The sense in any art refers to the ideals, ideas and message of the work. According to Oyibo Eze, no art can be understood without a proper knowledge of the condition that creates it”. Knowledge of the condition and reason for any artistic creation is part of the sense behind it. It is assign for meaning conveyed as in speech of writing, a signification sense implies judgment or the intellectual interpretation deduced, from any work of art. “The pleasure of every reading consists in discovering the nexus of senses making which is unique   to each text, the amalgamation and understanding of all tools of text making.

            Salt in poetry refers to the ingredients used to enrich the language. They include imagery that creates mental pictures which helps to concretize abstraction. This image include fingers of speech-smile, metaphor, irony personification, antithesis, oxymoros, litotes synecdoche, metonymy and so on. Salt in poetry also refers to rhetorical devices of sentential  adverb, asyndeton, polyndeton rhetnical question and understatement. It also include, sound devices of alliteration assonance, consonance, rhyme, and so sons involves the great poetry convey fence of “appropriate sense” with melody (salt) to create harmony.
            Poetry is the genre that best conveys the strength and dense richness’ of language. The language of poetry, be it cosmopolitan, regional or dialectal, must have attributes of elevation  in artistic linguistic creativity that makes it sibling. This Longinian sublimity reflected in the artistic project of the language via the linguistic manipulation of the codes account for the grandeur and popularity of the language (of poetry). Great languages of the world have owed their prominence more to literature than religion, politics or commerce. It is the sense of pride and patriotism as well as the urge to be identified within one’s cultural linguistic background that makes some writers to project their works through their vernacular or regional dialects.
            Dante Alighieri, an Italian poet was the first European writer to advocate for the use of vernacular in writing literature. This rebellious epic-Divine comedy, which attacks lyraning of leaders the liturgy and hypocrisy of Catholicism, was written in his vernacular-Latin. Dante, had earlier in his work – Eloquentia de Vulgaria, argued for the writing of literature in vermicular. Another Italian Gcovauni Boccacio’s Decameron is also in Latin dialect; while Geoffrey Chancer’s popular Canterbury Tales is also written in vernacular.
            In Africa, Ngugi Wa Thiongo had argued that a true African literature must be written in African language, hence, his use of Swahili in writing one of his works-I will marry when I want.
            Notable writers like Samuel Selvon, the Nobel laureate- Derek Wallot, and a hoot of other Caribbean writers used the Creole for their Caribbean audience.
A Nigerian Fidelis Okoro, uses the pidgin, a variety of English, spoken by those  within the illiterate and semi-illiterate classes in a multi-lingual setting. It evolved out of the contact of English with the local dialects of the regions concerned. According to Da Pidgin coup.
            “Pidgin is the carriers of “local”  culture…
a reflection of our historical attitudes and the value placed on getting along, and trying to find common ground. It is non-hierarchical and puts people on an even setting”.
Pidgin is a language that has brought people together in spite of their differences in ancestral culture and language and has created a ‘local culture which blends ideas and flavour.
Pidgin is spoken in spoken in some former British war African countries like Nigeria and Ghana, as well as in the Caribbean’s like Jamaica and Hawaii. In the can beans, “it Has allowed immigrates to begin new shoots without losing old roots.
The poet Fidelis Okoro, chooses to speak to the lower class in their own dialect the Pidgin, using the poetry collection- pimples and dimples. He understand that the numerical preponderance of the multiethnic-linguistic setting-Nigeria, falls within the “dregs of the society’, a group of uneducated and illiterate impoverished ghetto dwellers and rustics. His aristouatic and intellectual position as an academic notwithstanding, he uses his work to have a direct audience with the “commomers’. He empathizes with then objectively, though with some propagandist outlook, from a maxist aesthetic perspective, sensitizing the ordinary men, using their language-the pidgin. This class suicide he commits makes him part or the audience whose plight he portrays.
His use of the local patois, a language which, “is also part of the message” gives the users of the language a sense of pride and proves that no language is inferior.
