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i.
TITLE
THEMES AND TECHNIQUES IN THE NOVELS OF CHINEDUM E. OFOMATA
A RESEARCH PROJECT PRESENTED TO THE DEPARTMENT OF LINGUISTICS, IGBO AND OTHER NGERIAN LANGUAGES, UNIVERSITY OF NIGERIA, NSUKKA,
IN FULFILMENT OF THE REQUIREMENTS FOR THE
DEGREE OF MASTERS (M.A.) IN LITERATURE (WRITTEN)
BY
ONWUKA, GLORIA T. PG/MA/06/41890
JUNE, 2009
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ii.
CERTIFICATION ONWUKA, GLORIA T., a postgraduate student in the Department
of Linguistics, Igbo and other Nigerian languages with registration
number PG/MA/06/41890, has satisfactorily completed the requirements
for course and research work for the degree of Masters of Arts in written
literature.
The work embodied in this project report is original and has not
been submitted in part or full for any other Diploma or Degree of this or
any other University.
_______________________ _________________________ SUPERVISOR HEAD OF DEPARTMENT iii.
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DEDICATION
This project is dedicated to God Almighty and to my husband Dr.
Chris J.A. Onwuka.
iv.
ACKNOWLEDGEMENT
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The researcher appreciates the contributions of everybody
towards the success of this work. In the first place, my thanks go to God
Almighty for His infinite mercies and protection during the period of the
study.
The researcher wishes to express her thanks, gratitude and
appreciation to her supervisor, Prof. C.N. Okebalama for his guidance
while this research work was in progress. His intellectual leadership in
pruning the work is most gratefully acknowledged. My thanks also goes
to Prof. I.U. Nwadike for his assistance in releasing some of his useful
materials.
The researcher is deeply grateful to her husband Dr. Chris J.
A. Onwuka for his support and understanding. His moral and financial
support is highly appreciated.
Finally to the typist Mr. Emma Omeje for doing a neat work.
v.
LIST OF CONVENTIONS
AGAO - Anu Gbaa Ajo Oso
IOM - Ihe Onye Metere
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IOGA - Ihe Ojoo Gbaa Afo
DNO - Dibia Na- Agwo Otoro
vi.
ABSTRACT
This study looked into the themes obtainable in Ofomata’s novels
and the techniques used in portraying them. The universal and didactic
nature of his work is of great importance to mankind especially in the
area of morals. His works, most often shows that evil does not pay
anyone that practices it rather good behaviours are always rewarding.
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The techniques that distinguish him from other writers and the
language used were looked into. His way of narrative is peculiar and his
method of characterization is worthy of emulation.
vii.
TABLE OF CONTENTS
PAGE
Title Page . .. i
Certification . .. ii
Dedication . .. iii
Acknowledgement .. iv
List of Conventions .. v
Abstract .. vi
CHAPTER ONE ..
1.0 INTRODUCTION .. 1
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1.1 Background of the Study .. 2
1.2 Statement of Problem .. 3
1.3 Scope of the Study .. 3
1.4 Significance of the Study .. 4
CHAPTER TWO
2.0 LITERATURE REVIEW .. 5
CHAPTER THREE
3.0 THE THEMES IN OFOMATA’S NOVELS 17
viii
..
3.1 Group Identity 18
3.2 Cultural Practices 20
3.2.1 Love and Marriage .. 22
3.2.2 Reincarnation/Ghost Spirit .. 24
3.3 Religion .. 24
3.4 Motherhood .. 27
3.5 Retribution .. 29
3.6 Virtue and Vices Inherent in Ofomata’s Novels under Study .. 30 3.6.1 Offence and Remorse .. 30
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3.6.2 Oppression .. 32 3.6.3 Arrogance .. 34 3..6.4 Armed Robbery .. 35 3.6.5 Revenge .. 37 CHAPTER FOUR 4.1 LANGUAGE AS TECHNIQUE .. 39 4.1.1 Proverbs .. 39 ix 4.1.2 Symbols .. 41 4.1.3 Similes .. 43 4.1.4 Metaphors .. 44 4.1.5 Hyperbole .. 45 4.1.6 Idioms .. 46 4.1.7 Imagery .. 48 4.2 Characterization As a Technique .. 49 4.3 Point of View as a Technique .. 51 CHAPTER FIVE 5.0 SUMMARY AND CONCLUSION .. 55 REFERENCES .. 58
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CHAPTER ONE
1.0 INTRODUCTION
This work examines the principle of continuity and intelligibility in
the history of literary criticism. It involves all that it takes to criticize a
literary work. That includes analysis, definition, classification, evaluation
and judgment of Ofomata’s prose fictions.
The study explores the social and historical circumstances of
events and characters in Ofomata’s novels. His themes belong to the
various situations which are as a matter of necessity, previous functions
and the settings that breed those functions. The techniques are
examined with reference to elements, which effectively present the
themes of the novels.
Oformata as an Igbo artist has made his footprints on the land
mark of Igbo literature. Being a social realist as his novels prove, his
writings have responded immensely to the social life of the people. His
ability to express his beliefs, visions and ideas to his readers depends on
language, which he uses as a craft for recovering experience. Ofomata’s
narrative method is multi-dimensional as he uses the first person
narrative and Omniscient narrative methods. These various methods he
uses to bring out his expertise as a novelist because literature as a work
of art should not be narrowed or tied down to one narrative method. The
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significance of his themes and techniques make him a classic in the Igbo
world of arts.
1.1 Background Of The Study
Ofomata as a prolific Igbo novelist has competently written many
Igbo novels and poems. His works have made great impact on Igbo
scholarship because of the way he portrays many cultural themes. He
has a vision of the Igbo society, a society where whatever touches the
individual touches the wider society, hence the Igbo group solidarity. It is
commendable the way Ofomata describes his themes and techniques.
Such description makes Igbo people to hold fast to their traditional ways
of life as well as valuing their language. He proves that Igbo language
can be used as an expressive device in art. This is against the
European’s former belief that African languages are not capable of
conveying the people’s literature. Rev. Sunter, the first inspector of
Education in Nigeria has this to say in Hair (1967:89).
I regard these (African) languages as only interesting to the comparative philologist and never likely to become of any practical use to civilization.
Ofomata’s style of narration and diversified themes have proved to
people like Sunter that the stone which the builders rejected has become
the chief corner stone. This is to say that Sunter was wrong in his
perception of African language because it actually helps in conveying
people’s literature.
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1.2 Statement Of Problem
With the emergence of written literature, writers and their works
have been the targets of vicious criticism and attacks by reviewers and
censors of imaginative literature. In Igbo written literature for instance,
this owes to the fact that amateur writers were among the people that
pioneered it. Their themes and techniques were not coherent. This flaw,
and the fact that their literature did not embody Igbo people’s way of life
gingered the educated Igbo to begin to make efforts to create the
literature that will satisfy the socio-cultural needs of the people. Ofomata
being one of the literarily inclined Igbo novelists who has done justice to
mirroring the Igbo man’s life has not received an adequate appreciation
of his works. It is therefore, the aim of this study to contribute to the
critical exploration of Ofomata’s works and his contribution to Igbo
literature.
1.3 Scope Of Study
Ofomata has written quite a number of novels but this research will
restrict itself to only four of his novels. The abbreviation appended to the
titles are what we shall be using to refer to the novels in this work. They
are: Anu Gbaa Ajo Oso (AGAO) (1994); Ihe Onye Metere (IOM) (1996);
Ihe Ojoo Gbaa Afo (IOGA) (1999), and Dibia Na - Agwo Otoro (DNAO)
(2000).
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This research will critically look into the various themes in the listed
novels above, the creation of Ofomata’s characters through language
and stylistic techniques in general.
1.4 Significance Of The Study
The relevance of this research will be viewed better in respect of
its benefits to the society. Studying Ofomata as one of the Igbo creative
artists will contribute meaningfully to Igbo literary study. Other benefits
that will be derived from the work include using it to explain Ofomata’s
work in literature to interested readers and thus increase appreciation of
his novels, awaken the attitude of care, love and interest among Igbo
people for their literature.
Since the themes of Ofomata go beyond the Igbo society, it will
make the novels be universally appreciated. It will also inculcate in the
reading public the spirit of morality. Again, appreciating the good
qualities of Ofomata’s novels will act as a moral support to Ofomata and
also motivate him to put in more effort in contributing to Igbo written
literature.
Finally, because this work cannot be said to be the last, we hope
that it is going to attract reactions from literary critics. It may as well.
stimulate scholars and researchers to go into more investigation on the
topic under study.
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CHAPTER TWO
2.0 LITERATURE REVIEW
Generally, in Igbo novels, only a few critical works have been done
on them. With this, a great problem has been posed to scholars to
engage in a serious research on the Igbo novels.
