of African culture and tradition” (p. 30). This means that Camara
Laye’s The African Child shows the beauty and prestige of African
tradition and culture.
Camara Laye in an interview shows the essence of Africa
tradition in his works with Rubin (1972) –
My novel testifies to its culture it was able to grasp the
significance of our past and of our civilization, I believe
that this understanding of our tradition is the most
meaningful contribution of African literature (Vol .5)
Thomas (1988) wrote that it was “a tender recreation of
African life, mysterious in detail but haunting and desirable in
spirit” (p. 18)
The above views show Laye’s understanding and respect
for African tradition. He did not considered his childhood as
23
something to be ashamed of, on the contrary as something he is
proud of.
Chinua Achebe and Camara Laye has tried not only to
inform the people about the African traditions but to remind the
Africans and non-Africans of the past and to assert that it had
contained much of value.
The traditional value is an important feature of traditional
aesthetics. The goal of this research is to explore the aesthetics
transfer and how the African novelists have been able to transfer
it.
CRITICS VIEW ON THE USE OF AESTHETIC IN THINGS FALL
APART AND THE AFRICAN CHILD
Ashaolu (1985) is of the opinion that Achebe’s novel has
done a good job in reshaping the impression of African colonial
times through its use of aesthetic.
He writes;
Things fall Apart has done more to reshape, the
image of African colonial times than any book it
enables everyone to view African experiences,
24
persuading us through
aesthetic. (p. 25)
the
use
of
elegance
Ashaolu mean that Achebe has done well in reshaping the
impression of the African colonial times more than any book. It
makes every one to know African experience. Making us belief his
claim through the use of elegance aesthetics.
Edame (2000) writes that;
Besides trying to instill pride self respect among his
fellow African. Achebe has also provide the world of
a perceiving black aesthetic. The beauty of African
tradition is impressively subsumed in his fiction.
Achebe has shown in Things Fall Apart the pride and self
respect among his fellow African. Also has made the world to feel
the beauty of African culture in his novel.
Ajayi (2009) noted how Laye captures seemingly random
moments with a lyrical elegance and aesthetic that convey much
more than merely an event or a happening.(p.10)
The two novels are embodiment of aesthetics. There are
aesthetics like, proverb, music and dance. Chinua Achebe Things
25
Fall Apart and Camara Laye’s The African Child is loaded with
best of traditional aesthetics. The acceptability of their novels lies
in the use of traditional aesthetics, which are rich and captivating.
This research work shall deal with the traditional aesthetics
transfer in the two novels.
IDEOLOGICAL APPROACH: AS VIEWED BY CRITICS IN
THINGS FALL APART AND THE AFRICAN CHILD
Iyasere (1967) views that Things Fall Apart from a feminist
point of view and he writes, “In Things Fall Apart women are
viewed mainly as child bearers and help mates for their husband”
(p. 16) Iyasere views that Achebe did not present the female
characters with value but just as mere objects for child bearing
and their husbands’ helpers.
Boom (1969) explains that, “Things fall Apart is a post
colonial text, as it rejects the assumption that the colonized can
only someone’s else’s story” (p. 69).
26
As booker (1979) explains, “Things fall Apart is a complex
hybrid cultural phenomenon that combines western and African
cultural perspectives” (p. 7).
Brench (1967), comments on Laye’s use of Female
character, as differs from other West African novelists. He
explains thus;
Laye unlike other West African novelists invest his
female charcters with leading and challenging roles
in his novels. He thus seems to be holding up
womanhood as the most custodians of the traditional
culture. (p. 30)
Laye’s mother for instance was the most and powerful
member of the family with her husband deferring to her.
For more than fifty years, Things Fall Apart and The African
Child have offered critics rich material for thought and reflection.
Critics have written on the ritual, language use, traditional, values,
aesthetics and ideological approach so more.
The researcher has reviewed some of the criticism. None of
the critics have explored the traditional aesthetics transfer in
27
Chinua Achebe Things Fall Apart and Camara Laye’s The African
Child which is the goal of this research work.