According to Dicks,
‘For Okoro, the consummate poet, the world of pidgin provides a salacious source of ideas, symbols and imagery. Imbued with in credible beauty and the abrasive magic of Nigerian pidgin, the narrative of the Poem speaks forcefully to the endless frustrations, the catalogue of futilities that Nigeria enacts’
With the pidgin, Okoro like William Wordsworth   users the language of the ‘humble rustics” which is plainer, more emphatic, conveying elementary feeling… elementary circumstances …
Just as Derek Walcott uses the Creole registers to ‘reflect the kinds of language found in the (Caribbean) islands, ranging from standard English to French parties, and the their accompanying class and social value’, Fidelis Okoro uses the pidgin to capture the dominant linguistic expressions common among all classes of people with Nigerian polity, especially the numerically dominant lower class.
            Like Walcoth, he is aware that protest alone cannot generate a well-ordered society some of his poems indict “the politicians and intellectuals who have turned protest into demagogy, mistaking expressions of anger for art’.`
            The complex rlymes, stanzas and subtle patterns of repetition, allusion and contrast……… that the best engaged writing result from a commitment to literary craft”.
Taking a look at the eight piogin poems in Pimples and Dimples, Eze, P. J. her thin to say of the another,
It in tolin credit that he manages to avoid one common pitfall for poet writing poems on public affairs. Often the commitment is such that authentic aesthetics in lost to agitprop ……… Okoro escapes such … and creates a peculiar style that invests lyrical features on the local patois. The language by itself becomes part of the message. Since the issues… concern everyone, the poet might… use the language of the man in the street.

Sense and Salt in Pidgin Poetry: A study of Fidelis Okori’s Pimples and Dimples.
            In the Poem, ‘E Don Tey’. Which literally means it’s been long’ the poet person questions why the persistent crises in the Northern part of Nigeria (UgwuAwusa) inhabited mainly by the Hausa race, have always been dried against the southerners. He traces the present historical tragic incidents from 1972 (two years after the national fratricidal war) when people represented by Okonkwo Ukpabi form Umunengwa, emerging from the raw ages of the war decide on launching out in search of business and survival opportunities in the Northern part of the country. However, the character together with his wife loss all his life assets including all his children, and finally gets bank home to the East in the soothers past of the country empty handed in religion (Sharia) crisis in how.
            The poet chronicles the various violent arises in the Northern part of the country from the period of amalgamation in 1914 one of which were completely tangeted on the Igbo race- Oso Egbo law. Other crises were those of Sokoto, Maitesina, Zango-kataf Gideon Okal, Abiola, Kaduna, Sharia, Boxo Hansm and a host of others. (pp17-18).
            The irony of all is that some of these crises are always caused by trivial matters, not from the country. The cartons in Denmasee (Europe) news papers influence crisis in Nigeria against innocent citizens in Kano. A thing done in Basrlin (Germany) leads to arcon in churches in Bauchi (Nigeria) for He rhetorically questions how payment for refuse dunged at Britain could be made at Bauchi through Eswama.
            Apart from ethnic cleansing, there is also religious profiling based on people’s names that link them to a given religion (Christianity) as opposed to the dominant one (Islam) in the North. School children are selected and summarily executed, and dumped inside the school well on discovery though their names that they are of a rival religion.
            The National Youth Service corps members are not left out of the decimation plot. After being used for conducting general election in the country they are for destruction by the political class, via the fanatical almajiri group a class of  uneducated, homeless youths, orphaned by living parents who pushed them to destitution  as a preferring. They are the key instruments of many of mayhem used as bows in the arrows of the Northern feudalistic oligarchy who believe they are born to mile’. The youth crops members (“Yntucopa) ironically are killed  and married by the same Glmajiri Ashon they led always been giving food and money.
            The leinus violence make the poet person a to nurse for a long time particular question (rhetorical) which he hopes to direct to God almighty in where name the fanatics had always based their actions, when he meets with him.