Echeruo (1978:35) in his observation said this:
Very little work has been done on the literature of the Igbo people. Some years ago in the course of editing a book on Igbo life and literature, I realized how little there was on the subject from which any curious or interested outsider could learn about our people.
Ofomata like most of his contemporaries has not had serious
critical work done on his novels. This review therefore, will examine the
perception of scholars on themes and techniques generally and
especially as they relate to African novels.
Theme is not simply the subject of the literary work. Instead, theme
is a major and often recurring idea, the larger meaning of a work,
including any thoughts or insights about life or people in general. Often
the theme will make a statement about a society, teaching a lesson as
well as providing a moral. Wikipedia the Free Encyclopedia refers to
theme as “A broad idea in a story or a message or lesson conveyed by a
work”. This message is usually about life, society or human nature.
Themes explore timeless and universal ideas and most themes are
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implied rather than being explicitly stated. Theme according to Holman
and Harmon (1986:502) is “a central idea in a work”. In non- fiction
prose, it may be thought of as the general topic for discussion, the
subject of discourse, the thesis. In poetry, fiction and drama, it is the
abstract concept that is made concrete through its representation in
person, action and image in the work. No proper theme therefore is
simply a subject or an activity. Both theme and thesis imply a subject
and a predicate not just vice in general terms but some such proposition
as vice seems more interesting than virtue but turns out to be
destructive.
Themes arise from interplay of plot, setting, character, conflict and
tone. One this note. Ezikeojiaku (2001:48) comments on the meaning of
theme thus:
The theme (or thesis) is the general comment on this area of human experience conveyed through such specific elements as plot, characterization, tone, point of view, diction and symbolism.
Theme being understood as an aggregate of ideas constantly
recurring in tales or narratives is stressed by Lord (1969:68) as follows:
Theme is not result of a specific set of elements but rather the name we give to the forms of unity which we can discern in the text.
Theme as the central idea or statement about life that unifies and
controls the total work is not the issue or problem or subject with which
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the work deals, but rather the comment or statement the author makes
about that issue, problem or subject. In line with this, Pickering and
Hoeper (1990:78) stress that:
Theme in literature, whether it takes the form of a brief and meaningful, insight or a comprehensive vision of life, is the author’s way of communicating and sharing ideas, perceptions and feelings with his readers or as is so often the case of probing and exploring with them the puzzling questions of human existence.
The theme of a fable is its moral. The theme of a parable is its
teaching while the theme of a piece of fiction is its view about life and
how people behave. In fiction also, the theme is not intended to teach or
preach. In fact, it is not presented directly at all rather you extract it from
the characters, action and setting that make up the story. In other words,
you must figure out the theme yourself.
Ofomata shares a lot of ideas and philosophy in his novels. For
instance, in Ihe Ojoo Gbaa Afo (IOGA), he brings to light the idea that a
woman’s beauty should not be based on physical appearances alone but
also on good manners, for not all that glitters is gold. He says in IOGA
(P.231) that:
Mma nwaanyi abughi naani n’
elu ahu ka e si amata ya
kama o bukwazi n omume ya.
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It is a common knowledge that characters in Igbo fiction can be
judged for their authenticity visa-vis Igbo archetypes. It is also a common
element to many novels by Igbo writers who could provide the basis for
an argument about uniformity. For instance Lionel Trilling tells us that
manners are the things whether good or bad that draw the people of a
culture together and that also separate them from the people of other
culture.
In like manner Ofomata presents the theme of armed robbery, in
Anu Gbaa Ajo Oso (AGAO) and setting it on existing places in Nigeria
like Benin and Onitsha, one cannot but believe that they resemble
events in real life. What makes a work of literature a classic is the
significance of its theme. The significance of Ofomata’s themes to our
society cannot be overemphasized. It provides lesson which is didactic
to people of different categories. Even the title he gives his works often
suggests a particular focus or emphasis for reader’s attention. They also
provide clues about his theme. Ofomata imitates the great novelist,
Ubesie. For example, Ubesie’s Ukwa Ruo Oge Ya refers to the love that
exists between two young people Chude and Ngozi, which later
metamorphosed into getting married to each other.
Bringing our review home to what scholars say about themes and
techniques of Igbo literature, Emenanjo (1986:18) asserts.
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Much of Igbo creative writing is functional, since it draws heavily from Oral literature. Creative literature in Igbo cannot afford the luxury of “arts gratia art’s”. The literature is fully involved in the Igbo milieu which bring it into being.
Also, Nwadike (2001:56) is of the opinion that:
The body of Nigerian literature whether oral or written should x-ray the characteristics of our cultural sensibilities and national consciousness, Nigerians environments and their visions.
Ofomata’s treatment of issues that have much relevance to the
society also underscores the functional elements in his novels. This
shows that he is in line with the observations above. Ezikeojiaku
(2001:49) commenting on African creative writers says:
While pre-war creative writers such as Achara and Bell Gam explore folklore traditions in their settings and themes, the post war novels of Ubesie, Nzeako, Munonye, Maduekwe, Oraka etc. deal with modern societal issues brought about by developmental change.
The duty and involvement of the African writer is to demonstrate
sufficient sensitivity to the dominant realities of his universe.
Achebe (1983) supporting this says:
It is clear to me that an African writer who tries to avoid the big social and political issues of contemporary African will end up being completely irrelevant like that absurd man in the proverb who lives his burning house to pursue a rat fleeing from flames.
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This means precisely that from an Igbo background, Igbo artists
develop knowledge of and habits in the verbal art which carry over into
one’s verbalizing abilities. Soyinka (1965) refers to writers as
redeemers. For him, society as a community is in need of continued
salvation from itself. A committed artist like Ofomata is not necessarily a
sycophant who sings the song the people would like to hear, but one
who is aware of responsibility as a guardian and promoter of a
progressive society.
Emenyeonu (1978:188) has this to say:
African written literature has some common intrinsic values. It is for instruction, for aesthetic pleasure, for culture preservation and for self-realization.
Going through Ofomata’s novels and those of other contemporary
Igbo novelists, we infer that Igbo written literature has progressed to
depicting the social life of the present day Igbo unlike the first Igbo
novelists that deal only with imaginary world. They deal with modern
way of life as they also show our traditional way of life. They portray our
social values, our outlook on life and our philosophy.
Nwadike (1995:57) citing Uchendu repeating the emphasis on
Igbo novel in the recreation of some old and modern institutions says:
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Igbo individualism is not rugged individualism, it is individualism rooted in group solidarity. There is a great emphasis on communal co-operation and achievement which must be traced to the formative influence of their, traditional social patterns, the idea of group co-operation pervades all aspects of Igbo culture.
Ofomata deals with the theme of Igbo solidarity group in most of
his novels. In IOGA, he portrays the “Umuokpu” (daughters of the land).
In IOM and IOGA for example, we see clan solidarity and the solidarity
of trade unions.
Having said much about theme, we now look into the perception of
scholars about the technique of the African authors. It is worthy and very
important to note that theme cannot be realized except an adequate
vesture is found for it. The adequate vesture however is technique/style.
Chambers Dictionary defines techniques as “a skilled procedure or
method, a knack or trick of doing something, proficiency, refinement in
artistic performance”. According to Holman and Harmon (1986:499):
Technique is the sum of working methods or special skills. Technique may be applied very broadly as when one says The symbolic journey is a major technique in Joyce’s Ulysses, or very narrowly to refer to the minutiae of method, or in an intermediate sense as in stream of consciousness technique. In all cases, however, technique refers to how something was done rather than to what was done.
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Schorer (1967:45) has this to say:
When we speak of style, we speak of nearly everything. For style is the means by which the writer’s experience, which is his subject matter compels him to attend to it, style is only means he has of discovering, exploring, developing his subject, of conveying its meaning, and finally of evaluating it… the writer capable of the most exacting technical scrutiny of his subject matter will produce works with the most satisfying content.
Schorer’s statement explains why the works of writers like Ofomata are
sought after while many other writers and their works are hardly
remembered. According to Shipley (1972:9) “theme and technique
compliment each other. Language involves an aesthetic attitude of the
writer, conceived as an end in itself”. Talking about artist and his style,
Ezeuko (2001:98) says : “ A man’s way of writing is the expression of his
personality and his way of looking at life”.
Technique is an emphasis (expressive, affective or aesthetic)
added to the information conveyed by the linguistic structure, without
alteration of meaning.
Ngugi (1986:84) testified on the language of African literature
when he says:
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There are good and bad story tellers. A good one could tell the same story and over again, and it would always be fresh to us the listeners. He or she could tell the story told by someone and make it more a life and dramatic. The differences really were in the use of words and images and the inflexion of voice to affect different tones.