28
CHAPTER THREE
3.1
THE CULTURE OF THE IGBO PEOPLE OF NIGERIA AND
THE MALINKE PEOPLE OF GUINEA AND HOW ACHEBE
AND LAYE HAVE PERCEIVED IT.
The Igbo people lives in the eastern part of Nigeria. The
stifling heat of Africa would dictate the type of clothing worn by
any native people. The Igbos wear little or nothing until they reach
puberty. At this time, the men usually wear a loose-fitting cotton
shirts and a loin cloth, while the women wrap some cloth around
their waist. The men often carry machetes, useful for clearing
overgrown paths and offering protection from wild animal. The
language of the Igbo is very interesting. It is derived from a group
of languages commonly found in West Africa, the Kwa languages.
It is based on a lot of pitch, vocal, infections and context when
defining the meaning of a word. A single word can have numerous
meanings depending on these factors, idioms and proverbs play
an important role in the Igbos language. Someone who does not
29
use them in speech is considered a novice at speaking the
language.
Village life for the Igbo is like many other villages that have
anywhere from a few hundred to a few thousand people
comprised of numerous extended families. A very interesting thing
about these villages is that there is no single ruler or king that
controls the population. Decisions are made by every one in the
village. There are established institutions such as a council of
elders, a council of chiefs, women’s associations and secret
societies. The Igbos simultaneously emphasize individual actions
and community living.
The Igbos are profoundly religious. These polytheistic
people worship many gods. They believe that there are three
levels of divine being: the highest level is the supreme God or
‘Chukwu’,
underneath
Chukwu
are
lesser
gods
called
“Umuagbara” and under these are the “Ndichie”. They belief in a
personal god called ‘chi’. The Igbos are mostly polygamist.
30
The Igbos eat yam, pounded yams, foo-foo, maize, smoked
bananas. Yam is very important to the Igbo. The Igbos believe
that everything in life is controlled by higher powers, there are
also diviners in a village that attempt to predict the future. They
place a regard on title, and the success of a man is determined by
the no of title a man is able to attain.
This is a negative side to the Igbo culture, however, since
the British invaded and settled Ibo land in the beginning of the 16th
century,
things
have
changed
drastically,
mostly
to
the
disadvantages of women. Today, women are considered second
class citizens and subservient to men and sometimes, treated as
slaves, women are also forced to study certain womanly subjects
in school.
Achebe perceive the Igbo culture as something good, to be
proud of as an Igbo man. He always writes about African and the
culture of his people. His works are always rich in cultural
elements of great depth, value and beauty. Chinua Achebe (1964)
gives the reason his novels are always rich in cultural elements,
31
he writes “African people did not hear of culture for the first time
from the Europeans that their societies were not mindless but had
a philosophy established” (p.12). Achebe makes use of the Igbo
proverbs and idioms, the communal life, their festivals and cultural
celebrations. Chinua Achebe has been able to situate properly the
cultural heritage of the Igbo people of Nigeria. His works are rich
in proverbs, rituals, festivals, folktales, custom and ceremonial
activities.
The Malinke people of Guinea speak slight variations of
broad Mande. They live in family related compound in traditional
rural villages. Malinke villages are fairly autonomous, being led by
a chief and group of elders. Malinke’s live in an oral society,
learning is done traditionally through stories, songs and proverbs.
Through a series of conflicts, primarily with the fulla-led kingdom
of Fouta Gjallon, about half of the Malinke population converted
indigenous beliefs in Islam. Today, the majority of Malinke are
Muslim.
They
are
rural
subsistence
farmers,
goldsmith,
blacksmith, cattle rearer, most women remain home as wives and
32
mothers. They have long been known for their drumming and also
for their unique musical instrument, the Kora.
Malinke give their children names on the eight day of their
birth and their puberty rites and circumcision are very significant in
the lives of the passage for one cannot attain adulthood or marry
without it. Traditional Malinke are cultivators who grow varieties of
millet, sorghum rice and corn as staple crops. Farming is a
respected occupation and all members of society are given
farming tasks. Women generally wear a loose, scoop-necked
smock over a long skirt made by a wrap around piece of cloth.
The men’s outfit resembles pajamas.