            The poem addresses some issues which include the endless pogrom (ethnic & religions) in the Northern part of the country Nigeria; wanton destruction of represent and mean of which hood of the Christians and southerners in the North, hypocrisy of the leaders and futility of panels of inquiring. The academics, police and army are not left out of the blame. The use of the Almajiris’ a youth group who have been negatively indoctrinated to unlash mayhem, is highlighted. The hypocrisy of the Northern Federal Nigeria with the born to rule ideology (used to perpetuate the Ahmajiri’s destitution) is also highlighted.
            Towards the end, the theme of rendatte is noted as the persona vows to average even at death, the death of the beloved ones.
            In bring out the message of the poem, the writer uses some strategies. Rhetorical cessations are used for emphasize which kind baboon go Shit monkey  go clam am be 1is 2 p.18,God almighty……./Na with daze innocent pikins  do …….?
There in also the use of simile your companioned to create mental image with levying effects ……chew cud like the goat of Gumbo…like monkey way get kwarikwata  for head –the monkey which has aphid---a parasitic insect under the skin ,scratches itself … they don become like baboon bamboo”/ still the amspscorpion  de crawl for my belle, mutilator.
The anther makes me of proper name of persons and places. The king of events with places like Denmark, Berlin , Reward, Kano, Sokoto and people like Bulling , Abiola , Okonkwo Ukpabi Chike Obi , Soludo ,Iwu , and Jega-----  all notable fissures in Nigeria , give authenticity or veracity to issues raised as realistic, not imagination.
The poet also uses dates-----1972, 2000, 2006, 2011,and September 11th  2001 to locate historical events with time. September 11has become a local phenomenal rate with great disastrous zone. 1914 is the year of ahapamation  by lord lured  when the canting a year avowed.
Comparative adjective in hyper 60 line mummer are analogously  used to disrobe the hopeless nature of academics and processional in Nigeria situation .
Newspaper go show lekpa professor /way day blow grammar pass barrack qbama ……/ Day go bring foreign expert way don read/all the books for library of compress.
E   go analyze the satiation pass Armistice
E   go drop suggestion way long passes limpopo
E   go drop concession way tall passes Kilimanjaro
E   go give satiation passes Chike Obi
E   go show graph am bound / …..
Grammar go day exph like atomic bomb for inside room Dem go give am dap way pass ten water falls…..
African both Chike obi and solodo are renewing professors of nathemation and Economics respecting .professor of content resolution /contrite we see /resolution we no see. (pp.21-22). Antithetical comments that indicate the dilemma of the victim are used “to live no gree; todie no gree”. P. 20)
Onomatopoeic words and phrases are used to indicate the violence that pervades the poem. ‘Piam (p.22), indicate the sound of a sharp blade as is shops off the head of the victim (in decapitation process0. “Katakata’ itself suggests crisis.
The poet makes use of immuedo Barmarks as de safest place for town/sojas, very kinal/sojas wey no carry eye see woman/…devil don butter dir bread be dat. Woman wey never die form dagger. die form fear/Doz wey no die from fear/die from hiner/…die from syphilis (pp.34-35) Here, the predicament of women in the crisis is subtly relayed in ironical manner.
            Through subtle expression of rhetories, he gives us the vivid condition of the Almajiri and the factors that seem to justify disfigured mentality. The negative intoxication from the hypocritical and dogmatic cleric and feudal aristocratic oligarding from zakat has given the Almajiri a semantic perforation of as negative, and his destitution as a divine arrangement with irreversible station quo, and as well see, those whose actions have placed him in the garbage bin as his benefactors. Whom he must die and kill to protect, so far as he has been promised the elusive and illusive paradise.
            Having lost the comfort of good parental domestication that guarantees civility, the appeal of the  hemgs (Igbo) instrument of violence-bomb, gun, knife dry gin (ogogoro), herine, combine with hunger, illiteracy, hopelessness, insets attack, negative temperature due to homelessness and disease to make him see assumption as a worthy action, and even his own death as euthanasia to release him from the wicked world.
            The poetic instrument exposes the conflict which generates surprise that builds into limax which is violence. The ugly condition of the Almajiri is climactically arranged to suggest the inevitability of violence.
