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………..show 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 …..so 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.