Camara Laye belongs to the Malinke people. Laye was
passionately concerned with preserving the cultural values of his
people. Camara Laye in an interview with Rubin (1972) says “my
novel testifies to its own culture, the significance of our past and
our civilization”. Laye understands and respects his culture. He
perceives it as something to be proud of even after attaining the
33
whiteman’s education. Laye’s novels always portray his culture,
values and the beauty in the Malinke’s tradition.
3.2
SYNOPSIS
OF
THINGS
FALL
APART
AND
THE
AFRICAN CHILD
Things Fall Apart traces life in Igbo village of Umuofia,
Nigeria, just before and after its initial contact with European
colonialist and their christian religion. The novel focuses on
Okonkwo, an ambitious and inflexible clan member trying to
overcome the legacy of his weak father. Okonkwo’s status is
based on his own achievements, he is a great wrestler, a brave
warrior and a respected member of the clan who endeavours to
uphold its traditions and customs. The first part of the novel traces
Okonkwo’s successes and failures within the clan.
In the second part he is finally exiled when he shoots his
wife and accidentally shoots a clansman. According to clans law,
his property is destroyed and he must leave his father’s land for
seven years. He flees to his mother’s homeland, which is just
beginning to experience contact with missionaries. Okonkwo is
34
anxious to return to Umuofia, but finds upon his return that life had
also begun to change there as well.
The third part deals with Okonkwo’s return to his village and
his disappointment at the lack of interest in his arrival. The
Christian missionaries have made inroads into the culture of the
clan through its disenfranchised members. Shortly after his return,
Okonkwo’s own son leaves for the mission school, disgusted by
his father’s participation in the death of a boy that his family had
taken in and treated as their own. Okonkwo eventually stands up
to the missionaries in an attempt to protect his culture, but when
he kills a British messenger, Okonkwo realize that he stands
alone and kills himself. Ironically, suicide is considered the
ultimate disgrace in the clan, and his people are unable to bury
him.
The novel ends on a note or irony as the point of view shifts
to Districts Commissioner who sees the situation only in terms of
his own ambitions and ruthless need to subjugate the native
populace. The tragedy of Okonkwo will just be a paragraph in the
35
book of the District Commissioner, called ‘The Pacification of the
Primitive Tribe of the Niger’. The author at the end of the novel
criticizes the British for their lack of sensitivity and at the same
time laments the demise of Okonkwo.
Laye’s autobiographical novel, The African Child is the story
of one boy’s journey from his earliest memories at age five or six
to his first moment of definite adulthood. Respected and loved
through out his childhood. Laye’s father runs the village forge but
his prominent role in the community stems from more than his
status as blacksmith.
Laye’s evolution from young boy to ‘adult male’ provides a
rich back story to the narrative. Laye was initiated into manhood
by being circumcised. He participated in a festival consisting
public and private ceremony for several days and later a period of
physical heaving. Upon his returning home, he moved to his own
hut, separated from mother and father though ‘still within earshot’
of the family, as his mother tartly reminds him.
36
Shortly after moving into his hut, Laye leaves at fifteen years
of age to attend “Ecole Georges Poiret”. Like any mother, Laye’s
mother warns Laye to be careful with strangers and sends him off
on a train to live with his uncles: Sekou and Mamudou.
Colonization is mere evident in Conakry than in Koroussa.
Several years after leaving for Conakry, Laye returns home
with his certificate and scholarship to continue his studies in
France. Laye’s father and uncle supported him but his mother
resists the idea. Laye later parts with his mother shouting and
insulting him and later turning her anger to the European
influences she perceives as taking her son away to France.
Laye’s father armed him with a map of the city
transportation of Paris metro in France. The map is an extremely
powerful symbol to carry as he leaves the land Guinea completely
and for a time, the continent of Africa. His father gives him the
physical, practical tools for surviving in the city, but with that
comes a compass directing the learning and success of his son.
The fear excitement, anxiety and sadness climate in the last
37
vignette of the autobiography with Laye crying as he goes to exit
plane, lightly placing his hand over the map in has left shirt
pocket.