Code-sustain and code-mixing are used as local colour to give the audience background information in the characters involved the helps in classification of the pidgin varieties used in the poem. This taxonomy brings into the fore-Hausa pidgin and southern (Igbo pidgin). The use of the expressions seyi Bhari’ Allahu, akbar” Oso Kano…. Ugwu Awusa etc are all aspects of code-switching that give local/regional colour to the language. Even the use ‘IP’ for ‘id’ (p. 23) locate, the pidgin to a giver ascent (Hausa ascent) northern Nigeria.
The poet uses some inflectional sophomore to create more pidgin words. She term “almajeri zashon” is a morphological evolution derived from Almajiri. This logotechnic ability of the poet attests to his level of proficiency in the language of ordinary men.
The poem is an apostrophe to the Almighty God. The suctions that had for long hung on the person as lips unasked are finally revealed at the end. Are the 9-11 twin-towers suicide bombers part of the ten virgins beneficiaries in paradise? What would the lady suicide somber that killed fifty at Jerusalem market home? Is it seven young men? The pet uses this argument to defuse the negative and hollow indoctrination of paradise for band its whose pharisaical masters dwell in palaces here on earth, not willing to die-in Islamic faith.
For the christen faith, the biblical injunction that of slapped
   (Like Osofisan, he becomes that the freedom of the individuals lie in their hands and not the gods)
you should turn the other check , the adherents on doing this are stabbed to death. As the victim goes to heaven, who would he meet there?-the murderers already enjoying at paradise with their seven virgins? If the same bandits hand to the victim a second death at the paradise, where would he go again? Back to earth or another heaven? There are the rhetorical questions he had taken to long a time to ask.
            The poetic structure exposes a conflict that could not be immediately revealed due to the dogmatic disposition of the audience on the concepts of paradise for murderers and foreigners for victims, epitomized by Islam and Christianity respectively. The persona through logic and Socratic philosophy guides the audience to see the flants and following of the religion order; and with the renaissance spirit of skepticism, casts off the veil of religion and elective his fate by his own acts. The questions asked at the end indicate sounding judgment of the liberated mind and indicant the climax. (Note osofisan’s Red is the freedom Road). The dedemonement is his resolve to coverage the wrongs of the past before the almighty God, with a warning that the (God) stags clear. This indicates the resolve of a some no longer governed by the old order, and who has rejected the subjugation of the God head. This resolution creates catharsis as the audience held for long been expecting a pay-back comment from the victim.
            The poet like Martin further of the renaissance reformation Era is a live to the social problems of his time. He adopts the maist-revolutiary astheties at the end. Violence is necessary if it would strike a talence in the already ugatively tilted societal social pendulum.
            His being an of the boingoeixic/aintonation class notwithstanding by virtue of his education and rancing he commits class suicide by speaking for the oppressed the holy class0 using his autistic production as a form of labour to speak to men and for men who are oppressed.
            Like President John Kennedy-those who make peaceful evolutions impossible, make war like revolutions inevitable.
            He uses his arthritic ingenuity to enlighten the lowly class and the uninformed in the language of the ordinary men” the mytho-clojinatic era of the time is similar to the awe with which the atholic bible of the old was held; touching of which was an anathema to the laity, until the Lutheran revolution defused the dogmatic liturgy bomb. The poet Okoro is the Luther for the uninformed Islamic Almajiri and the gullible Christian faith adherents.
‘Iyawo mi’
This literally means ‘my beloved mistress’. It contends on the theme of disappointment in love and marriage. There is the theme of pretence. There is a reversal of expectation as the personal regrets the relationship by weighing the present behaviour against the blissful past. The poet persona reminisces over the infatuation days when the mistress Angelina was cautions of the her feeding habits to ‘watch’ her weight’ complexion; “age” and attitude (p. 39). On marriage, the situation changes. The woman eats wreckcassly and her weight get out of control, drinks without caution, and now dresses shabbily, smells with dirt’s; the house which was a model of cleanliness is now an epitome dirtiness’ as his home which was a model of domestic sanitation has become an Augea stable, with rats, cockroach, spider, flies all metaphor for dirtiness see his house as comfortable habitat. The lady’s decent speech is now replaced by destructive invectives, the poem ends with a warming of intention to marry another woman or into extra-mental affirms (infidelity). In the poem there is honeys antithetical juxtaposition of smile and metaphor in situational comparism. Na you be dat morning star/way I go just see for eye, hunger go vamoose?/Na you be dis drum of crude oil/…like elephant way drink a drum of masara carry drum of Akamu wash an down? (pp. 39-40). The above compares her weight and beauty before marriage with the present due to excessive easting, drinking and laziness. It is also symbolic of rude and undefiled manner.