Ofomata’s fiction arises basically out of Igbo life and language. In
reporting experience in Igbo life, therefore, Ofomata includes Igbo
similes, proverbs, riddles, songs, folktales, etc. drawn from the Igbo
language.
Talking about the use of proverbs by Igbo writers, Emenyeonu
(1978:157) observes:
The Igbo proverb is comparable to the Greek concept of philotimo and the desire for oratorical power. In guarding against offending image of self, the Greek had to cloak his criticism in flowery prose and delicately phrased arguments in the same way in Igbo, talking in proverbs enables the speaker to display his wit, wisdom and his distinctive ability to manipulate the language. From the ancient roots of Igbo literature, the proverb is an indispensable element of instruction, illustration and description.
Some critics however are against the way some of our authors use
proverbs. Ofomata, like Ubesie and Nzeako make profuse use of
proverbs in his works.
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Emenanjo (1982:62) bitterly comments on this when he says:
In a good deal of the available narrative, the language is too matter of fact flat to hold the reader for too long. There is little or no originality in the way hackeneyed proverbs and idioms are thrown at the reader. At times, one gets the impression that most writers of Igbo feel that the only way of writing good Igbo is by forcing strings of proverbs down the throats of readers.
He goes further to say that much as proverbs form the oil with
which the Igbo “eat” their speech; proverbs do not form the soup. For oil
is only one of the many different ingredients with which soup is made.
And indeed, some soup can be made without oil.
Supporting the above assertion, on the use of proverbs by Igbo
Artists, Nwadike (1999:8) says:
Not very much adverse criticism is leveled on our artists over their diction. Their greatest weak points and critics area of attack are on their use of proverbs. They cluster proverbs to a fault and bastardize them.
What is remarkable about Ofomata’s use of proverbs is that they
grow naturally out of the narrative, and reinforce theme, character and
situation. This is not the case with some Igbo writers who make
strenuous efforts to incorporate proverbs. The result is prose that
sounds artificial to the non-Igbo reader and unconvincing to the Igbo
speaker. It is worthy to note that in Igbo culture, the appropriate
proverbs emerge in the right situation and usually the speaker does not
decide his proverbs in advance and then tries to furnish situations for
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their use. For instance in Ihe Ojoo Gbaa Afo (IOGA) PP. 13-14, there
are these clusters of proverbs which flow naturally and suitably used to
the context. Ikenna’s father was advising Ikenna against marrying a bad
wife. In his own words:
O kwa Igbo kwuru okwu si na ihe okenye no ala were hu, nwatakir kwuru oto o gaghi ahu ya. Mana ebe nwatakiri, na-ebe akwa aru aka, nne ya anoghi ya, nna ya anoro ya. N’ ihi ya, Ikenna mara asu, o suo n’ ikwe, o maghikwanu asu, o suo n’ ala maka na o bu mmanya ka a na-an uchitere diochi anaghi adachitere ya elu. (The Igbo say that what elders see sitting down the youth cannot see it standing up. Where a child is crying and pointing at, if his mother is not there, then his father is there. For this, if Ikenna knows how to pound, let him pound in the mortar, if he does not, let him pound on the ground. It is wine that you can drink on behalf of the tapper, you cannot fall off the raffia palm tree for him).
Ofomata, bringing his message home, realizes that what is
important is not just the facts of life, but the linguistic ornament of the
facts. There is always an inextricable affinity between what is said and
how it is said.
Again, Ofomata through his themes and techniques builds a world
he honestly believes in, a moral sphere, with enough consistency and
pattern, and this gives his literary activities the illusion of significance
and sense of identity. This is owing to the fact that he is aware that the
primary importance of literature lies in the thematic content of any
literary work. On the other hand, his themes represent his contribution to
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the kind of human society or individual that he believes in. He highlights
the possibilities in overcoming evil for the attainment of ideal and
egalitarian society through his themes.
Ofomata seeks to shape, influence and brings about a future
social transformation for Igbo society. This is in line with what Okafor
(1979:21) says:
Without the vision and perception of the writers theme of man’s present living condition, society would continue in its eternal sleep and lethargy.
Consequently, it is a well known fact that literature has been a toll
for correcting, teaching and inspiring people to make world a better
place. Therefore, one of the highest contributions of Ofomata is to shape
and influence the world for social transformation.
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CHAPTER THREE
3.0 THE THEMES IN OFOMATA’S NOVELS
The theme of any work of art is its central idea. It is also the focus
of the author’s work, which has to do with some aspect of existence. The
major trust of any work of art is the human values. Themes deal with the
relationship of the individual or the society at large to the values of life.
In every fiction, there is always a major theme and other sub-
themes that help to project the major themes. To state the theme of a
novel categorically is a difficult task since in a novel, different people
may be able to decipher different themes so long as each person has
some facts in the novel to back up his claims. The theme of a novel is
always conveyed through other elements of the novel like language,
plot, characterization, point of view, tone, diction etc.
Ofomata’s themes include, motherhood, devotion of duty,
arrogance, armed robbery, marriage among others. He uses these
themes to teach people the values of human existences as a moral
instructor. These themes can also be universally acclaimed as their
significance relate to all groups of human beings. They foster morality in
an individual and deter one from those behaviours that lead to moral
degradation. These themes have been pointed out and viewed with
respect to the values of our society.
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3.1 The Theme of Group Identity
This is the identification of an individual within a group, the idea of
corporate existence and self-integration within a group. The Igbo are
seriously embraced by this idea of collective consciousness. Ofomata
being the son of the soil uses his fiction to delineate this theme so well.
When viewed closely, it will be observed that this corporate existence is
not only experienced by the Igbo but by all the African peoples as
observed by Mbiti (1969:108) thus:
In traditional life, the individual does not and cannot exist alone except corporately. He owes his existence to the other people including those of the past generations. He is simply part of the whole. Whatever happens to the individual happens to the whole group and whatever happens to the whole group happens to the individual.
Group identity in the Igbo society has been acknowledged by
some scholars. For instance, Uchendu (1965:103) has this to say:
Igbo individualism is not rugged individualism, it is individualism rooted in group solidarity. The Igbo realized that “a river does not eat a blind calabash” (that is, a person with backers escapes dangers unhurt). There is a great emphasis on communal cooperation and achievement. The communal character of the Igbo must be traced to the formative influence of their traditional social patterns, the influence of their nucleated residence pattern, and the ideological urge “to get up”. The idea of cooperation, illustrated in work groups, credit associations and title-making societies pervades all aspects of Igbo culture.
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Ofomata patterns the Igbo society as a group felt experience. He
sees in the Igbo an attitude of self-integration to the society. In IOM, for
instance, the murder of Ohahuru puts his community Umunka in a
mourning state. They unanimously find out the culprits who have
committed the murder in persons of Nwohia, Okechi and Onwuha.
These three wicked men from Alaukwu are also jointly dealt with by their
people.
When Onwuha threatens the life of Ozo Uruagwu of Dagburu, his
people rally round Ozo Uruagwu and subdue Onwuha. Onwuha’s
encounter with the people of Daghuru shows that no one person may be
able to triumph over a group.
In AGAO, group solidarity is depicted as the elders of Apata meet
on how to banish Ikpendu for the atrocities he is committing in their
town. When Ikependu’s evil spirit was menacing the people of Apata,
Oguadimma’s friends and relatives rally round him to search for the
solution to the problem. In DNAO group identity manifests when
Ngozika’s people come to find out why Ezinna is maltreating her and to
warn him to desist from such bad act towards his wife.
In IOGA, the author expresses the benefits of group identity when
Ikenna’s father dies. The burial is corporately taken care of by both the
Umuokpu and the Umunna. In the same text, the group identity is
expressed in the advice Maazi Nduka gives to Ikenna.
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He says:
O buru na i na-anwu anwu gbachi nkiti, I nwuo anyi eburu gi lie, gbasaa. O burukwanu na I na-anwu anwu were kpokuo anyi (umunna) anyi ga-ejiri oso nyere gi aka, n’ ihi na o bu ya bu uru anyi baara onwe anyi: (If you are suffering and you keep quiet, you will die and we bury you. But if you have problem and you call on us, we will rally round you and help you for that is the benefit we derive from one another).
Also, group identity plays out when Nkemdirim, Ikenna’s wife
proves to be stubborn to her husband The Umuokpu gather and dealt
with her seriously, reminding her that wives do not behave as they like in
Odunta. In all the four novels under study, Ofomata demonstrates a high
degree of Igbo group-felt experience.
3.2 Cultural Practices
Culture can be defined as people’s way of life. A society without
culture is as good as dead because people’s existence is only
acknowledged through their culture. Ofomata, as a custodian of Igbo
culture has tried to preserve this culture and beliefs through literature.