3.3
THE CONCEPT OF AESTHETIC TRANSFER IN THINGS
FALL APART AND THE AFRICAN CHILD
The novel Things Fall Apart is considered by many critics to
be rich in cultural elements such as, customs, rituals, beliefs and
institution of the Ibo people in Nigeria. Things Fall Apart enables
Chinua Achebe to prove to the world that African people did not
hear of culture for the first time from the Europeans, that the
African societies were not mindless but frequently had a
philosophy of great depth, value and beauty, they had dignity. A
very important element is the use of Igbo proverbs. Edame
(2008), views that Achebe has shown in Things Fall Apart the
pride, and self respect among fellow African. Also, he has made
the whole world to feel the beauty in the African culture.
Chinua Achebe begins the novel by introducing the
protagonist, Okonkwo. The reader learns about the ritual,
38
tradition, religion, superstition belief, cultural and indigenous
elements like traditional setting of building Mud house, goat skin
bags, tripods, baskets, clay pot, bamboo bed and also the use of
indigenous name of most of his characters. All in turn has done a
great work in promoting the traditional aesthetic of Africa.
In The African Child, Laye portrayed his childhood, his
parents, his environment, education of Malinke culture, ritual
circumcision and the end of his youth.
The African Child has done a great job in reshaping the
image of the African colonial time through the use of its
persuading aesthetics. Laye has made the African tradition more
attractive to people. Camara Laye makes use of simple language
in describing events in the novels, leaving the reader to imagine
the rest of the story.
Things Fall Apart and The African Child have gotten so
many traditional aesthetics. In this study, the researcher shall limit
the use of aesthetics in the novels by categorizing them into three;
moral, entertainment and ritual.
39
3.3
MORAL AESTHETICS IN THINGS FALL APART AND
THE AFRICAN CHILD
The moral aesthetics are those aesthetics that instruct,
teach and are meant for correction. The moral aesthetics inflict
fears into the people in order to teach lessons like the taboo in
Yoruba land that is forbidden to make jest of an epileptic patient. It
is believed that the jester too would be infected, which is not true
but is just meant to stop people from making jest of the epileptic
patient. After gaining consciousness he would be ashamed of
himself or herself and might not mix up with people thereafter.
The fear that has been in the people will not allow them to make
jest of an epileptic patient during his/her crises.
SUPERSTITIOUS BELIEF
Superstitious belief is a belief that is not based on reason. It
is sometimes attributed to luck or fate.
Superstitious beliefs
mostly are not basically scientifically proven.
Laye’s parent in The African Child have some powers which
others did not posses. Laye’s parents are gifted and this made
40
them successful people among others.
Laye’s mother could
speak to animals when they are stubborn. She has a totem that
makes her to bath in the crocodile’s stream which others do not
have. Despite the fact that his mother had her powers, his father
is not left out.
He is a renowned goldsmith who believes his
success is possible through the help of the snake who happened
to be the guiding spirit of their race.
In Koroussa, one does not just kill any snake because there
are some snakes that are helpful and harmless. Laye is always
impressed whenever his parents and people closer to him could
do what others cannot do. Laye’s mother confirms the claim not to
harm or kill just any snake.
When Laye noticed a little black
snake moving towards the workshop, he runs to his mother to
warn, as usual. Just as his mother sees the snake, she says to
Laye gravely, “My son, this one must not be killed, he is not as
other snakes, and he will not harm you. You must never interfere
with him” (p.55). The powers possessed by his parents seems to
Laye as superstitious because he believes that anybody who is
41
hardworking and dedicated should be able to do what he saw as
supernatural.
In Things Fall Apart, Ezinma Ekwefi’s daughter is an
Ogbanje, it is believed that Ezinma has been coming to life and
going back. It is believed that Ezinma has supernatural powers
that other children do not possess. It is superstitious to say that a
particular child has being dying several time and at the same time
been giving birth to re-occurrently. “Ekwefi had suffered a great
deal in her life. She had borne ten children and nine of them had
died in infancy, usually before the age of three”. (P.54)
There is a part of the village which is refered to as the evil
forest. The people believe that there are various evil spirits in that
forest. It is in this evil forest that the Christian builds their church
and nothing bad happened to them in the novel. Enoch, one of the
Christian kills the sacred python. These moral aesthetics are used
to correct the society, to moderate the society and for orderliness.