            She was a beauty to behold in shape like the Igede masquerade with angechi movement, but she has become shapeless and weighty like bag of salt’ and super Mama irrespectively- “wa you be dat Igele Masquerade tackling… like Angel Gabriel?/Na desame person…/dey like bag of salt/ ..wa you be dis super mama”(p.40)
The wesha is such that only one who wants to commit suicide would daire life her. If she falls on somebody the victim would be rushed to intensive care Unit (ICU) of the hospital. This is a hyper solution expression of Angelina’s uncontrolled weight.
            The long hair which was similar to that of a mermaid used to make his heart throb in those days are now short and disastrously unkempt. “… data long hair…/…like mammy wota in own/…Na un be dis shrub… wey scatter like church wey book Haran don bomb finish? Book Haram in an Islam terrorist organization notions for destruction of Christian working centres and government establishment in Northing Nigeria.
The persona juxtaposes his lady’s fashion craze days that had smacks of sartorial decency with its present negation likened to the vultures upliness. “Na you wey being dey shine…
Flower for chest/Diman for shoe/Gold for week/slower for land /snow for teeth/…wey be like vulture wey torrential rain) all beat finish?”

            Comparatively, the narrator views the days of infatuation when everything about the city including her faults were taken as saintly and alight, with how that her mouth sprays out venoms, and puerile effluvium- ‘Na de same mouth be dis snout when pregnant sco print the commit so?/…cow…belle full begin dey release atomic bomb from in anus? (P…)
            The poet makes use of personification in hypo-oocic manner, when flies sing National Anthem Angelina, we dey haig thee/…” an intertextual resource to Nigeria old National anthem-Nigeria, we Hail thee. Other insects-‘rat’ and spider’ greet Angelina including the coverwach in “de pikin feeding bottle”.
            The initially duencent lips of the lady have now been elongated by gossips. The blessed lips are now filled with invectives,-Deez ones whey sepent and hellfire pepper deconnot so? (p.43).
            The days of personal hygiene are over. Things were alright of formal marriage that destroyed his life joy. The birth of children completed the cycle of disorderliness-‘Normally day dere de time before  I carry go church go swear my life away/De day you born bombirl/na dat day normally begin de wear rose ring/De day you born bomboy aha!/… the poet spices his work with other devices like rhetorical questions and repetition, exclamation, direct address strategy that makes it grostrophic, and the use personification.
Rhetorical question like “Abi na my eyeswey dey play me 419? “Abi my eyes drink kai kai begin de confuse my orgin?... say I go drink fai fai die for am? He also uses assonance kai kai fai. These rhetorical questions stress the narrator’s disbelief of the disappointment he now faces. Others include “… no be you/wey chop dis big bowl…/Ask for another? … wey drink deez three bottles of big stort/Ask for another? P. 39.
Na you be dat morning star…Na you be dis drum of crude oil?
            The language of the poem is simple because it is a lowly class language-pidgin, but the economic use of words with proper diction increases its poetic content.
            The useof code-mixing like and make I tell you hoohaa (.45) lyawo mi, are examples of local colour that links the person to a given region in Nigeria.
            Transliterations like … I go carry you go Mr. Biggs’ instead of “take you out to Mr. Biggs’ “Dat trap you carry catch me p. 45 are part of the local colour.
            The use of symbols/images gives weight to issues and language as well. ‘419’ (as used in like 3 page 39) refer to Advanced free fraud or searching by ticks/pranks (as continued in diction 419 of the Nigerian criminal code.