In AGAO, he observes the celebration of new yam festival
popularly called Ihejioku. This festival is held in order to appreciate the
god Ihejioku who is believed by the Igbo to be the god of yam. He is
believed to cause bumper yam harvest or vice versa.
In Apata, while preparing for the festival, women decorate their houses,
tidy up their environments and village squares. The children fill the
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containers with water and gather firewood for cooking. The men dig up
their big yam tubers, buy cocks or goats, invite their relations and friends
from other communities to come. In fact, that day is a special day for
people of Apata. On that day there will be assorted kinds of dishes
which will be prepared with yam and people will have enough to eat and
have left-over. There will also be different types of traditional dances and
masquerade displays from different groups.
Ofomata also pictures the culture of breaking of kolanut. Kolanut is
a symbol of unity in Igbo society. Before any serious talk is held in any
Igbo community, the kolanut is used to offer prayers to the supreme God
and to the ancestors. In the four novels under study, the author brings in
the breaking of kolanut during marriages, village meetings and when
there is important talks between individuals and groups. In most cases it
is usually the eldest among a group that offers prayer with the kola and
then breaks it.
In IOGA, the author portrays burial ceremonies. The Hausa
moslems must bury their dead the same day he/she dies because of
their Islamic religion. This practice is not strictly followed in Igboland.
The Igbo accord their dead great respect. When Ikenna’s father dies,
Ikenna is asked to come and see his father’s corpse, after which he
spends a lot of money buying things for the burial. The Umuokpu also
spend some days in their late brother’s house. Of course, it is a tradition
30
in most part of Igboland for the Umuokpu (Daughters of the land) to stay
at any elderly person’s burial. In most cases, it is the duty of the
Umunna to provide wine for the burial of an elderly person.
3.2.1 The Theme of Love And Marriage
This aspect of culture is seen almost in every part of the world.
Love as defined by Mcsweeney (1985) is giving one’s life for
others in one way or another. It also means doing one’s best to make
other people truly happy.
In his view about love, Banks (1969:58) says:
Love seeks the good of the person loved. It is ready to spend and sacrifice…. Love is strong in times of difficulty, it holds true in time of trial, love lights up a whole existence blending two lives into one.
Marriage is the union of a man and a woman as husband and wife.
It is a very important institution in Igbo society. In Igbo society, it is a
general belief that any man who is up to the age of marrying but does
not do that may not be regarded as a responsible man.
Ofomata handles this theme in area of choice of a marriage
partner. For him, this is the beginning of success or failure in life.
Marriage based on things like wealth, beauty, position, etc. is bound to
hit the rock while that based on love and good character is bound to
succeed.
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In IOGA and DNO, the author treats the theme of love and
marriage very well. For instance, in IOGA, Ikenna bases his choice of
spouse only on physical appearance. He goes ahead and marries
Nkemdirim against his parents advice just because she is beautiful.
Their marriage later hits the rock because the ingredients that
sustain marriage such as love, truthfulness, trust, etc. are lacking in their
marriage. In DNO, Ezinna bases his own choice of partner on good
character. On page 1 of DNO he tells his mother thus:
A choro m onye anya ruru ala na onye isi juru oyi nke oma. Ihe m choro bu onye na- eme ezigbo omume n’ ihi na ezi agwa bu mma nwaanyi. (What I want is a humble an level - headed girl. A girl with good manners, for good manners portrays her beauty).
Ezinna later marries Ngozika who is endowed with these qualities and
their marriage succeeds. In line with the on going, Borgatta (1992) has
the following as vital ingredients to a successful marriage: agreement,
cohesion, satisfaction, affection and tension. Agreement between
spouses on important matters is essential. Cohesion refers to both
spouses commitment to the marriage and the companionship
experienced in it. The degree of tension in a well adjusted marriage is
minimal and when it arises, it is resolved amicably probably in dialogue.
Marriage as a cultural practice has some qualities that sustain it. Having
32
seen them; it is now our duty to apply them to our matrimonial
relationships.
3.2.2 The Theme of Belief in Reincarnation
The Igbo people are among the people that believe in
reincarnation. They believe in ghost spirits, ancestral spirits. In DNO,
Ofomata introduces the myth of reincarnation. Amaechi develops fever
one day, his mother Ngozika is advised by her friend, Chinelo, to consult
a diviner to ascertain whose reincarnation he is. Ngozika does as she is
advised. It is later discovered that the child is her dead father Nkemjika
who reincarnated so as to console her from her sorrows. After
performing the rituals she is asked to perform, her child’s fever
disappears and Amaechi lives true to the predictions of the diviner.
In AGAO, the evil spirit of Ikpendu is hovering around, menacing
his friends, parents and his entire community. This confirms the Igbo
belief that there is life – after - death. By putting down these cultural
practices in writing, posterity is kept abreast of the aspects of culture,
which the wind of modernity is trying to obliterate.
3.3 Religion
Religion has been defined in a wide variety of ways. Most
definitions attempt to find a balance somewhere between overly sharp
definition and meaningless generalities. Some sources have tried to give
formalistic, doctrinal definitions while others have emphasized
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experiential, emotive, intuitive, valuational and ethical factors. Some of
the definitions of religion as recorded by WorldNet include:
- A notion of the transcendent or numinous, often, but not always
in the form of theism.
- A cultural or behavioural aspect of ritual, liturgy and organized
worship often involving a priesthood, and societal norms of
morality and virtue.
- A set of myths or sacred truths held in reverence or believed by
adherents.
For the sociologists and anthropologists, “religion is an abstract
set of ideas, values, or experiences developed as a part of a cultural
matrix”.
Okwueze (2003:3) defines religion as “a regulated pattern of life of a
people in which experiences, beliefs and knowledge are reflected in
man’s conception of himself in relation to others, his social world, the
physical as well as the metaphysical world”.
The Igbo have what they believe in, that is their own religion. On
this note, Orabueze (2006:124) opines:
The pre-colonial Igbo man believes in one Supreme Being called Chukwu, who creates the entire universe and everything there in. But this Supreme Being is far away and he cannot be burdened with the day to day running of the affairs of men. He therefore, sends his messengers, the deities to help him. These look into affairs of the world and if there arise any serious problems, which they cannot handle, they are referred directly to God.
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Religious beliefs and practices in Igbo society forms the basis of
the most effective means of social control. For instance, they use
divination and other devices for detecting offences in the traditional
ways.
Among the Igbo, there is a strong belief in the use of songs in
achieving control of power. These songs were applied when necessary
to achieve various goals (Agu, 2005). In the same vein, Agu (1990), said
that the high priests and the diviners are known for their usual practice
of communicating with the deities through songs which are intermittently
accompanied with the rhythm instruments as they invoke or consult with
the deities. He went on the emphasize that, most of these songs are
praise songs deigned to glorify or praise the deities and consequently
prepare grounds for easy communication.
The way Ofomata treats the Igbo and their religion is quite
interesting. He sees great devotion in the way the people go about their
religion. The summoning of gods and ancestors by the Igbo during
prayers and breaking of kolanuts was shown by Ofomata. He pictures
also the ritualistic activities where the power of a supreme being is
solicited for.
In his work, people always resort to mediums, agents, prayer
houses etc for interpretation and solution to their problems. Ofomata
35
shows by his works that there is power in traditional gods since these
mediums and deities never fail to provide solution to the problem of the
people that seek them.
In AGAO, Ogu adimma’s kinsmen consults a medicine - man
called Onwuasoanya to help them deal with Ikpendu’s ghost which
terrorizes the whole town. After observing all the rituals that are required
of them by the gods, the problem is solved.
In IOM, the people of Alaukwu go to Dagburu to consult an oracle
in order to get their facts about who kills Ohahuru since their efforts to
get the truth from Onwuha Ogudiru would not yield any fruit. In DNO,
Chioma makes use of agents to bewitch Ngozika and her family. Due to
her belief, Chibuugo runs to prayer house, using the power of prayer to
counter all the evil Chioma proposes for her child Ngozika. Also, when
Chioma evokes Agbara to kill Ngozika and her children, Chibuugo, her
mother, calmed the gods by sacrificing a he-goat and two white cocks.
Ofomata is quite thorough in his treatment of the Igbo with regard to
their religion, which permeates the very foundation of their existence.
3.4 Motherhood
Motherhood is the state of being a mother. In the family, mothers
play different roles but the most outstanding one is towards their
children. This role is extremely important. That is why it is said that there
is a mysterious loving bond between mother and child. Mothers are so
36
lovable that they can do anything including taking risks to protect their
children and the ensure their welfare. Ofomata shows this in the three
novels under study. In IOGA, Ikenna’s mother gets worried over the
trouble Ikenna’s wife is giving his son, this makes her to weep bitterly.