42
TRADITIONAL LAWS AND SOCIAL HIERARCHY
Achebe presents in Things fall Apart the law that declares a
week of peace. Okonkwo beats his wife Ojugo during this week,
he was punished and made to pay fine. When he mistakenly killed
a boy during a burial ceremony, he was also sent on exile for
seven year. This view can be seen in text that: “The only course
open to Okonkwo was to flee from the clan. It was a crime against
the earth goddess to kill a clansman, and a man who committed it
must flee from the land”. (P.87). His household was broken down
in accordance to law. The Igbo react strongly to what is
abomination to them.
The above law in Things fall Apart could correct the society.
It is a crime to kill and fight during the week of peace. Though
these crimes would reduce in the society because of the penalty
attached to it. What happened to Okonkwo would teach other
clan’s member a lesson. A lesson to be careful always.
The Igbo also pay attention on title, even when the white
men came, they were referred to as Efulefu, empty and worthless
43
man. The highest hierarchy is Egwugwu headed by the Ajofia, this
is followed by the Ozo society consisting of the elders of the clan
or the lord of the clans who are referred as Ndichie. This body of
elders enforce the rules passed down by the upper bodies. The
Akakama age group is recognized as the middle aged men. The
women folk has Anasi – a middle aged woman as their head. The
children fetch water and fetch the firewood during any social
activities.
The attention that the Igbo on title will enable the people of
that society to work hard, both old and young. Because there is
prestige in the attainment of this title. Anybody can’t just hold a
title, but must be hardworking, diligent wise amidst other good
qualities. Okonkwo condemns his first child when he feels that
Nwoye is lazy. As he threatens Nwoye with:
“I will not have a son who cannot hold his head in the
gathering of the clans w would sooner strangle him
with my own hands. And if you stand starring at me
like that…… Amadi ora will break your head for you”
(p. 4)
44
Laye’s father is the head of his family in The African Child.
He takes the lead in most important activities and lives by
example Uncle Lansana in Tindican is the head of his family as he
is the eldest male child. He assumes the position, since his
father’s death and his twin brother is not always around. During
the rice festival, the head of each family will rise at dawn to go
and cut the first swathe on his fields.
Laye’s mother is symbolic of African culture; she is the
second on command of the household. A typical Guinea woman
with all respect, security and good background is presented in
Laye’s The African Child. Laye says “She has great personal
value” (p. 58)
In Koroussa the people do not speak of the dead, it is a law.
The children must not gaze upon older meals, they must focus on
the food they are eating. After the meal, Laye says;
“I would say, ‘Thank you, father’ The apprentices
would all say Thank you master then I would bow to
my mother and say, the meal was good, mother, my
brothers and sisters and apprentices would do like
wise (p. 57)
45
These rules are etiquettes at meal time when all the rules
are obeyed; it makes the child a better representation of his family
and culture. They teach morals and thereby improve the child
skills.
FOLKTALES
In Tindincan (Laye’s mother’s village) the children do sit
down round the fire and tell tales. The children would be silent
and eager to listen because at the end of it, there are always
lessons to learn.
The teller of the tales would receive the most applause.
They tell story about their ancestors, animals and human beings.
The most important thing is that the tales will surely teach a moral.
People learn about their culture and tradition in folktales.
In Things fall Apart, Ekwefi do tell her child stories in
evening when there is moon and no more work to do. She tells
Ezinma a story that has to do with the Animal kingdom. The story
teaches that one should be contended with whatever one has, not
to be greedy, and that one should not repay evil with evil.
46
3.4
ENTERTAINING OR CEREMONIAL AESTHETICS IN
THINGS FALL APART AND THE AFRICAN CHILD
The aesthetics here are to amuse, to please and for the
enjoyment. These aesthetics are mainly for the enjoyment of the
people. There are aesthetics like traditional festivals, folktales,
cultural believes, cultural celebrations and others. At the ends of
the events, the people must have been entertained either through
dance, music, chants or drum beats. This aesthetics has a way of
carrying its audience along through the amusement created.