            “Mr. Biggs is symbolic of entertainment joint. “Super Mama’–fatty and shapeless. Crude oil-shapeless and ugly, as well as uncivilized and unreformed I character. Other images include maiming wota, Boko Hausa, Umaru Dikko-rice importuned saga of 1982 (2nd reran) where flippancy on the 1983 complied folin failed abduction in accurate.
            The poem is also spied up with form’s devices-most prominent being the musicality of repeated phrases and sentences. Alliteration helps to increase the melody associated with the poem. Few express are here like…
The poem has no rhyming pattern reflective of the nanator’s unrestrained emotion as he addresses the lady directly.
‘Oga mi’
            The poem Oga mi is as intertextual response to the ideas of poet persons in ‘Iyawomi’. Here, the persons and wife of the addressed regretting the marriage and takes the experience as being in hellfire. Little did the now that the helfquire the had always dreaded worked be her portion in marriage. It is the hypocritical love overtime of the man that deceives her into marriage. The promises made before marriage are completely broken as the man now drinks beer and usually, batters the wife, attended party eating and drinking elsewhere, lusts after young ladies, delegating to care for her children of family dresses in disagreed of his age.
            Infidely case is established with expressions-dey impel de bombom of young bages, abi? Lying liners B (p. 49); … I don pick rain coat for ya pocket? (P. 49, Lim 31), “I even recognize de Viagra bottle for ya breath pocket/… recognize the girl you carry come here today ). 50 LI 26-28) “And from coy mama put you da dey cho Mama put her self, abi? (P. ci lines 9-12) “they say the Mama put last picking resemble you (p. 51. L. 36)
            The narrator respects he marriage and vows to retaliate with her own infidelity the poem centres on themes of infidelity and matrimonial disappointment, and religious hypransy and quality.
            The poet makes use of repetition of some clauses like-make I no go there; wa like dis…? You tell me, you love me pass…” No do no do…”Oga mi etc. this reflection stresses the speakers emotional state, as the uses exclamations and rhetorical questions repeatedly.
            Figures of speech like smile and metaphor are used for companism … blow grammar like bambulu “(p.47), chew gum like goat… “(p.50)’ you mu like akatakpo masquerade… (p.51). all these are sinece used to draw parism or link experience or objects with others.
            Example of metaphorical expression include ‘I don become envelop for you, Abi? P. 49 …The day I enter disherefire with my korokoro eye.. the day I enter dishelfire with my korokoro eeye” p. 52.
            Rhetorical querons and exclamation are used all through the poem for emphasis.
There are some interextual resonances in the poem. The metaphoric expression”… pray for the conversion of Jews” is a biblical allusion to conservatism nature of the Jews-the Pharisees who are infidelities to Judaism.”… blow grammar like Bambulu s a literary echo to a character Bambulu, in Janes ere harishaw’s play.
This is our chance
“…praise like Chukwumenje” is an allusion to the character’s roles as director of research and propaged in the segment of Biafra during  the Nigeria civil as well as his role as information minter during the IBB regime when the due 12, 1993 mandate of Abiola was stalled (in combination with ABN-Association for better Nigeria).
            The poet also makes use of language simplified with local colour, especially transliteration-“Na because I no want/make people hear my neck?, an Igbo expression for  “I do not want people to hear my voice”. Sound derives and used to spice up the message.
Militeral non-Blow blow blow…blow blow.
             Assonance and consonance are used jointly in some phrases to create some musical rhythm in the poem. An example is “charactgarachara liked agaracha”. Here the vowel/a/sounds(assonance) conbine with the middle consonant sounds ch-/tj/r/r/ to generate some melody. Images and symbols are used to create lasting improssians – hellfire’ is symbolic of syfaing, “plaster’-domestic voluene/battering. “Rain boat’ ‘viagra’-sexual promisanity. ‘Mama put –extra-mental affirm.
            The point of view-first person combines with the direct address nature of the poem and makes the audience appear to be witnesses to the persona’s complaint/attack on the addressee.