Although Ikenna is married, his mother still pampers him as a child and
wishes him the best of life. In AGAO, Ofomata pictures mothers as
people that are very emotional and as such can condone their children’s
misbehaviours to unlimited extent. Ikpendu’s mother always hides his
wickedness from his father. For instance, when he urinates into their
plate of soup his mother hides it from his father, lest his father beats
him. Ogonna always cares for Ikpendu and cherishes him regardless of
the level of provocation from Ikpendu unlike his father Oguadimma who
cares less.
Ikpendu’s mother, Ogonna, mourns him when he eventually dies
shamefully in a robbery incident despite the disgrace that he brings to
her family. The author writes in AGAO (P.71) as follows:
Otu o soro nwa mmadu diri, udiri ihe
Ojoo o soro nwa mmadu mewe, o nwuo
O ga- ewuteriri onye mutara ya o kacha
Nne ya n’ihi na di ju ogori, onye nwe ya agaghi aju ya.
(No matter how a child is or the type of evil he may be involved in, if he dies, it must pain the parents especially the mother for if a husband rejects a wife, parents do not reject her).
37
In DNO, Ngozika’s mother, Chibuugo is just wonderful. She does
everything possible to ensure that her child and grandchildren survive.
Because of them, she converts their home into a prayer house. There,
she prays ceaselessly asking God to protect them. Fearlessly, she goes
to the deity Ajaala which Chioma invites to wipe off Ngozika and her
children from the earth. She offers a he-goat and two white cocks in
exchange for her children to the deity. Finally, she requests that she
should be killed instead of her children. She later dies for her children to
live. With these, mothers can be seen as priceless individuals and they
cannot be substituted in the lives of children. Consider for instance the
love fowls, goat and other animals have for their young ones.
3.5 Retribution
The measure with which one measures for others is what one will
expect to get back. Retribution therefore is a justly deserved penalty. It
is also the act of punishment for wrong doing. Ofomata in his works
shows that nature cannot be cheated. People must indeed receive the
rewards of their actions. Chioma is a sadist in DNO. She causes the
death of her husband due to her bad behaviours towards him. She tries
to destroy Ngozika and her children. She has no sympathy for human
being, rather she rejoices over another person’s misfortune. She carries
out a lot of evil activities on Ngozika. Unfortunately for her, what she has
38
been working seriously to achieve on Ngozika’s family happens to her
thereby loosing her only son in a mysterious way.
In IOM, Nwohia, Okechi and Onwuha are three wicked friends that
commit all sorts of atrocities on their people but when they are caught up
by nemesis, they are all killed.
In AGAO, Ikpendu is a very bad boy who regards neither God nor
man. He deals brutally with eldest man in Apata called Udeerika who
places a curse robbery incident.
In IOGA, having been married to Ikenna, Nkemdirim thought that
she has gotten all that Ikenna had permanently. She treats all Ikenna’s
friends and relations badly. She makes life uncomfortable for Ikenna, her
husband, and their househelps. When it is time for justice, during Ikenna
father’s burial ceremony, the Umuokpu (daughters of the land) humiliate
her out of her matrimonial home.
3.6 Themes of Virtue And Vices In Ofomata’s Novels 3.6.1 Offence And Remorse
Offence as defined by Wikipedia the free Encyclopedia is a
violation of the penal law. It also ranges from a simple misdemeanor to a
felony (capital murder).
Remorse also is an emotional expression of personal regret felt by
a person after he or she has committed an act, which they deem to be
shameful, hurtful or violent.
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As a teacher, Ofomata teaches us that committing offence is to be
forsaken by every reasonable human being. For instance, what
happened to Oguadimma and Ogonna in AGAO (PP.1&2) serves as a
very big lesson to mankind. In the text, Oguadimma and Ogonna lives
very bad lives in their youth. They have no regard for societal values.
This is testified in the excerpt below:
Mgbe Oguadimma di n’ okorobia, o bu ya bu ala oma jijiji di n’ Apata-----Ogonna na-eme aka naabo mgbe o bu agboghobia, o mekatara ihe juo chi ya ebe o foduru. (When Oguadimma was a young man, he was the terror of Apata, Ogonna was so notorious in her youthful age as if she was daring God).
When they eventually married and gave birth to Ikpendu, their evil
activities brought the realities of their youthful misbehvaiours back to
them through their son. Showing remorse for his past life, Oguadimma
makes a firm decision not to go back to such life again. He says:
Ahula m na ike ahu m kpara n’ okorobia adighi uru o bula o haara m. Uwa m ozo aga m ebi ezigbo ndu (p.31). (I have seen that all those youthful exuberants I got involved in did not help me at all. In my next life, I will live a good life).
Themes of offence as well as remorse is also seen in IOGA. Here,
Ikenna jilts a girl by name Ego who is supposed to be a God - given wife
to him. Ego and Ikenna’s friends plead with Ikenna to make peace with
her but he refuses. However, Ikenna later regrets his actions because
40
Nkemdirim’s wickedness reminds him continuously of his offence
against Ego. Ofomata uses this to warn the youths to be mindful of their
youthful behaviours to avoid regrets later in life.
3.6.2 Theme of Oppression
The notion of oppression is very much noticed in AGAO. Here, the
author uses Ikpendu to paint the picture of those bad people that
constitute thorns in the flesh of their communities. As a cruel man,
Ikpendu makes life uncomfortable and burdensome for the people of
Apata. He terrorizes the youths and denies them their freedom to
peaceful existence. In Apata, the girls there always hide themselves to
make sure that Ikpendu does not see them because he is a rapist who
does not spare them. Thus:
A juwa ihe na-eme umu agbogho bi n’ Apata, a juo ya Ikpendu. I maa mma elu maa mma ala, ekwekwala ka Ikpendu Kpochara gi anya---- Agboghobia o bula tolitere n’ Apata oge ahu si na ya amaghi Onye Ikpendu bu, bu asi ka o na- asi p.26. (If you want to know what is happening to girls at Apata, Ikpendu should be asked. Whatever beauty you possess do not allow Ikpendu to set his eyes on you. Any grown up girl at Apata at that time, that denies of Ikpendu knowing her is telling a lie).
In the same way, the young boys are not excluded, they usually
make him friends just to escape being oppressed by him. Elders on their
own are not exempted from the evil deeds of Ikpendu, for they are also
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being death with by Ikpendu such that they no longer go to their
businesses freely as seeing Ikpendu spells doom for them.
In DNO (P.4) Ofomata exposes the evils of oppression from
another perspective. Here, Chioma exercises unnecessary authority
over her father’s family from her husband’s house. She harshly subjects
her sister in-law, Ngozika to cruel treatments. Chioma had maltreated
her husband to death before Ngozika got married to her brother Ezinna.
Thus he states that:
Chioma mekatara di ya bu Okafo ihe, di ya mara na onye lutara ajo nwanyi lutara onwu ya. O chikatara okafo onu n’ ala, okafo hapuru ya uwa ka o biri naani ya, were nwuo n’ obi mgbowa. (Chioma is a fan-fatal to the extent that she henpecked her husband to a degree in which her husband realises that to marry a wicked wife is equivalent to committing suicide).
Chioma’s wickedness is too enormous that she turns away the
love Ezinna has for his family through diabolic means, making him take
directives from her. She nearly sends Ngozika to her early grave with
unfriendly utterances she is making on her just because Ngozika cannot
give birth to a male child in time and as such, she uses that to scorn her,
reminding her of the uncertainty of her having any inheritance in her of
the uncertainty of her having any inheritance in her husband’s home.
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3.6.3 Theme of Arrogance
This is excessive pride and unpleasant attitudes or behaviour. It is
an attitude that receives frowning in all communities of the world. It is an
attitude of one having an inflated impression of oneself. There is this
Igbo popular saying against arrogance which states that “Ngala buru uzo
Odida esoro ya” (pride goes before a fall). In IOGA, Nkemdirim and
Ikenna her husband, are both arrogant. This no doubt destroyed their
marriage. As a beautiful woman, Nkemdirim is full of herself and shows
no regard for others. For her, life should be very easy all the time. She
shows her arrogant attitude on her first visit to her would-be parent’s in-
laws. She shows without any reservation that her would-be home is too
poor for her. She rejects the food offered to her by her would-be mother
in-law just because she felt that she was not neat enough to cook her
food. She also refuses to sleep in Ikenna’s father’s house and requests
for a better accommodation where she will stay until the next day when
she hopes to go back to Enugu without delay.