TRADITIONAL FESTIVAL
In The African Child, there is always a festival in Tindican
around December, to mark the harvest of rice. It doesn’t have a
precise date, it depends on the weather. On the day of the
festival, the head of each family would rise very early in the
morning to go and cut the swathe is cut, once the swathe is cut
the sound tom tom would begin with celebration. The people will
begin to make merry, dance and sing. The men will continue
reaping, as they reap, they also sing in chorus “their voices and
47
gestures were all harmonious and in harmony they were one…
each and everyone was tasting the common pleasure of
accomplishing a common taste” (p. 51)
Also, during the initiation of the boys into manhood, the boys
do sings, clap their hands and dance in a uniform manner.
Through this performance they also entertain the other people
present to watch.
New yam festival in Things fall Apart is considered as a
ceremonial festival by the Igbo people. The first day of the
celebration is for wrestling. People, both old and young always
like to come and watch the wrestling. Ekwefi always like to watch
the wrestling with her daughter, because it was there she fell in
love with Okonkwo.
On the second day of the festival, elders will select yams,
then rams will be slaughter dinner will also follow with drinking of
palm wine. There is always enough food and drink for everybody.
Achebe writes “The New Yam Festival was thus an occasion for
joy throughout Umuofia” (p. 26)
48
One can not really say which day of the festival the people
enjoy most. Is it the wrestling match of the first day? Or the merry
making of the second day of celebration? The most important
things is it serves the function of entertaining in the society.
CULTURAL CELEBRATION AND CULTURAL BELIEVES IN
THINGS FALL APART AND THE AFRICAN CHILD
There are cultural celebrations like burial ceremony,
wedding ceremony in Things fall Apart and the initiation to
manhood ceremony in The African Child and praise – singing as a
cultural belief.
For the burial of a man of title in Umuofia, the villager will
gather in the village square. There will be beating of drums and
shooting of guns into the air. Mock wrestling will be staged. Then
people begin feasting and drinking in.
The wedding of Obierika’s daughter follows the laid down
marriage proceedings in Umofia. On the wedding day, the guests
are entertained with foo-foo and palm wine. A musician plays the
music, the wife dances and other guests too.
49
Praise singing is a cultural belief of the Malinke tribe in The
African Child. It is believed that the bard is called upon as agent
between the goldsmith and trinket owner. The bard is called upon
to sing the praises of the goldsmith ancestors. This would enable
the goldsmith to work with zeal to produce a great trinket. This is a
great event for Laye, because he likes it when the bard sings of
his father’s ancestors. He writes “The praise-singer would install
himself in the work shop and tune has Cora, which is harp and
would
sing
my
father’s
praises…
the
harp
played
an
accompaniment” (p. 29). It is the custom of the Malinke to go
through the process, if not the trinket might not be made quickly.
By singing Laye’s father’s ancestor is praised, he gets amused
and entertained not only him but people in the workshop or
around him. He will surely do the work with a great zeal.
FOLKTALES
The folktale is one of the commonest and easily the most
popular form of oral literary expression in many African societies.
50
In Things fall Apart, Ekwefi told her daughter story about the
keen interest of enjoyment. She asked question to shows she has
been following the tales. Before the story begins, there is a kind of
call that serves as the opening before the story. Ikemenefuna do
tells Nwoye stories. There could be musical interlude in between
the story too. Tales can be told by old and young.
Anytime Laye visits his mother’s village. The teller of tales
would receive the most applause. All the children would sit and be
silent, eager to listen because they would be entertained. This is
one of the reason’s Laye loves to visit his mother’s village.
Folktale is a communal activity that bring people together.
3.4
RITUAL AESTHETICS IN THINGS FALL APART AND
THE AFRICAN CHILD
These kind of aesthetics follows a laid down rules. It is a
series of action that are often carried out in the same way,
especially of religious ceremony or activity. There are festival and
cultural celebration that are ritualistic in nature.
51
FESTIVALS
During the new yam festival in Umuohia. (Things Fall Apart)
twelve yam tubers are selected by the elders, which represents
the twelve moons of the year; then the rams that have been
bought to the ritual ground will be slaughtered with their blood
touching the ground. Dinner follows with drinking of palm wine till
Ikolo sounded the usual departure.