            The poet’s use of stanza form helps the audience as each stanza not only indicate a topic 9issue), and serves as a pause to the Reeder as the poem does not contain full stop form the beginning to the end.
Kwuredible Eleshion don
The poem is on failed promises of those elected to rule the country. They only dirt the people’s wealth to foreign accounts, in Switzerland keep them improvised (hunger), no good jobs for the citizens, yet the own houses in Dumben (S.A) and Dubai (UAE), budgets are inflected to double their kickbacks.
            They claim to be demonets and techno orates (experts) but the are rats eating up the nations treasure.
            They say that our democracy is better than the military regime, yet they are robbers in government. While people are dying of starvation, they deceive, the citizens with the economic jargons of commercial civilization and privatization.
            They promise the citizens real goods, but give therein fake, the cannot move the nation formed, and at the same time refuse to give others chance. Nigerians situation has defied all solutions.
            They are illiterate legislators ripping-old the nation and the poor.
            They are the stakeholders and shareholder, yet the poor suffers for all their atrocities. The claim to credible relation is not the same as credible eleshon…/kwuredible is olsed positively and negatively expletively.
            Personification is used as kwuredible eleshion is given human quality.
            Antithesis is used as  contradictory idean are juataposed:
‘Dem go fronise us original/Dem go give us Taiyoan/Dem go  fronise us de main de main/Dem go give us kwangala the Language of the poem draws greater attention. It is the pidgin poetry gendered in hause aseent. The title of the poem translated into standard Nigerian English means ‘Credible election has come’. The Hause asent for some of these worlds are transgeated thus: Kwuredible-credible; Kafm’-come ‘Por’ – for; feofle’ – people; ‘flenty’ – plenty “technokwrats”- technocrats; militokwracy’- meritocracy etc. the pidgin ascent leaps to identify the perosna’s background.
Code-mixing is used as some local words are added to the pidgin diction “wullahi, my kwontrifeofle’ p. 56.
Deir farligment na dogo turenchi p. 56.
‘Wullahi’ is exclamatory expression in Hausa is while dogo turenchi in Huasa is ‘excess grammar’. Both local ascent and code-mixing are part of the local colour spacers up the highstic expression no the poem sound device are used to create musical effects on the audience. The expression “… have por Durban and Dubai (%5L.8) indicate the joint use of alliteration and consonance, “still dem dey double budget double dem… (P. 55 L. 10)
The musizal effect is also sustained in the end rhyme.
The first four lines in Stanza one has able alternate rhyme here:
“Kwuradible elashon don kwom
…our money for suitorland
kwuredible elashon don kwom
…hinger dey kwumedible feofle por Najaland”
the second stanza has end rhyme
dem say na dem be technokwrats
dem say na dem be demokwrats
no mind say we dey chof rats
this stanza has the same end rehme:
den say we get demokwracy
wey depperent form militokwracy
de thing wey we see na barawokwracy
stanza four has its own rhyme thus:
dem dey talk of frivatizashon
dem dey sing of kwomershializashon
but dem no dey see our starvations.
            Apart from musical effect perfected by the poetic utilization of the end rhyme the poet stylistically builds up argument by juxtaposing actions with affects. Every stanza has two movements ore indicates an action and the last (line) indicates the effect (of the action). The stanza I will us that while the leader start our money away in foreign accounts in Switzerland, hunger becomes the portion of the citizen’s of Nigeria (Najaland). Stanza two states that while our leaders claim to be technocrats and democrats, we the led are left to eat rats as food. 3rd stanza says that they claim we have democracy, different from meritocracy, while the practice is the government of robbers (bargwokwracy).
            Finally, while they deceive the people with the economic polices of privatization and commercialization, they do not care about the citizen’s starvation. The poet therefore artistically garnishes. The poet therefore artistically garnishes the message of his poetic rendition with sardonic humour, and mehdious rhyme.
            The logotachnical quality of the poet is evident in his creation of new pidgin words via the morphological process of blending Hausa with Eglish. Barawor warcy’ is denied from Hausa world barawo’ (thief) and Hausa pidgin morphermal kwaracy’, an aberration of the English morphere—‘cracy’, this links the persons to a given locale and growths authenticity to the content or issues raised.