Nkemdirim though pretending to be rich comes from a more
wretched home than Ikenna. She carries herself very high yet her father
died a pauper with no house of his own. Due to poverty, Nkemdirim and
her mother were being squatted in one poorly furnished room in her
uncle’s house. Her blind mother cannot go to an eye clinic because
there is no money. Rather than go to eye clinic she goes to a prayer
43
house. Put it succinctly, everything about Nkemdirim, speaks of poverty.
On the other hand, Ikenna is living a false life. The wrong impression he
gives of himself is that he is well-to-do.
In IOGA (pp:15-16), the author brings out some of Ikenna’s
arrogant behaviours thus:
Onye o bula huru Iknna n’ Enugwu agaghi ama na nne ya na nna ya bu ogbenye onu ntu. O naghi eme ka onye si n’ ulo ogbenye puta. Mgbe o bula i huru ya i ga-eche maobu nna ya na-achu ndi obodo ha. (Whoever sees Ikenna at Enugwu will not believe that he comes from a poor home. He does not behave as if to say that he has poor parentage. Seeing him, you will think his father is the chief of their town).
Due to the arrogant nature of Ikenna, he listens to no advice and
he is seen as a wayward person. He befriends every woman on skirt,
lavishes his money on them at the same time promising them marriage.
But after his encounter with a ghost (Mmirimma) whom he thought was a
human being, he learns the hard way and vows never to look at girls not
to talk of talking with them.
3.6.4 Armed Robbery
In AGAO, the author discusses the ravages caused by armed
robbers and the way these robbers are dislodged. In the novel AGAO,
there is this notorious robber called Ikpendu who has the blood of
stealing in his vein. This bad character owes to the fact that Ogonna,
Ikpendu’s mother, had the natural tendency to steal in her youthful age.
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There is this Igbo saying that “Oria si n’ obara anaghi ekwe ngwota”
(Any sickness that comes from the blood is incurable). Ikpendu’s
robbery activity starts from his family; he steals his parents’ money and
food. In the school, he steals the school fees of other pupils and any
money carelessly kept by the teacher. At a stage, his teacher Mazi
Anigbogu tries to discipline him and correct his bad character but all his
effort is in vein.
In his community, Ikpendu terrorizes the members of the
community by stealing their goats and fowls at random, using them to
prepare pepper-soup which he eats as it pleases him. His community
eventually banishes him; he goes to Bida where his act metamorphosed
into proper armed robbery. At Bida he menaces the traders and kills
anybody who dares him. He re-locates to Onistsha when the people of
Bida want to dislodge him, there, he meets other crooks like himself by
name Chukwuka and Chima. The three of them team up to train other
robbers who help them to make life very uncomfortable for traders and
their customers at Onitsha Main Market. Finally, Ikpendu and his
colleagues are pursued by Onitsha market traders and are brutally
killed. Armed robbery, as presented by Ofomata is an evil that people
frown at.
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3.6.5 Revenge
Revenge, according to Halliday (1998) is harmful action against a
person or group done for the purpose of responding to a real or
perceived wrong doing. It can be further explained to be a deliberate
infliction of injury upon the person(s) from whom injury has been
received. In the Bible, the law of Moses in the old testament encourages
teeth for tat treatment, but if we look at revenge from a moral
perspective, we will see that it neither profits the avenger nor the
avenged.
Ofomata expresses the theme of revenge in IOM (P.107). He tells
the story of how Udenkwo, Ohahuru’s brother, avenges the death of his
brother on the people of Alaukwu. Nze lyiegbu advises Udenkwo to
forget what has happened but he vehemently refuses. He spends all he
has going from one native doctor to another to get the charm that will
frustrate commercial activities at Afo Alaukwu. The excerpt below
testifies his achievement:
Afo o bula n’ Alaukwu na-adi ka ebe umuaka na-egwu egwu onwa. O nweghizi ndi na-esi obodo ozo abia ahia ebe ahu. Afo Alaukwu were di ka ebe oku gbara ikpa. (Every Afo market day at Alaukwu is like a place children are having their moonlight play. Strangers no longer come to do business in the market. Afo Alaukwu is comparable to a burnt bush)
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It is true that Udenkwo satisfies himself on the Alaukwu people by
avenging his brother’s death, he does not benefit anything good by that
vengeance, rather he spends the money that would have been used for
more meaningful things in making charms. Judging from what has
happened, both Udenkwo and Alaukwu people are at the receiving
ends. Ofomata uses this to advise people not to engage in things that
profit nobody.
In conclusion therefore, one can simply say that Ofomata’s works
are highly moralizing.
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CHAPTER FOUR
4.1 LANGUAGE AS TECHNIQUE
Language as a distinctive quality of literature is a very important
element in prose. In fact, it is the pillar that holds literature without which
the artist cannot communicate. In other words, it is an indispensable tool
for any writer. According to Pickering and Hoeper (1990:87) language is
“the means by which the writer controls and influences the reader”. Also
Ngara (1982:10) writing about language says thus:
Language is the thing by which we judge the success of the author. Although a work of art consists of various elements such as: plot, theme, characters and ideas, without language these elements would not be what they are.
Ofomata’s language medium is the Igbo language. His works are
written in standard Igbo. In his stories also, he makes use of figurative
language. With these, it is necessary to consider the devices he used in
achieving this goal. Among the figurative language are metaphors,
similes, proverbs, idioms and so on.
4.1.1 Proverbs
‘Proverb’ as seen by Holman and Harmon (1986:401) is
A sentence or phrase briefly and memorably expressing some recognized truth or shrewd observation about practical life, originally preserved by oral tradition, though it may be transmitted in written literature as well.
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In the same vein, Scott (1965:234) defines proverb as “a short familiar
saying expressing a supposed truth or moral lesson”.
Ofomata actually makes extensive use of proverbs in his novels
but his purpose is not out of order since he uses such proverbs to
increase the reader’s appetite and as well to make his work realistic and
pleasing. His versatility in Igbo proverbs is as a result of his knowledge
of oral tradition from which proverbs originated. He is always careful to
ensure the appropriateness of his proverbs in the context of use and
also their suitability in conveying the desired information or feeling. He
uses proverbs as titles of some of his novels. In each of them, the
subject matter and theme hinge on the proverb, which forms the title.
For example:
- “Dibia na-agwo otoro; o kobere ike ya n’ elu”: In this novel,
Chioma decides to live an evil type of life, plan all sorts of evil
against Ngozika and her family, not knowing that life is a ‘give’
and ‘take’ affair. She comes to this reality when here son dies
instead of those she intends to kill.
- “Anu gbaa ajo oso, a gbaaya ajo egbe”: This proverb that any
thing which needs urgent solution will be treated as such shows
how Ikpendu lives the bad way and were treated the hard way.
- “Ihe ojoo gbaa afo, o diri onye metere ya”: In this novel also,
Ofomata shows that even if it takes time, an evil person must reap
49
what he sows. Nemdirim, being a bad woman, later reap the bad
seed she sows in her matrimonial home.
- “Ihe Onye Metere, O were isi ya buru”: Here in this novel, the
author shows that the evil that men do stays with them as
Onwuha, Nwaohia and Okechi are duly punished because of their
sin.
Ofomata most often creates the awareness in his readers that the
proverb he is using originates from Igbo oral tradition and as such uses
“Ndi Igbo si” (The Igbo say) before most of his proverbs. For instance in
IOGA (p. 155) he says “O kwa ndi Igbo kwuru okwu si na o na-abu e
nwude nwoke n’ala o kweghii, a pitowa ya onu o kwere” (The Igbo say
that stubborn people learn in difficult times).
Also in IOM (p.48) he says “Igbo kwuru okwu si na o na-abu a
chowa ijide oke ehi a chowa oke mmadu” (The Igbo say that if you want
to catch a big cow you look for a big person).
In some Ofomata’s novels both prologues and epilogues are
embellished with proverbs. In short, there is no page of his novels that
proverbs cannot be found. Although it is not too good for readers who
are not versatile with Igbo proverbs because they may found them
boring.
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4.1.2 Symbols
Another literary device which could be associated with Ofomata’s
language technique is symbol. A symbol refers to anything that stands
for itself and signifies something else. It can be rooted in ideas, names
and person. A symbol according to Wellek and Warren (1987) is
“something calculated and willed, a deliberate mental translation of
concepts into illustrative, pedagogic sensuous terms”. In this research, a
symbol should be seen as a thing or an image which is invoked to
represent another for clarity of expressions, deeper meaning and better
aesthetic appeal.
In DNO (P.56), the big snake at the shrine of Ajaala symbolizes
the deity. The white he-goat and the white cocks Chibuugo offers to the
god symbolize purity, that is, the purity of Chibuugo’s heart in offering
those sacrifices to Ajaala. As Chibuugo gets to the shrine of Ajaala, and
sees a snake in front of her, she is not frightened because she already
knows what the snake represents. She proceeds to make her sacrifice
to the god.