In The African Child, in Tindincan around December which
is the dry season, there is always a festival to mark the harvest of
rice. On the day of the festival, the head of each family would rise
at dawn to go and cut the swathe in his fields. It is believed that
the gods must be appeased in order to have a productive and
wrath-free harvest. Immediately after the first swathe is cut, the
sound of the tom-tom will begin with celebration.
CULTURAL CELEBRATION
Ezendu’s
funeral
ceremony
follows
laid
down
the
proceedings for the burial of a man of title in Umuofiia. The burial
begins with gathering of the villagers and beating of drums and
52
shooting of guns into the air, the dead is been saluted. Mock
wrestlings are staged. This is followed by people feasting and
drinking in Things fall Apart.
In The African Child the circumcision process follow laid
down rules that must be followed strictly. The first phase of the
circumcision is to meet with Kodem-Diara, the second phase is
circumcision proper where the young boys see their blood flowing
freely out of them. Laye reveals that where is sweetness in this
point with great courage as revealed in page 103
“And indeed we had been very brave
We had all been very carefull,we
concealed our fear. But we now perhaps
not so brave, for hemorrhage that
follows the operation is abundantly very
long and disturbing all that blood lost (p. 105)
Laye later realizes that circumcision rite does not really
determine the courage of a man but a compulsory rite does not
really determine the courage of a man but a compulsory rite
everyman must undergo at a certain stage of his life.
53
3.5
IMPORTANCE OF TRADITIONAL AESTHETIC IN THINGS
FALL APART AND THE AFRICAN CHILD
The traditional aesthetic in Things fall Apart and The African
Child have done a very great job in show casing and reshaping
the culture of African tradition. Through these texts the beauty in
African tradition is brought to life.
In Chinua Achebe’s Things fall Apart and Camara Laye’s
The African Child, there is a re-defining of the African culture.
These writers present the beauty in Africa as sufficient and
commendable. The institutions of marriage, traditional law and
punishment, burial, honour and medicine are portrayed in their
typical and original colours allowing for every generation to
appreciate and assess.
The traditional aesthetics teaches moral through the stories
told at nights, children do imbibe good characters. These children
will later grow to be good member of the society. Through
festivals too, people learn to appreciate and respect their cultural
values.
54
Importantly, African novelist retain the aura of their roots
and these as made their novels to be good. These aesthetics
teaches morals, instructs, punish law breakers, amuse and please
the people in a society.
55
CHAPTER FOUR
4.1
SUMMARY AND CONCLUSION
This research work explores the aesthetics transfer in
Chinua Achebe’s Things fall Apart and Camara Laye’s The
African Child.
Chapter one gives the general introduction of the research
work. It contains the general introduction, purpose of the study,
justification, scope and research Methodology.
Chapter two starts with the review of literature of what other
scholars have written on Chinua Achebe Things fall Apart and
Camara Laye’s The African Child.
Chapter three gives the culture of the Igbo people and
Malinke people, the synopsis of Things fall Apart and The African
Child and the concept aesthetics transfer in both texts. The
aesthetics
are
grouped
under
the
subdivision;
moral,
entertainment and ritual aesthetics. There are superstitious belief
folktales, traditional laws, traditional festivals and social hierarchy.
56
African novelists have been using the traditional aesthetics
in their words, to revolt against the white cultural imperialism. It is
an attempt by African writers that contrary to the white men’s
belief or claim that African were cultureless the culture of Africans,
if not better than those of Europeans, the African culture was
equally good. This Chinua Achebe and Camara Laye have done
in their works by transferring the oral aesthetics into their works.
The writer’s novels are evidently powered and loaded with the
best of African traditional aesthetics.
Novelists like Camara Laye and Chinua Achebe reflects the
life of African in relation to every aspects of an African, in relation
to relation to every aspect of their life and their works.
Here, it is unarguable to conclude that Chinua Achebe and
Camara Layes’ use of traditional aesthetics in the two novels are
unique in terms of titles, use of languages, plots, styles,
characterizations, settings and overall view which have given their
works attention from both scholars and students of literature.
57
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60