            Image and symbols are used to give meanings Examples include Switzerland that stands far money laundering, centre” ‘rats’ stands for suffering or hunger, Taiwan’ imitation.
            In His royal Bombnass’ the poet addresses the subject-matter of bloody crises in the Arab world, and the hypoendy of the western world. At the centre of the storm is the character-Mr. B. presiding form Bashdard (Iraq0 to Tripoli (Lybia).
            The Arab crises here exposed the ambition of united states (Wesley) Russia and united kingdom (London). Same have pushed Israel into terrestrial suest and expansion towards East (Teusalams and West Bank’, while Palestine (Gaza) launch missile against the innocent in Jerusalem, and vice-versa.
            It cushions why the western nations never intervened in the Rwandan crises between the Hutus and tutsics. It is double-standard because Rwanda promises no economic benefit for them- no oil the level of cavity while the Rwandan genocide lasted smacked of hypocritical wickedness.
            The West are hypocritical ‘democrats’ and diplomatist concerned with offshore and on-shore oil exploitation of the nations which are endowed with oil, in a  manner similar to the way forestallers dribble their opponents. In their unfair ploy attitude, they have pact with Sandi Arbia (al-Saudi and) and foutlly dethrone Gadaffiano (Gadaffi) and saddamrinho (saddam) and keep shipping the oil from these areas through their business magntes- the Halliburton’s-who are oil merchants and drainpipes of the west in sueking and impoershing the oil-rich nations, Nigeria inchsive. (this is a reminder to the Halliburtons oil scandal in Nigeria in the 199’s in which billions of dollars were siphoned by then and their cronises). The oil game is like the game of footsall which instead of fairness smacks of unfairness. Instead of its being game of soccer, it is rather that of sucker parasite draining or sucking the nation of its economic blood. the efferent that in democracy, ballot is strong than bullet is shrouded in hypocrisy, as the “ footsall game of democracy” is officiated by the west who decide who wine. The crises in the Arat wored had always been presided over by Mr. ‘B’ presidents & prime ministers. American President Bill (Chinton) gives the baton to Bush (George), who shifts its to British Blair (Tony) down to Brown (Gordon) to Isrsel’s Benjamin (Natanyahu) to Syria’s Bashar to Radars  Bashlr, and tack to barrack (Obama) all a game of Mr. ‘B’ president who are the traditional bornbers, (not traditional rulers of the world). (The poem is a point to the Art spring that thwarted in 2011 which the Wert used to climate their traditional enemies, one being George that went like saddsm.
            The poem in a divert contrary on diplornatic hyponasty of the water power, who only preened to display humanity where they have economic interest. It in a satire in which democracy has been trudged to suit personal and not people’s interest – Gofmerit of de people, by de people, because of Mr  B’ (p.62). thin a came where player and official belong to the same family placing the opponent at a disadvantage.
The authentic of poetic construction in poem in most evident in the sound device of alliteration, where/B/ sound has through seven lines consecutively.

                        Bill pass to Bush
                        Bush to Blair
                        Blair to Brown
                        Brown to Benjamin
                        Benjamin to Barhir
                        Barlir to Barlir
                        Basher to Barrack
Repetition of some stances ending with rhyme –foot ballast dipflonst,   
Denouncer symbols image and an well to the ------of the work , Mr . B stands for Bornbers or destroyers who are recognized leaders. These leaders names also start with B------ Bill, Blair, Brown, Benjamin, Baslir, Barshar and Barrack.
Arabian desert refers to Arab countries (Tunisia, Egypt, hydria human Syria etc ) heat, refers to Arab spring (crises) of 2011.
            As a poetry he in alive to situation no line age even at a global level, narrates the event and they happen any line at the theater . Thin contemporaneity in narration makes the events more realistic then imaginative, on the aniline are also witness to the event in the real word.
            The poems like all others use direct address (aoibtophe) strategy, and all are narrated in the first person perspective.
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