In Igboland, people believe that the gods are spirits who
sometimes appear to men in the form of animals and when once the
people see such animals, they take it that the gods have visited them. In
delineation of this Igbo belief by Ofomata, the sign for the snake to
accept Chibuugo’s petitions is by taking the cock and he goat, gently
51
cross into the thick forest disappearing with them. This results in
Ngozika and her children being relieved of the sickness inflicted on them
by Ajaala.
4.1.3 Similes
One of the distinctive features of Ofomata’s style is his use of
similes. ‘Simile’ according to Iwuchukwu (1991:8) is “a figure of rhetoric
in which two things of identical or similar qualities are directly compared
by the use of such words like ‘like’ and ‘as’, ‘as though’ and ‘as if’ “.
In DNO (P:43) this simile is used by Ofomata thus:
“Obara bido zowe ka mmiri”
(Blood rains like rainfall)
When Ngozika gives Njideka, her husband’s concubine, a cut with
a matchet, the blood that gushes out can only be pictured by likening it
to rainfall. This is to create the impression of deep cut.
In IOGA (P.139) Ofomata says: “Okukoro anya ya abuo hacha ka
nke enwe riara oria”. (His eyebrows are as deep as a skeleton). When
Ejindu wakes up in the morning having slept without eating, the deep of
his eyebrows can only be likened to that of a sick monkey. Here, the
author creates the impression of hunger using this device.
In AGAO (P.3) this simile is also used: “Ihe ojoo niile kuru ya akwa
n’ isi malitere toghewe ka aju” (All the bad behaviours of his head
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started unfolding like a pad). Here, the author pictures how Ikpendu’s
bad behaviours gradually starts to unfold.
4.1.4 Metaphors
Holman and, Harman (1986:298) define metaphor as “an implied
analogy imaginatively identifying one object with another and ascribing
to the first object one or more of the qualities of the second or investing
the first with motional or imaginative qualities associated with the
second”. From this definition, it can be deduced that metaphor as a
figure of speech makes direct comparison of one object with another.
Ofomata employs the device mainly to achieve compactness of structure
and to show the depth of meaning in the ideas portrayed. In AGAO
(P.54) the author metaphorically presents Adaobi as a bee covered very
well in a breakable plate. That tells us how badly she has been
behaving. He says:
“Adaobi bu ebu e kwuchiri n’ ezigbo afere owiwa”.
(Adaobi is a wasp covered in a breakable plate).
In IOGA (P.219) also, the author metaphorically presents
Nkemdirim as a good apple that fell into faeces. That tells us how
wickedly she has been behaving. He says:
“Nwa m i bu udara oma danyere na nsi”
(My child you are good apple that fell into faeces).
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Here, the author communicates to the reader that Nkemdirim’s,
appearance does not depict her behaviour and as such creates the
impression of wickedness.
4.1.5 Hyperbole
“Hyperbole is a figure of speech which produces a clear picture or
impression by employing obvious and extravagant exaggeration to drive
an idea home” (Iwuchukwu 1991:13).
In like manner, Harmon and Holman (1986:246) define it as “a
figure of speech in which conscious exaggeration is used without the
intent of literal persuasion”. As a literal device, it may be used to
heighten effect or used to produce comic effect.
Ofomata employs this for stronger emotional and aesthetic appeal.
Hyperbole is seen in IOM (P.3). Here the number of people murdered by
Nwohia through wicked means is unbelievable thus:
“Ndi o ji ogwu dulaa mmuo kariri aja di n’ ala” (The number of people he
sent to their graves through charms are more than the sand on the
ground). In real sense, there is no way one can compare the number of
people on earth with the number of sand because the quantity of sand
exceeds the number of human beings by far. Therefore, it is an
exaggerated statement to say that only one man murders the number of
people that can be equated to the number of sand.
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In AGAO, the author exaggerates the trouble Ikpendu gives to his
parents. He says thus:
Ikpendu na- amalite n’ uzo ututu bewe akwa wee beruo ya na ndeeri abali. Ka o siri karachaa njo bu na olu anaghi atachi Ikpendu n’ akwa nile ahu o na-ebe (PP.3-4.) (Ikpendu will cry from early morning till late in the night. The worse of it is that he never loses his voice after all the crying).
For a person to cry from morning till late in the night continuously
without loosing his voice is difficult to believe. Here the author used
these statements to bring out the depth of meaning in the ideas he was
portraying and also create conviction.
4.1.6 Idioms
Idiom is a figure of speech with both surface and deep meanings.
It is like a proverb. It can also be referred to as a use of words, a
grammatic construction peculiar to a given language, or an expression
that cannot be translated literally into a second language. Idiom contains
images of intense pictures, which offer pleasure to the readers
especially as they discover the equivalence between the situation, which
prompts the idiom and the meaning of the ‘idiom (Mbah and Mbah,
2007). Idioms are community sayings, which truly convey a different
meaning from that of its constituent linguistic units if taken literally. They
enrich literary works by providing tonal variety in the narrative texture.
Their presence in literary works leads to sense of fulfillment on both the
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author’s part and that of his target audience since they enhance
communication and understanding.
Ofomata employs the use of idiomatic expression in his novels. For
instance in IOM (P.77) in portraying the sudden killing of Onwuha by
Dagburu people, he writes:
Ha bidoro n’ isi na-etu ndi niile ahu kpara ike di egwu ihu naedi soro nwoke ahu chooro ogu bia be ha onu aha. (They started hailing those people who contributed in dealing with that useless man that came to fight them in their place).
The author here is not talking about the wild animal called edi
rather he was trying to show how stupid the man is and how Dagburu
people dealt with him.
Another idiomatic expression is used in AGAO (P.16) where the
author says that:
O detughi ike ya ahu n’ oche ubochi ahu nwoke ahu gwara ya na imi nkita na-adi oji. (He was not able to sit throughout that day the man taught him the lesson of his life).
The author uses this expression to explain the extent to which
Ikpendu’s teacher disciplines him. This is to create the impression of
punishment. An idiomatic expression is also seen on page 62 of AGAO
where the novelist says:
Onye a na- afuru usurugada o na – agba amaghi na usurugada bu egwu ndi mmuo maka nkita na-acho ogu, edi ga-asoriri ya onu.
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(He that dances Usurugada does not know that Usurugada is the dance of the spirits, for he that seeks trouble must surely get it).
Here this idiomatic expression is used by the author to show how
nemesis finally catches up with Ikpendu as regards his evil deeds.
4.1.7 Imagery
‘Imagery’ according to Iwuchukwu (1991:20) is “The impression or
imagination made to the senses especially the sense of sight by the use
of words”. It is also the collection of images within a literary work or a
unit of a literary work. It is the ability of the author to create and evoke
visual pictures in his descriptions. Using this device, the author evokes
the picture of an action, situation, character even setting in the mental
eyes of the reader so that belief is sustained and emotion is aroused.
In AGAO (P.93), the author paints the mental picture of how the
Onitsha market traders deal with Chima and Chukwuka, the armed
robbers that have been raiding the Onitsha main market. One day
nemesis catches up with them after a robbery attack as they are about
to leave with their girl friends, the traders get hold of them in their car.
After exchanging gunshots they are over powered and killed by the
traders who equally set their bodies ablaze.
Ofomata picturing this says that:
“Ndi ahia, ndi nke ji egbe were egbe ha gbaa ha righirighi n’ ihu ugbo ala ebe ahu ha no --- Chima na chukwuka gbaa niga niga ka ha zoputa onwe ha n’ oku
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na-acho igbari ha, mana uzo agaghi. Oku ahu wee were iwe na-ahu ha ka a na-ahu ji”. (The traders that have gun, use their guns to scatter Chima and Chukwuka inside their vehicle. They tried their best to free themselves from the burning flame but could not. The flame finally roasted them like roasted yam) .
The author, having created a mental picture here, is able to show the
reader how the traders aggressively put an end to the existence of the
robbers.
In IOM also, he paints the mental image of how Onwuha attempts
to kill his guards before they kill him. Onwuha knowing that nothing will
exonerate him from dying believes that the only way to escape death is
by killing all the people with him there in ozo uruagwu’s palace. The
author paints a mental picture of the swiftness with which he carries out
his action to the reader thus:
Ka Onwuha Ogudiru si n’ oche ebe o no waliri, si n’ obo miri obejiri ahu Mazi Nzeka hapuru n’ elu oche ya tukwasa ya Onwuajuase no ya n’ akuku, Onwuajuase mapu, Obejiri ahu gbuwaa oche ahu ibegiri abuo. (As Onwuha Ogudiru gets up from the chair where he is sitting, he takes the matchet from its sheathe where Mazi Nzeka, the owner has left it on a chair, and gives Onwuajuase who is sitting beside him a big cut with the matchet, Onwuajuase jumps away and the matchet cuts the chair into two).
4.2 Characterization As A Technique
Characters are the persons in a story who say and do things in the
story. Characters may be human beings, animals or spirits.
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Characterization as defined by Ugwuanyi (1985) is the process by which
the author creates characters. He went further to say that an author
creates a character through what he thinks, how he looks, what other
characters say about him, etc. In other words, he can present his
characters directly or indirectly. When he exposes and analyses straight
what a character is like, it is a direct presentation but when he shows the
character in action from what he thinks and does, it is indirect
presentation.
In this regard, it is pertinent to note that characterization observes
three principles. First, the characters must be consistent in their
behaviour unless there is clearly sufficient reason for the change.
Secondly, the characters must be clearly motivated in what they do,
especially when there is any change in their behaviour.
Thirdly, the characters must behave in a way that is believable.
These characters in fiction are of two types: The flat and the round
characters. A flat character according to Nwadike (2007) is static and it
never changes in the course of a story or play despite the situation while
the round character changes with every situation.
Ofomata makes use of flat characters mostly in all the protagonists
of his novels. For instance, in IOM, Onwuha, one of the major characters
in the text is a liar, so stubborn that he resisted all the corporal
punishment given to him to make him admit the truth that he has hand in
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Ohahuru’s death. Throughout the novel, he remains a man of no
conscience.
In AGAO, Ikpendu the protagonist remains a rogue all through the
story. In IOGA, the major characters, Ikenna and Nkemdirim live a false
life all through the story. In DNO, Chioma remains a wicked woman and
never wants peace in her father’s compound. Ofomata also creates
round characters in some of his minor characters. Example can be seen
in DNO. Here Eberechukwu, due to her daughter’s influence on her
hates Ngozika her daughter-in-law whom she loves so much when she
is newly married. She starts as a good mother-in-law and ends up as a
wicked one because she allows her love for Ngozika to be swayed by
Chioma her daughter.
All Ofomata’s characters are true to life. Through them, the
novelist criticizes and satirizes human bad behaviour and praises those
behaviours worthy of emulation. For instance, in AGAO, Ikpendu is a
bad character who committed various atrocities, through him Ofomata
condemns evil and also shows that one reaps what he/she sows. In
DNO, Ngozika is a good wife who despite all she passes through in her
husband’s house continues to love him.
4.3 Point Of View As A Technique
Point of view is the mode of narration. Holman and Harmon
(1986:386) define it as “a term used in the analysis and criticism of
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fiction to describe the way in which the reader is presented with the
materials of the story or regarded from another angle the vantage point
from which the author presents the actions of the story”. In the same
vein, Foster (1927) explains it to mean the relation in which the author
presents his narrative.
Ofomata is one of the Igbo novelists that shows great skill in his
novels. He employs multiple points of view in his novels, that is, using
both first and third persons point of view in his narrative technique. But
the predominant narrative technique used is the third person or the
omniscient point of view.
In the Omniscient point of view, the author serves as a seemingly
all-knowing maker, not restricted to time, place or character, and free to
move and to comment at will. Here also, an ‘all-knowing’ narrator firmly
imposes his presence between the reader and the story and also retains
complete control over the narrative. The narrator, also from the vantage
point outside the story is free to tell us much or little, to dramatize or
summarize, to interpret, speculate, philosophize, moralize or judge. He
or she can tell us directly what the characters are like and why they
behave as they do. He can also record their words and conversations
and dramatize their actions or even enter their minds to explore directly
their innermost thoughts and feelings. The narrator using the omniscient
point of view directs the reader’s attention and controls the sources of
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information. He records the events of the story using the third person
singular pronoun, “he”, or the third person plural pronoun “they”. In the
four novels under study, Ofomata, uses the omniscient point of view in
two: AGAO and IOGA. In AGAO, the author narrates the story of
Ikpendu and his evil behaviours. From the way he describes Ikpendu in
the beginning of the story, the readers’ mind is already set to meet with
an ugly person.
The author describes Ikpendu on page 1 as follows:
Ihu Ikpendu, di ka nke mkpi iwe na ewe o chia ochi o di ka o na – aboro chi ya ntoo. O gbawa egwu, okpa ya abuo adi ka nke okuko na-abo ihe. (Ikpendu’s face is like that of an angry he-goat. When he laughs, it seems as if he is mocking his creator. When he dances, his legs are like those of a fowl scattering refuse heap for food).
The narrator that utilizes the omniscient point of view, begins to reveal
the ugly part of Ikpendu. How he torments the parents as a child, how he
is raping the girls, brutalizing the young men, stealing people’s livestock
at his youth, and finally, how his evil deeds metamorphosed into being a
rogue as an adult, destroying people’s lives and properties. Through the
omniscient point of view, Ikpendu has been directly described by the
author. Occasionally, Ofomata uses the first person narrator technique.
Here, the narrator is one of the characters in the story. In IOM, the story
starts with:
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Anyi lekwuo anya Ohahuru mkpuru ubochi abuo anyi ahughi ya, ihe di abuo otu emee. (If we wait for two days without seeing Ohahuru, among two things one thing will happen).
Here we witness authorial commentary, Ofomata is the functional
character himself. The statement is used to focus the caring attitude of
Umunka people over Ohahuru’s disappearance. This signifies the
oneness and unity of the community.
In DNO also, the story starts with:
Ndi ogbo m aluwala nwaanyi. Achoro m ka e bido siwe imi n’ ala juwa ajuju nke oma n’ ichotara m onye m ga-alu. (My mates are getting married. I want an effective enquiry to be made concerning whom I am going to marry).
The comment here is one of the examples of human nature when
it comes to marriage. Ofomata is painting a real picture of what happens
in Igbo culture where marriage is believed to be a communal affair. This
is because even though there are one man and one woman that begin a
family, in the end every member of the family is involved. When there is
any problem, there will be break down of peace, there will not be
harmony and people go wild. In a way what Ofomata is doing is simply
teaching young men that in matters concerning marriage they should not
think they can go it all alone, they must get other people involved. An
experience has shown that when people put their thoughts together and
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contract a marriage, such marriage is usually successful. One will say
that Ofomata here is an advocate of social harmony.
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CHAPTER FIVE
5.0 SUMMARY AND CONCLUSION Oformata’s creative capability in story - telling and presentation of
themes are things to be appreciated. Having been armed with life
experience and talent, he is able to invent stories that are apparently
appreciated by everybody. Throughout Ofomata’s novels, he makes use
of mostly flat characters in all the protagonists of his novels. If it is well
behaved ones, their good behavior run all through the story. If it is
wicked ones, they will be static in their wickedness and bad conducts.
The linguistic register of Ofomata which is Igbo language is quite
commendable. Through his good language acquisition, he exhibits his
gift of knowledge in all his work. This is clearly shown in the way he
assembles his words used in figurative language, description of his
characters’ appearances, actions, inner feelings, values and ordering of
incidents. These of course, enhance the readers’ comprehension of the
novels. His versatility with regard to technique is very captivating for as
a matter of fact variety is not omitted. Therefore his novels do not lose
spice.
Ofomata’s way of creating and presenting story is very much
peculiar. Actually, to get much meaning from Ofomata’s novels, one
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must pay much attention to his use of figurative language coupled with
the way he presents his themes. All these make his novels prominent.
As a social reformer, which is one of the attributes of a novelist, he
has through his themes criticized as well as satirized frivolities inherent
in human beings which are exhibited in his fictional characters. His
works convey pieces of information and experiences which are valuable
to his readers.
Oformata, sometimes, brings in some dialectal words thereby
helping to enrich the Igbo language. Although he writes very well, but
there is still room for improvement in his works. For instance, the
actions of some of his characters like Onwuha, Ikpendu, and Nkemdirim
are not true to life. His creation of characters need to be improved.
It is obvious that Ofomata’s major concern as a writer is the
presentation of realities for a change in the society. His themes deal
with universal phenomena which are the basis of his success as an
artist. His approach and vision have come to deal effectively with social
realities.
Furthermore, it is true that the best writers are those who are able
to manipulate words to match their themes. This, Ofomata has been
able to achieve. His language technique is interwoven with his themes
and all the stylistic devices are directed towards elucidating the themes.
Moreover, his writing technique and messages pose serious challenge to
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all Igbo novelists. This is so because he uses various methods (first
person and omniscient narratives) in bringing out his expertise.
Finally, this study is not an end to itself, it has created room for
further research in the area.
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